WEBVTT 00:00:00.680 --> 00:00:02.920 Okay, let's proceed with table three. 00:00:02.920 --> 00:00:06.160 Indeed, we continue with Spanish myths in the 19th century. 00:00:07.200 --> 00:00:10.800 The first presentation will be given by Juan Carlos Bayo, from the Madrid Theatre 00:00:10.800 --> 00:00:12.600 Institute. 00:00:13.400 --> 00:00:16.600 Juan Carlos Bayo is a professor of Spanish Literature at the Complutense 00:00:16.600 --> 00:00:18.240 University. 00:00:19.040 --> 00:00:22.040 A long research career linked especially 00:00:22.040 --> 00:00:25.040 to the study of the Song of Mio Cid. 00:00:25.560 --> 00:00:29.560 He has published various articles in journals such as 00:00:29.560 --> 00:00:33.560 La Crónica, Modern Lenguaje Review Bulletin of Hispanic 00:00:33.560 --> 00:00:36.960 Studies, as well as a critical edition of the 00:00:36.960 --> 00:00:39.960 Cantar in the Castalia publishing house. 00:00:40.320 --> 00:00:44.320 Among his works are also various approaches to the literature 00:00:44.320 --> 00:00:48.320 of the Golden Age and to the Theatre of the 18th and 19th centuries, 00:00:48.320 --> 00:00:52.160 with attention, for example, to the adaptations of the work of Calderón de la 00:00:52.160 --> 00:00:54.120 Barca. 00:00:54.480 --> 00:00:58.480 Today he presents an intervention, a presentation entitled 00:00:58.480 --> 00:01:03.240 Song of Exile, The Itinerary of El Cid in the Operatic Repertoire. 00:01:03.480 --> 00:01:04.960 Juan Carlos, whenever you want. 00:01:04.960 --> 00:01:07.840 in the edition of the Cantar de Mio Cid published by Castalia. 00:01:07.840 --> 00:01:10.160 Isn't that an abomination? 00:01:10.160 --> 00:01:14.160 Where my work was destroyed and I really disown it, 00:01:14.160 --> 00:01:18.160 although sometimes I put it to fill out resumes and add 00:01:18.160 --> 00:01:23.000 bulk to those mafia-like societies like ANECA and that kind of place. 00:01:23.360 --> 00:01:26.120 Anyway. Uh, having made that clarification. 00:01:26.120 --> 00:01:29.280 Continuous. 00:01:29.800 --> 00:01:31.320 Well, the thing is... 00:01:31.320 --> 00:01:35.200 Well, first of all, I want to thank the organizers of the symposium for inviting 00:01:35.200 --> 00:01:37.160 me to speak at it. 00:01:37.440 --> 00:01:41.440 And well, my presentation does not exactly coincide with my main 00:01:41.440 --> 00:01:44.920 research or with the theme of the Congress, but I think it has some 00:01:44.920 --> 00:01:46.680 relation to both. 00:01:46.880 --> 00:01:50.880 Well, it is a well-known thesis that the popular novel did not fully 00:01:50.880 --> 00:01:54.040 develop in Italy due to the taste for melodrama. 00:01:54.480 --> 00:01:58.640 Well, musical theatre as we would say in Spain, and well. 00:01:58.640 --> 00:02:01.440 And there is no doubt that both genres are closely related, particularly in 00:02:01.440 --> 00:02:04.280 their historical genre and some of their treatments. 00:02:04.640 --> 00:02:08.640 Rodrigo Díaz, El Cid Campeador in the 19th century are 00:02:08.640 --> 00:02:13.360 very close to what we could call a historical novel, set to music. 00:02:14.200 --> 00:02:18.160 But well, he's a hero who has had less success on the 00:02:18.160 --> 00:02:21.160 operatic stage than in other areas. 00:02:22.640 --> 00:02:24.440 and well, 00:02:24.440 --> 00:02:28.440 Of course, the Cid was sung about in medieval epic 00:02:28.440 --> 00:02:32.440 poems, later in old ballads, and in the first half of 00:02:32.440 --> 00:02:36.440 the 17th century he was also established as a theatrical 00:02:36.440 --> 00:02:40.440 figure, especially thanks to the Cid's youth by 00:02:40.440 --> 00:02:44.040 Guillén de Castro in Spain and by CONAI in France. 00:02:44.360 --> 00:02:48.360 And well, and in that way he became available 00:02:48.360 --> 00:02:52.360 as a protagonist hero for that new form 00:02:52.360 --> 00:02:56.360 that was opera, which at that time was 00:02:56.360 --> 00:03:00.520 emerging in Italy and even in this genre. 00:03:00.520 --> 00:03:02.200 They developed over time. 00:03:02.200 --> 00:03:06.200 Trends to recover medieval 00:03:06.200 --> 00:03:10.040 Castilian elements, including 00:03:10.040 --> 00:03:13.040 the Cantar de Mio Cid. 00:03:13.560 --> 00:03:17.560 And looking back at history, it is quite surprising 00:03:17.560 --> 00:03:21.560 that so many operas have been produced about Rodrigo 00:03:21.560 --> 00:03:25.560 Díaz, some of them composed by, well, by great 00:03:25.560 --> 00:03:29.560 figures in the history of music, and also, well, 00:03:29.560 --> 00:03:34.640 not only composers, but also by the great divas of each era. 00:03:34.640 --> 00:03:38.640 However, none of them have become a 00:03:38.640 --> 00:03:41.760 benchmark in the repertoire. 00:03:41.760 --> 00:03:43.800 In other words, it's a kind of exile. 00:03:43.800 --> 00:03:46.040 Hence the title of the presentation. 00:03:46.040 --> 00:03:50.040 So, well, my presentation isn't going to have, let's say, 00:03:50.040 --> 00:03:54.040 the depth of the previous ones, but I'm going to give you a 00:03:54.040 --> 00:03:58.040 kind of general overview of those not entirely successful 00:03:58.040 --> 00:04:02.200 attempts to incorporate El Cid into the operatic form. 00:04:02.200 --> 00:04:06.640 And I'm not going to be exhaustive because, because. 00:04:06.640 --> 00:04:10.640 Well, given the time constraints, I'm simply going to focus on the 00:04:10.640 --> 00:04:14.200 main trends that developed in the 18th and 19th centuries. 00:04:15.840 --> 00:04:21.120 In the first current it appears within that of Italian opera seria. 00:04:21.920 --> 00:04:25.600 It would be around 1,715,802.1 00:04:25.600 --> 00:04:28.600 peak around 1773. 00:04:28.920 --> 00:04:31.920 And it is during this time that El 00:04:31.920 --> 00:04:34.920 Cid enters the operatic stage. 00:04:35.600 --> 00:04:39.600 And this happens in part within a general trend of Italian 00:04:39.600 --> 00:04:45.480 opera to assimilate elements of French tragedy and thus give itself meaning. 00:04:45.920 --> 00:04:49.920 And at that time five Italian librettists 00:04:49.920 --> 00:04:53.920 produced texts that were ultimately derived 00:04:53.920 --> 00:04:57.920 from Cornell's and at least 12 composers 00:04:57.920 --> 00:05:03.080 produced operas, mostly during that period, in 1715. 00:05:03.080 --> 00:05:04.640 And we have Il Gran Cid. 00:05:04.640 --> 00:05:08.640 It is the one that begins the series with text by Giovanni 00:05:08.640 --> 00:05:12.640 Jacopo, Albor Gatti, also known as Gildo Merello, the name 00:05:12.640 --> 00:05:16.640 he had as a member of the Arcadia Academy and with music by 00:05:16.640 --> 00:05:20.360 Jean-Baptiste Stuck, which was performed in Livorno. 00:05:21.320 --> 00:05:25.320 The score has apparently been lost, but 00:05:25.320 --> 00:05:29.000 oh well, the text was printed. Hmm. 00:05:29.320 --> 00:05:32.480 Well, the basis is Corneille's 00:05:32.480 --> 00:05:35.480 piece adapted to opera seria. 00:05:35.920 --> 00:05:39.080 And so, well, it has some changes. 00:05:41.240 --> 00:05:43.840 Substantial 00:05:43.840 --> 00:05:47.840 to the bulletin and reduced the number of acts 00:05:47.840 --> 00:05:51.840 and characters and well and above all developed 00:05:51.840 --> 00:05:55.840 despite that simplification, on that part, 00:05:55.840 --> 00:05:59.040 uh the plot with the opposition 00:05:59.040 --> 00:06:02.040 between Jimena Jiménez in her. 00:06:02.040 --> 00:06:05.680 In her version and the Infanta. 00:06:06.600 --> 00:06:07.120 And well. 00:06:07.120 --> 00:06:11.120 And the thing is that this libretto, uh, was set to 00:06:11.120 --> 00:06:15.120 music with its modifications by other composers, 00:06:15.120 --> 00:06:19.120 especially Francesco Gasparini, the great chef, 00:06:19.120 --> 00:06:23.120 uh, which was performed in Naples in 1717 and then 00:06:23.120 --> 00:06:27.120 by Leonardo Leo in another opera, the chef, uh, 00:06:27.120 --> 00:06:30.200 which was performed in Rome in 1727. Mhm. 00:06:30.760 --> 00:06:31.200 So. 00:06:31.200 --> 00:06:36.560 Well, then we have all those works based on the libretto by Álvaro Gatti. 