Los Amantes de Teruel: Drama en cuatro actos en verso y prosa

Juan Eugenio Hartzenbusch

Los Amantes de Teruel

Drama en cuatro actos en verso y prosa

Publicado por Good Press, 2022

[email protected]

EAN 4057664107909

Índice

PREFACE

TABLE OF CONTENTS

INTRODUCTION

SCHEME OF VERSIFICATION

BIBLIOGRAPHICAL NOTE

LOS AMANTES DE TERUEL,

ACTO PRIMERO

ESCENA PRIMERA

ESCENA II

ESCENA III

ESCENA IV

ESCENA V

ESCENA VI

ACTO SEGUNDO

ESCENA PRIMERA

ESCENA II

ESCENA III

ESCENA IV

ESCENA V

ESCENA VI

ESCENA VII

ESCENA VIII

ESCENA IX

ESCENA X

ESCENA XI

ESCENA XII

ESCENA XIII

ACTO TERCERO

ESCENA PRIMERA

ESCENA II

ESCENA III

ESCENA IV

ESCENA V

ESCENA VI

ESCENA VII

ESCENA VIII

ESCENA IX

ESCENA X

ESCENA XI

ACTO CUATRO

ESCENA PRIMERA

ESCENA II

ESCENA III

ESCENA IV

ESCENA V

ESCENA VI

ESCENA VII

ESCENA VIII

ESCENA IX

ESCENA X

ESCENA XI

Nota

VOCABULARY

#A#

PREFACE

Índice

The importance of Hartzenbusch in the history of the Spanish drama and the enduring popularity in Spain of Los Amantes de Teruel, his masterpiece, have assured this play a definite place in the work of advanced students of Spanish literature in our universities. For such students the many editions published in Spain and elsewhere have been perhaps sufficient, but for the much larger number who never reach the advanced literary classes an annotated edition is needed. That this play offers excellent material for the work of more elementary courses in the schools and colleges has long been the opinion of the present editor; and that it has not already found a place among the Spanish texts published in this country is difficult to understand. The old legend of Teruel, the embodiment of pure and constant love, is one that might well be expected to make a strong appeal to the youth of any country; the simple and direct presentation given to the legend by Hartzenbusch and the comparative freedom from textual difficulties, as the result of the careful revisions of the play by its scholarly author, bring it within the range of the understanding and appreciation of students who have studied Spanish one year in college or two years in high school, if it is put before them in a properly prepared edition.

The editor has kept in mind this class of students in the preparation of the Introduction, Notes, and Vocabulary. To those who consider the Introduction disproportionately long, the excuse is given that this will be the first Romantic play read by many students, and that if they are to understand it and appreciate its fine literary qualities, they must be enabled to view it in its proper historical perspective. It is to be hoped that this edition may serve as a safe approach to the systematic study, of the Romantic Movement in Spanish literature.

The text of the play is that of the annotated edition of Dr. Adolf Kressner, Leipsic, 1887 (Bibliothek Spanischer Schriftsteller), and is the same as the one contained in the definitive collection of the plays of Hartzenbusch, Teatro, Madrid, 1888-1892, Vol. I, pages 7-130 (Colección de Escritores Castellanos).

The indebtedness of the editor to Professor E.C. Hills of Indiana

University for many helpful suggestions is gratefully acknowledged.

G.W. UMPHREY

UNIVERSITY OF WASHINGTON, SEATTLE.

TABLE OF CONTENTS

Índice

PREFACE

INTRODUCTION

I. The Legend

II. Authenticity of the Legend

III. The Legend in Spanish Literature

IV. Life of Hartzenbusch

V. Hartzenbusch's Treatment of the Legend

VI. Romanticism

VII. Romanticism in Los Amantes

VIII. Versification

BIBLIOGRAPHICAL NOTE

TEXT

Nota

VOCABULARY

INTRODUCTION

Índice

#I. The Legend#. Constancy in love has inspired many writers and has given undying fame to many legends and traditions. Among the famous lovers that have passed into legend and that stand as the embodiment of constant love in different ages and in different countries,—Pyramus and Thisbe, Hero and Leander, Tristam and Isolde, Romeo and Juliet,—are to be found Marsilla and Isabel. These Lovers of Teruel, as constant as any of the others, are especially notable because of the purity of their love and because of the absence of violence in their sudden departure from this life. Disappointed love, desperate grief at separation, was the only cause of their death.

