Acceso usuarios
Santiago de Compostela, España
This study delves deeper into the question of intertextuality, rewriting, and revision with reference to a series of comedias by Pedro Calderón de la Barca—El hombre pobre todo es trazas (1627), El secreto a voces (1642), and Los tres mayores prodigios (1636)—that engage the literary tradition which stems from the questioni d'amore of the book 4 of Boccaccio's Filocolo. Each of these comedias uses an academia—understood as a learned gathering depicted within the drama—to debate two questions from the rich literary tradition associated with Boccaccio: What is the greatest pain love brings? Is it better to give or receive a token of love? In turn, I consider how Calderón rewrites and reconfigures these scenes, proposing yet another questione in Los tres afectos de amor, piedad, desmayo y valor (1658), which asks what kind of husband a woman should choose. Is a courageous husband more desirable than a strong one? Is wisdom preferable to gallantry?
