Abstract:

This article draws new attention to El negro del serafín, by Luis Vélez de Guevara, a hagiographic drama focused on the struggle for freedom and the rise to fame as a Franciscan friar of a Black protagonist. Despite evidence of enthusiastic reception at its time of composition and staging (ca. 1642–43), the comedia has remained obscure in recent times. In considering the historical and cultural contexts of the notion of Black sainthood in early modern Spain and Sicily overall and the theatrical subgenre of plays celebrating Black saints (comedia de santos negros), the article finds the comedia serves as a window through which to examine how religious beliefs and cultural practices informed representations of Blackness. Through a close reading of the play, I explore how Vélez de Guevara builds a hagiographic drama that epitomizes the fundamental duality of Renaissance and Baroque comedies that is the interplay of contradiction and celebration. As well, I ponder how the representation of the comedia's protagonist, Rosambuco, illustrates elements of the Franciscan order's quest to bring about the acculturation of Blacks in the early modern Spanish world.

 抽象的：

本文让人们重新关注路易斯·贝莱斯·德·格瓦拉 (Luis Vélez de Guevara) 创作的《El negro del Serafín》，这是一部传记剧，主要讲述黑人主人公争取自由的斗争以及方济会修道士的成名之路。尽管有证据表明，这部喜剧在创作和演出时（约 1642-43 年）受到了热烈欢迎，但近年来仍然默默无闻。在考虑现代早期西班牙和西西里岛黑人圣徒概念的历史和文化背景以及庆祝黑人圣徒戏剧的戏剧亚类型（commedia de santos negros）时，文章发现喜剧是一个窗口，通过它来研究如何宗教信仰和文化习俗影响了黑人的表现。通过仔细阅读该剧，我探索了贝莱斯·德·格瓦拉如何创作一部传记剧，集中体现了文艺复兴和巴洛克喜剧的基本二元性，即矛盾与庆祝的相互作用。此外，我还思考喜剧主角罗桑布科的表现如何说明了方济各会寻求在早期现代西班牙世界中实现黑人文化融合的要素。