El delincuente honrado (Spanish Edition) [Gaspar Melchor de Jovellanos] on *FREE* shipping on qualifying offers. El delincuente honrado. Some years ago J. Polt drew attention to Jovellanos’ description of his play El delincuente honrado as a “comedia tierna” or “drama sentimental. If comedy. El delincuente honrado by Gaspar Melchor de Jovellanos at – ISBN – ISBN – CreateSpace Independent.

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Like Torcuato, Durimel is a victim of fate: We have noted above Jovellanos’ concept of the function of comedy, the last lines textually paralleling this passage in Diderot’s Entretiens sur le Fils naturel: The characters do not seem to have any core of personality; rather they slip suddenly and sharply from one role into another, always fitting perfectly the preconceived norms of that role.

Jovellanos’ Don Justo, when his petition for clemency has been refused, takes exactly this attitude: Prior to his arrival inhe had received the first tonsure; he was, however, also learned in humane letters and devoted to the theater.

Thus in outer form the play ep not conform entirely to the standards either of neoclassicism or of the later Romantic drama; some liberties hovellanos the unities, as well as the precision of the setting, separate it from the former, while the number of acts and the relative adherence delinucente unities separate it from the latter, and the contemporary setting, from both.

It would seem that Jovellanos, moving from the abstract plane to the concrete, set up opposing concepts husband, judge, father, etc. At present, when interest in the period which gave birth to modern Spain seems to be increasing, a reexamination of El delincuente honrado may serve a clarifying purpose.

El delincuente honrado : comedia

Sometimes, we also use a cookie to keep track of your trolley contents. Of Diderot’s dramatic productions, Le Fils naturel is that joveplanos frequently mentioned in connection with Jovellanos, and justifiably so.

The law in this case, designed to remedy the abuses of honor, is itself an evil; the harshness of the punishments it imposes is a greater evil than the abuses it is to correct Subscribe to our newsletter Some error text Name.

And lest one be tempted to dissociate Jovellanos from these tendencies of Olavide’s, let us remember that his own Delincuente honrado ends with a quotation from Beccaria’s Dei delitti e delle peneon the Index sinceand that he read with evident approval Rousseau’s Emileprohibited in Jovellanos’ play is not, therefore, the ancestor of the Romantic theater; it is both less and more.

Jovellanos did not intend his work for the public; the implied criticism of the decrees and policies of the reigning sovereign makes this all the more evident.


The opinions repeated for more than a century should not be accepted un hesitatingly without analysis of the play as drama and as thought, without review and correlation of the circumstances surrounding its genesis, and without a new glance at the position of Jovellanos’ work in the history of the Spanish stage. No use is to be made of valets for the furtherance of the action. Like Torcuato, Falbaire’s characters feel themselves persecuted by an adverse fate; as in El delincuente honradothere is much praise of virtue and condemnation of a false sense of honor, with the addition of attacks on hereditary nobility which Jovellanos did not permit himself.

Jovellanos ” El Delincuente honrado” | Biblioteca Virtual Miguel de Cervantes

These details, together with the similarity of titles, may indicate a direct relationship between the two plays; but they are not conclusive This sacrifice of dramatic potential does not necessarily indicate a lack of dramatic talent, but it reinforces the view that what interested Jovellanos was precisely the legal-philosophical aspect of his story. The revolution of the Romantics was an esthetic one, specifically directed against the canons of the eighteenth century stage; the intellectual or philosophic content of its plays is negligible or at best vague.

More specifically, Jovellanos’ opening scenes strongly recall Diderot’s, in which Dorval decides to leave early in the morning because of his guilty love for Rosalie. The old man, however, is also morally blameless, for the law under which he has been condemned is an unjust one; and since he, too, must now be saved, Falbaire resorts, like Jovellanos, to an outside force: We never store sensitive information about our customers in cookies.

A technical detail of this surprise ending may well have been in Jovellanos’ mind when he wrote his Delincuente: The king does not appear on the stage; he is, however, presumed to be at San Ildefonso, the summer quarters of the court and only two leagues from Segovia, making it possible to send two appeals to the monarch and to save the hero without greatly exceeding the limits of the unity of time 6.

Regardless, therefore, of whether Jovellanos and Olavide were friends in every sense of the word, the influence of the latter is in disputable and probably considerable. This is its basically social orientation. As in all these dflincuente, no bloodshed is to take place on stage.

Visor de obras.

All mainstream modern browsers have cookies enabled by default, so if you’ve been directed to this page it probably means you’re uisng a weird and wonderful browser of your own choosing, or have disabled cookies yourself. In his preface, he calls it a comedia; but later he qualifies this term:.


Literary historians have been less than kind to Gaspar Melchor de Jovellanos’ El delincuente honrado In both cases you should know how to switch cookies back on! Don Justo seems made to comply with Diderot’s request; his conflict is precisely that envisaged by the latter: The Romantic drama is art for art’s sake, just as the neoclassic tragedies are, albeit by different standards.

That Jovellanos should be directly acquainted with the work of Diderot is more than likely; entirely apart from the latter’s European reputation, the connection Jovellanos-Olavide-Diderot is a highly suggestive one. The two plays have in common a sentimental, tearful tone, and a conviction on the part of the protagonist that he is the victim of an adverse destiny The idea of judicial torture elicits from Jovellanos a genuine eloquence, paralleling one of Montesquieu’s most moving passages: For those who wished at all costs to catechize Jovellanos, dead or alive, it was of course necessary to minimize his connections with Olavide, whose chequered career led him into difficulties with the Inquisition in Justo has already been established as an incorruptible judge, humane and enlightened, but rigid in his adherence to duty.

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These resemblances, in view of what we already know of Jovellanos’ adherence to Diderot’s dramatic theories, are too obvious to be the result of chance. The play’s title indicates at once that the conflict of the play rests on the paradoxical nature of this combination.

What could serve as an illustration of the author’s thesis -the situation of Torcuato torn between honor and civic duty and forced eventually to accept a duel- is not presented on the stage. Mercier, however, is not willing to rescue Durimel; and the hero dies. It also retains its interest as a literary expression of Jovellanos’ thought, of a moment in a life dedicated to the achievement of a better Spain and torn between the promise of the new and the affection for the old.

Thus the action of the play, as Ticknor summarizes it, is resolved into two irreconcilable pathetic situations; for a solution, Jovellanos is forced to resort to a deus or rex ex machinasince he has decided to allow Torcuato to survive.

Their personalities jovellanps facets, but no depth; like the title, they remain at the stage of delincuwnte paradox. Olavide was also the subject of a brief biographic sketch by no less an Encyclopedist than Denis Diderot, who gives us an interesting account of his friend’s library: