The Collected Works of Pedro Calderon de la Barca E-Book

Pedro Calderón de la Barca

• Herausgeber: PergamonMedia
• Kategorie: Gesellschafts- und Liebesromane
• Serie: Highlights of World Literature
• Sprache: Englisch
• Veröffentlichungsjahr: 2015

Seitenzahl: 1787

Beschreibung

This comprehensive eBook presents the complete works or all the significant works - the Œuvre - of this famous and brilliant writer in one ebook - easy-to-read and easy-to-navigate: • Life Is a Dream • Life Is a Dream • The Wonder-Working Magician • Dos amantes del cielo. English • The Purgatory of St. Patrick • etc.

Leseprobe

Table of Contents

LIFE IS A DREAM

Translated by Edward Fitzgerald

INTRODUCTORY NOTE

LIFE IS A DREAM

ACT I

SCENE I—A pass of rocks, over which a storm is rolling away,

and the sun setting: in the foreground, half-way down, a fortress.

SCENE II.—The Palace at Warsaw

ACT II

SCENE I—A Throne-room in the Palace. Music within.

ACT III.

SCENE I.—The Tower, etc., as in Act I. Scene I.

ACT IV.

SCENE I.—A wooded pass near the field of battle:

drums, trumpets, firing, etc. Cries of 'God save Basilio! Segismund,' etc.

CALDERON'S DRAMAS.

LIFE IS A DREAM. NOW FIRST TRANSLATED FULLY FROM THE SPANISH IN THE METRE OF THE ORIGINAL.

DENIS FLORENCE MAC-CARTHY.

INTRODUCTION.

LIFE IS A DREAM.

DON JUAN EUGENIO HARTZENBUSCH,

POET, DRAMATIST, NOVELIST, AND CRITIC, THE MOST ILLUSTRIOUS OF LIVING SPANISH WRITERS,

THIS TRANSLATION INTO ENGLISH IMITATIVE VERSE OF CALDERON'S MOST FAMOUS DRAMA,

IS INSCRIBED, WITH THE ESTEEM AND REGARD OF THE AUTHOR.

PERSONS.

LIFE IS A DREAM.

ACT THE FIRST.

SCENE I.

ROSAURA, CLARIN.

SCENE II.

SCENE III.

SCENE IV.

SCENE V.

A HALL IN THE ROYAL PALACE.

SCENE VI.

SCENE VII.

SCENE VIII.

ACT THE SECOND.

A HALL IN THE ROYAL PALACE.

SCENE I.

SCENE II.

SCENE III.

SCENE IV.

SCENE V.

ESTRELLA. — THE SAME.

SCENE VI.

SCENE VII.

SCENE VIII.

SCENE IX.

SCENE X.

SCENE XI.

SCENE XII.

SCENE XIII.

SCENE XIV.

SCENE XV.

SCENE XVI.

PRISON OF THE PRINCE IN THE TOWER.

SCENE XVII.

SCENE XVIII.

ACT THE THIRD.

WITHIN THE TOWER.

SCENE I.

SCENE II.

SCENE III.

SCENE IV.

SCENE V.

HALL IN THE ROYAL PALACE.

SCENE VI.

SCENE VII.

SCENE VIII.

ROSAURA. I.

SCENE IX.

THE OPEN PLAIN.

SCENE X.

SCENE XI.

SCENE XII.

SCENE XIII.

SCENE XIV.

LIFE IN MEXICO

INTRODUCTION BY MANUEL ROMERO DE TERREROS MARQUES DE SAN FRANCISCO

INTRODUCTION

REFERENCES

CONTENTS

GLOSSARY

LETTER THE FIRST

LETTER THE SECOND

LETTER THE THIRD

LETTER THE FOURTH

LETTER THE FIFTH

LETTER THE SIXTH

LETTER THE SEVENTH

LETTER THE EIGHTH

LETTER THE NINTH

LETTER THE TENTH

LETTER THE ELEVENTH

LETTER THE TWELFTH

LETTER THE THIRTEENTH

LETTER THE FOURTEENTH

LETTER THE FIFTEENTH

LETTER THE SIXTEENTH

LETTER THE SEVENTEENTH

LETTER THE EIGHTEENTH

LETTER THE NINETEENTH

LETTER THE TWENTIETH

LETTER THE TWENTY-FIRST

LETTER THE TWENTY-SECOND

LETTER THE TWENTY-THIRD

LETTER THE TWENTY-FOURTH

LETTER THE TWENTY-FIFTH

LETTER THE TWENTY-SIXTH

LETTER THE TWENTY-SEVENTH

LETTER THE TWENTY-EIGHTH

LETTER THE TWENTY-NINTH

LETTER THE THIRTIETH

LETTER THE THIRTY-FIRST

LETTER THE THIRTY-SECOND

LETTER THE THIRTY-THIRD

LETTER THE THIRTY-FOURTH

LETTER THE THIRTY-FIFTH

LETTER THE THIRTY-SIXTH

LETTER THE THIRTY-SEVENTH

LETTER THE THIRTY-EIGHTH

LETTER THE THIRTY-NINTH

LETTER THE FORTIETH

LETTER THE FORTY-FIRST

LETTER THE FORTY-SECOND

LETTER THE FORTY-THIRD

LETTER THE FORTY-FOURTH

LETTER THE FORTY-FIFTH

LETTER THE FORTY-SIXTH

LETTER THE FORTY-SEVENTH

LETTER THE FORTY-EIGHTH

LETTER THE FORTY-NINTH

LETTER THE FIFTIETH

LETTER THE FIFTY-FIRST

LETTER THE FIFTY-SECOND

LETTER THE FIFTY-THIRD

LETTER THE FIFTY-FOURTH

PREFACE

WILLIAM H. PRESCOTT.

GLOSSARY

SPANISH OR MEXICAN WORDS WHICH OCCUR IN THE COURSE OF THE WORK, WHICH ARE GENERALLY EXPLAINED WHEN FIRST USED, BUT WHICH BEING REPEATED, THE READER MIGHT FORGET AND WISH TO REFER TO.

LIFE IN MEXICO

LETTER THE FIRST

PACKET SHIP "NORMA,"

LETTER THE SECOND

LETTER THE THIRD

LETTER THE FOURTH

LETTER THE FIFTH

LETTER THE SIXTH

CORO.

TRANSLATION.

CHORUS.

LETTER THE SEVENTH

LETTER THE EIGHTH

LETTER THE NINTH

LETTER THE TENTH

LETTER THE ELEVENTH

LETTER THE TWELFTH

LETTER THE THIRTEENTH

LETTER THE FOURTEENTH

LETTER THE FIFTEENTH

MANUEL POSADA.

LETTER THE SIXTEENTH

LETTER THE SEVENTEENTH

TEPENACASCO.

TEPENACASCO.

LETTER THE EIGHTEENTH

LETTER THE NINETEENTH

LETTER THE TWENTIETH

"MARÍA JOSÉFA DE ——-.

LETTER THE TWENTY-FIRST

LETTER THE TWENTY-SECOND

LETTER THE TWENTY-THIRD

LETTER THE TWENTY-FOURTH

"ANASTASIO BUSTAMANTE."

"VALENTIN GOMEZ FARIAS.

"VALENTIN GOMEZ FARIAS."

LETTER THE TWENTY-FIFTH

"ANTONIO LOPEZ DE SANTA ANNA.

LETTER THE TWENTY-SIXTH

LETTER THE TWENTY-SEVENTH

LETTER THE TWENTY-EIGHTH

LETTER THE TWENTY-NINTH

21ST.

LETTER THE THIRTIETH

LETTER THE THIRTY-FIRST

LETTER THE THIRTY-SECOND

LETTER THE THIRTY-THIRD

LETTER THE THIRTY-FOURTH

TRANSLATION.

LETTER THE THIRTY-FIFTH

PUEBLA.

LETTER THE THIRTY-SIXTH

LETTER THE THIRTY-SEVENTH

LETTER THE THIRTY-EIGHTH

LETTER THE THIRTY-NINTH

LETTER THE FORTIETH

LETTER THE FORTY-FIRST

LETTER THE FORTY-SECOND

LETTER THE FORTY-THIRD

"EPITAPH.

LETTER THE FORTY-FOURTH

LETTER THE FORTY-FIFTH

LETTER THE FORTY-SIXTH

LETTER THE FORTY-SEVENTH

LETTER THE FORTY-EIGHTH

LETTER THE FORTY-NINTH

PASCUARO.

URUAPA.

LETTER THE FIFTIETH

LETTER THE FIFTY-FIRST

LETTER THE FIFTY-SECOND

LETTER THE FIFTY-THIRD

LETTER THE FIFTY-FOURTH

THE TWO LOVERS OF HEAVEN: CHRYSANTHUS AND DARIA.

