Lope de Vega was a Spanish Golden Age poet and playwright. One of the most prolific writers in history, he was said to have written 2,200 plays (an average of nearly one per week for his entire adult life), though fewer than 400 survive today.[1] In addition, he produced volumes of short and epic poems as well as prose works. For this fecundity, Cervantes nicknamed him the "Monster of Nature".[1] His example crystallized the style of Spanish comedias for generations.
Over 50 English translations of Lope's plays have been published, all but three of them after 1900. As multiple translations of several plays have been made, this covers only about two dozen Spanish originals. By far, the most frequently translated play is Fuente Ovejuna (The Sheep Well), followed by The Dog in the Manger, <i>The Knight of Olmedo</i>, The Silly Lady, Peribáñez and the Comendador of Ocaña, and <i>Capulets and Montagues</i>.
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Transcription
Let’s say you want to become pope, head of the Catholic Church and shepherd to over 1 billion faithful. What requirements must you have for this lofty position: 1) Be a catholic and 2) Be a man. Which seems a little thin… and, while it’s technically possible for a regular Sunday Catholic to become pope, the last time this happened was essentially never because becoming pope isn’t like becoming president, you can’t just run for office. Selecting the pope is an inside job and the men who do it are the cardinals, and while in theory they can select any catholic man to become pope, in practice they prefer to elevate one of their own. The last time a non-cardinal become pope was more than 600 years ago. So, while it isn’t an official requirement, it’s an unofficial, official requirement. Thus in order to be pope you’ll first need to be a cardinal and to do that you’ll need to start climbing the catholic corporate ladder.* Step 1: Become a Priest. Unlike some churches where you can fill out a form online and – poof – ordained. The Catholic Church treats becoming a priest as a real, you-need-training profession. So you’re going to require a lot of education: usually a college degree in Catholic Philosophy and then a masters in divinity. In addition to your educational qualifications, you must also be: A man Unmarried, Willing to remain celibate forever.† If you meet these requirements, and have been working with the church, then you can be officially ordained as a priest. Which basically means you get to run a Catholic Church, or work with another priest who does. But, you want onward and to do that you need to take the job of the man who just made you a priest. Step 2: Become a Bishop Bishops are a much more select group: while there are about 400,000 catholic priests world wide, there are only about 5,000 bishops. While priests get churches, bishops get cathedrals, from which they oversee a number of local churches. To advance your career you must wait for a bishop in your area to be forced into retirement at age 75 or die sooner than that – freeing up space for you. But you can’t just apply, because there’s already a secret list of potential bishops that’s updated every three years based on who the current bishops in your area think would make a good replacement for one of their own. To be on that list, in addition to the obvious requirement of being a pious person, you should also: Be least 35 years old Have been priest for at least five years Have a doctorate in theology (or equivalent) Assuming you’re all these things, your name may, or may not be on the secret list. The local bishops then give that list to the pope’s ambassador for your country, known as the Apostolic Nuncio. The Nuncio picks three priests from the list, does in-depth research on them, conducts interviews and selects the one he thinks is best. But it’s not over, because the Nuncio sends his report to Vatican City and the congress of bishops who work there reviewing potential appointments from around the world. If the congress of bishops doesn’t like any of the three candidates, they can tell the Nuncio to start over: returning to the list, picking another three candidates – doing more research, more interviews and sending off the results. When the congress of bishops is happy with one of the Nuncio’s candidates that name is given to the pope, who can reject the candidate and start the whole process over. It shouldn’t be a surprise that from a vacancy to a bishop’s replacement can take months and, on occasion, years. But assuming that a bishop in your area retired (or died) at the right time and you were on the secret list of good priests and the Nuncio picked you and you made it through his interview and the congress of bishops approved you and the pope didn’t veto you – poof now you’re now a bishop. But you’re still not on top. The penultimate promotion is… Step 3: Become a Cardinal. Despite the fancy name and snazzy red outfits to match cardinals are not the bosses of bishops, they are bishops, just with an additional title and additional responsibilities – the most notable of which is electing the new pope.‡ The only way to become a cardinal is to get to current pope to appoint you as one – and of the 5,000 bishops, only about 200 are ever cardinals. But let’s say your ambition doesn’t go unnoticed by the pope and he makes you a cardinal – now it’s time to play the waiting game for his death or retirement – and with popes death is vastly more likely. When either happens the cardinals under the age of 80 are brought to Vatican City where they are isolated from the outside world – presumably by taking away their cell phones and tablets and carrier pigeons. Once sequestered, the election of a new pope can begin. These elections are never exactly the same because the ex-pope leaves instructions on how he wants his replacement to be picked, but in general it works like this: four times a day the cardinals go to the Sistine Chapel to vote – to become pope one of them must get a 2/3rds majority. There’s a big dose of musent-be-too-hasty here as the cardinals don’t just raise their hands, or use a modern preferential voting system, but instead write down one name on a piece of paper stand before the alter and say a long latin phrase, before officially casting the ballot. Once all the cardinals have done this, the votes are counted and then burned. This why TV news stations covering the election of the pope use super-modern-hd-livestreaming cameras to look at a chimney. If the smoke is black, no new pope. The high victory threshold, and tediously slow voting process, is why it takes so long to elect a new pope. It’s usually at least two weeks of voting four times a day six days a week (with one day a week for prayer) but the record length is three years. Assuming you, eventually, win the support of your fellow cardinals, you have one final thing to do before becoming pope: pick yourself a new name. There is no formal rule, you can name yourself anything you like but it’s tradition to take the name of a previous pope. Upon your acceptance of the job, the final ballots are burned clean to make the smoke white and announce to the world that a new pope has been selected. So that’s the career path: be born into the right half of the population, become one of a billion catholics, then one of 400,000 priests, then one of 5,000 bishops, then one of 200 cardinals, wait for the current pope to die or retire, and convince 2/3rds of your fellow cardinals to select you as the one, the only pope.
