Fearful Symmetry: The Ending of "El burlador de Sevilla"

Rogers, Daniel

doi:10.3828/bhs.41.3.141

Bulletin of Hispanic Studies

1964

DOI: 10.3828/bhs.41.3.141

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Fearful Symmetry: The Ending of "El burlador de Sevilla"

Daniel Rogers

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1977

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“…El burlador is, in the view of this critic, 'a much less well-preserved version of a better play'. 6 The whole question has been re-opened by X. A. Fernandez in his edition of Tan largo me lo fidis, attributed in the sole surviving suelta -and on Fernandez's title-page, although not in his Introduction -to don Pedro Calderon.…”

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Social Criticism in El burlador de Sevilla

Varey¹

1977

Theatre Research International

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14. W. W. Greg, ed., Henslowe's Papers (London, 1907), p. 23. 15. The exact nature of the relationship between Henslowe and the Admiral's men at this time is impossible to ascertain since Henslowe's method of book-keeping between January 24 and 5 November 1597, has not yet been satisfactorily interpreted. 16. Henslowe's sub-totals are entered on folios 48 V , 50 v , and 52 of the diary. 17. If we assume that the usual fee for a new play at this time was between £5 and £7, then payments of less that £4 probably represent money paid for unfinished plays or shorter writing assignments such as revision. 18. The attempts to bind Chettle and Porter to write only for the companies financed by Henslowe indicate the need to guarantee a supply of scripts.

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Social Criticism in El burlador de Sevilla

Varey¹

1977

Theatre Research International

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The Sacred and the Profane in the Plays Of Tirso De Molina: A Preliminary Sketch for Ruth Lee Kennedy

Horst¹

1980

boc

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El condenado por presumido: The Rhetoric of Death and Damnation in El burlador de Sevilla y convidado de piedra

Presberg¹

1995

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An examination of the rhetoric of death and damnation in Tirso's Burlador reveals that the play can be read as a dramatized homily about the natural and supernatural realms of God's justice, reflected in the work's natural and supernatural realms of action. Concerning the rhetoric of damnation, much traditional criticism about the Burlador has centered on whether Tirso adopts either a "Thomist" or "Molinist" position concerning the De auxiliis controversy; and on why, or even whether, Don Juan is consigned to hell. Such hermeneutic disputes can be resolved by recognizing that the protagonist is damned for presumption, which all orthodox theology of the period considered to be, like despair, a sin against the theological virtue of hope and, hence, an "unpardonable" sin against the Holy Spirit. As spelled out most systematically in Aquinas's Summa Theologiae , the theology of presumption acts as a referential code for the mechanism of Don Juan's damnation, and thus for Tirso's rendering of the supernatural (eternal) realm of God's justice. In the natural (temporal) realm of God's justice, the matching of "punishment" and "crime" holds equally for the protagonist and his victims. After discussing the crime and punishment of each victim in turn, this study examines how both realms of divine justice converge in the character of the protagonist. His sentence of death for his crimes against other human beings, together with his sentence of damnation for his sin against hope and the Holy Spirit, jointly dramatize the the play's central, "anagogical" theme: that a God who is at once just and merciful exacts from any infraction of either the temporal or eternal order a terrible, fitting price. Lastly, the theological position put forth in Tirso's homiletic play is shown to stand outside the academic debate between "Thomists" and "Molinists" about grace and free will.

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Fearful Symmetry: The Ending of "El burlador de Sevilla"

Cited by 6 publications

References 0 publications

Social Criticism in El burlador de Sevilla

Social Criticism in El burlador de Sevilla

The Sacred and the Profane in the Plays Of Tirso De Molina: A Preliminary Sketch for Ruth Lee Kennedy

El condenado por presumido: The Rhetoric of Death and Damnation in El burlador de Sevilla y convidado de piedra

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