00:06:36.800 --> 00:06:41.320 We have a second script. Jiménez on the character. 00:06:41.320 --> 00:06:44.120 Many times the central figure becomes Jimena. 00:06:44.120 --> 00:06:49.200 It's great that it was written by the jurist and writer Benedetto Pascual. 00:06:49.200 --> 00:06:52.200 And well, the name. 00:06:53.400 --> 00:06:57.400 In the academy it was Merino Cesario and how wonderful 00:06:57.400 --> 00:07:01.160 that it was first performed in Venice in 1721. 00:07:01.480 --> 00:07:03.400 And once again the music has been lost. 00:07:03.400 --> 00:07:06.440 Then there was a third script by Chocano Pizzi. 00:07:07.080 --> 00:07:11.080 The name in the academies, again different in Do Mauricio, 00:07:11.080 --> 00:07:15.080 which is good because he put it to music in Niccolò Pichincha, 00:07:15.080 --> 00:07:19.080 in the Gran Cid, for the first time in Naples in 1766, was 00:07:19.080 --> 00:07:22.680 performed and then turned over by Frankie in the Gran 00:07:22.680 --> 00:07:25.680 Chile of Rodrigo, in Turin, in 1768. 00:07:25.680 --> 00:07:29.960 Later by Francesco Bianchi in Iran, Chile in Florence, 1673. 00:07:29.960 --> 00:07:33.320 It was the premiere and later by Antonio Rosetti, a composer better known than the 00:07:33.320 --> 00:07:35.040 previous ones. 00:07:35.040 --> 00:07:39.040 In the crocheted version performed in Naples in 00:07:39.040 --> 00:07:43.040 1781, an alternative version of that libretto was 00:07:43.040 --> 00:07:46.840 used by Antonio Sakini in the Chile, which was the 00:07:46.840 --> 00:07:49.840 first of his three operas about El Cid. 00:07:50.240 --> 00:07:54.240 And well, that first one in Chile was 00:07:54.240 --> 00:07:58.240 performed in 9769 and then it was developed 00:07:58.240 --> 00:08:01.840 and performed in Lisbon in 1773. 00:08:03.000 --> 00:08:07.360 So, well, Pizzi's work was also the starting point. 00:08:07.680 --> 00:08:10.680 Oh, sorry, I forgot. 00:08:11.520 --> 00:08:13.400 I can see it. 00:08:13.400 --> 00:08:15.360 I see two slides. 00:08:15.360 --> 00:08:17.640 There's a good one, sorry. 00:08:17.640 --> 00:08:21.080 Eh, from that 4th libretto by De Giovanni 00:08:21.080 --> 00:08:24.080 Alberto, I'll throw the book away. Mhm. 00:08:25.640 --> 00:08:28.000 It was so good. And it was good. 00:08:28.000 --> 00:08:31.000 It's a script. 00:08:31.400 --> 00:08:31.960 Bilingual? 00:08:31.960 --> 00:08:35.120 Because, well, it's for voting and. 00:08:37.640 --> 00:08:41.240 It was based in London and provided texts for operas 00:08:41.240 --> 00:08:44.240 performed at the 15 Theater in the High Market. 00:08:44.960 --> 00:08:45.440 So. 00:08:45.440 --> 00:08:50.960 Well, the thing is, the booklet was printed in Italian and English. 00:08:51.160 --> 00:08:53.240 Okay. It's a bilingual edition. 00:08:53.240 --> 00:08:56.160 And well, he added music to it. 00:08:56.160 --> 00:09:00.680 As I have already said, Sakini was his second opera about El Cid. 00:09:01.320 --> 00:09:01.880 And well. 00:09:01.880 --> 00:09:05.880 And the English premiere was not just, let's say, a premiere 00:09:05.880 --> 00:09:09.840 for him, but also for Giuseppe Milico, who was the star. 00:09:11.600 --> 00:09:15.960 Mhm. That she sang the main role. 00:09:16.320 --> 00:09:16.600 So. 00:09:16.600 --> 00:09:20.600 Well, although that production has been 00:09:20.600 --> 00:09:25.440 completely forgotten today, it was a success in 1773. 00:09:26.680 --> 00:09:30.160 Very considerable, which even provoked a 00:09:30.160 --> 00:09:33.160 renewal of interest in serious opera. 00:09:33.440 --> 00:09:37.440 And well, the performances were witnessed by 00:09:37.440 --> 00:09:41.440 Barney Hall, who is the leading music critic 00:09:41.440 --> 00:09:44.440 in Britain at the time, and well. 00:09:44.440 --> 00:09:47.440 And she also took her daughters to Susan, which, well, has something very 00:09:47.440 --> 00:09:48.960 interesting and good. 00:09:48.960 --> 00:09:50.960 And he was very impressed, wasn't he? 00:09:50.960 --> 00:09:52.760 Then we. 00:09:52.760 --> 00:09:54.520 If I manage to read it properly. 00:09:54.520 --> 00:09:59.000 Well, there's the passage about, uh. 00:10:02.200 --> 00:10:04.760 From Charles Barney's General History of Music. 00:10:04.760 --> 00:10:08.560 And well, I always translate it like this, just roughly, you know? 00:10:08.560 --> 00:10:12.560 With those two passages he says In January 00:10:12.560 --> 00:10:16.280 1773, the first opera by Sakini. 00:10:16.280 --> 00:10:19.960 For our scenarios, Chinese was represented and in. 00:10:20.080 --> 00:10:20.960 And in May. 00:10:20.960 --> 00:10:25.160 The next Tamerlane. 00:10:25.520 --> 00:10:29.520 The two admirable productions, full of 00:10:29.520 --> 00:10:33.520 taste, elegance and knowledge of stage 00:10:33.520 --> 00:10:39.080 effects and the main singers of those works were milico and girly. 00:10:39.120 --> 00:10:39.960 So. Okay. 00:10:39.960 --> 00:10:43.960 And later in the 19, he brings up the 00:10:43.960 --> 00:10:49.400 question again, says Antonio Sakini from Naples, eh? 00:10:49.520 --> 00:10:53.520 He arrived in England in 1672, having composed for 00:10:53.520 --> 00:10:56.720 all the great theaters of Italy and Germany 00:10:56.720 --> 00:10:59.720 with increasing success. Huh? 00:11:00.440 --> 00:11:04.440 And here he not only confirmed the high reputation 00:11:04.440 --> 00:11:08.200 he had on the continent, but also defeated the 00:11:08.200 --> 00:11:11.200 natural enemies of his talent in England. 00:11:11.760 --> 00:11:15.760 And these operas, in short, and Tamerlane were equal 00:11:15.760 --> 00:11:19.120 to, if not superior to, any musical drama I 00:11:19.120 --> 00:11:22.120 have ever heard anywhere in Europe. 00:11:22.120 --> 00:11:26.120 Well, James Barney, most famous in this musical history, 00:11:26.120 --> 00:11:29.280 about his musical travels through Europe, no. 00:11:29.760 --> 00:11:35.640 Even translated into Spanish, it's a significant compliment. 00:11:35.640 --> 00:11:38.320 Once again, the score has been lost. 00:11:38.320 --> 00:11:41.720 But a selection, mostly of Arias, eh, was 00:11:41.720 --> 00:11:44.720 published, printed and there it is. 00:11:46.160 --> 00:11:50.160 Huh? Apparently, the singer was a military man, 00:11:50.160 --> 00:11:54.160 huh, who was mainly the one who promoted having 00:11:54.160 --> 00:11:59.360 the same script set to music again by Giovanni and Cielo in Iran. 00:11:59.360 --> 00:12:03.200 Crochet was once exhibited in Florence in 1775. 00:12:04.640 --> 00:12:08.640 And that text of I Will Vote in Paris, also taken 00:12:08.640 --> 00:12:12.640 into account for the last Italian opera about 00:12:12.640 --> 00:12:16.640 the end of the 18th century, which was an elaboration 00:12:16.640 --> 00:12:20.640 of the libretto by Pascual Higo y Jiménez, set 00:12:20.640 --> 00:12:24.760 to music by Fernando Bertoni for whomever. 00:12:24.760 --> 00:12:27.760 3683. 00:12:28.040 --> 00:12:32.680 The scripts are continually recycled after. 00:12:32.720 --> 00:12:36.720 We have the 5th Italian libretto, which is by Antonio 00:12:36.720 --> 00:12:40.720 Simeone Grassi, who wrote "El Chile del España," 00:12:40.720 --> 00:12:44.880 which was set to music by Giuseppe Farinelli. Mhm. 00:12:46.560 --> 00:12:49.160 Well, 00:12:49.160 --> 00:12:53.160 Now, he was a composer sponsored by the famous 00:12:53.160 --> 00:12:56.480 theater, and the thing is, they paid 00:12:56.480 --> 00:12:59.480 for his education and adopted him. 00:12:59.480 --> 00:13:02.360 Is that the last name? Okay. 00:13:02.360 --> 00:13:06.360 That opera, which was performed in Venice in 1802, was the last 00:13:06.360 --> 00:13:09.600 of that line initiated by Al Volquete and Stuck. 