Translations
Key
- Spanish Title — The original comedia or auto that serves as the basis of the English text.
- English Title — The title of the English text, as it appears in the particular translation. Because one Spanish title may suggest alternate English titles (e.g. Fuente Ovejuna, The Sheep Well, All Citizens are Soldiers), sorting by this column is not a reliable way to group all translations of a particular original together; to do so, sort on Spanish Title.
- Year — The year of the translation's first publication. Some translations may have been written or produced earlier than this date, and some were republished subsequently, but this is not noted here.
- Publication — The publication in which the translation first appeared. When the publication consisted only of the single named play this information is not repeated, except in cases where the publication title is used as an external link to the work, or when it is matched with an ISBN.
- Notes — May indicate the style of translation or significant republications; all works are 3-act comedias unless noted.
Table
Spanish Title | English Title | Year | Translator | Publication | Notes |
---|---|---|---|---|---|
Castalvines y Monteses | Romeo and Juliet. A Comedy | 1770 | Anonymous | OCLC 836729121 | "A perversion of Lope's play"[2] |
El padre engañado | The Father Outwitted | 1805 | Holcroft, Thomas? | The Theatrical Recorder, Vol. II, No. 7. | prose; 1-act interlude; reprinted in 1811 as The Father Outwitted at Google Books |
Castalvines y Monteses | Castalvines y Monteses | 1869 | Cosens, F. W. | Castalvines y Monteses at the Internet Archive | blank verse |
The Punishment of the Flirtatious Wife | 19?? | Chambers, Jane | OCLC 20927441 | prose | |
El Perro del hortelano | The Dog in the Manger | 1903 | Chambers, W. H. H. | In Alfred Bates: The Drama Volume VI: Spanish and Portuguese Drama at Google Books | prose |
El mayor Alcalde el Rey | The King the Greatest Alcalde | 1918 | Underhill, John Garrett | Poet Lore (1918) | prose & verse; reprinted in World Drama, ed. Barrett H. Clark (1933) at the Internet Archive and Four Plays by Lope de Vega at the Internet Archive |
Lo Cierto por lo dudoso | A Certainty for a Doubt | 1936 | Underhill, John Garrett | Four Plays by Lope de Vega at the Internet Archive | prose & verse |
El Perro del hortelano | The Gardener's Dog | 1936 | Underhill, John Garrett | Four Plays by Lope de Vega at the Internet Archive | prose & verse |
Fuente Ovejuna | Fuente Ovejuna (The Sheep Well) | 1936 | Underhill, John Garrett | Four Plays by Lope de Vega at the Internet Archive | prose & verse |
Peribáñez y el Comendador de Ocaña | Peribanez | 1937 | Price, Eva Rebecca | OCLC 551323573 | |
El nuevo mundo descubierto por Cristóbal Colón | The discovery of the New World by Christopher Columbus | 1950 | Fligelman, Frieda | OCLC 1131227626 | prose |
Fuente Ovejuna | Fuente Ovejuna | 1959 | Campbell, Roy | Eric Bentley, ed (1959): The Classic Theatre III: Six Spanish Plays at the Internet Archive | blank verse; reprinted in Eric Bentley, ed (1985): Life Is A Dream and Other Spanish Classics at the Internet Archive |
Peribáñez y el Comendador de Ocaña | Peribáñez | 1961 | Booty, Jill | Lope de Vega: Five Plays at the Internet Archive | prose |
Fuente Ovejuna | Fuente Ovejuna | 1961 | Booty, Jill | Lope de Vega: Five Plays at the Internet Archive | prose |
El Perro del hortelano | The Dog in the Manger | 1961 | Booty, Jill | Lope de Vega: Five Plays at the Internet Archive | prose |
