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<p>In this essay I offer some new comments on <i>El horno de Constantinopla</i>, a play by Andrés de Claramonte that has scarcely received any critical attention. This dramatic text has aspects of undoubted interest that I highlight: epithalamic songs that presage fateful events in the plot; a brief paraphrase of the <i>Cantar de los Cantares</i> used to express the loves of <i>Rubén</i> and <i>Acenid</i>; a free restructuring of chapter 3 of the <i>Book of Daniel</i>; the painting of the Hebrew people as stateless based on a connection between the exodus from Babylon and the expulsion of the Jews in 1492; the possible resemanticisation of Constantinople as the City of God and the presence of paradigmatic elements of <i>Lope de Vega's autos sacramentales</i>.</p>

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Glosas críticas a El horno de Constantinopla, auto sacramental de Andrés de Claramonte

  • 期刊论文

  • 发表日期：

    2025年11月10日

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  • Jorge Ferreira Barrocal

摘要

In this essay I offer some new comments on El horno de Constantinopla, a play by Andrés de Claramonte that has scarcely received any critical attention. This dramatic text has aspects of undoubted interest that I highlight: epithalamic songs that presage fateful events in the plot; a brief paraphrase of the Cantar de los Cantares used to express the loves of Rubén and Acenid; a free restructuring of chapter 3 of the Book of Daniel; the painting of the Hebrew people as stateless based on a connection between the exodus from Babylon and the expulsion of the Jews in 1492; the possible resemanticisation of Constantinople as the City of God and the presence of paradigmatic elements of Lope de Vega's autos sacramentales.