00:13:10.200 --> 00:13:14.480 And that book was no longer used by later composers. 00:13:15.320 --> 00:13:19.320 So, well, if not to give a brief summary of 00:13:19.320 --> 00:13:23.320 this movement, the scores of these productions 00:13:23.320 --> 00:13:27.320 in general seem to have been lost or only 00:13:27.320 --> 00:13:31.200 partially preserved. Attempts at recovery, 00:13:31.200 --> 00:13:34.200 well, have been minimal. 00:13:34.560 --> 00:13:38.200 There aren't, let's say, major critical editions, nor have the 00:13:38.200 --> 00:13:41.200 things we have been recorded in their entirety, huh? 00:13:41.280 --> 00:13:45.280 I have some doubts that they will become popular 00:13:45.280 --> 00:13:49.280 in Spain, and thus the logical place to revive 00:13:49.280 --> 00:13:53.280 them, because as is usual in the heroic roles 00:13:53.280 --> 00:13:57.280 of opera serials in the 18th century, the part 00:13:57.280 --> 00:14:00.960 of El Cid is assigned to the first musician, 00:14:00.960 --> 00:14:03.960 that is, the main castrato. 00:14:03.960 --> 00:14:08.400 Eh stars like the aforementioned military man. 00:14:08.400 --> 00:14:12.400 So I don't know if the Spanish public accepted the national 00:14:12.400 --> 00:14:16.400 hero embodied by a castrato or, as it was said in Castilian 00:14:16.400 --> 00:14:20.160 Spanish, a singing capon, which is the term used by Francisco de Cascales and 00:14:20.160 --> 00:14:22.040 others. 00:14:22.520 --> 00:14:23.240 So. 00:14:25.400 --> 00:14:29.280 I don't see, let's say, a bright future for 00:14:29.280 --> 00:14:32.280 this recovery of the works in Spain. 00:14:32.280 --> 00:14:35.880 But, uh, some areas that have been preserved from those 00:14:35.880 --> 00:14:38.880 operas have been recorded in the 21st century. 00:14:38.880 --> 00:14:42.880 On the other hand, there are tenors who I know who specialize 00:14:42.880 --> 00:14:46.880 in that type of repertoire and have recorded outside of 00:14:46.880 --> 00:14:49.920 Spain. But hey, I think that someday a Spanish 00:14:49.920 --> 00:14:52.920 countertenor will do it, right? 00:14:52.920 --> 00:14:57.280 I switch to a second stream pretty quickly, huh? 00:14:57.280 --> 00:15:01.280 It's a good thing it was cut short due to social 00:15:01.280 --> 00:15:04.400 circumstances, as it's the first opera. 00:15:05.800 --> 00:15:09.160 Represented in France about El Cid, which 00:15:09.160 --> 00:15:12.160 is from 1783, which was semen, eh? 00:15:12.400 --> 00:15:14.480 Whose? From a compound I've mentioned before. 00:15:14.480 --> 00:15:18.480 Antonio Sakini, who first performed in 183 at the 00:15:18.480 --> 00:15:22.480 Palace of Fontainebleau before Louis XVI and Marie 00:15:22.480 --> 00:15:26.720 Antoinette, and it was Sakini's second French opera. 00:15:26.720 --> 00:15:30.200 Or well, or as a street was called, which is 00:15:30.200 --> 00:15:33.200 the base name of the more accurate one. 00:15:33.200 --> 00:15:37.880 And well, as I said, it's Sakini's third opera. 00:15:37.880 --> 00:15:41.720 Uh, about El Cid after two Italian women. 00:15:42.280 --> 00:15:47.360 And at first he began to work. 00:15:49.440 --> 00:15:53.440 On a text called Simeon Rig, written 00:15:53.440 --> 00:15:58.800 by a Hellenist, Guillaume de Rochefort. Mhm. 00:15:58.800 --> 00:16:03.760 It's the one that's, let's say, well, on the left. Mmm. 00:16:03.760 --> 00:16:08.800 But then he had his doubts because for him it was a very important work. 00:16:08.800 --> 00:16:10.280 They were trying to ingratiate themselves with him. 00:16:10.280 --> 00:16:14.280 With Marie Antoinette, to obtain 00:16:14.280 --> 00:16:17.920 her sponsorship, her patronage. 00:16:18.560 --> 00:16:22.560 And well, the point is that he ended 00:16:22.560 --> 00:16:26.560 up commissioning a librettist, 00:16:26.560 --> 00:16:30.560 Nicola Afonso, who had already 00:16:30.560 --> 00:16:36.440 provided the libretto for Iphigenia in Tare by Gluck. 00:16:38.320 --> 00:16:42.120 Some great masterpieces of the era. 00:16:42.760 --> 00:16:46.760 So, well, the point is that, even using 00:16:46.760 --> 00:16:51.880 that last booklet, which is the one on the right, eh? 00:16:51.880 --> 00:16:56.400 The two of them went on to print both based on Corneille. 00:16:56.400 --> 00:16:59.920 And well, there was a lot of competition at 00:16:59.920 --> 00:17:02.920 that time between Sakini and Virginie. 00:17:02.960 --> 00:17:04.120 It's good that there was one. 00:17:04.120 --> 00:17:07.320 Fairly 00:17:07.320 --> 00:17:11.320 previously performed a historical 00:17:11.320 --> 00:17:15.320 opera there based on the story of the 00:17:15.320 --> 00:17:18.520 Queen of Carthage, Dido, and 00:17:18.520 --> 00:17:21.520 it had been a triumph in both am. 00:17:22.160 --> 00:17:25.760 I don't know if you can hear me well; if at any point the sound is lost, please 00:17:25.760 --> 00:17:27.560 tell me. 00:17:27.800 --> 00:17:31.800 The point is that both operas had 00:17:31.800 --> 00:17:34.840 starred a very famous soprano. 00:17:34.840 --> 00:17:37.840 At that time she was Antoinette Verdi, 00:17:38.480 --> 00:17:41.000 that's there 00:17:41.000 --> 00:17:44.000 and that it was clearly the 00:17:44.240 --> 00:17:46.920 star 00:17:46.920 --> 00:17:49.920 Jimeno and his. 00:17:50.000 --> 00:17:53.000 His role is much more prominent than Rodrigo's. 00:17:53.160 --> 00:17:56.920 It's good that he was represented by me, by this 00:17:56.920 --> 00:17:59.920 tenor of a name, let's say, so curious. 00:17:59.920 --> 00:18:03.920 Well, uh, she's called Lene, but she also wrote 00:18:03.920 --> 00:18:07.920 it as "bien bueno" in French, maybe it's also 00:18:07.920 --> 00:18:11.920 pronounced Lene, but Inés and well and well, we 00:18:11.920 --> 00:18:15.920 even have, let's say, in that, in that publication 00:18:15.920 --> 00:18:21.000 from the time I was there, David's theater channel, uh? 00:18:21.000 --> 00:18:25.000 We have him represented in the 00:18:25.000 --> 00:18:30.120 costume from the performances, right? 00:18:31.000 --> 00:18:35.000 That Jiménez de Sakini, Bueno, was completely overshadowed 00:18:35.000 --> 00:18:38.720 by the triumph of Virginia, although she later performed 00:18:38.720 --> 00:18:41.720 it again with relative success. 00:18:42.080 --> 00:18:42.720 But oh well, it happens. 00:18:42.720 --> 00:18:46.720 The thing is, lyric tragedy, which is a genre that really 00:18:46.720 --> 00:18:50.720 doesn't forget the French Revolution, which was just 00:18:50.720 --> 00:18:54.720 around the corner, well, it's a line perhaps cut short, 00:18:54.720 --> 00:18:58.720 but it's interesting because it's also, let's say, the 00:18:58.720 --> 00:19:02.720 first opera or the earliest opera about El Cid, which has 00:19:02.720 --> 00:19:06.720 been recovered after having disappeared from the stage 00:19:06.720 --> 00:19:10.480 for more than two centuries, uh, a production of. 00:19:10.560 --> 00:19:13.560 There is an alkali production in Paris in thousand. 00:19:13.600 --> 00:19:18.160 In 2017, the 21st century, huh? 00:19:19.360 --> 00:19:23.360 The third way or current would be 00:19:23.360 --> 00:19:27.360 that of El Cid in the opera of the 00:19:27.360 --> 00:19:31.360 Bel Canto era, which would go more 00:19:31.360 --> 00:19:36.640 or less from 1814 to 1853 and that's good. 00:19:36.640 --> 00:19:40.640 And these are plots based on Corneille, in Nuevo 00:19:40.640 --> 00:19:44.640 Bueno, one of the librettists, especially 00:19:44.640 --> 00:19:48.640 remembered for having supplied texts to Rossini 00:19:48.640 --> 00:19:52.640 and Giovanni Smith, is Silvina Jiménez, to 00:19:52.640 --> 00:19:56.640 which Tomaso put music with Salvo and Bueno and 00:19:56.640 --> 00:20:01.440 performed it for the first time in Naples in 1814. 00:20:01.440 --> 00:20:02.520 Isabela, with great. 