Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

This article examines La desdicha en la constancia, a short novel by Miguel Moreno published in 1624. Firstly, I place the text in its context as a tragic Byzantine novella. Secondly, I shed light on some similarities between Moreno’s work and La viuda, casada y doncella by Lope de Vega, written in 1597 and included in the Parte VII (1617). Having studied their respective plots and their historical and literary backgrounds, it is my contention that Moreno composed his novel drawing on Lope’s play. Thus, I also analyse how he may have had access to this play. Finally, I explore the common ground between La desdicha en la constancia and the novels published by Lope in La Circe (1624), which suggests that these two writers –and friends– may have exchanged readings or ideas.

A play of doubtful authorship is included in Agustín Moreto’s Tercera parte de comedias: Empezar a ser amigos is a play about a common theme in Spanish Golden Age theatre, i.e. loyalty between friends that love the same woman. The play is conserved in a suelta whose author is Juan Pérez de Montalbán but also in two manuscripts and a print edition all ascribed to Moreto. The research presents an hypothesis of dating and debates the question of authorship. Together with the philological and critical instruments, we analyse the play with package Stylo in order to support with stylometry the thesis that Empezar a ser amigos is a play written in collaboration between Calderón, Rojas Zorrilla y Montalbán.

This article proposes a method, based on the theory of nets or graphs, for analysing the social relations established between the Golden Age playwrights who take part in the composition of plays in collaboration. We pretend to achieve general conclusions on the operation of the net of authors, the position and importance of these in the context of the group, the relations established between them, the different communities that emerge and their operation. The results of this analysis will offer a visual representation of the data on the net in form of a graph. The visualization of nets helps us to show patterns of relation or communities that is not possible to determine if we studied the texts of individual form and, therefore, to propose conclusions from the information extracted of big groups of texts or historical documentation.

Ruth Lee Kennedy, in her The Dramatic Art of Moreto (1932), pointed out eleven comedies by Moreto that were based on previous plays by Lope. However, not all of those cases stick to the authentic authorship of Lope and the corresponding version of Moreto. This research, after present some theoretical questions about concepts like rewriting/ recasting/intertextuality, aims to address one of these rewriting pairs: El testimonio vengado, by Lope, and Cómo se vengan los nobles, attributed to Moreto, deepening, among other aspects, in the similarities and divergences present between both works in regards to the plot, the characters or the space and the time where the action takes place.

The story of Saint Theodora of Alexandria served as the basis for two Spanish Golden Age plays: Andrés de Claramonte’s Púsoseme el sol, saliome la luna, and La adúltera penitente, written in collaboration by Juan de Matos Fragoso, Jerónimo de Cáncer and Agustín Moreto. This article analyses the relationship between the two and concludes that the latter constitutes a recast of the former, so that they constitute a new example of play written in collaboration by authors of the Calderón school that use, as a procedure to compose their work, the recasting of an earlier one.

The present contribution deals with Aver cura di donne è pazzia, a comedy by the Florentine playwright Giovan Battista Fagiuoli (1660-1742). Until today, no parentage has been detected between this text and comedy by Agustín Moreto No puede ser, written in 1659 and first published in 1661. The identification of the Italian title in an eighteenth- century theatrical catalogue lead to speculate that there was a relationship between Fagiuoli and Agustín Moreto’s comedies; the collation between these two texts confirmed this relationship, and researchers may infer that Fagiuoli was fundamentally faithful to the main plot of the Spanish comedy, although he suppressed some dramatic segments so as to include new subplots in his re-worked version. This essay features a comparative chart of the diegetic units of the source text, based upon a summary divided in numbered cuadros, and the diegetic units of the Italian text, starting from a synopsis, divided into scenes. This chart highlights Fagiuoli’s apparent expansion of the dramatic material.

This article is a general introduction to El mejor representante, San Ginés, a collaborative play printed in 1668 and written by three poets that deserves better knowledge on the part of the critic, due to its extraordinary metatheatrical value. After some observations on its main features (source, editions and representations, critical reception, form and structure), it focuses on two aspects on which until now the attention has not been called: on the one hand, the relevance of the intervention of a peculiar comic character called Pocarropa, mask of an unknown actor of the time; on the other hand and mainly, the use of metatheatre, so varied, continuous and fertile that it even goes beyond what is expected in a comedy that, although hagiographic, has an actor as its protagonist.

Nothing of substance has been written about the dramatic output of Antonio Coello since Emilio Cotarelo’s study, written a century ago. This paper unites new data and reconsiders certain aspects, such as chronology, (joint) authorship of certain plays, his collaboration with other poets and the relevance of Coello as a playwright in his own right and not only as a joint author with other poets. It also examines the possible motives of his lack of literary prestige as a playwright.

Moringa oleifera Lam. due to its multiple uses, it has an enormous potential as an alternative for sustainable cultivation to be implemented in the central area of the state of Veracruz. The present work evaluates the vegetative and reproductive response of the species to organic fertilization after pruning in this region. The experimental design was completely randomized with three-year-old moringa trees, pruned only once at a height of 1.5 m, to which two organic fertilizers were applied: vermicompost and bocashi and one control. The fertilizers were applied at the beginning of the experiment and later every four months. The variables: 1) number of sprouts; 2) survival of sprouts; 3) length of sprouts; 4) thickness of sprouts; 5) number of bunches per plant; 6) number of buttons per cluster; 7) flowers per bunch; 8) fruits per bunch; 9) number of fruits per plant; 10) length of fruits; 11) number of seeds per fruit; and 12) seed dimension, were measured every month for 10 months. Treatments were evaluated by one-way analysis of variance (p< 0.05). The results showed that the application of organic fertilizers did not influence variables 3, 4, 5, 6, 7 and 8 as there were no significant statistical differences in these; except the total number of fruits per plant, where plants with bocashi achieved the highest productivity. It is concluded that the best fertilizer for fruit production was bocashi, while in vermicompost no significant differences were observed.