El caballero de Olmedo | The Knight from Olmedo | 1961 | Booty, Jill | Lope de Vega: Five Plays at the Internet Archive | prose |
El castigo sin venganza | Justice Without Revenge | 1961 | Booty, Jill | Lope de Vega: Five Plays at the Internet Archive | prose |
La dama boba | The Stupid Lady | 1962 | Jones, Willis Knapp | OCLC 6906774 | |
Fuente Ovejuna | Fuente Ovejuna | 1962 | Flores, Angel & Kittel, Muriel | Masterpieces of the Spanish Golden Age at the Internet Archive | prose & verse; reprinted in Great Spanish Plays in English Translation (1991) ISBN 0-486-26898-5 |
Peribáñez y el Comendador de Ocaña | Peribáñez and the Comendador of Ocaña | 1964 | Starkie, Walter | Eight Spanish Plays of the Golden Age at the Internet Archive | prose & verse |
La Fianza Satisfecha | A Bond Honored | 1966 | Osborne, John | A Bond Honoured: A Play (from Lope De Vega) | reprinted in Lope de Vega: Plays Two ISBN 978-1840021806 |
Auto sacramental de la circuncisión y sangría de Cristo nuestro bien | For our sake | 1969 | Barnes, R[ichard] G. | In Three Spanish sacramental plays: For our sake OCLC 655189012 | 1-act religious play |
Fuente Ovejuna | Fuente Ovejuna | 1969 | Colford, William E. | OCLC 640113345 | |
Fuente Ovejuna | All Citizens are Soldiers | 1969 | Fainlight, Ruth & Sillitoe, Alan | ISBN 9780802312303 | |
El caballero de Olmedo | The Knight of Olmedo | 1972 | King, Willard F. | ISBN 0803205007 | |
La dama boba | The Lady Simpleton | 1976 | Oppenheimer, Max | ISBN 0872910784 | |
El mayordomo de la duquesa de Amalfi | The Duchess of Amalfi's Steward | 1985 | Rodriguez-Badendyck, Cynthia | The Duchess of Amalfi's Steward at the Internet Archive ISBN 0919473539 | |
Lo fingido verdadero | Acting is Believing | 1986 | McGaha, Michael | Acting is Believing : A Tragicomedy in Three Acts at the Internet Archive ISBN 0939980142 | |
El anzuelo de Fenisa | Fenisa's Hook, or, Fenisa the Hooker | 1988 | Gitlitz, David M. | ISBN 0939980193 | |
Fuente Ovejuna | Fuente Ovejuna | 1989 | Mitchell, Adrian | In Two Plays ISBN 0948230231 | |
El castigo sin venganza | Lost in a Mirror (It Serves Them Right) | 1989 | Mitchell, Adrian | In Two Plays ISBN 0948230231 | |
Fuente Ovejuna | Fuente Ovejuna | 1989 | Dixon, Victor | Fuente Ovejuna at the Internet Archive ISBN 978-0856683282 | |
Peribáñez y el Comendador de Ocaña | Peribáñez and the Comendador of Ocaña | 1990 | Lloyd, James | ISBN 978-0856684395 | |
El Perro del hortelano | The Dog in the Manger | 1990 | Dixon, Victor | ISBN 0919473741 | |
Lo fingido verdadero | The Great Pretenders | 1992 | Johnston, David | Two Plays ISBN 0948230568 | |
El caballero de Olmedo | The Gentleman from Olmedo | 1992 | Johnston, David | Two Plays ISBN 0948230568 | |
Los locos de Valencia | Madness in Valencia | 1998 | Johnston, David | ISBN 0948230665 | |
La dama boba | Lady Nitwit | 1998 | Oliver, William I. | Lady Nitwit at the Internet Archive ISBN 0927534746 | |
Castalvines y Monteses | Castelvins and Monteses | 1998 | Rodriguez-Badendyck, Cynthia | ISBN 9781895537390 | |
Los trabajos de Jacob | The Trials of Jacob; or, Sometimes Dreams Come True | 1998 | McGaha, Michael | The Story of Joseph in Spanish Golden Age Drama at the Internet Archive ISBN 978-0838753804 | prose & verse |
Castelvins y Monteses | Castelvins and Monteses | 1998 | Rodriguez-Badendyck, Cynthia | Carleton Renaissance Plays in Translation, 30 ISBN 978-1895537390 | |
Fuente Ovejuna | Fuente Ovejuna | 1999 | Edwards, Gwynne | Lope de Vega: Three Major Plays ISBN 978-0-19-954017-4 | blank octosyllables |