00:20:06.920 --> 00:20:10.920 And also, as I say, it was Manuel García and Smith 00:20:10.920 --> 00:20:14.920 returned later to rework the text for Rodrigo 00:20:14.920 --> 00:20:18.920 with music by Antonio Sapienza, performed for 00:20:18.920 --> 00:20:22.920 the first time in 1823 in Naples, with a famous 00:20:22.920 --> 00:20:26.960 tenor who was Giovanni Bautista du Bini. 00:20:27.880 --> 00:20:30.840 Also, uh 00:20:30.840 --> 00:20:34.840 Another librettist who is somewhat well 00:20:34.840 --> 00:20:38.840 remembered, especially for the works he wrote 00:20:38.840 --> 00:20:42.840 for Rossini and Donizetti, was Jacobo Ferretti, 00:20:42.840 --> 00:20:46.840 the author of the libretto of La Kinselle, who 00:20:46.840 --> 00:20:50.240 wrote Il Chile for the composer Luigi Sadi. 00:20:50.840 --> 00:20:56.440 And that opera was first successfully premiered in 1834. 00:20:56.800 --> 00:20:58.360 And then we have. 00:20:58.360 --> 00:21:02.360 We still have another work composed by Giovanni 00:21:02.360 --> 00:21:06.360 Mazzini and with a libretto from here of the 00:21:06.360 --> 00:21:11.960 seven again performed again at La Escala in Milan in 1853. 00:21:12.800 --> 00:21:16.800 But the thing is, those works from that period of 00:21:16.800 --> 00:21:20.800 Mazzini's life, which were relatively vulgar in their 00:21:20.800 --> 00:21:26.640 time, were later completely overshadowed by the contemporary work of Verdi. 00:21:26.920 --> 00:21:30.920 So, well, it's one of the relatively interesting things 00:21:30.920 --> 00:21:35.000 about this, uh, about this current of operas about El Cid. 00:21:35.560 --> 00:21:39.560 And the thing is, well, the most legendary singers of 00:21:39.560 --> 00:21:43.560 the time who really defined it as they are, like Manuel 00:21:43.560 --> 00:21:48.880 García or Rubín, were involved in the performances of operas of El Cid. 00:21:49.280 --> 00:21:53.280 But the thing is that none of the heavyweights among the composers 00:21:53.280 --> 00:21:57.200 of the period, who are still, let's say, more in the repertoire 00:21:57.200 --> 00:22:00.200 of Rossini, Bellini, Donizetti, Verdi. 00:22:03.000 --> 00:22:06.480 He did nothing about the issue. 00:22:06.480 --> 00:22:12.320 So, well, we don't have a Cid from the time of the 00:22:12.320 --> 00:22:15.320 Bel canto. 00:22:15.400 --> 00:22:21.080 A third, quite important trend would be, say, the introduction of El Cid, eh? 00:22:24.200 --> 00:22:26.080 In 00:22:26.080 --> 00:22:30.080 in the operatic stages of German-speaking countries, which 00:22:30.080 --> 00:22:33.840 would be a trend that already existed from 1821 to 1885. 00:22:34.280 --> 00:22:38.440 It's great that it also incorporates El Cid a little while later. 00:22:38.840 --> 00:22:42.840 And well, that is a trend that developed from 00:22:42.840 --> 00:22:46.840 1821 to 1885, which every 20 years had, let's 00:22:46.840 --> 00:22:51.200 say, its peak around the middle of the 1860s. 00:22:51.800 --> 00:22:55.000 I will always limit myself to mentioning 00:22:55.000 --> 00:22:58.000 some facts about the initial phase. 00:22:58.320 --> 00:23:02.720 We have a Rodrigo, eh, a Ximénez, eh. 00:23:04.160 --> 00:23:08.160 The name Jimena is adapted in each country as 00:23:08.160 --> 00:23:12.160 represented by BBC Mundo and that in 1821 it is an 00:23:12.160 --> 00:23:16.160 opera by Johann Kaspar and Vikinga that is based on 00:23:16.160 --> 00:23:20.000 a libretto by Johann Jakob Ignat Sender, who was a prestigious writer and 00:23:20.000 --> 00:23:21.960 academic. 00:23:21.960 --> 00:23:25.120 But it's good that it received a rather cold reception. 00:23:25.480 --> 00:23:29.480 Hmm, well, nowadays it's still difficult to get 00:23:29.480 --> 00:23:33.480 the sheet music, but you can easily find reviews 00:23:33.480 --> 00:23:36.680 in the periodical press of the time. 00:23:36.680 --> 00:23:40.680 Then there's Jiménez, uh, by Jacob 00:23:40.680 --> 00:23:44.680 Wagner, uh, performed in Dansa of 1821, 00:23:44.680 --> 00:23:48.680 libretto by Christian Bale, which 00:23:48.680 --> 00:23:53.560 adapts Guillaume's libretto for Sakini. Uh? 00:23:53.840 --> 00:23:57.840 After Heinrich's saying to Damned, performed in 00:23:57.840 --> 00:24:01.840 Frankfurt in 1843, with a rather lukewarm reception 00:24:01.840 --> 00:24:06.080 based on a libretto by Carl Goldsmith and Carl Goldsmith. 00:24:06.080 --> 00:24:09.200 Well, we have that, let's say, in his memoirs. 00:24:09.200 --> 00:24:15.000 He first offered that libretto to Giacomo Meyer Berg and Felix Mendelssohn. 00:24:15.320 --> 00:24:18.120 It would be great if they had accepted, because perhaps we would be somewhere 00:24:18.120 --> 00:24:19.560 else. 00:24:19.560 --> 00:24:23.480 But hey, it's an opera. 00:24:23.480 --> 00:24:25.640 Excellent 00:24:25.640 --> 00:24:28.480 The repertoire was not established either. 00:24:28.480 --> 00:24:34.280 And then we have Luis del Michel's "The Avenger of Reja," right? 00:24:34.520 --> 00:24:35.160 Based on a script. 00:24:35.160 --> 00:24:39.160 Then a rather famous and prestigious playwright, 00:24:39.160 --> 00:24:43.160 another forgotten one, well that's it, first 00:24:43.160 --> 00:24:46.680 time in Pest and then many other cities. 00:24:47.400 --> 00:24:51.400 And then we have another one by Emil Maya, Don Rodrigo Díaz, I was 00:24:51.400 --> 00:24:55.400 going to say, performed once in Linz in 1848 in Austria, which was 00:24:55.400 --> 00:24:58.720 less successful than the previous one and was based on a libretto by Karl Joseph 00:24:58.720 --> 00:25:00.400 Smith. 00:25:01.040 --> 00:25:02.240 Eh El. 00:25:02.240 --> 00:25:06.240 Perhaps the most interesting thing about the German 00:25:06.240 --> 00:25:10.240 tradition is that for the first time it was influenced 00:25:10.240 --> 00:25:13.760 by scholarship on the Sirian subject. 00:25:13.760 --> 00:25:18.000 Then the director composes this poet, composer, poet. 00:25:18.000 --> 00:25:20.120 Cornelius 00:25:20.120 --> 00:25:24.120 He wrote a book called The Artist, 00:25:24.120 --> 00:25:27.920 which he set to music, and well... 00:25:27.920 --> 00:25:31.640 And the point is that he shows knowledge of the biography 00:25:31.640 --> 00:25:34.640 of Rodrigo Díaz written by Víctor M. 00:25:34.960 --> 00:25:37.160 Judah 00:25:37.160 --> 00:25:42.560 It's good that the point is that, well, he has those two works. 00:25:42.560 --> 00:25:46.560 Juba is about yes, the first, let's say one is a 00:25:46.560 --> 00:25:50.560 story he elaborates from various sources, and 00:25:50.560 --> 00:25:54.560 the second is a Spanish edition of the chronicle 00:25:54.560 --> 00:25:58.560 of the famous knight Ciro y Diez Campeador, 00:25:58.560 --> 00:26:03.320 which is the chronicle of Juan López de Belorado. Mhm, 00:26:04.200 --> 00:26:06.600 that one that 00:26:06.600 --> 00:26:09.800 Because of that Hispanic habit of changing the title without really 00:26:09.800 --> 00:26:12.800 knowing why, it's going to be called the Cid's Particular Chronicle. 00:26:12.920 --> 00:26:15.320 But hey, that's more of a special flame. 00:26:15.320 --> 00:26:19.320 Well, I don't have time to explain the absurdities 00:26:19.320 --> 00:26:23.480 of the title changes in Hispanic Philology. 00:26:23.480 --> 00:26:26.280 It would take me, let's say, the whole hour. 00:26:26.280 --> 00:26:26.600 So. 00:26:26.600 --> 00:26:30.600 Well, getting back to our topic, well, there's that 00:26:30.600 --> 00:26:33.920 important scholarly work in Germany by Cuba. 00:26:34.360 --> 00:26:38.360 But anyway, the point is that Cornelius there I would go, let's 00:26:38.360 --> 00:26:42.360 say, the presentation could easily be just about Cornelius's 00:26:42.360 --> 00:26:46.600 work and a doctoral thesis could be followed on it, let's say. 00:26:46.680 --> 00:26:50.680 The point is that he took elements from a variety 00:26:50.680 --> 00:26:54.880 of sources, but used them very, very freely. 