Publication: Tragicomedia de Polidoro y Casandrina (Ms. II-1591 de la Real Biblioteca) edición y estudio
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2016-10-27
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Universidad Complutense de Madrid
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Abstract
La Tragicomedia de Polidoro y Casandrina nos era completamente desconocida hasta que el manuscrito único en el que se nos ha conservado fue descubierto por Stefano Arata en la Real Biblioteca de Madrid en 1988. Arata [1988] dio entonces noticia de su hallazgo en un breve pero sustancioso artículo publicado en la revista Celestinesca, donde adscribió la obra al ciclo literario que conforman las continuaciones directas de la Celestina y, dado que el códice nos la presenta anónima y sin título, la bautizó con el que todavía mantiene.1 Hizo además un primer análisis codicológico y paleográfico, y, a partir de la alusión a la conquista del peñón de Vélez de la Gomera por don García de Toledo (V, f. 32r), situó su redacción en los años siguientes a 1564.2 En fin, aprovechó para anunciar que estaba preparando una edición del texto. Como «proyecto actual» (PA), aparece explícitamente mencionada en la ficha correspondiente al estudioso sici-liano del Anuario áureo II (Gorsse, Jammes y Vitse, 1990: 13-14), mientras que en el Anuario áureo III parece esconderse bajo un marbete más genérico: «La Celestina y el teatro del siglo XVI» (Jammes, Mir y Vitse, 1993: 16). No sabemos si acabó abandonan-do el proyecto o si los otros muchos trabajos que se le fueron cruzando le impidieron concluir este, pero, cuando la muerte le sobrevino infaustamente en 2001 (cf. Pedrosa, 2001), su Polidoro aún no se había publicado. En 2009, le pedí a mi directora de tesis, Ana Vian Herrero, que intercediese por mí ante Laura Arata para que me permitiera consultar los documentos que conservase de las investigaciones de su hermano sobre la Tragicomedia; Laura nos respondió rápida y amabilísimamente, pero su búsqueda en los archivos de Stefano había sido infructuosa: no quedaba nada. Tras la nota de Arata, el siguiente acercamiento a nuestra obra se debe a Vian Herrero [1997: 228-238], quien la incluyó en un estudio sobre el funcionamiento del conjuro amatorio en la Celestina y sus continuaciones trágicas, es decir, aquellas que tienen un final desgraciado.
The Tragicomedia de Polidoro y Casandrina was completely unknown to us until the only existing manuscript, from the second half of the sixteenth century, was discovered by Stefano Arata in the Real Biblioteca of Madrid in 1988. Arata [1988] announced his discovery in an article published in the Celestinesca journal. The anonymous play, which was originally untitled (it was its discoverer who christened it as we know it to-day), was nothing less than a new sequel of Celestina ―a fifth part― which came as an addition to the instalments which until then had made up the corpus of the so called «Celestina-literature» in its line of direct descendents. Throughout the three acts in which the play is divided, the love between Polidoro, a young and rich nobleman who thinks very highly of himself and believes himself to be free from Fortunás changes, and Casandrina, a clandestine prostitute and daughter of Corneja, an old witch (who casts love spells to help people charm the person of their dreams) who learnt all that she knows from Elicia from the primitive Celestina. The old witch, in accordance with her craft, intercedes between the mismatched lovers with the intention of gaining the maxi-mum profits out of their relationship, but unlike Celestina, knows to abscond with the profits and her daughter. Regarding the proud Polidoro, he winds up suffering the changes of the Goddess Fortuna (to which all mankind is subjected to) and dies at the hands of his greedy servants. Arata [1988: 49] promised to produce an edition of the play which was unfortu-nately left unfinished. The manuscript was once again forgotten within the depths of the Real Biblioteca, practically forgotten by the studies of the Celestina-tradition, apart from two essential articles by Vian Herrero [1997 and 2003]. The text was once again studied by Lara Alberola [2010a, 2010b and 2010c] within the framework of her re-search on literary enchantresses and witches of the Golden Age, but it was Solana Se-gura [2009b] who with her doctoral thesis recovered the project to edit it. In advance to this work, she published a variety of articles (Solana Segura, 2008a, 2008b, 2008c y 2009a) of only median value, and her thesis, that in the light of those articles and its title ―Mujer, amor y matrimonio en las continuaciones celestinescas... (Women, love and marriage in the Celestina sequels…)― seems to be focused on the study of female characters and without guidance from the principles of traditional philology, remains unedited and inaccessible to researchers and curious readers...
The Tragicomedia de Polidoro y Casandrina was completely unknown to us until the only existing manuscript, from the second half of the sixteenth century, was discovered by Stefano Arata in the Real Biblioteca of Madrid in 1988. Arata [1988] announced his discovery in an article published in the Celestinesca journal. The anonymous play, which was originally untitled (it was its discoverer who christened it as we know it to-day), was nothing less than a new sequel of Celestina ―a fifth part― which came as an addition to the instalments which until then had made up the corpus of the so called «Celestina-literature» in its line of direct descendents. Throughout the three acts in which the play is divided, the love between Polidoro, a young and rich nobleman who thinks very highly of himself and believes himself to be free from Fortunás changes, and Casandrina, a clandestine prostitute and daughter of Corneja, an old witch (who casts love spells to help people charm the person of their dreams) who learnt all that she knows from Elicia from the primitive Celestina. The old witch, in accordance with her craft, intercedes between the mismatched lovers with the intention of gaining the maxi-mum profits out of their relationship, but unlike Celestina, knows to abscond with the profits and her daughter. Regarding the proud Polidoro, he winds up suffering the changes of the Goddess Fortuna (to which all mankind is subjected to) and dies at the hands of his greedy servants. Arata [1988: 49] promised to produce an edition of the play which was unfortu-nately left unfinished. The manuscript was once again forgotten within the depths of the Real Biblioteca, practically forgotten by the studies of the Celestina-tradition, apart from two essential articles by Vian Herrero [1997 and 2003]. The text was once again studied by Lara Alberola [2010a, 2010b and 2010c] within the framework of her re-search on literary enchantresses and witches of the Golden Age, but it was Solana Se-gura [2009b] who with her doctoral thesis recovered the project to edit it. In advance to this work, she published a variety of articles (Solana Segura, 2008a, 2008b, 2008c y 2009a) of only median value, and her thesis, that in the light of those articles and its title ―Mujer, amor y matrimonio en las continuaciones celestinescas... (Women, love and marriage in the Celestina sequels…)― seems to be focused on the study of female characters and without guidance from the principles of traditional philology, remains unedited and inaccessible to researchers and curious readers...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Filología, Departamento de Filología Española II (Literatura Española), leída el 20-11-2015