Calderon Y Las Quimeras de la Culpa: Alegoria, Seduccion Y Resistencia En Cinco Autos Sacramentales
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En Calderón y las quimeras de la Culpa, Viviana Díaz Balsera estudia los autos calderonianos a la luz de las modernas teorías sobre la alegoría. Se concentra en los poderes seductores del arte dramático en los niveles visibles del auto alegórico y cuestiona de tal modo la generalizada opinión según la cual los autos de Calderón armonizan los discursos dramáticos y religiosos que los integran. Por el contrario, sus lecturas de Los encantos de la Culpa, El jardín de Falerina, La nave del Mercader, La vida es sueño y Lo que va del Hombre a Dios revelan una disyunción entre el sentido literal y poético por un lado y el religioso-teológico por el otro. Con esplendidas escenas, fábulas poéticas y elaborada música, el auto irónicamente posee el poder de reproducir la seductiva función que éste frecuentemente atribuye al diablo o a las fuerzas del mal. Antes que el dogmático paladín de la Iglesia Católica, el auto resulta conflictivo, ambivalente y conmovedor, participando de los peligros de aquellos placeres sensuales contra los cuales nos previene.
Pedro Calderon de la Barca (1600-1681) is generally acknowledged to be the master author of autos sacramentales, one-act pageant plays that usually dramatize the myths of the Fall and Redemption. Since the auto was supervised by both the church and the state, it is typically held to be an art form that serves theology and the dominant powers of the time. Basing her examination of Calderon's autos on modern theories of allegory, Viviana Diaz Balsera focuses on the seductive power of the dramatic, visible level of the allegorical auto and questions the widely held assumption that Calderon's autos harmonize the dramatic and religious discourses that constitute them. In her readings of Los encantos de la Culpa, El jardin de Falerina, La nave del Mercador, La vida es sueño, and Lo que va del Hombre a Dios, she instead finds a disjunction between the literal, poetic level and the religious, theological meaning. With its splendid scenes, poetic fables, and elaborate music, the auto ironically has the potential to reproduce the seductive function it frequently attributes to the Devil and/or the forces of evil. Rather than the dogmatic champion of the Catholic Church, the auto emerges as conflictive, ambivalent, and moving, participating in the very dangers of sensual pleasures it seeks to warn against. Written in Spanish, Caldrón y las quimeras de la Culpa is recommended for scholars and students of Spanish Golden Age literature and those interested in the reception of literary and dramatic works.
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