00:26:55.080 --> 00:26:59.080 So, well, he ends up using Jimena's prayer, the song of Mio 00:26:59.080 --> 00:27:03.080 Cid, the grandmother's prayer in German, and puts it in the 00:27:03.080 --> 00:27:07.120 mouth of the bishop of Burgos at the beginning of the third act. 00:27:07.880 --> 00:27:11.880 Anyway, that opera, which the author called 00:27:11.880 --> 00:27:15.880 a drama, was successfully performed in 00:27:15.880 --> 00:27:19.880 Weimar in 1865, but afterwards it has been 00:27:19.880 --> 00:27:23.880 recovering somewhat sporadically, in a 00:27:23.880 --> 00:27:26.880 rather sporadic, erratic way. 00:27:27.120 --> 00:27:31.120 In any case, it is the German opera, surely 00:27:31.120 --> 00:27:35.120 the most interesting about El Cid, and it is 00:27:35.120 --> 00:27:38.720 the only one that has been recorded for a 00:27:38.720 --> 00:27:42.680 To be 00:27:42.760 --> 00:27:46.760 Commercially sold, it exists, 00:27:46.760 --> 00:27:50.640 let's say, it came out back then. 00:27:50.640 --> 00:27:54.640 Well, uh, that work of Cornelius 00:27:54.640 --> 00:27:58.640 in El Cid is the reason he gave 00:27:58.640 --> 00:28:02.640 to his friend Richard Wagner 00:28:02.640 --> 00:28:06.640 for not going to the first 00:28:06.640 --> 00:28:10.640 performance of Tristan and 00:28:10.640 --> 00:28:14.640 Isolde, in which Tristan and 00:28:14.640 --> 00:28:18.640 Isolde had Ludwig, not Charles, 00:28:18.640 --> 00:28:22.640 as the main singer, the most 00:28:22.640 --> 00:28:26.640 famous, the heroic tenor of 00:28:26.640 --> 00:28:30.560 the time when he died. 00:28:30.560 --> 00:28:33.560 A few weeks later, according to legend. 00:28:34.680 --> 00:28:37.840 Because, well, because of the great effort it took him to sing the role of 00:28:37.840 --> 00:28:39.440 Tristan. 00:28:39.440 --> 00:28:43.440 And well, if that's true and someone doesn't like Wagner, 00:28:43.440 --> 00:28:47.440 then he can also be blamed for the fact that we don't have 00:28:47.440 --> 00:28:51.440 a German Cid in the repertoire, because it wasn't 00:28:51.440 --> 00:28:55.440 expected that he would play the Cid in a new opera called 00:28:55.440 --> 00:28:59.440 El Cid Bueno, from the archives, composed by Luis 00:28:59.440 --> 00:29:03.040 Theodore Cubi and which had to be performed in 3D. 00:29:03.040 --> 00:29:04.320 And in fact, well, uh? 00:29:04.320 --> 00:29:07.880 Gaby arrived and delivered the complete score. 00:29:07.880 --> 00:29:10.240 We have the complete score and good. 00:29:10.240 --> 00:29:13.360 And it was performed for the first time in the 21st century. 00:29:15.000 --> 00:29:15.560 And well. 00:29:15.560 --> 00:29:19.640 Well, it got to the point 00:29:19.640 --> 00:29:23.640 It became, let's say, available on some 00:29:23.640 --> 00:29:28.880 German radio websites. Italy is still around somewhere. 00:29:30.280 --> 00:29:33.280 in it. 00:29:35.960 --> 00:29:39.360 In what are the wild web pages. 00:29:39.440 --> 00:29:43.800 But anyway, that's the point. 00:29:43.840 --> 00:29:45.800 Another interesting work. 00:29:45.800 --> 00:29:49.800 I could talk about a few more, but well, the point is that 00:29:49.800 --> 00:29:54.080 German opera developed a significant tradition about El Cid. 00:29:54.560 --> 00:29:58.560 And well, the point is that the most interesting work is that of 00:29:58.560 --> 00:30:02.720 Cornelius, which involves the incorporation of the work of evolution. 00:30:03.600 --> 00:30:07.600 Then, as the 5th and final stream, huh? 00:30:07.600 --> 00:30:11.600 I am going to discuss a period in French opera, 00:30:11.600 --> 00:30:16.760 which would be roughly between the 1870s and the 1890s. 00:30:17.080 --> 00:30:21.080 And a distinctive feature of the French of that period is that they try to 00:30:21.080 --> 00:30:25.080 incorporate typical Spanish elements, moving away somewhat from Cockney 00:30:25.080 --> 00:30:28.560 to give color to their treatments, but they do not resort to scholarly works, as 00:30:28.560 --> 00:30:30.320 Cornelius has said. 00:30:30.920 --> 00:30:32.000 Okay, then. 00:30:32.000 --> 00:30:36.000 Well, that's quite curious, because, well, the thing is that even then 00:30:36.000 --> 00:30:40.000 in France some important works had been produced on the Cantar de Mio Cid, 00:30:40.000 --> 00:30:44.560 in particular the recording of Nada más y nada, and it was published in 1858, eh? 00:30:44.560 --> 00:30:48.080 And once again we are faced with the work 00:30:48.080 --> 00:30:51.080 of central composers of the era. 00:30:51.080 --> 00:30:55.040 The first one would be Joss says that well, in fact it is that. 00:30:55.080 --> 00:30:58.160 A friend of his, Ian 00:30:58.160 --> 00:31:01.160 Batis Folk, was. 00:31:01.160 --> 00:31:04.280 The great diva 00:31:04.280 --> 00:31:08.480 The baritone of the Paris Opera had the idea that the opera. 00:31:08.480 --> 00:31:12.480 Above all. Don't say I had to go with the idea that. 00:31:12.480 --> 00:31:15.880 Well, he's someone from Castro, let's say. 00:31:15.880 --> 00:31:18.880 They're looking for the original century, but it seems that 00:31:18.920 --> 00:31:21.800 for them. 00:31:21.800 --> 00:31:22.920 That's in Guillen de Castro. 00:31:22.920 --> 00:31:24.280 We never go any further. 00:31:24.280 --> 00:31:29.400 So, well, the script was written by Luis Galois and Eduardo Blow. 00:31:29.800 --> 00:31:33.800 And well, we have in the Memoirs of Wales that 00:31:33.800 --> 00:31:36.800 passage in which Bizet speaks. 00:31:36.800 --> 00:31:39.280 Then he says, "This is what I want to do." 00:31:39.280 --> 00:31:40.560 I declare myself with enthusiasm. 00:31:40.560 --> 00:31:44.640 It's not the Cockney Cid, it's the original twist with its Spanish flavor. 00:31:44.640 --> 00:31:47.880 And there is a scene, the beggar scene, which is wonderful. 00:31:51.120 --> 00:31:54.120 Look. 00:31:54.320 --> 00:31:58.320 I am sure the loving, filial, Christian, heroic, triumphant 00:31:58.320 --> 00:32:01.760 El Cid will be happy; what more could one wish for? 00:32:02.240 --> 00:32:05.720 Well, the point is that, cutting quickly, the 00:32:05.720 --> 00:32:08.720 beggar scene is the central one of the work. 00:32:09.000 --> 00:32:13.000 In The Question Is That He Says, he worked on that opera about the end, 00:32:13.000 --> 00:32:17.320 at the same time as on Carmen, and in fact he took it to sing in its entirety. 00:32:17.320 --> 00:32:21.320 In 1873, the opera about El Cid in Wales was 00:32:21.320 --> 00:32:27.200 accompanied on the piano by a score that only contains the 00:32:27.200 --> 00:32:31.440 The vocal part, but it has been preserved completely. 00:32:31.440 --> 00:32:34.560 But a few days later, the Paris Opera burned down. 00:32:35.320 --> 00:32:39.320 Hey, Carmen, who finished earlier, was not successful, even though she 00:32:39.320 --> 00:32:42.720 is recognized as one of the great pillars of the repertoire. 00:32:42.720 --> 00:32:45.680 But it was the discouragement that succeeded. I somewhat warned of encores. 00:32:45.680 --> 00:32:49.680 He died and that's where the project kind of ended. 00:32:49.680 --> 00:32:53.680 Those same scriptwriters Galway, Blog, eh, along with 00:32:53.680 --> 00:32:57.200 another one from Neri, produced a new script, eh? 00:32:57.520 --> 00:33:00.480 It served him well. 00:33:00.480 --> 00:33:04.480 And again, well, the thing is, they turned more to Cockney than 00:33:04.480 --> 00:33:08.760 to someone from Castro, contrary to what Bishop had suggested. 00:33:09.120 --> 00:33:09.680 And well. 00:33:09.680 --> 00:33:12.800 And the thing is, they're following 00:33:12.800 --> 00:33:15.800 the opera tradition. Mhm. 00:33:15.960 --> 00:33:16.440 And well. 00:33:16.440 --> 00:33:20.440 And the fact is that the premiere was a success in 1865 for 00:33:20.440 --> 00:33:25.640 Machine and went on to continue the repertoire continuously until 1919. 00:33:26.160 --> 00:33:29.520 It is perhaps the most successful opera 00:33:29.520 --> 00:33:32.520 about El Cid, and largely so, of course. 