El caballero de Olmedo | The Knight from Olmedo | 1999 | Edwards, Gwynne | Lope de Vega: Three Major Plays ISBN 978-0-19-954017-4 | blank octosyllables |
El castigo sin venganza | Punishment Without Revenge | 1999 | Edwards, Gwynne | Lope de Vega: Three Major Plays ISBN 978-0-19-954017-4 | blank octosyllables |
El mejor mozo de España | The Best Boy in Spain | 1999 | Gitlitz, David M. | The Best Boy in Spain at the Internet Archive ISBN 9780927534857 | |
La dama boba | Wit's End | 2000 | Friedman, Edward H. | Wit's End; an adaptation of Lope de Vega's La dama boba ISBN 0820445320 | |
El Niño Inocente de la Guardia | The Innocent Child | 2001 | Jacobs, Michael | Lope de Vega: Plays One ISBN 978-1840021448 | |
Las paces de los reyes y judía de Toledo(?) | The Jewess of Toledo | 2001 | Jacobs, Michael | Lope de Vega: Plays One ISBN 978-1840021448 | |
The Labyrinth of Desire | 2001 | Jacobs, Michael | Lope de Vega: Plays Two ISBN 978-1840021806 | ||
El nuevo mundo descubierto por Cristóbal Colón | The New World Discovered by Christopher Columbus | 2001 | Shannon, Robert M. | ISBN 978-0820448848 | |
Fuente Ovejuna | Fuenteovejuna | 2002 | Applebaum, Stanley | Fuenteovejuna at the Internet Archive ISBN 978-0486420929 | linear prose translation, with Spanish text |
El Perro del hortelano | The Dog in the Manger | 2004 | Johnston, David | ISBN 978-1-84002-435-7 | |
El mayordomo de la duquesa de Amalfi | The Duchess of Amalfi's Steward | 2005 | Edwards, Gwynne | Three Spanish Golden Age Plays ISBN 0-413-77475-9 | blank octosyllables |
Castalvines y Monteses | The Capulets and Montagues | 2005 | Edwards, Gwynne | Three Spanish Golden Age Plays ISBN 0-413-77475-9 | blank octosyllables |
Fuente Ovejuna | Fuenteovejuna | 2018 | Racz, Gregary J. | The Golden Age of Spanish Drama ISBN 978-0393923629 | verse |
El Perro del hortelano | The Dog in the Manger | 2018 | Racz, Gregary J. | The Golden Age of Spanish Drama ISBN 978-0393923629 | verse |
Lo fingido verdadero | The Actor and the Emperor or, Make-believe Come True | 2020 | Matthews, Dakin | UCLA: The Comedia In Translation And Performance ISBN 978-1588713438 | verse |
Related translations
The Star of Seville, previously attributed to Lope but no longer judged to be by him, is not included in this list. English translations include those by Philip M. Hayden (1916) in The Chief European Dramatists at the Internet Archive, Sir Henry Thomas (1935) OCLC 776602053, Elizabeth C. Hullihen (1955) OCLC 1154527390, and Steven Strange (1998) ISBN 9780962877629. Fanny Kemble's five-act 1837 adaptation at the Internet Archive is based on an earlier précis by Lord Holland.[2]
La Dorotea, a genre-bending closet drama or novel in prose dialogue with interspersed poems, is also not included. It was translated by Alan S. Trueblood and Edwin Honig (1985) ISBN 0-674-50590-5.
Notes
- ^ a b Edwards 1999, p. x.
- ^ a b Matthews 1914, p. 19.
References
- Lope de Vega: Three major plays. Translated by Edwards, Gwynne. Oxford University Press. 1999. ISBN 978-0-19-954017-4.
- Matthews, Brander (1914). Introduction. The New Art of Writing Plays. By Vega, Lope de. Translated by Brewster, William T. New York: Dramatic Museum of Columbia University.
- Pane, Remigio Ugo (1944). English translations from the Spanish, 1484-1943. New Brunswick: Rutgers University Press.
- "Translations - Lope de Vega". Comedia in Translation. Retrieved 2020-08-19.
External links
- Online bibliography
- Additional translated texts available online
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