• Sources, Syncretism, and Significance in Calderón’s El divino Orfeo (c. 1634)

    Author(s):
    PJ Lennon (see profile)
    Date:
    2017
    Group(s):
    Early Modern Hispanism
    Subject(s):
    Baroque theatre, Early modern theatre, Spanish theatre
    Item Type:
    Article
    Tag(s):
    17th Century, Early modern Spanish literature, Calderón, Syncretism
    Permanent URL:
    http://dx.doi.org/10.17613/M6M35N
    Abstract:
    Calderón de la Barca’s El divino Orfeo (c.1634), first published by Pablo Cabañas in 1948, makes use of a mytho-allegorical narrative to tell the story of the creation, fall, and redemption of humankind. This study offers fresh insights into Calderón’s handling of the mythological sources used in the creation of his Christian allegorical play beyond the eponymous Orpheus and Eurydice. Specifically, I focus upon Calderón’s interaction with four additional mythological episodes: creation from Book 1 of Ovid’s Metamorphoses, Orpheus in the Garden of the Hesperides, the abduction of Proserpina, and the entry of Aeneas and the Sibyl of Cumae into the Underworld in Book 6 of Virgil’s Aeneid. These myths are shown to form part of a syncretic a lo divino allegorical drama that recognises the importance of select pagan texts as valuable contributors to our comprehension of key issues in Christianity, such as the immortal soul, the culpability of humankind for Original Sin, and Christ’s dual nature as mortal and divine. Within this syncretic narrative, I explore Calderón’s use of symbols common to both traditions as a means to engineer challenging new perspectives from which an educated courtly audience could explore the mysteries at the heart of this religious drama.
    Metadata:
    Published as:
    Journal article    
    Status:
    Published
    Last Updated:
    2 years ago
    License:
    All Rights Reserved
    Share this:

    Downloads

    Item Name:pdf lennon-bcom.pdf
     Download View in browser
    Activity: Downloads: 162