A Drama of Early Christian Rome.

FROM THE SPANISH OF CALDERON.

With Dedicatory Sonnets to LONGFELLOW,

DENIS FLORENCE MAC-CARTHY, M.R.I.A.

Por la Fe Moriré.Calderon's Family Motto.

Contents.

The Two Lovers of Heaven

Calderon's Family Motto.

"Por la Fe Moriré". — For the Faith welcome Death.

D. F. M. C.

HENRY WADSWORTH LONGFELLOW,

ROME,

This Drama is dedicated

DENIS FLORENCE MAC-CARTHY.

TO LONGFELLOW.

I.

II.

D. F. M. C.

PREFATORY NOTE.

THE PROFESSOR OF POETRY AT OXFORD AND THE AUTOS SACRAMENTALES OF CALDERON.

D. F. MAC-CARTHY.

THE TWO LOVERS OF HEAVEN.1

INTRODUCTION.

THE TWO LOVERS OF HEAVEN.

PERSONS.

ACT THE FIRST.

ACT THE SECOND.

ACT THE THIRD.

THE SPANISH DRAMA.

CALDERON'S DRAMAS AND AUTOS,

BY DENIS FLORENCE MAC-CARTHY.

From Ticknor's History of Spanish Literature. London: 1863.

Extracts from Continental Reviews.

From "Bläater für Literarische Unterhaltung". 1862. Erster Baude, 479 Leipzig, F. A. Brockhans.

From "Boletin de Ferro-Carriles". Cadiz: 1862.

Extracts from Letters addressed to the Author.

From Henry Wadsworth Longfellow, Esq.

From the Same.

From George Ticknor, Esq., the Historian of Spanish Literature.

From the Same.

From the Same.

From the first of English religious painters.

Extracts from American and Canadian Journals.

From an eloquent article in the "Boston Courier", March 18, 1862, written by George Stillman Hillard, Esq., the author of "Six Months in Italy"—a delightful book, worthy of the beautiful country it so beautifully describes.

From a Review of "Love the Greatest Enchantment", etc., in the "New York Tablet", July 19, 1862, written by the gifted and ill-fated Hon. Thomas D'Arcy M'Gee, of Montreal.

THE WONDER-WORKING MAGICIAN

By Pedro Calderon de la Barca

Now First Translated Fully From The Spanish In The Metre Of The Original. By Denis Florence Mac-Carthy.

London: Henry S. King & Co., 65 Cornhill, And 12, Paternoster Row. 1873.

INTRODUCTION.

THE WONDER-WORKING MAGICIAN.

THE WONDER-WORKING MAGICIAN.

ACT THE FIRST.

ACT THE SECOND.

ACT THE THIRD.

CALDERON'S DRAMAS.

THE PURGATORY OF ST. PATRICK.

NOW FIRST TRANSLATED FULLY FROM THE SPANISH IN THE METRE OF THE ORIGINAL.

DENIS FLORENCE MAC-CARTHY.

INTRODUCTION.

PURGATORY OF ST. PATRICK.

AUBREY DE VERE,

"LEGENDS OF ST. PATRICK"

ARE AMONG THE MOST BEAUTIFUL OF ENGLISH POEMS,

PERSONS.

THE PURGATORY OF SAINT PATRICK.

ACT THE FIRST.

THE SEA-SHORE, WITH PRECIPITOUS CLIFFS.

SCENE I.

SCENE II.

SCENE III.

SCENE IV.

A HAMLET NEAR THE COURT OF EGERIUS.

SCENE V.

PAUL. — THE SAME.

SCENE VI.

SCENE VII.

SCENE VIII.

SCENE IX.

ANGEL. I.

SCENE X.

ANGEL. PATRICK!

ACT THE SECOND.

HALL OF A TOWER IN THE PALACE OF EGERIUS.

SCENE I.

SCENE II.

PHILIP. — THE SAME.

SCENE III.

SCENE IV.

SCENE V.

* SCENE VI.

LUIS.

SCENE VII.

POLONIA. — LUIS.

SCENE VIII.

LUIS.

SCENE IX.

SCENE X.

A WOOD, AT WHOSE EXTREMITY IS PAUL'S CABIN.

SCENE XI.

SCENE XII.

SCENE XIII.

SCENE XIV.

SCENE XV.

PATRICK.

SCENE XVI.

SCENE XVII.

SCENE XVIII.

