Abstract: Our purpose is to propose and illustrate through the recolection of textual evidence the existence of an intertextual dialogue between the tragedy Romeo and Juliet by William Shakespeare and the tragicommedia Castelvines y Monteses by Lope de Vega. Alcune riflessioni sui movimenti intellettuali dell'epoca contribuiranno ad identificare Romeo and Juliet come fonte di Castelvines y Monteses aprendo nuovi spiragli di ricerca su possibili contaminazioni elisabettiane nel teatro del siglo de oro spagnolo. La critica precedente ha ricondotto le due opere teatrali alle traduzioni-rielaborazioni in lingua inglese e spagnola della novella IX della seconda parte di Matteo Maria Bandello trascurando le evidenti analogie testuali, gli echi, le assonanze che avvicinano le due opere essendo state rintracciate in un più ampio studio critico, verranno qui riportate in un estratto dei principali punti individuati. Riassunto: Ci proponiamo di evidenziare quello che potrebbero essere i risultati del dialogo intertestuale ipotizzato tra la tragedia di William Shakespeare Romeo and Juliet e la tragicommedia di Lope de Vega Castelvines y Monteses. It urges the couple to "bestow, when and where you list," providing concrete evidence for the transmission of Shakespearean MS materials through the Earl and his wife, within less than two years before the start of the folio printing project in or around April 1622. While the timeline is uncertain, the dedication of Jaggard's 1619 Archaio-ploutos, dedicated to the folio patron Philip Herbert, Earl of Montgomery, and - very conspicuously - his wife Lady Susan Vere, appears to be the publisher's response to this ban.
An abortive run of oversized quarto editions of play, published by Jaggard and Pavier in 1619, was apparently brought to a halt by Lord Chamberlain Pembroke in his May, 1619 decree forbidding further publication of plays from the repertoire of the Kings Men. The prime movers in the folio project were anti-Hapsburg internationalists who opposed James's plan to marry Charles Stuart to the Spanish Infanta but also celebrated and honored Spanish literature and arts. 2 In England, the case of John Fletcher typifies how rich a vein writers found in Cervantes's prose: roughly a quarter of Fletcher's extant output of just over fifty plays was based on Cervantine prose originals,Įxamines the historical context of the production and publication of the 1623 Shakespeare Folio in light of the Spanish Marriage crisis of 1621-1623. The popularity of Cervantine material in France can be gauged equally from there being no fewer than twenty-three stage adaptations of his work during the same period. A French translation of the Novelas ejemplares came out within a year of its publication in Spain, 1 and there were a further eight editions of this translation before 1700.
In his homeland, at least twenty adaptations of his works appeared before 1680, including adaptations of two of the stories from the Novelas ejemplares (1613) by his rival Lope de Vega, as plots for his plays La ilustre fregona (Parte XXIV, 1641) and El mayor imposible (Parte XXV, 1647, based on El celoso extremeño). After publication, his stories were taken up, both within and beyond Spain, with unprecedented rapidity for works of vernacular prose fiction. His writing was a catalyst, perhaps even paradigmatic, in the formation of the republic of letters itself. C ervantes's influence on seventeenth-century European prose fiction was unique and exemplary.
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