The Two Lovers of Heaven: Chrysanthus and Daria, Pedro Calderón de la Barca [manga ereader .txt] 📗
- Author: Pedro Calderón de la Barca
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Voluptuousness, etc., Understanding, and the Five Senses. The Senses are corrupted by the influence of Sin, and figuratively changed into wild beasts. Man, accompanied by Understanding and Penance, demands their liberation and encounters no resistance; but his free-will is afterwards seduced by the Evil Power, and his allies reclaim him with difficulty. Yet the plan of the apologue is embellished with many ingenious conceits and artifices, and conformed in the leading circumstances with an Homeric myth-the names of Ulysses and Circe being frequently substituted for those of the Man and Sin".
"The Saturday Review" on "Mac-Carthy's Three Plays of Calderon".
BELSHAZZAR'S FEAST.
An Auto.
"The first auto translated is 'Belshazzar's Feast', a fortunate selection, for it is probably unsurpassed in dramatic effect and poetic description, and withal is much less encumbered with theology than most others".
From an article in "The New York Nation", by a distinguished professor of Cornell University, on "Mac-Carthy's Translations of Calderon".
THE DIVINE PHILOTHEA.
An Auto.
"'The Divine Philothea', probably the last work of the kind written by Calderon, and as such worthy of attention, inasmuch as it is the composition of an old man of eighty-one, is conceived with much boldness and executed with marvellous skill. No fewer than twenty personages are represented on the stage, and these have their several parts allotted to them with great discrimination, ingenuity, and judgment. The Senses, the Cardinal Virtues; Paganism and Judaism; Heresy and Atheism; the Prince of Light and the Power of Darkness, figure amongst the characters".
"The Bookseller", June 29, 1867, on Mac-Carthy's "Mysteries of Corpus Christi (Autos Sacramentales), from the Spanish of Calderon".
THE TWO LOVERS OF HEAVEN.
A Drama.
"Of these 'The Wonder-working Magician' is most celebrated; but others, as 'The Joseph of Women', 'The Two Lovers of Heaven', quite deserve to be placed on a level if not higher than it. A tender pathetic grace is shed over this last, which gives it a peculiar charm".
Archbishop Trench.
Calderon's Autos Sacramentales, or Mysteries of Corpus Christi. Duffy: Dublin and London, 1867.
From "The Irish Ecclesiastical Record".
"In conclusion, we heartily commend to our readers this most interesting and valuable specimen of Spanish thought and devotion, wrought, as it is, into such pure and beautiful English. . . . . When we remember the great literary advantages which Spain once possessed in the intellect and faith of her literary giants, we may well rejoice in the appearance among us of one of the greatest of that noble race in the person of Calderon, especially when introduced to us by a poet whose claim upon our consideration has been so emphatically made good by his own original productions as Denis Florence Mac-Carthy".
THE SPANISH DRAMA
Just ready, double columns, price 2s. 6d.,
THE TWO LOVERS OF HEAVEN,
From the Spanish of Calderon, BY DENIS FLORENCE MAC-CARTHY,
Author of The Voyage of St. Brendan, The Bell-Founder, Waiting for the May, etc.
DUBLIN: W. B. KELLY, 8 GRAFTON STREET.
BY THE SAME AUTHOR.
In one vol. small 4to, double columns, with the Spanish text, beautifully printed by Whittingham, Price 7s. 6d.,
THREE DRAMAS OF CALDERON,
FROM THE SPANISH, BY DENIS FLORENCE MAC-CARTHY.
From Ticknor's History of Spanish Literature.
"It is, I think, one of the boldest attempts ever made in English verse. It is, too, as it seems to me, remarkably successful . . .
"Nothing, I think, in the English language will give us so true an impression of what is most characteristic of the Spanish drama: perhaps I ought to say, of what is most characteristic of Spanish poetry generally".-tom. iii. pp. 461, 462.
BERNARD QUARITCH, 15 PICCADILLY, LONDON.
Transcriber's Notes.
General. I have rendered instances of small capitals as all capitals. In most instances I have made no attempt to indicate here instances of italics in the original publication. Accents and other diacritical marks have also been dropt. However, where the original has an acute accent over the "e" in a past participle for poetical reasons, I have marked this with a grave accent (as in "learn`ed") to indicate the intended pronunciation. For a fully formatted version, with italics, extended characters, et cetera, please refer to the HTML version of this play, released by Project Gutenberg simultaneously with this plain text edition.
