• James A. Parr, sin par (1936–2022)Editor, Bulletin of the Comediantes 1973–98 PART II
• Edward H. Friedman

I ALWAYS WILL CHERISH MY CONTACT with James Parr. He was a revered colleague, mentor, and friend for over forty-five years. As I was completing my graduate studies at Johns Hopkins University, I submitted an essay on Calderón's El mayor monstruo, los celos to Bulletin of the Comediantes, and it would be my first published article. This was in 1974, and I had the opportunity to meet James Parr, editor of the Bulletin of the Comediantes, at the December 1975 Modern Language Association convention in San Francisco. I used the occasion to express my profound gratitude. From the beginning of our interaction, Jim Parr showed himself to be gracious, generous, and wise. The group known as the Comediantes generally held a banquet at MLA, to get together as comrades, naturally, but also to welcome new members of the community of early modern (then Golden Age) theater scholars. A guiding force of this blend of academics and collegiality was Everett W. Hesse, who founded the Bulletin of the Comediantes in 1948 and served as its editor until 1972. Jim Parr not only followed Everett Hesse as editor of the journal, but he maintained the tradition of supporting young scholars and engaging devotees of the comedia in a variety of dialogues. He had a style that was learned, critical, and empathetic; that is, he had many ideas to share and superb people skills, which made him a first-rate scholar and teacher. I read Jim's publications with great interest, and I truly enjoyed corresponding with him and seeing him at conferences.

In 1989, under the auspices of the Arizona Center for Medieval and Renaissance Studies at Arizona State University, where I taught at the time, I applied to direct a National Endowment for the Humanities six-week summer institute for college teachers on the topic of Don Quixote. I invited Jim Parr, whose groundbreaking Don Quixote: An Anatomy of Subversive Discourse (Juan de la Cuesta, 1988) had just appeared, to codirect the program with me, and he accepted. We received the grant, and Jim rented the home of an ASU professor for the period. We had an outstanding group of applicants, and those chosen—specialists in Hispanic and English literature and one in history—were exceptional. They ranged from established scholars to recent graduates of doctoral programs. The schedule included visits by six Cervantes scholars and a number of events outside the classroom. I depended on Jim to [End Page 23] stimulate the participants, who were studious, creative, and motivated, but who had to deal with the stifling summer heat of the Phoenix area. The dates of the institute were 19 June to 28 July. Jim was a model of the good sport: demanding in the best sense of the term, yet understanding of the particular circumstances of each individual. There were infinite details to bear in mind. It was a pleasure, albeit a challenge, to coordinate the schedule and activities with Jim, even in those relatively few instances in which we (politely) agreed to disagree. We had the proverbial happy campers despite the constant temperatures well over 100 degrees. I credit Jim with setting a positive and cordial tone to the proceedings. I needed a brilliant, calm, adaptable, and confident partner to carry this off, and Jim delivered in all respects.

What bound me to Jim, along with his spirit of good will and his affable personality, was our mutual focus on—arguably, our obsession with—early modern drama, Cervantes, criticism and metacriticism, and theory. I eagerly looked forward to every new publication of his, and I was never disappointed. I was extremely honored to succeed him as editor of the Bulletin of the Comediantes, joining him and Everett Hesse at the helm of the journal they created and brought forth with style and vigor, Jim for twenty-six years. My tenure as editor, from 1999 to 2016, was especially meaningful and a genuine source of pride, following in such distinguished footsteps.

Jim trained a company of scholars who justifiably have sung his praises. He seemed never to...

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  詹姆斯·A·帕尔 (James A. Parr)，罪孽 (1936–2022)编辑，喜剧公报 1973–98 第二部分
•  爱德华·弗里德曼

我将永远珍惜与詹姆斯·帕尔的联系。四十五年来，他一直是一位受人尊敬的同事、导师和朋友。当我在约翰·霍普金斯大学完成研究生学习时，我向《喜剧公报》提交了一篇关于卡尔德隆的《El mayor monstruo, los celos》的文章，这将是我发表的第一篇文章。那是 1974 年，在 1975 年 12 月于旧金山举行的现代语言协会大会上，我有机会见到了喜剧公报的编辑詹姆斯·帕尔 (James Parr)。我借此机会表达我深深的谢意。从我们的互动一开始，吉姆·帕尔就表现出了亲切、慷慨和明智。被称为喜剧演员的团体通常会在 MLA 举办宴会，自然是为了同志聚会，同时也是为了欢迎早期现代（当时的黄金时代）戏剧学者群体的新成员。埃弗雷特·W·黑塞 (Everett W. Hesse) 是这种学术与同事关系融合的主导力量，他于 1948 年创办了《喜剧公报》，并担任其编辑直至 1972 年。吉姆·帕尔 (Jim Parr) 不仅追随埃弗雷特·黑塞 (Everett Hesse) 担任该杂志的编辑，而且还维持了支持年轻学者并让喜剧爱好者参与各种对话的传统。他的风格是博学的、批判性的、富有同理心的。也就是说，他有很多可以分享的想法和高超的人际交往能力，这使他成为一流的学者和教师。我饶有兴趣地阅读吉姆的出版物，我真的很喜欢与他通信并在会议上见到他。

1989 年，在我当时任教的亚利桑那州立大学亚利桑那中世纪和文艺复兴研究中心的赞助下，我申请指导国家人文学科捐赠基金为大学教师举办为期六周的暑期学院，主题是唐吉诃德。我邀请吉姆·帕尔（Jim Parr）与我共同主持这个节目，他的开创性著作《堂吉诃德：颠覆性话语的剖析》（Juan de la Cuesta，1988）刚刚问世，他接受了。我们收到了这笔补助金，吉姆在此期间租了一位亚利桑那州立大学教授的房子。我们有一群优秀的申请者，而那些被选中的人——西班牙和英国文学专家以及历史专家——都是杰出的。他们的范围从知名学者到刚毕业的博士课程。日程安排包括六名塞万提斯学者的访问和一些课堂外的活动。我依靠吉姆[结束第23页]来激励参与者，他们勤奋好学，富有创造力，积极主动，但必须应对凤凰城地区令人窒息的夏季炎热。该学院的日期为6月19日至7月28日。吉姆是优秀运动的典范：严格要求，但又了解每个人的具体情况。有无数的细节需要牢记。与吉姆协调日程安排和活动是一种乐趣，尽管是一种挑战，即使是在相对少数的情况下，我们（礼貌地）同意不同意。尽管气温持续超过 100 度，但我们的营员们还是快乐的。我相信吉姆为整个过程定下了积极而亲切的基调。我需要一个才华横溢、冷静、适应能力强且自信的合作伙伴来实现这一目标，吉姆在各个方面都做到了。

将我与吉姆联系在一起的，还有他的善意精神和和蔼可亲的个性，是我们对早期现代戏剧、塞万提斯、批评和元批评以及理论的共同关注——可以说是我们的痴迷。我热切地期待着他的每一篇新出版，而且从来没有失望过。我非常荣幸地接替他担任《喜剧公报》的编辑，与他和埃弗雷特·黑塞一起掌管他们创办的杂志，并以风格和活力，吉姆二十六年。从 1999 年到 2016 年，我担任编辑的任期特别有意义，也让我真正感到自豪，追随了如此杰出的脚步。

吉姆培养了一批学者，他们理所当然地对他大加赞扬。他似乎从来没有...