The old city of Teruel, founded by the Aragonese in the latter half of the twelfth century at the junction of the Guadalaviar and the Alfambra as a stronghold in the territory recently recovered from the Moors, was the fitting scene for the action of the legend…. The pioneer life of the city, the depth of sentiment and singleness of purpose of its Aragonese inhabitants, the crusading spirit that carried to victory the armies of Peter II of Aragón and his more famous son, James the Conqueror, lend probability to a legend that would ordinarily be considered highly improbable from the point of view of historical authenticity. Stripped of the fantastic details that have gathered about it in the many literary treatments given to it by Spanish writers, the legend may be briefly told. In Teruel, at the beginning of the thirteenth century, lived Juan Diego Martínez Garcés de Marsilla and Isabel de Segura. They had loved each other from childhood, but when it became a question of marriage, Isabel's father opposed the union because of the young man's lack of material resources and because a wealthy suitor, Rodrigo de Azagra, had presented himself for the hand of his daughter. All that the entreaties of the lovers could gain from him was the promise that if Marsilla went to the wars, gained fame and riches, and returned before a certain day, he would receive Isabel in marriage. This Marsilla did; but unfortunately he was unable to return until just after the expiration of the time set. When he reached Teruel, he found Isabel married to the wealthy rival. Disappointed in their hopes after so many years of constant love and continual struggle against adversity, Marsilla died of grief, and Isabel soon followed him; separated in life by cruel fate, they were united in death. Buried in the same tomb, they were later disinterred, and their mummified remains may now be seen in the old church of San Pedro in Teruel.

#II. Authenticity of the Legend#. The earliest references that have yet been found to the legend belong to the middle of the sixteenth century, that is, more than three centuries after the supposed death of the lovers. In 1555, when the church of San Pedro in Teruel was undergoing some repairs, two bodies, supposedly those of Marsilla and Isabel, were discovered in one tomb in a remarkably good state of preservation. They were reburied at the foot of the altar in the chapel of Saints Cosme and Damian, and the story of the unfortunate lovers began to spread far and wide. By the end of the century it was apparently widely known and attracted considerable attention to the old city of Teruel. When Philip III of Spain was journeying to Valencia in 1599 he was induced to turn aside to visit the church of San Pedro. In the official account of his journey, Jornada de Su Majestad Felipe III y Alteza la Infanta Doña Isabel, desde Madrid, a casarse el Rey con la Reyna Doña Margarita, y su Alteza con el Archiduque Alberto, the story of the legend as then generally accepted is related so succinctly that it may well be quoted here: En la iglesia de San Pedro, en la capilla de San Cosme y San Damián, de la dicha ciudad, está la sepultura de los Amantes que llaman de Teruel; y dicen eran un mancebo y una doncella que se querían mucho, ella rica y él al contrario; y como él pidiese por mujer la doncella y por ser pobre no se la diesen, se determinó a ir por el mundo a adquerir hacienda y ella aguardarle ciertos años, al cabo de los cuales y dos o tres días más, volvió rico y halló que aquella noche se casaba la doncella. Tuvo trazas de meterse debajo de su cama y a media noche le pidió un abrazo, dándose a conocer; ella le dijo que no podía por no ser ya suya, y él murió luego al punto. Lleváronle a enterrar, y ella fué al entierro, y cuando le querían echar en la sepultura, se arrimó a la ataúd y quedó allí muerta; y así los enterraron juntos en una sepultura, sabido el caso.

Seventeen years later a long epic poem by the secretary of the city council of Teruel, Juan Yagüe de Salas, aroused much discussion as to the authenticity of the legend. In 1619 the bodies were again exhumed and in the coffin of one of them were found written the words Éste es Don Diego Juan Martínez de Marsilla; also a document, papel de letra muy antigua, giving the story in detail. This document disappeared, but the copy that Juan Yagüe claimed to have made may be seen in the archives of the church of San Pedro or in the transcription published in the Semanario Pintoresco for the week ending Feb. 5, 1837 (Vol. II, pages 45-47). The genuineness of the document and its copy is very doubtful. The first paragraph shows some linguistic peculiarities of old Aragonese; but these gradually disappear, until there is little left in the language to differentiate it from that of the good notary public and poet, Juan Yagüe, who was so anxious to prove authenticity for the legend treated in his poem. Although there is no reliable evidence that the bodies exhumed in 1555 and again in 1619 were those of Marsilla and Isabel, the church of San Pedro has held them in special reverence. They attract many admirers to the old city on the Guadalaviar and the tourist who expresses incredulity when shown the remains of the lovers becomes thereby persona non grata in Teruel.

For three centuries the controversy has continued and has resulted in the spilling of much ink. The most complete and authoritative study of the sources and growth of the legend is that of the eminent scholar Cotarelo y Mori (Sobre el origen y desarrollo de la leyenda de Los Amantes de Teruel, 2d edition, 1907). His conclusions support the theory that the legend is the result of the localization in