General. Only the most obvious of printer's errors have been corrected in this electronic edition. Some inconsistent use of quotation marks and several forms of ellipses (with varying numbers of dots and spaces) have been retained as originally published. I have also retained the original's format of contractions, namely to include a space as in "I 'll" rather than "I'll."
Play, General. Stage directions following lines of spoken text are typically right justified in the printed source. In this electronic edition they simply follow the line of spoken text.
Play, General. In a few places, Denis Florence MacCarthy's (1817-1882) translation as published differs noticeably from a Spanish (or more properly, Castillano) text of the drama, published after this translation, available to this transcriber. I do not have access to the Spanish edition that Mr. MacCarthy used as the basis of his translation, so perhaps a better preserved version of Pedro Calderon de la Barca's (1600-1681) drama was discovered. Or perhaps Mr. MacCarthy used some poetic license in editing the drama. Some differences may be due to printer's errors. Whatever the reason, I have noted below these differences so that a reader comparing this e-book to a Spanish edition will not be confused about these omission, and think them caused by a transcription error of mine, or pages missing from the printed source.
Act 1, Scene 2. Ovid's 'Remedy of Love' is referred to three times, but as 'Remedies of Love' on the third occasion. A Spanish text has "Remedio" the first time, and "Remedios" elsewhere. I have found references to the work as both 'Remedium Amoris' and 'Remedia Amoris.'
Act 1, Scene 2. There is an apparent discrepancy in the play. Chloris is clearly present in the grove, and in "Persons" is listed as one of four priestesses of Diana, yet the lines "We three share;-'t is thy delight" and "For here three objects we behold" imply she is not part of the group of priestesses. There is no stage direction [such as: (Chloris sits behind a tree.] in the printed source, nor in a Spanish text of the play, to explain this. Perhaps (as may be guessed from the line "From their tender years go thither" in the previous scene) the character is an acolyte or novice priestess played by a child. She only appears in this scene.
Act 1, Scene 2. "My blessings on your choice and you! / . . . Are nothing to a pretty face." A Spanish text gives Escarpin seventeen lines here, rather than five. The last dozen lines contain a story of a clever vixen and a comely partridge.
Act 1, Scene 3. The line "Yes, God and Man is Christ" is not indented in the printed source, but logically should be, and is in a Spanish text of the play. I have indented it above.
Act 1, Scene 3. The line "Why delay? Arrest them." in the printed source is shown as two lines ("Why delay? / Arrest them."), but this seems to be a printer's error as it breaks the asonante verse pattern.
Act 1, Scene 3. In order to preserve the verse, I have indented the line "Why, why, O heavens!"
Act 2, Scene 1. I have indented the line "What then?"
Act 2, Scene 1. With the line "Clemency in fine had won," there is another apparent discrepancy in the play. Polemius is angry at Chrysanthus when the soldiers return in Act 1, Scene 3.
Act 2, Scene 3. In the line "Here the jasmin doubly white," the word jasmine is spelt without an "e."
Act 2, Scene 3. In Nisida's song, in the line "The bless`ed rapture of forgetting", the printed source has "blessed" without an accent on the second "e." Because this line is repeated twice more in the scene with the accent, I have added it to this first instance in the text above.
Act 2, Scene 3. The printed source lists Escarpin as the speaker of the lines "My lord, oh! hearken / To my song once more." A Spanish text indicates that Nisida speaks here, as is only logical, so I have listed Nisida as speaker in the text above.
Act 2, Scene 3. There seems to be a gap in the dialog after "Not myself, no aid is granted." A Spanish text has four additional lines here: [D.] Luego tu tan de su parte / Estas, que a ellos los ensalzas? / [C.] Si; que he visto muchas cosas / Hoy en mi favor obradas.
Act 3, Scene 1. In a Spanish text, after the line "I could listen to such nonsense?" Escarpin has five lines of monolog.
Act 3, Scene 1. In a Spanish text the line "Whence did sound the voice?" is spoken by Chrysanthus, which would naturally agree with Polemius' reply to Chrysanthus immediately below. Also, just before this line, Chrysanthus says: Sin mi me ha dejado a mi.
Act 3, Scene 1. In the line "The two lover saints of Heaven." the phrase "lover saints" is not hyphenated, although the same phrase is hyphenated just before the end of the play. The Spanish text has "Los dos amantes del cielo" in both places.
Act 3, Scene 1. After the line "The two lover saints of Heaven." there are forty lines of dialog between Escarpin and Polemius. In typical Escarpine style, it contains a story. Here is a free translation: A man is on trial for killing his father and loving his mother. The judge berates the lawyer, "How dare you defend a man who has committed the worst possible crime." The lawyer replies, "I disagree, your Honor, for to kill his mother and love his father would, indeed, have been a worse crime."
