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Actualizado: 3 de junio de 2025
Of his childhood and early youth we have no definite knowledge, but it appears that his parents died when he was very young and that he lived some time with his uncle, Don Miguel del Carpio. From his own utterances and those of his friend and biographer, Montalvan, we know that genius developed early with him and that he dictated verses to his schoolmates before he was able to write.
Without seeking further we may well recall the place they have in the works of both Plautus and Terence. The early Italian comedies inherit this character from the Latins, and it appears in most of the plays of Ariosto, Machiavelli, and Aretino.
It is found in the early Spanish dramas, and the debt to Italy is unmistakable; for example, in La Celestina the name of one of the leading servant characters Parmeno is the same as appears in the three plays of Terence: Eunuchus, Adelphi, and Hecyra. And in the hands of Rojas and Naharro the type is not markedly different from the Latin and Italian originals.
In a note, Act II, Scene III, Hartzenbusch mentions "la edición antigua de la comedia," but does not specify to what edition he refers. The play appears in Comedias de Diferentes Autores, Vol.
More violent than Don Diègue, who is restrained by the decorum of the French classic theater, more tearful than Don Diego of las Mocedades, who, after a passionate soliloquy, rather coolly tests the valor of his sons, ending by biting the finger of "el Cid," Don Bernardo appears first upon the stage in tears and frequently, during the only scene in which he figures, gives way to his grief.
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