Reviewed by:

• A Companion to Calderón de la Barca ed. by Roy Norton and Jonathan Thacker
• Sofie Kluge

THERE ARE ANTHOLOGIES of scholarly essays on Calderón in various languages; there are biographies of his life and monographs on specific aspects of his work; there are introductions to individual plays and myriad scholarly articles on every Calderonian topic imaginable. Yet following brilliant books published in the 1980s by the likes of Frederick de Armas, Alexander Parker, and Robert ter Horst, and notwithstanding the ongoing curricular presence of early modern Spanish studies in British and American universities, we were lacking a comprehensive, English-language study of the most important playwright of the Spanish baroque. Roy Norton and Jonathan Thacker's Companion to Calderón de la Barca is the first "general guide to the interested reader" (xv), which I take to mean not only students and scholars of early modern Spanish literature and early modernists in other fields but also comparatists and people interested in theater history and the theater more broadly. Appealing to this wide range of readers, this comprehensive volume sends two unmistakable signals: first, that Calderón is as fresh and relevant as ever, and not just to specialists; and second, that Tamesis Books is an essential player in the academic book market, serving the Hispanist community as well as the educated public.

The Companion to Calderón de la Barca is comprised of the editors' introduction; fourteen original and substantial essays (each of about 20–25 pages, three of them translated from Spanish); two useful appendices, one listing key digital and print sources and the works by Calderón mentioned in each contribution (appendix I), the other providing an introduction to Calderonian versification (appendix II); a full bibliography of all of the works referenced by the contributors; and an index. The volume is meticulously edited—the only minor inconsistency I noted was the subheading format in chapter 8, which is really quite impressive for a volume of over 400 pages—and the contributions are overall both magisterially written and pedagogically oriented. For the most part, individual chapters take off from one, or in most cases several, plays, as case studies for establishing broader syntheses (regarding, for instance, Calderón's worldview and his religious comedias) and creating subclassifications (biblical comedias, saints' plays, [End Page 449] and Marian dramas). Envisioning readers both inside and outside Hispanic Studies departments, all Spanish titles, quotations, and concepts are followed by an English translation in square brackets, and individual chapters cross-reference each other in footnotes and in the body. Some contributors suggest interesting parallels to the modern world; Jeremy Lawrance, for instance, discusses La vida es sueño with reference to science fiction (chapter 4), and Colin Thompson points to the resonance of Calderón's wife-murder dramas with contemporary domestic violence (chapter 5). The volume is enhanced by black-and-white illustrations, among which the contemporaneous drawings of the lavish performances of mythological court dramas reproduced in chapter 7, by Margaret Greer, are bound to be particularly illuminating for the targeted readership of educated but not (necessarily) expert readers. Equally enlightening are the depictions of the public playhouses, stage machinery, and carts from the representations of autos sacramentales in chapters 3 and 12.

Subjects treated range from the man and his time (chapters 1 and 2) to specific genres, covering honor plays, comedies, mythological spectacle plays, religious comedias, autos sacramentales (chapters 5–9, respectively). Continuing, the volume provides thematic orientations on cross-generic features, illuminating the figure of the gracioso; the links between Calderón's dramatic poetry and visual art (chapter 10); aspects of theater history, the Spanish entertainment industry, and staging (chapters 3 and 12); and the reception of Calderón within and outside of Spain (chapters 13 and 14). Lawrance's chapter on La vida es sueño is the only one to focus on a single play, but the importance of the work itself merits this special attention.

Norton and Thacker have assembled an impressive group of revered specialists—mainly British, plus a few Spaniards and...

 审阅者：

• 
  卡尔德隆·德拉·巴尔卡的同伴编辑。作者：罗伊·诺顿和乔纳森·撒克
•  索菲·克鲁格

有各种语言的关于卡尔德隆的学术论文选集；有他的生平传记和关于他工作的具体方面的专着；其中有对个人戏剧的介绍和无数关于卡尔德隆可以想象的主题的学术文章。然而，随着弗雷德里克·德·阿马斯、亚历山大·帕克和罗伯特·特·霍斯特等人在 20 世纪 80 年代出版了精彩的书籍，尽管英国和美国的大学课程中一直存在早期现代西班牙语研究，但我们仍然缺乏全面的英语语言研究。研究西班牙巴洛克时期最重要的剧作家。罗伊·诺顿（Roy Norton）和乔纳森·撒克（Jonathan Thacker）的《卡尔德隆·德拉巴尔卡伴侣》（Companion to Calderón de la Barca）是第一本“给感兴趣的读者的一般指南”​​（xv），我认为这不仅指早期现代西班牙文学和其他领域的早期现代主义者的学生和学者，还指比较主义者以及对戏剧历史和更广泛的戏剧感兴趣的人。为了吸引如此广泛的读者，这本综合性的著作发出了两个明确无误的信号：第一，卡尔德隆一如既往地新鲜和相关，而不仅仅是针对专家；其次，Tamesis Books 是学术图书市场的重要参与者，为西班牙裔社区以及受过教育的公众提供服务。

Calderón de la Barca 的配套由编辑的介绍组成；十四篇原创且内容丰富的论文（每篇约 20-25 页，其中三篇是从西班牙语翻译而来）；两个有用的附录，一个列出了关键的数字和印刷来源以及每篇贡献中提到的卡尔德龙的作品（附录一），另一个提供了卡尔德龙韵律的介绍（附录二）；贡献者引用的所有作品的完整参考书目；和一个索引。该书经过精心编辑——我注意到的唯一的小不一致是第 8 章中的副标题格式，对于 400 多页的书来说，这确实令人印象深刻——而且其贡献总体上既具有权威性，又以教学为导向。在大多数情况下，各个章节都取自一部或大多数情况下几部戏剧，作为案例研究，以建立更广泛的综合（例如，卡尔德隆的世界观和他的宗教喜剧）并创建子分类（圣经喜剧、圣徒戏剧） ，[完第449页]和玛丽亚戏剧）。为西班牙裔研究系内外的读者设想，所有西班牙语标题、引文和概念后面都附有方括号中的英文翻译，各个章节在脚注和正文中相互交叉引用。一些贡献者提出了与现代世界有趣的相似之处；例如，杰里米·劳伦斯 (Jeremy Lawrance) 参考科幻小说讨论了《生活与梦》（第 4 章），而科林·汤普森 (Colin Thompson) 指出了卡尔德隆的杀妻戏剧与当代家庭暴力的共鸣（第 5 章）。 该书还配有黑白插图，其中由玛格丽特·格里尔（Margaret Greer）在第 7 章再现的神话宫廷戏剧的华丽表演的同时代绘画，对于受过教育但未受过教育的目标读者（必然是）专家读者。同样具有启发性的是第 3 章和第 12 章中对汽车圣礼的描述中的公共剧场、舞台机械和手推车。

处理的主题范围从人和他的时代（第 1 章和第 2 章）到特定类型，涵盖荣誉剧、喜剧、神话奇观剧、宗教喜剧、圣礼剧（分别为第 5-9 章）。接下来，该卷提供了跨类特征的主题方向，阐明了恩典的形象；卡尔德隆的戏剧诗歌与视觉艺术之间的联系（第10章）；戏剧历史、西班牙娱乐业和舞台表演等方面（第 3 章和第 12 章）；以及卡尔德隆在西班牙国内外的接待情况（第 13 章和第 14 章）。劳伦斯关于《生活如梦》的章节是唯一一篇关注单一戏剧的章节，但这部作品本身的重要性值得特别关注。

诺顿和撒克召集了一批令人印象深刻的受人尊敬的专家——主要是英国人，还有一些西班牙人和……