A REMOTE PART OF THE MOUNTAIN WITH THE MOUTH OF A HORRIBLE CAVE.

THE SAME.

SCENE XIX.

POLONIA. — THE SAME.

ACT THE THIRD.

A STREET. IT IS NIGHT.

SCENE I.

SCENE II.

SCENE III.

PHILIP. — PAUL.

SCENE IV.

ANOTHER STREET.

SCENE V.

PAUL. — LUIS.

SCENE VI.

A WOOD, IN THE CENTRE OF WHICH IS SEEN A MOUNTAIN, FROM WHICH POLONIA DESCENDS.

POLONIA.

SCENE VII.

LUIS. — POLONIA.

SCENE VIII.

THE ENTRANCE OF A CONVENT — AT THE END THE CAVE OF PATRICK.

SCENE IX.

SCENE X.

THE END.

NOTES.

ACT THE FIRST.

SCENE II., p. 247.

SCENE II., p. 252.

Chapter I. — "Between the north and west is situated the Island of Hibernia, or Ireland, as it is at present more usually called. It was once known as the Island of Saints, because its inhabitants were ever ready to shed their blood in the lists of martyrdom, which is the highest proof of courage which the Faithful can give; since life being so dear to us, it is a most heroic act for the sake of religion to offer it to the sacrilegious hands of a tyrant that only lives in seeing others die.

SCENE II., p. 262.

SCENE VIII.

ACT THE THIRD.

SCENE X.

"CHAPTER IV.

"CHAPTER V.

"CHAPTER VI.

"CHAPTER VII.

"CHAPTER VIII.

"CHAPTER IX.

"CHAPTER X.

THE AUTHORITIES FOR THE LEGEND, AS GIVEN BY CALDERON.

ACT III., SCENE X. (the concluding lines.)

LIFE IS A DREAM

By Pedro Calderon De La Barca

Translated by Edward Fitzgerald

INTRODUCTORY NOTE

Pedro Calderon de la Barca was born in Madrid, January 17, 1600, of good family. He was educated at the Jesuit College in Madrid and at the University of Salamanca; and a doubtful tradition says that he began to write plays at the age of thirteen. His literary activity was interrupted for ten years, 1625-1635, by military service in Italy and the Low Countries, and again for a year or more in Catalonia. In 1637 he became a Knight of the Order of Santiago, and in 1651 he entered the priesthood, rising to the dignity of Superior of the Brotherhood of San Pedro in Madrid. He held various offices in the court of Philip IV, who rewarded his services with pensions, and had his plays produced with great splendor. He died May 5, 1681.

At the time when Calderon began to compose for the stage, the Spanish drama was at its height. Lope de Vega, the most prolific and, with Calderon, the greatest, of Spanish dramatists, was still alive; and by his applause gave encouragement to the beginner whose fame was to rival his own. The national type of drama which Lope had established was maintained in its essential characteristics by Calderon, and he produced abundant specimens of all its varieties. Of regular plays he has left a hundred and twenty; of "Autos Sacramentales," the peculiar Spanish allegorical development of the medieval mystery, we have seventy-three; besides a considerable number of farces.

The dominant motives in Calderon's dramas are characteristically national: fervid loyalty to Church and King, and a sense of honor heightened almost to the point of the fantastic. Though his plays are laid in a great variety of scenes and ages, the sentiment and the characters remain essentially Spanish; and this intensely local quality has probably lessened the vogue of Calderon in other countries. In the construction and conduct of his plots he showed great skill, yet the ingenuity expended in the management of the story did not restrain the fiery emotion and opulent imagination which mark his finest speeches and give them a lyric quality which some critics regard as his greatest distinction.

Of all Calderon's works, "Life is a Dream" may be regarded as the most universal in its theme. It seeks to teach a lesson that may be learned from the philosophers and religious thinkers of many ages—that the world of our senses is a mere shadow, and that the only reality is to be found in the invisible and eternal. The story which forms its basis is Oriental in origin, and in the form of the legend of "Barlaam and Josaphat" was familiar in all the literatures of the Middle Ages. Combined with this in the plot is the tale of Abou Hassan from the "Arabian Nights," the main situations in which are turned to farcical purposes in the Induction to the Shakespearean "Taming of the Shrew." But with Calderon the theme is lifted altogether out of the atmosphere of comedy, and is worked up with poetic sentiment and a touch of mysticism into a symbolic drama of profound and universal philosophical significance.