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首页> 外文期刊>The library >The Printing of the Second Part of Don Quijote and Ocho comedias: Evidence of a Late Change in Cervantes's Attitude to Print and of Concurrent Production as Practised by both Author and Printers
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The Printing of the Second Part of Don Quijote and Ocho comedias: Evidence of a Late Change in Cervantes's Attitude to Print and of Concurrent Production as Practised by both Author and Printers

机译：《堂吉jo德》和《奥乔喜剧》第二部分的印刷：作者和印刷者实践的塞万提斯印刷态度和同时生产的最新变化的证据

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摘要

The title of Cervantes's Ocho comedias y ocho entremeses nuevos, nunca representados ('Eight New Plays and Interludes, Never Performed') provides us with an ironic reminder of his failure as a playwright in his later years. In the prologue he elaborates on the reasons for his inability to find an audience for his plays, telling us that, although he had enjoyed some success with the works for the stage that he wrote in the 1580s, his later plays, completed in the early part of the seventeenth century-by which time the new style of theatre championed by Lope de Vega and his followers held sway-did not arouse any interest amongst the autores, the all-powerful actor-managers who determined the repertoire of the theatre companies: I did not find an actor-manager who wanted them, even though they knew I had them; and so I threw them into a chest, consigning and condemning them to perpetual silence. At the time a bookseller informed me that he would have bought them, had an actor-manager of some note not told him that much could be expected of my prose, but of my verse nothing.
机译：塞万提斯（Cervantes）的《喜剧演员Ocho comedias y ocho》以新的名义命名（“八部新剧和插曲，从未上演过”），使我们具有讽刺意味的是，他在晚年未能当过剧作家。在序言中，他详细阐述了无法为其戏剧找到观众的原因，并告诉我们，尽管他在1580年代创作的舞台作品中获得了一些成功，但后来的戏剧在早期完成。十七世纪的一部分，到那时，由洛佩·德·维加（Lope de Vega）和他的追随者们倡导的新型剧院风起云涌，并没有引起那些决定剧院公司剧目的全能演员经理们的兴趣，他们的权力是：我没有找到想要他们的演员经理，即使他们知道我有他们。所以我把它们扔进了胸膛，托付并谴责他们永远保持沉默。当时有一个书商告诉我他会买的，有位演员经理没有告诉他我的散文可以指望很多，但我的诗句没什么。

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    《The library》 |2015年第1期|3-23|共21页
  • 作者

    JOHN ONEILL;

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