00:33:32.520 --> 00:33:36.520 Well, it was also really because of the cast that 00:33:36.520 --> 00:33:40.520 included Ian Derek, like I said, after gays like 00:33:40.520 --> 00:33:44.520 Don Diego and by plan they're like the Count of 00:33:44.520 --> 00:33:48.520 Gormaz, so well, it's an opera that's still 00:33:48.520 --> 00:33:53.800 performed occasionally and then just to add one last name and finish, eh? 00:33:54.080 --> 00:33:58.080 There is also an attempt worthy of consideration, 00:33:58.080 --> 00:34:02.080 which is in 1890, when Willy's young club began 00:34:02.080 --> 00:34:06.080 to compose music for a Rodrigues Jiménez with a 00:34:06.080 --> 00:34:09.840 libretto written by a Wagner enthusiast who 00:34:09.840 --> 00:34:12.840 was the Parmesan poet Caryl Méndez. 00:34:13.200 --> 00:34:16.960 The thing is that Debussy, as he progressed with the work, kept refining 00:34:16.960 --> 00:34:18.880 the theme. 00:34:18.880 --> 00:34:24.080 So he didn't finish it, and that opera has since been recovered. 00:34:24.080 --> 00:34:28.080 A century later it was completed by a musicologist, 00:34:28.080 --> 00:34:32.080 Richard Hammersmith and a composer, and made 00:34:32.080 --> 00:34:37.280 a Denisov for a first performance in Lyon in 1993. 00:34:38.480 --> 00:34:43.520 The point is that it is still a product, a somewhat problematic ending. 00:34:43.520 --> 00:34:46.600 But the quality of the music in some 00:34:46.600 --> 00:34:49.600 passages is very remarkable in all of them. 00:34:49.760 --> 00:34:53.040 Well, it has even been released on CD, and some 00:34:53.040 --> 00:34:56.040 singers have even added it to their repertoire. 00:34:56.040 --> 00:35:00.040 So, well, the point is simply that, 00:35:00.040 --> 00:35:04.040 well, this latest French trend has 00:35:04.040 --> 00:35:08.040 produced a more prominent presence 00:35:08.040 --> 00:35:13.400 of cinema than the previous ones, and well, the more in. 00:35:14.040 --> 00:35:18.040 I believe that to the extent that there are tenors interested 00:35:18.040 --> 00:35:21.800 in reviving that part of the French repertoire, I think it will continue to 00:35:21.800 --> 00:35:23.680 survive. 00:35:24.080 --> 00:35:28.080 And then I think it's also a matter of time until someone, 00:35:28.080 --> 00:35:32.080 maybe some lunatic, artificial intelligence or something 00:35:32.080 --> 00:35:36.080 like that, ends up producing a version of the song because, 00:35:36.080 --> 00:35:39.440 like I said, the vocal score is complete, right? 00:35:39.840 --> 00:35:43.120 So, well, something similar to what happened in the 90s with Rodríguez 00:35:43.120 --> 00:35:44.760 Jiménez could happen again. 00:35:44.760 --> 00:35:47.040 And well, that would be all. 00:35:47.040 --> 00:35:51.040 Perhaps as a final reflection, having already rehearsed a bit, 00:35:51.040 --> 00:35:55.040 what are, let's say, the obstacles that each of these traditions 00:35:55.040 --> 00:35:58.480 encountered or has in order to be incorporated into the political 00:35:58.480 --> 00:36:00.240 repertoire. 00:36:00.480 --> 00:36:03.720 And then there's the fact that cinema is an epic creature rather than a theatrical 00:36:03.720 --> 00:36:05.360 one. 00:36:05.360 --> 00:36:09.000 In fact, there are only two major theatrical works about the legend, the 00:36:09.000 --> 00:36:12.000 case of the Cockney skin, in contrast to a figure like Don Juan. 00:36:12.920 --> 00:36:16.920 It's great that he was born on the stage and has continued to 00:36:16.920 --> 00:36:20.920 experience the stage with Tirso, Molière, Goldoni, Pushkin, 00:36:20.920 --> 00:36:24.320 Zorrilla, Matrix and of course, the opera Don 00:36:24.320 --> 00:36:27.320 Giovanni, which was a great help to Ponte. 00:36:27.480 --> 00:36:31.480 But well, I think that CIDE's journey has been 00:36:31.480 --> 00:36:36.240 somewhat bumpy, and that's a good thing, isn't it? 00:36:36.320 --> 00:36:39.680 And it hasn't been introduced, but it's not for lack of trying. 00:36:40.040 --> 00:36:43.040 of trying. 00:36:47.640 --> 00:36:51.640 Thank you very much, Professor Ballo, for this 00:36:51.640 --> 00:36:55.640 academic and enjoyable journey through these 00:36:55.640 --> 00:36:59.640 paths and currents from the 18th century. Gildo 00:36:59.640 --> 00:37:03.000 Merello will vote for the idea of ​​playing. 00:37:03.000 --> 00:37:05.480 Well, there are all the French ones, the scripts. 00:37:05.480 --> 00:37:09.200 I believe there will then be room in the debate and 00:37:09.200 --> 00:37:12.200 discussion to raise some interesting issues. 00:37:12.800 --> 00:37:16.240 I think the only thing missing to complete this 00:37:16.240 --> 00:37:19.240 is a national classical radio program. 00:37:19.440 --> 00:37:22.160 and with. 00:37:22.160 --> 00:37:26.160 Continuing with the interventions of this third table, 00:37:26.160 --> 00:37:30.160 Javier Muñoz de Manuel Galiana, I don't know if you're 00:37:30.160 --> 00:37:34.160 connected, if I'm here, well, while you're here you can 00:37:34.160 --> 00:37:39.920 share, are you listening now? Yes Javier, no need to use a presentation this time. 00:37:39.920 --> 00:37:41.600 OK. 00:37:41.600 --> 00:37:41.840 Well. 00:37:41.840 --> 00:37:45.840 Javier Muñoz de Morales Galiana is a professor of Spanish Literature 00:37:45.840 --> 00:37:49.880 at the University of Ghent, Belgium, with a postdoctoral contract. 00:37:50.000 --> 00:37:54.000 He holds a doctorate in Arts and Humanities from the University 00:37:54.000 --> 00:37:58.000 of Cádiz and is primarily dedicated to researching the novel 00:37:58.000 --> 00:38:02.000 in Spanish Romanticism, a subject on which he has published 00:38:02.000 --> 00:38:06.000 more than 50 works including articles in journals, books, 00:38:06.000 --> 00:38:10.000 chapters and modern editions of several literary works, among 00:38:10.000 --> 00:38:14.000 which the condestable don Álvaro de Luna, published in 00:38:14.000 --> 00:38:17.720 Renacimiento 2021 or the Ferry de Ven a este par stand out. 00:38:18.120 --> 00:38:22.120 In 2024 he published in Iberoamericana Verbo ser el resucitador de 00:38:22.120 --> 00:38:26.120 la novela española, a biography of the nineteenth-century writer 00:38:26.120 --> 00:38:30.120 Manuel Fernández González. He has participated in more than 30 00:38:30.120 --> 00:38:34.120 academic congresses and is currently in charge of a research project 00:38:34.120 --> 00:38:37.320 on free and unacknowledged translations of novels 00:38:37.320 --> 00:38:40.320 during the Spain of the 18th and 19th centuries. 00:38:40.400 --> 00:38:44.400 He has also organized events on the Romantic movement, including a virtual 00:38:44.400 --> 00:38:48.400 congress and the two editions of the International Seminar on the Novel in 00:38:48.400 --> 00:38:52.440 Spanish Romanticism that took place in Cadiz and Ghent, respectively. 00:38:52.800 --> 00:38:56.160 Javier Muñoz de Morales It's a pleasure to have you here; you can start whenever 00:38:56.160 --> 00:38:57.880 you want. 00:38:59.080 --> 00:39:01.800 Well, thank you very much for the presentation and for inviting me to this 00:39:01.800 --> 00:39:03.160 Congress. 00:39:03.600 --> 00:39:07.600 In this presentation I am going to talk about a matter that seems 00:39:07.600 --> 00:39:11.600 somewhat relevant to me, especially to avoid certain confusions 00:39:11.600 --> 00:39:15.600 that have been occurring for a long time in Spanish literary 00:39:15.600 --> 00:39:19.000 history and related to the novel of the 18th century, 00:39:19.000 --> 00:39:22.000 which are the topics that interest me most, eh? 00:39:22.640 --> 00:39:25.280 Specifically, this whole idea of ​​whether there was really a historical 00:39:25.280 --> 00:39:26.640 novel 00:39:26.640 --> 00:39:29.280 in the 18th century or whether it's something that started in the 19th 00:39:29.280 --> 00:39:30.640 century, 00:39:30.640 --> 00:39:34.480 or whether there's a pre-Romanticism that incorporates the historical novel, or 00:39:34.480 --> 00:39:36.440 whether I think it stops. 