Reviewed by:

• El gran teatro del mundo by Pedro Calderón de la Barca
• Rasmus Vangshardt

"CORTA FUE LA COMEDIA" (v. 1255), Mundo exclaims in apparent despair when the play-within-a-play ends and the "globe of the world" closes. In their momentous simplicity, Mundo's words spring to mind when opening Reichenberger's final volume—number one hundred—of Calderón. Autos sacramentales completos, which was begun in 1992 and concludes—how could it not?—with the most famous of them all, El gran teatro del mundo, likely written between 1633 and 1636. One senses the merited pride in the two forewords by the publisher Eva Reichenberger and the general editor Ignacio Arellano. The editorial project might not always have felt short: in fact, it spanned almost thirty years. But how wonderful that Calderón's autos, which have seen significant changes in esteem and popularity across the ages, are now finally available in their entirety in reliable editions. One could only ask that the publisher make their purchase more convenient instead of requiring an email order and payment via bank transfer.

An edition of this auto sacramental was surely much needed. The play's foundational metaphor has after all become emblematic of a whole epoch. Yet until now scholars wanting to try their hand at a new interpretation of the iconic play had to make due with very few editions: the Cátedra edition from 2005 (ed. Eugenio Frutos Cortés), most appropriate for high school students, or the Crítica edition, already almost twenty-five years old (eds. John J. Allen and Domingo Ynduráin, 1997). The only other option was Gerhard Poppenberg's skillful Spanish–German edition published in 1988 and 2012 with Reclam, whose production quality and design are no match for the play's masterful content. At last we now have that longed-for edition, concluding a momentous project, with 130 pages of introductory study by Enrique Rull and Ana Suárez.

Arellano's primary challenge as editor in establishing the text was to choose between the 1655 edition published during Calderón's lifetime [End Page 399] and Pedro de Pando y Mier's edition from 1717. In convincing fashion, he notes that, notwithstanding the seeming abundance of thirty-three modern editions published between 1926 and 1974, the only relevant ones remain the two just mentioned along with six available manuscripts. Arellano explains that the 1655 edition has very few deficiencies. The most significant one, already noted by Poppenberg, is that "su obscura" should be emended to "tu obscura" (v. 34) because Autor is addressing Mundo. This is of utmost importance because it deals with the very cosmogenesis of the play's world in the sense that it relates to Autor's giving form to the world. Other than that, the 1655 edition presents minor problems consisting of a few typographical errors and a couple of missing verses that can be easily fixed (e.g., p. 153 in the new edition). Arellano notes, in turn, that the 1717 version and the manuscripts all seem based on the 1655 edition, which makes the ecdotic challenges manageable.

The only regrettable feature of this edition is the decision to leave out the play's philologically contested loa. In 1717, Pando y Mier included a loa to Calderón's play and in Calderón's name, but five years later, the publisher of playwright Francisco Bances Candamo (1662–1704) claimed that Bances had written this loa for a play called El gran químico del mundo (Rasmus Vangshardt, "'El circular coliseo': The Loa to El gran teatro del mundo Reconsidered," Bulletin of the Comediantes, vol. 72, no. 2, 2020, 117–42). Even if it has long been standard to assume that Bances wrote the loa, the fact remains that it has been a part of the reception history of Calderón's auto, for instance in Alexander A. Parker's work. From a comparative perspective, it would have been useful to include the loa for...

 审阅者：

• 
  佩德罗·卡尔德龙·德拉·巴尔卡的世界伟大剧院
•  拉斯穆斯·范沙特

“CORTA FUE LA COMEDIA”（第 1255 节），当戏中戏结束且“世界地球仪”关闭时，蒙多明显绝望地喊道。当打开赖兴伯格的《卡尔德隆》最后一卷（第 100 卷）时，蒙多的话以极其简洁的方式浮现在脑海中。 《Autos sacramentales completos》于 1992 年开始出版，并以其中最著名的《世界大剧院》（El gran Teatro del mundo）作为结尾（怎么可能不呢？），该书可能写于 1633 年至 1636 年间。出版商 E​​va Reichenberger 和总编辑 Ignacio Arellano。编辑项目可能并不总是感觉很短：事实上，它跨越了近三十年。但卡尔德龙的汽车在各个时代的尊重和受欢迎程度上都发生了巨大的变化，现在终于以可靠的版本提供了完整的版本，这是多么美妙的事情啊。人们只能要求出版商让他们的购买更加方便，而不是要求通过电子邮件订购并通过银行转账付款。

肯定非常需要这种自动圣礼的版本。该剧的基本隐喻终究成为了整个时代的象征。然而，到目前为止，想要尝试对这部标志性戏剧进行新诠释的学者们只能使用很少的几个版本：2005 年的 Cátedra 版本（Eugenio Frutos Cortés 编辑），最适合高中生，或者 Critica 版本，已经快二十五岁了（John J. Allen 和 Domingo Ynduráin 编辑，1997 年）。唯一的选择是格哈德·波彭伯格 (Gerhard Poppenberg) 于 1988 年和 2012 年与 Reclam 合作出版的精湛的西班牙语-德语版本，其制作质量和设计无法与该剧的精彩内容相媲美。我们现在终于有了期待已久的版本，完成了一个重要的项目，其中包含恩里克·鲁尔 (Enrique Rull) 和安娜·苏亚雷斯 (Ana Suárez) 的 130 页介绍性研究。

作为编辑，阿雷利亚诺在建立文本时面临的主要挑战是在卡尔德龙在世期间出版的 1655 年版本[结束第 399 页]和佩德罗·德·潘多·米尔 (Pedro de Pando y Mier) 1717 年的版本之间进行选择。他以令人信服的方式指出，尽管表面上有 30- 1926 年至 1974 年间出版的三个现代版本中，唯一相关的仍然是刚才提到的两个版本以及六份可用的手稿。 Arellano 解释说 1655 年版本几乎没有什么缺陷。最重要的一个，波彭伯格已经指出，是“su obscura”应该修改为“tu obscura”（第 34 节），因为奥托尔正在向 Mundo 讲话。这是极其重要的，因为它涉及到戏剧世界的宇宙起源，因为它与奥托赋予世界的形式有关。除此之外，1655 年版本还存在一些小问题，包括一些印刷错误和一些可以轻松修复的缺失经文（例如新版本中的第 153 页）。阿雷拉诺反过来指出，1717 年版本和手稿似乎都是基于 1655 年版本，这使得外部挑战变得可控。

这一版本唯一令人遗憾的特点是决定省略剧中备受争议的语言学神灵。 1717 年，《Pando y Mier》在卡尔德隆的戏剧中以卡尔德龙的名义收录了一条神灵，但五年后，剧作家弗朗西斯科·班塞斯·坎达莫（Francisco Bances Candamo，1662-1704 年）的出版商声称班斯为一部名为《El gran químico del mundo》的戏剧创作了这条神灵。 （Rasmus Vangshardt，“‘圆形竞技场’：重新考虑世界大剧院的神灵”，喜剧公报，第 72 卷，第 2 期，2020 年，117-42）。即使人们长期以来一直认为班塞斯写了神灵，但事实仍然是，它一直是卡尔德龙汽车接受历史的一部分，例如在亚历山大·A·帕克的作品中。从比较的角度来看，将 loa 包括在内会很有用......