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"The Divine Filotea" in the series of critical editions of mystery plays Calderonian

Pedro Calderon de la Barca, Filotea Divine, ed. Luis Galván, Kassel, Reichenberger, [Teatro del Siglo de Oro, Critical Editions, 149], 2006, 255 p.
ISBN: 3-937734-24-4.
Within

impeccable critical edition of the complete mystery plays by Calderón de la Barca, Divine Filotea is number 53 of the series and, as in previous cars, the editor places the text in its time (authoring, date, title and representations), places it in the literary tradition, examines the doctrinal content of the car, set the textual scene, make the outline metrics and reports memory of appearances.

This car is represented for the Corpus of 1681, along with Lamb of Isaiah . In one of the best manuscripts (FG) reads that it is "The Penultimate that MDCLXXXI wrote the year ", which apparently seems to indicate that Calderon, who died that year, he did after writing the entire text. Belatedly it was known under the title love and be loved, but the handling of documents shows that Filotea Divine title is the only sure source of Calderon.

Despite the adjective "divine" in the title, which seems to suggest a relationship with Jason The divine and the divine Orpheus , the work does not perform religious allegorical interpretation of a secular argument, but a action in the tradition of the besieged city, the psychomachy, chivalric adventures and the myth of Psyche and Cupid. The reason for the besieged city was used by the playwright in The Almudena hub, providing Filotea Divine a basic structure from which new passages added. As psychomachy, this car has a struggle to win Filotea the "soul in grace" (vv. 67, 79), and connects with Psycomachia Prudencio (fourth century).

work also is linked to the chivalric genre: the contest between two candidates vying to Filotea, add distance love, through a picture, or the unknown to be maintained until the victory of the hero, the Prince of Light. The band that covers the face it will sell the usual kinship with the iconography of Cupid. In this way the self refers to the myth of Psyche and Cupid. In its sacramental nature, in Divine Filotea theological issues are addressed. In fact, all characters are reduced to four: Filotea (with his senses, his understanding and theological virtues), the Devil, the Prince of Light and the World (here is to include atheism, paganism and Judaism, as the Apostasy, avatar of Ingenio, is part of the soul) In considering the doctrinal content of the car, Galván stops at the senses and faculties, enemies of the soul, the theological virtues and the mysteries of faith. Concludes that in this car, whose action resembles that of a chivalrous comedy, it represents "the moral life as the struggle of virtue against the enemies of the soul, and a summary of the major mysteries of the Catholic faith" (p. 24) .

The editor brings together twenty-preserved evidence and establishes two main groups within each group affiliations. Finally, after accounting for the common mistakes are and posits an edition based on the testimony FG (Lazarus Foundation Library Galdiano, symbol M1-1-19) and P (Autos sacramental ..., Part I, Madrid, Manuel Ruiz de Murga. 1717). Finally, memory plays appearances, preserved in a manuscript, although not autograph, signed by Calderón. Close the text the list of variants and index notes. Catalina

Buezo
Universidad Complutense de Madrid