00:39:36.440 --> 00:39:40.440 To understand this, it is quite important 00:39:40.440 --> 00:39:44.440 to fully understand the role of media in 00:39:44.440 --> 00:39:48.440 18th-century Spanish literature, which 00:39:48.440 --> 00:39:51.920 is something that is often overlooked, 00:39:51.920 --> 00:39:54.920 ignored, or not fully understood. 00:39:56.000 --> 00:40:00.000 Generally, when we talk about romanticism, we 00:40:00.000 --> 00:40:04.000 can find countless definitions, and trying to 00:40:04.000 --> 00:40:09.760 find a definition of what the romantic moment is, is just confusing. 00:40:09.760 --> 00:40:13.240 And many of these definitions are somewhat contradictory. 00:40:13.360 --> 00:40:17.360 Personally, I really like Mors Peckham's, particularly 00:40:17.360 --> 00:40:21.360 the English version he wrote; it seems quite accurate, 00:40:21.360 --> 00:40:25.360 but it's not relevant to this conference because, as far 00:40:25.360 --> 00:40:30.200 as literature is concerned, the story of the novel is so specific, eh? 00:40:30.200 --> 00:40:34.200 The connotations are quite different and for practical 00:40:34.200 --> 00:40:38.200 purposes, that is, none of the most essential features 00:40:38.200 --> 00:40:42.200 that I see or that I at least have been seeing, is the 00:40:42.200 --> 00:40:46.200 context in which the novelistic genre developed in 00:40:46.200 --> 00:40:50.200 romanticism once it was nominally consolidated, once 00:40:50.200 --> 00:40:54.200 the Spaniards, well, the rest of Europe too, but in the 00:40:54.200 --> 00:40:58.200 specific case of Spain, when the authors began to say 00:40:58.200 --> 00:41:02.000 we are romantics, we have had a romantic literature. 00:41:02.000 --> 00:41:04.560 Et cetera, et cetera Once that context was given. 00:41:04.560 --> 00:41:08.560 With that terminology, then novels began 00:41:08.560 --> 00:41:12.560 to appear, successively, a genre that in the 00:41:12.560 --> 00:41:16.560 18th century had been somewhat fossilized, 00:41:16.560 --> 00:41:19.640 not disappeared, but certainly 00:41:19.640 --> 00:41:22.640 in decline, so to speak, right? 00:41:22.880 --> 00:41:26.880 It had become something rather marginal, or rather, accessory, 00:41:26.880 --> 00:41:30.880 and something that was not taken very seriously, especially 00:41:30.880 --> 00:41:33.920 since the neoclassical poetics of the century. 00:41:34.360 --> 00:41:38.360 People think that it was mostly many topics that have been carried 00:41:38.360 --> 00:41:42.360 over from the history of literature, that at the end of the 18th century 00:41:42.360 --> 00:41:46.360 the pre-romantic era had begun, but there was never a formal break 00:41:46.360 --> 00:41:49.920 with neoclassicism, as there would be in the 19th century. 00:41:50.120 --> 00:41:53.120 And from controversies like the beloved Calderón and Ana. 00:41:53.840 --> 00:41:55.200 Quite the opposite. 00:41:55.200 --> 00:41:59.200 There were authors, such as the playwrights of the School of Comedy, 00:41:59.200 --> 00:42:02.960 who did not fit entirely into the neoclassical molds and therefore 00:42:02.960 --> 00:42:05.960 received criticism from, for example, Moratín. 00:42:05.960 --> 00:42:09.920 But it had nothing to do with whether they were more or less romantic or simply 00:42:09.920 --> 00:42:11.920 with not being present. 00:42:11.920 --> 00:42:15.640 It was a rather elitist movement, and not everything fit in there. 00:42:16.480 --> 00:42:20.920 The elitism that existed in the 18th century seems quite significant to me. 00:42:20.920 --> 00:42:24.920 Something that must be highlighted to understand this whole context, 00:42:24.920 --> 00:42:28.920 because novels, indeed there were many novels, but the social 00:42:28.920 --> 00:42:32.920 consideration they had, especially the artistic consideration that 00:42:32.920 --> 00:42:36.920 a novel could have in the 18th century was minimal in Lucian's Poetics, 00:42:36.920 --> 00:42:40.880 for example, which was a reference text on how literature should be. 00:42:40.880 --> 00:42:44.360 In 1918, novels were not discussed. 00:42:44.840 --> 00:42:46.360 It's curious because no one talks about the novels, but they do talk about 00:42:46.360 --> 00:42:47.120 Cervantes. 00:42:47.120 --> 00:42:50.120 They say that Cervantes' Don Quixote is immortal, huh? 00:42:50.480 --> 00:42:53.120 But no, no, no, he doesn't dedicate a chapter to the novel; he dedicates 00:42:53.120 --> 00:42:54.480 chapters to theater and 00:42:54.480 --> 00:42:56.960 poetry, especially in chapters where he says that Góngora and Lope de Vega are 00:42:56.960 --> 00:42:59.480 very bad and that one should not limit oneself. 00:43:00.680 --> 00:43:03.360 But he doesn't dedicate anything to the novel. 00:43:03.360 --> 00:43:06.640 It's curious that Cervantes acknowledges that he is an immortal author. 00:43:06.640 --> 00:43:09.360 But no, I didn't dedicate anything to the novel. 00:43:09.360 --> 00:43:12.680 Therefore, the novel was held in low regard. 00:43:12.680 --> 00:43:16.680 But it's curious because there were many imitations of Cervantes, 00:43:16.680 --> 00:43:20.680 there were many in the 18th century, not only imitations of Don 00:43:20.680 --> 00:43:24.680 Quixote, which are the most obvious, but also imitations of profiles 00:43:24.680 --> 00:43:28.680 such as the works of Narciso in the style of Mela de Martínez, Colomer 00:43:28.680 --> 00:43:32.680 or imitations, even of Galatea, imitations and continuations up 00:43:32.680 --> 00:43:36.680 to the continuation of Galatea that Trigueros made, that is, the 00:43:36.680 --> 00:43:40.200 pastoral novel, Byzantine novel in the Quixotic one. 00:43:40.640 --> 00:43:43.280 These genres were relatively common in the 18th century, but not because there 00:43:43.280 --> 00:43:44.640 was so 00:43:44.640 --> 00:43:47.280 much appreciation of the novelistic genre, but because there was also an 00:43:47.280 --> 00:43:48.640 appreciation 00:43:48.640 --> 00:43:51.760 of Cervantes as a figure, and he was not understood so much as a novelist, but as 00:43:51.760 --> 00:43:53.360 a brilliant author. 00:43:53.920 --> 00:43:58.640 It's about appreciating what the novel was. 00:43:59.360 --> 00:44:02.360 There were novels like that, but as something that didn't exist. 00:44:02.840 --> 00:44:04.520 It was something quite marginal. 00:44:04.520 --> 00:44:08.520 In the 19th century all this changed, especially in the 00:44:08.520 --> 00:44:12.840 first decades from 1820 onwards, and particularly from 1830. 00:44:12.840 --> 00:44:16.840 Although there were precedents, in the 1820s there was an almost national 00:44:16.840 --> 00:44:20.440 concern that the country had no novels at a time when the novel was 00:44:20.440 --> 00:44:23.440 blossoming. Well, there was some doubt, but... 00:44:23.440 --> 00:44:27.440 But it was, uh, becoming much more popular among the 00:44:27.440 --> 00:44:30.680 intellectual elites of the rest of Europe. 00:44:30.680 --> 00:44:34.640 That's why there was an urgency to want to imitate Walter Scott and to want to 00:44:34.640 --> 00:44:36.640 imitate everything. 00:44:36.640 --> 00:44:40.640 This whole style of historical novel, well, it was 00:44:40.640 --> 00:44:44.520 appropriate for a time of such turbulent social change. 00:44:44.520 --> 00:44:47.360 A time when the concept of nation and national sovereignty was so hotly 00:44:47.360 --> 00:44:48.800 debated. 00:44:48.920 --> 00:44:52.920 And well, that nineteenth-century context was very relevant to making, uh, 00:44:52.920 --> 00:44:56.920 countless imitations of Scott, especially a trend of the historical novel 00:44:56.920 --> 00:45:00.920 that was not the only novelistic trend that emerged, but which is generally 00:45:00.920 --> 00:45:03.960 the one that appears in the manuals of Spanish literature 00:45:03.960 --> 00:45:06.960 when the subject of the novel in the 19th century is discussed. 