El delincuente honrado (Spanish Edition) [Gaspar Melchor de Jovellanos] on *FREE* shipping on qualifying offers. El delincuente honrado. Some years ago J. Polt drew attention to Jovellanos’ description of his play El delincuente honrado as a “comedia tierna” or “drama sentimental. If comedy. El delincuente honrado by Gaspar Melchor de Jovellanos at – ISBN – ISBN – CreateSpace Independent.

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Comedia tierna and drama sentimental are here equivalents. These resemblances, in view of what we already know of Jovellanos’ adherence to Diderot’s dramatic theories, are too obvious to be the result of chance. Mercier exploits the possibilities of this conflict more jovelanos does Jovellanos; there is some doubt as to whether Saint Franc will avail himself of the opportunity to escape with his son, although he determines finally to sacrifice Durimel, cheering himself with the assurance that the example of his jovellznos will do more good than could his life.

From the beginning of the play it is obvious that he is legally guilty and morally blameless, compelled as he has been by a hostile fate specifically, by his antagonist’s intolerable allusions to his illegitimacy to accept a duel.

This is its basically social orientation. Once again, Jovellanos’ characterization eliminates all possibility of inner conflict: His attitude is essentially Montesquieu’s: The king does not appear on the stage; he is, however, presumed to be at San Ildefonso, the summer quarters of the court and only two leagues from Segovia, making it possible to send two appeals to the monarch and to save the hero without greatly exceeding the limits of the unity of time 6.

At present, when interest in the period which deelincuente birth to modern Spain seems to be increasing, a reexamination of El delincuente honrado may serve a clarifying purpose. The essentially revolutionary aspect of El delincuentethat which sharply distinguishes it from the neoclassic drama, also differentiates it from the Romantic theater.

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The time delincuents the play extends slightly over the limit of twenty-four hours: Each character pretends to have pressing financial matters to attend to, one in Paris, the other in Madrid.

Torcuato plans a similar escape because of the guilty secret of the duel. Each converses with his servant and makes a point of looking at his watch. Like Honraod Justo, Saint-Franc is faced by a conflict between duty and paternal love, made the more arduous for him by the shameful treatment he receives in his regiment.


The attitude deilncuente the duel and legislation affecting it is also much the same in the two works, and at times is expressed in strikingly similar language. Like Torcuato, Falbaire’s characters feel themselves persecuted by an adverse fate; as in El delincuente honradothere is much praise of virtue and condemnation of a false sense delinckente honor, with the addition of attacks on hereditary nobility which Jovellanos did not permit himself.

The sentimental and moral qualities of the work have already been noted; it must, however, be remembered that the entire moral jovellanoss moralizing- direction which Jovellanos gives it forms part of a concept of theater which he holds in common with his French jovellanks. In both plays we find a pair of close friends Torcuato-Anselmo, Dorval-Clairvillea duel forced by insulting comments though this is not an issue for Diderotand bastardy, though in the French play father and son already know each other and in the Spanish they do not.

But while the possibility of royal pardon is thus hinted at, it is not realized; and Durimel is led out to execution. This position is in conflict with Justo’s, since Justo not only judges individual guilt by legal standards, but also examines these standards themselves in the light of ethical principles.

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That Jovellanos should be directly acquainted with the work of Diderot is more than likely; entirely apart from the latter’s European reputation, the connection Jovellanos-Olavide-Diderot is a highly suggestive one. We have noted above Jovellanos’ concept of the function of comedy, the last lines textually paralleling this passage in Diderot’s Entretiens sur le Fils naturel: The idea of judicial torture elicits from Jovellanos a genuine eloquence, paralleling one of Montesquieu’s most moving passages: A play enjoying a certain popularity in its author’s time, it began to encounter severe criticism in the nineteenth century, although its humanitarianism continued to please 1 ; and more recently it has generally received only passing mention in broader discussions of Jovellanos, whose reputation admittedly rests on other, more solid bases.

Jovellanos may have been familiar with this play also, especially since delincusnte was a literary repercussion of the Jean Calas case, delinchente which he must have been aware.


Quel est l’objet d’une hpnrado dramatique? Jovellanos himself, in a preface to the edition of his play, writes: Olavide was also the subject of a brief biographic sketch by no less an Encyclopedist than Denis Diderot, who gives us an interesting account of his friend’s library: Alexis is led out to execution and is saved at the last possible moment by the arrival of the royal letter of clemency.

It forms only the antecedents of the play, made known through lifeless jovellwnos. Don Justo seems made to comply with Diderot’s request; his conflict is precisely that envisaged by the latter: Whereas in many a classical and velincuente play the usefulness could be found only by a trained and not overly-scrupulous eye, in the newer works it is all too evident; the sweetness becomes the elusive quality.

The basic conflict of the play must, however, be sought on a level entirely different from the sentimental one we have heretofore observed. What is it that Jovellanos wants in a play?

Gaspar Melchor de Jovellanos (Author of El Delincuente Honrado)

There, and not in the passions, the lyricism, the individualism, and the medievalism of Rivas, of Hartzenbusch, of Zorrilla. Jovellanos was experimenting with what he considered a new genre; along with everyone else, he recognized its novelty and seemed somewhat at a loss when the question of classification, so important to his contemporaries, arose.

No better or more concise summary of the plot of El delincuente honrado could be devised than Ticknor’s:. If you have persistent cookies enabled as well, then we will be able to remember you across browser restarts and computer reboots. This sacrifice of dramatic potential does not necessarily indicate a lack of dramatic talent, but it reinforces the view that what interested Jovellanos was precisely the legal-philosophical aspect of his story.

Another drame which is spoken of in connection with El delincuente honrado is Sedaine’s Le Philosophe sans le savoir 42the plot of which also centers around an illegal duel forced on a character by the laws of honor.