Act 3, Scene 2. There is a break in the asonante verse at the line "They the open country seek".
Act 3, Scene 2. In the line "So part pagan and part christian", near the end of the scene, Christian is not capitalized in the printed source.
Imprint
"The Saturday Review" on "Mac-Carthy's Three Plays of Calderon".
BELSHAZZAR'S FEAST.
An Auto.
"The first auto translated is 'Belshazzar's Feast', a fortunate selection, for it is probably unsurpassed in dramatic effect and poetic description, and withal is much less encumbered with theology than most others".
From an article in "The New York Nation", by a distinguished professor of Cornell University, on "Mac-Carthy's Translations of Calderon".
THE DIVINE PHILOTHEA.
An Auto.
"'The Divine Philothea', probably the last work of the kind written by Calderon, and as such worthy of attention, inasmuch as it is the composition of an old man of eighty-one, is conceived with much boldness and executed with marvellous skill. No fewer than twenty personages are represented on the stage, and these have their several parts allotted to them with great discrimination, ingenuity, and judgment. The Senses, the Cardinal Virtues; Paganism and Judaism; Heresy and Atheism; the Prince of Light and the Power of Darkness, figure amongst the characters".
"The Bookseller", June 29, 1867, on Mac-Carthy's "Mysteries of Corpus Christi (Autos Sacramentales), from the Spanish of Calderon".
THE TWO LOVERS OF HEAVEN.
A Drama.
"Of these 'The Wonder-working Magician' is most celebrated; but others, as 'The Joseph of Women', 'The Two Lovers of Heaven', quite deserve to be placed on a level if not higher than it. A tender pathetic grace is shed over this last, which gives it a peculiar charm".
Archbishop Trench.
Calderon's Autos Sacramentales, or Mysteries of Corpus Christi. Duffy: Dublin and London, 1867.
From "The Irish Ecclesiastical Record".
"In conclusion, we heartily commend to our readers this most interesting and valuable specimen of Spanish thought and devotion, wrought, as it is, into such pure and beautiful English. . . . . When we remember the great literary advantages which Spain once possessed in the intellect and faith of her literary giants, we may well rejoice in the appearance among us of one of the greatest of that noble race in the person of Calderon, especially when introduced to us by a poet whose claim upon our consideration has been so emphatically made good by his own original productions as Denis Florence Mac-Carthy".
THE SPANISH DRAMA
Just ready, double columns, price 2s. 6d.,
THE TWO LOVERS OF HEAVEN,
From the Spanish of Calderon, BY DENIS FLORENCE MAC-CARTHY,
Author of The Voyage of St. Brendan, The Bell-Founder, Waiting for the May, etc.
DUBLIN: W. B. KELLY, 8 GRAFTON STREET.
BY THE SAME AUTHOR.
In one vol. small 4to, double columns, with the Spanish text, beautifully printed by Whittingham, Price 7s. 6d.,
THREE DRAMAS OF CALDERON,
FROM THE SPANISH, BY DENIS FLORENCE MAC-CARTHY.
From Ticknor's History of Spanish Literature.
"It is, I think, one of the boldest attempts ever made in English verse. It is, too, as it seems to me, remarkably successful . . .
"Nothing, I think, in the English language will give us so true an impression of what is most characteristic of the Spanish drama: perhaps I ought to say, of what is most characteristic of Spanish poetry generally".-tom. iii. pp. 461, 462.
BERNARD QUARITCH, 15 PICCADILLY, LONDON.
Transcriber's Notes.
General. I have rendered instances of small capitals as all capitals. In most instances I have made no attempt to indicate here instances of italics in the original publication. Accents and other diacritical marks have also been dropt. However, where the original has an acute accent over the "e" in a past participle for poetical reasons, I have marked this with a grave accent (as in "learn`ed") to indicate the intended pronunciation. For a fully formatted version, with italics, extended characters, et cetera, please refer to the HTML version of this play, released by Project Gutenberg simultaneously with this plain text edition.
General. Only the most obvious of printer's errors have been corrected in this electronic edition. Some inconsistent use of quotation marks and several forms of ellipses (with varying numbers of dots and spaces) have been retained as originally published. I have also retained the original's format of contractions, namely to include a space as in "I 'll" rather than "I'll."
Play, General. Stage directions following lines of spoken text are typically right justified in the printed source. In this electronic edition they simply follow the line of spoken text.
