Published in memory of Ivy L. McClelland, a pioneer-scholar of Spain's eighteenth century, this volume of original essays contains, besides an Introduction to her career and internationally influential writings, three previously unpublished essays by McClelland and nine studies by other scholars, all of which are focused on elucidating the Enlightenment and its characteristic manifestations in the Hispanic world. Among the Enlightenment writers and artists, works and genres, themes and issues discussed, are: Nicolas Moratin and epic poetry, Lillo's The London Merchant and English and French influences on eighteenth-century Spanish drama, Jose Marchena and literary historiography, oppositions and misunderstandings within Spanish society as reflected in El si de las ninas, Goya and the visual arts, Quintana's Pelayo and historical tragedy, Enlightenment discourse, the Periodical Press, theatre as propaganda, the ideology and politics of Empire, the roots of revolt in late viceregal Quito, women's experience of Enlightenment in Spain, social and cultural difference in colonial Peru, ideological debate and uncertainty during the Age of Reason, eighteenth-century Spain on the nineteenth-century stage, and public opinion in Spain on the eve of the French, and European, Revolution. First published as a Special Issue of the Bulletin of Spanish Studies (LXXXVI [November-December 2009], Nos 7-8), this book will be of value and stimulus to all scholars concerned to investigate and interpret the culture, theatre, ideology, society and politics of the Enlightenment in Spain, Europe and Spanish America.

Published in memory of Ivy L. McClelland, a pioneer-scholar of Spain s eighteenth century, this volume of original essays contains, besides an Introduction to her career and internationally influential writings, three previously unpublished essays by McClelland and nine studies by other scholars, all of which are focused on elucidating the Enlightenment and its characteristic manifestations in the Hispanic world.

Among the Enlightenment writers and artists, works and genres, themes and issues discussed, are: Nicolas Moratin and epic poetry, Lillo s The London Merchant and English and French influences on eighteenth-century Spanish drama, Jose Marchena and literary historiography, oppositions and misunderstandings within Spanish society as reflected in El si de las ninas, Goya and the visual arts, Quintana s Pelayo and historical tragedy, Enlightenment discourse, the Periodical Press, theatre as propaganda, the ideology and politics of Empire, the roots of revolt in late viceregal Quito, women s experience of Enlightenment in Spain, social and cultural difference in colonial Peru, ideological debate and uncertainty during the Age of Reason, eighteenth-century Spain on the nineteenth-century stage, and public opinion in Spain on the eve of the French, and European, Revolution.

First published as a Special Issue of the Bulletin of Spanish Studies (LXXXVI November December 2009], Nos 7 8), this book will be of value and stimulus to all scholars concerned to investigate and interpret the culture, theatre, ideology, society and politics of the Enlightenment in Spain, Europe and Spanish America.

This volume is a sequel to Four Comedies of Calderon (1980), which was hailed by reviewers as superb, faithful, and actable. The three comedies in the present volume are generally counted among Calderon's masterpieces: Casa con dos puertas mala es de guardar (A House with Two Doors Is Difficult to Guard); No hay burlas con el amor (No Trifling with Love); Mananas de abril y mayo (Mornings of April and May). For the first time theaters will have the opportunity of staging these three masterpieces of the Golden Age drama of Spain in accurate and charming English versions. The verse used is flexible and musical, preserving the atmosphere and much of the poetic quality of the originals. An introduction deals with the characteristics of the plays and with the problems they pose for the translator. Concise explanatory notes clarify Golden Age dramatic practices.

Admired by Shelley for 'its satisfying completeness', this thought-provoking and skilfully constructed play, which dramatizes the same subject as Shakespeare's Henry VIII , is one of its creator's most outstanding achievements. Understandably, Calderon offers an interpretation of King Henry's divorce from Catherine of Aragon and break with the Church of Rome which is markedly different from that given in Shakespeare's work. Yet, despite his Counter-Reformation allegiances, Calderon brings Henry VIII sympathetically to dramatic life. The schismatic English monarch is portrayed by the Roman Catholic Spanish playwright as a man endowed with moral awareness and with exceptional talent for spiritual leadership, who is, nevertheless, morally and spiritually destroyed by his extraordinary surrender to the forces of physical passion. In this first published translation of the play into English Kenneth Muir and Ann MacKenzie have adhered to methods effectively adopted in their previous books ( Four Comedies by Calderon, and Three Comedies by Calderon). They have composed, almost entirely in blank verse, an accurate yet elegantly poetic version, after the manner of the Elizabethans, but avoiding vocabulary which might seem affected to a modern audience, in order to produce a 'script' that could be performed with success on the stage. The critical edition, prepared by Ann Mackenzie to accompany the translation, is based on the editio princeps (published by Vera Tassis in Calderon's Octava parte de comedias [Madrid, 1684]). Her substantial Introduction and comprehensive Commentary together constitute the most detailed critical evaluation accomplished to date of this key-drama from the Golden Age in Spain. The Introduction, in particular, supplies new evidence as to the date of the play (1627) and the circumstances of its composition, and provides an analysis of Calderon's creative treatment of his historical source-work: Ribadeneyra's Historia eclesiastica del cisma del reino de Inglaterra (1588). Spanish text with facing-page translation, introduction and commentary .