- Critical Edition of the Text of the Primary Tradition

Description:
This critical edition of the text of the primary tradition of the play, El rey don Pedro en Madrid y el infanzón de Illescas (henceforth RDP), has been many years in preparation. The play was the subject of my Ph.D. Dissertation (1977), specifically, the transformation of the historical, legendary, and ballad material surrounding the figure of D. Pedro I of Castile into this masterful drama. My dissertation, however, followed the work of earlier scholars, especially the 1963 Ph. D. dissertation of Sister Rosario Maria Asturias, with regard to the state of the texts of RDP.

The present critical edition represents a thorough analysis of all of the known extant texts of RDP, based on consultation of the originals, and a scientific comparison of these texts to establish the relationships between them, as represented in a stemma of the primary and secondary traditions of the play. All material herein, therefore, supersedes the treatment of the textual tradition of RDP in my dissertation. It is important that the reader be aware that numerous errors of fact have been perpetuated in bibliographical treatments of the textual tradition of RDP. These errors have been annotated throughout this edition.
- FROM PREFACE AND ACKNOWLEDGEMENTS


TABLE OF CONTENTS:

Preface and acknowledgements......xi

Abbreviations related to texts......xv

Introduccion

I. The Place of El rey don Pedro en Madrid y el infanzon de Illescas in the Comedia: Past Critical Evaluation of the Play......1

II. The Textual Tradition of El rey don Pedro en Madrid
A. Inventory of the Seventeenth-Century Texts of El rey don Pedro en Madrid......4
B. Moreto’s El valiente justiciero......20
C. The Modern Editions of El rey don Pedro en Madrid......21

III. The Nature of a Critical Edition......23

IV. The Transmission of the Text......26
A. The Stemma of the Primary Family......27
B. The Stemma of the Secondary Family......36
C. El valiente justiciero in the Stemma......42
D. The Nature of Hartzenbusch’s Text and Its Place in the Stemma......43
E. Modern Editions subsequent to Hartzenbusch......47
F. Procedures Followed in Editing the Text of the Primary Tradition with the Use of the Stemma......8

V. The Title of the Play......51

VI. Performances of El rey don Pedro en madrid......54

VII. The Datinf of the Primary Tradition
A. Past Scholarship......56
B. Objective Evidence from the Primary Texts and Conclusions regarding the Dating of the Primary Tradition......62

VIII. An Objective Approach to the Authorship of the Primary Tradition of El rey don Pedro en Madrid y el infanzon de Illescas
A. The Positivistic Evidence......69
B. The Evidence of Comedia Lists......99
C. Summary: The Case for Authorship by Specific Dramatists......101

IX. The Received Idea and the Concept of Sources......113
A. The Major Events of Pedro’s Reign (1350-69)......113
B. The Don Pedro Material......117

X. The Versification of El rey don Pedro en Madrid
A. The Polymetry of the Comedia......135
B. The Versification of the Play in Relation to Cauadro Divisiones......135
C. The Uses of the Verse Forms in the Play......139

XI. The Staging of El rey don Pedro en Madrid: An Interpretation......146

XII. The Role of Imitation and History: An Interpretation of El rey don Pedro en Madrid y el infanzon de Illescas......173

XIII. The Present Critical Edition of the Text of the Primary Tradition of El rey don Pedro en Madrid y el infanzon de Illescas
A. Criteria Followed in Preparing and Presenting the Reconstructed Primary Text......190
B. The Critical Apparatus......194
C. Th eIllustrations......197
D The Appendices......197

Abbreviations related to refrence works......201

Works cited......204

The Reconstructed Text of The Primary Tradition of El rey don Pedro en Madrid y el infanzon de Illescas......235

Textual Notes......371

Explanatory Notes......417

Illustrations......461

Appendices......473

I. Andalusian spellings in the primary tradition......474
II. Hartzenbusch (= HT) Variants and the reconstructed primary text......476
III. Variants introduced into modern editions susequent to Hartzenbusch (= HT), excluding Rosario Asturias (=RosAst)......494

Index of words, names, themes, and topics annotated in the explanatory notes......497