Play, General. In a few places, Denis Florence MacCarthy's (1817-1882) translation as published differs noticeably from a Spanish (or more properly, Castillano) text of the drama, published after this translation, available to this transcriber. I do not have access to the Spanish edition that Mr. MacCarthy used as the basis of his translation, so perhaps a better preserved version of Pedro Calderon de la Barca's (1600-1681) drama was discovered. Or perhaps Mr. MacCarthy used some poetic license in editing the drama. Some differences may be due to printer's errors. Whatever the reason, I have noted below these differences so that a reader comparing this e-book to a Spanish edition will not be confused about these omission, and think them caused by a transcription error of mine, or pages missing from the printed source.
Act 1, Scene 2. Ovid's 'Remedy of Love' is referred to three times, but as 'Remedies of Love' on the third occasion. A Spanish text has "Remedio" the first time, and "Remedios" elsewhere. I have found references to the work as both 'Remedium Amoris' and 'Remedia Amoris.'
Act 1, Scene 2. There is an apparent discrepancy in the play. Chloris is clearly present in the grove, and in "Persons" is listed as one of four priestesses of Diana, yet the lines "We three share;-'t is thy delight" and "For here three objects we behold" imply she is not part of the group of priestesses. There is no stage direction [such as: (Chloris sits behind a tree.] in the printed source, nor in a Spanish text of the play, to explain this. Perhaps (as may be guessed from the line "From their tender years go thither" in the previous scene) the character is an acolyte or novice priestess played by a child. She only appears in this scene.
Act 1, Scene 2. "My blessings on your choice and you! / . . . Are nothing to a pretty face." A Spanish text gives Escarpin seventeen lines here, rather than five. The last dozen lines contain a story of a clever vixen and a comely partridge.
Act 1, Scene 3. The line "Yes, God and Man is Christ" is not indented in the printed source, but logically should be, and is in a Spanish text of the play. I have indented it above.
Act 1, Scene 3. The line "Why delay? Arrest them." in the printed source is shown as two lines ("Why delay? / Arrest them."), but this seems to be a printer's error as it breaks the asonante verse pattern.
Act 1, Scene 3. In order to preserve the verse, I have indented the line "Why, why, O heavens!"
Act 2, Scene 1. I have indented the line "What then?"
Act 2, Scene 1. With the line "Clemency in fine had won," there is another apparent discrepancy in the play. Polemius is angry at Chrysanthus when the soldiers return in Act 1, Scene 3.
Act 2, Scene 3. In the line "Here the jasmin doubly white," the word jasmine is spelt without an "e."
Act 2, Scene 3. In Nisida's song, in the line "The bless`ed rapture of forgetting", the printed source has "blessed" without an accent on the second "e." Because this line is repeated twice more in the scene with the accent, I have added it to this first instance in the text above.
Act 2, Scene 3. The printed source lists Escarpin as the speaker of the lines "My lord, oh! hearken / To my song once more." A Spanish text indicates that Nisida speaks here, as is only logical, so I have listed Nisida as speaker in the text above.
Act 2, Scene 3. There seems to be a gap in the dialog after "Not myself, no aid is granted." A Spanish text has four additional lines here: [D.] Luego tu tan de su parte / Estas, que a ellos los ensalzas? / [C.] Si; que he visto muchas cosas / Hoy en mi favor obradas.
Act 3, Scene 1. In a Spanish text, after the line "I could listen to such nonsense?" Escarpin has five lines of monolog.
Act 3, Scene 1. In a Spanish text the line "Whence did sound the voice?" is spoken by Chrysanthus, which would naturally agree with Polemius' reply to Chrysanthus immediately below. Also, just before this line, Chrysanthus says: Sin mi me ha dejado a mi.
Act 3, Scene 1. In the line "The two lover saints of Heaven." the phrase "lover saints" is not hyphenated, although the same phrase is hyphenated just before the end of the play. The Spanish text has "Los dos amantes del cielo" in both places.
Act 3, Scene 1. After the line "The two lover saints of Heaven." there are forty lines of dialog between Escarpin and Polemius. In typical Escarpine style, it contains a story. Here is a free translation: A man is on trial for killing his father and loving his mother. The judge berates the lawyer, "How dare you defend a man who has committed the worst possible crime." The lawyer replies, "I disagree, your Honor, for to kill his mother and love his father would, indeed, have been a worse crime."
Act 3, Scene 2. There is a break in the asonante verse at the line "They the open country seek".
Act 3, Scene 2. In the line "So part pagan and part christian", near the end of the scene, Christian is not capitalized in the printed source.
Imprint
Publication Date: 05-20-2008
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