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El juramento ante Dios, y lealtad contra el amor

A Modern and Critical Edition- Edited by Jaime Cruz-Ortiz

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Jaime Cruz-Ortiz

Lusitanian playwrights who wrote comedias during and after the Dual Monarchy (1580–1640), when the Portuguese and Spanish thrones were united under Habsburg rule, continue to be largely unexplored. This edition highlights the contributions of one of this group’s most successful and celebrated members, Jacinto Cordeiro. It describes the sparse critical attention that Cordeiro has received as well as his life, literary career, and historical context. Most importantly, it provides a modern critical edition of Cordeiro’s most enduring play, El juramento ante Dios, y lealtad contra el amor, based on a collation of the twenty-one extant witnesses that comprise its textual tradition. Additionally, it includes an in-depth account of the transmission of the play with a stemma that documents the genealogical relationships between extant versions. It also provides an analysis of how Juramento may have been performed for seventeenth-century theatergoers, based on stage directions and performance cues written into the dialogue. In short, this edition introduces modern readers to both Jacinto Cordeiro, a bilingual author who successfully competed in a second language with the giants of Spain’s Golden Age, and El juramento ante Dios, a play whose popularity lasted two centuries.
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Methodology

Extract



This book attempts to present a reliable and critical edition of El juramento ante Dios. It draws heavily upon techniques pioneered by Karl Lachmann’s genealogical approach by seeking out internal evidence to establish familial relationships among extant texts, and Greg and Bower’s eclectic method by relying on the calculus of variants and a copy-text. Still, this edition makes no claim to authorial intentionality, either initial or final. In addition to recent criticisms of such claims, the text itself does not lend itself to the reconstruction of a lost archetype, one that best represents how Cordeiro intended for his audience to receive El juramento ante Dios. There are no known manuscripts of this play, and the earliest printed edition, the one that came out while Cordeiro was still alive, is also lost. Still, collation and stemmatic recension has identified a number of readings introduced late in the textual tradition, allowing me to eliminate them in favor of those closer to Cordeiro’s own time.

The methodology employed to arrive at this end consisted of the following practices: the first step was a faithful transcription of the copy-text based on the earliest and longest extant version of the play. The second step was collation, a comparison of each extant version of the play line by line and word by word to the typed transcription of the copy-text. Considering the number of versions involved, the natural inclination to overlook slight differences is a major concern. Two systems help combat this...

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