00:45:06.960 --> 00:45:08.040 How did they start in 19? 00:45:08.040 --> 00:45:12.040 It seems that everything is an imitation of Scott, but that wasn't the 00:45:12.040 --> 00:45:16.040 case. Many other works differed greatly from Scott, and even within the 00:45:16.040 --> 00:45:20.040 same rhetorical text, there were works that, although similar to Scott, 00:45:20.040 --> 00:45:24.040 diverged greatly in different aspects and were even parodies of Scott. 00:45:24.040 --> 00:45:28.040 What always strikes me is the fact that what has long been considered the 00:45:28.040 --> 00:45:32.200 first Spanish historical novel is Los mandos de Castilla by the Soler family. 00:45:32.200 --> 00:45:36.200 Hmm. It's not so much an imitation of Scott, but 00:45:36.200 --> 00:45:40.200 a parody of Walter Scott, a parody that takes 00:45:40.200 --> 00:45:44.200 texts from Scott himself, but certainly does 00:45:44.200 --> 00:45:48.200 not share the nationalist or traditionalist 00:45:48.200 --> 00:45:51.320 ideas that underlie Ivanov's work. 00:45:51.480 --> 00:45:53.160 In all these texts. 00:45:53.160 --> 00:45:56.080 We're not in the 19th year and we need to talk. 00:45:56.080 --> 00:45:57.680 It's the 18th, huh? 00:45:57.680 --> 00:46:01.680 This context of a fashion for historical novels could be attributed 00:46:01.680 --> 00:46:06.920 to a romanticism abroad that favored the production of novels and everything else. 00:46:07.160 --> 00:46:10.880 As I said, in 1918 it didn't exist, it didn't exist. 00:46:10.880 --> 00:46:14.160 This does not mean that there were no novels set in the past. 00:46:14.800 --> 00:46:17.840 Then I knew it, but there are novels set in the past 00:46:17.840 --> 00:46:20.840 and in the 18th, and in the 17th and in the 16th. 00:46:20.840 --> 00:46:24.440 In all those centuries, can you find a single novel 00:46:24.440 --> 00:46:27.440 set in the past or the Middle Ages? Huh? 00:46:27.960 --> 00:46:30.600 Specifically, I'm here to talk about the Middle Ages because that's what causes 00:46:30.600 --> 00:46:31.960 the most confusion. 00:46:31.960 --> 00:46:35.960 Many times I haven't found much in many articles, or 00:46:35.960 --> 00:46:39.960 monographs in general, that they say there is already 00:46:39.960 --> 00:46:44.120 one, one, that is, there is already romanticism. 00:46:44.120 --> 00:46:48.320 In the 18th century, because that novel is set in the Middle Ages, right? 00:46:48.360 --> 00:46:51.760 As if the fact that it was set in the Middle Ages meant something that the 00:46:51.760 --> 00:46:53.480 Romantics did indeed understand. 00:46:53.480 --> 00:46:57.040 One of their main demands was that they 00:46:57.040 --> 00:47:00.040 preferred the medieval to the classical. 00:47:00.080 --> 00:47:02.640 That style was opposed to the neoclassical ones. 00:47:02.640 --> 00:47:06.640 And of course, if we reduce this to the most and most 00:47:06.640 --> 00:47:10.640 simplification, it can lead us to see any text that has any 00:47:10.640 --> 00:47:15.240 medieval aspect or indication and we can say, come on, it's romantic. 00:47:15.240 --> 00:47:19.240 Well, it doesn't make any sense, because as I say, throughout the 00:47:19.240 --> 00:47:23.240 18th century there were texts set in the Middle Ages and in fact many 00:47:23.240 --> 00:47:27.240 of those texts are not only neoclassical, but are the most 00:47:27.240 --> 00:47:30.120 representative texts of what neoclassicism is in Spain and outside of 00:47:30.120 --> 00:47:31.600 Spain. 00:47:31.600 --> 00:47:35.600 If we go to AA1A1, such an important genre of the neoclassical 00:47:35.600 --> 00:47:39.600 movement as tragedy, then we go to tragedy in European 00:47:39.600 --> 00:47:44.640 neoclassicism and we will surely think of Walter's Muhammad. 00:47:44.640 --> 00:47:47.280 Voltaire's Muhammad is set in the Middle Ages. 00:47:47.280 --> 00:47:51.280 And if we go to Spain, perhaps the most famous, most important, 00:47:51.280 --> 00:47:55.280 most representative text of neoclassical tragedy is Raquel by 00:47:55.280 --> 00:47:59.480 García de la Huerta, which is curiously also called The Middle Ages. 00:47:59.480 --> 00:48:02.480 Spanish neoclassical tragedies, huh? 00:48:02.520 --> 00:48:06.520 While in the Middle Ages there are many, we can go to Guzmán, 00:48:06.520 --> 00:48:10.520 the good Moratín, Father, we can go to the sons of Asturias, of 00:48:10.520 --> 00:48:14.800 Vargas Ponce, to the Pelayo of Jovellanos and a whole bunch more. 00:48:14.800 --> 00:48:17.640 It's not something, it's not something strange, it's not something romantic. 00:48:17.640 --> 00:48:21.640 We are talking about authors who were very elitist and who staunchly 00:48:21.640 --> 00:48:25.640 defended neoclassicism and who did not even consider something like 00:48:25.640 --> 00:48:28.920 romanticism, therefore, that they are set in the Middle Ages. 00:48:28.920 --> 00:48:32.920 These works are not made more romantic, they are made more romantic, 00:48:32.920 --> 00:48:36.720 just as many romantic works are not less romantic for not being there. 00:48:36.920 --> 00:48:40.160 While the Middle Ages is not a conditio sine qua non, it is. 00:48:40.160 --> 00:48:43.920 Isn't this idea that romance is linked to 00:48:43.920 --> 00:48:46.920 the Middle Ages a bit simplistic? 00:48:47.040 --> 00:48:49.680 Well, Romanticism has to do with breaking a little of the limitations of 00:48:49.680 --> 00:48:51.040 Neoclassicism, and 00:48:51.040 --> 00:48:54.080 that could lead to imitating certain models that were not in classical 00:48:54.080 --> 00:48:55.640 antiquity, but in the Middle Ages. 00:48:55.640 --> 00:48:58.760 But the medieval setting, the atmosphere, is something 00:48:58.760 --> 00:49:01.760 that classicism contemplated without any problem. 00:49:02.480 --> 00:49:06.480 And in this context of Neoclassicism and such an elitist, 00:49:06.480 --> 00:49:10.480 limiting causalism, it seems that it makes no sense to talk about 00:49:10.480 --> 00:49:14.480 novels or that all the novels that emerged were outside of 00:49:14.480 --> 00:49:18.480 Neoclassicism. The Cervantine novel, which is most of the 00:49:18.480 --> 00:49:22.480 novels of the 18th century, certainly emerged outside of 00:49:22.480 --> 00:49:26.200 classicism; that is, with Cervantes you cannot put him in classicism no matter 00:49:26.200 --> 00:49:28.080 how much you want to. 00:49:28.080 --> 00:49:31.920 He is an author who is completely resistant to such rigid parameters. 00:49:31.920 --> 00:49:35.920 However much Antonio de los Ríos insisted on showing that Don 00:49:35.920 --> 00:49:39.920 Quixote was an imitation of the Iliad, which, well, the theory he 00:49:39.920 --> 00:49:43.040 puts forward makes sense, but I think it's a bit 00:49:43.040 --> 00:49:46.040 reductionist with respect to what Don Quixote is, eh? 00:49:46.520 --> 00:49:50.520 Therefore, they showed on one hand the Cervantine novel and 00:49:50.520 --> 00:49:54.520 what historiography has traditionally identified as romantic 00:49:54.520 --> 00:49:57.680 novels or historical novels, or even romantic 00:49:57.680 --> 00:50:00.680 novels in the 18th century, if that makes sense. 00:50:01.240 --> 00:50:04.520 They are another type of novel that emerged, especially in Spain, from a very 00:50:04.520 --> 00:50:06.200 specific date. 00:50:06.200 --> 00:50:08.480 It is 1778. 00:50:09.440 --> 00:50:11.520 Well, I'd say even before 1778. 00:50:11.520 --> 00:50:15.520 Before 1778 something very curious happened in which the 00:50:15.520 --> 00:50:19.520 neoclassical moment was the neoclassical references 00:50:19.520 --> 00:50:23.520 and it is a work that was quite referential within what is 00:50:23.520 --> 00:50:27.720 poetry and epic poetry, and it is the Telemachus of De León. 00:50:28.280 --> 00:50:31.000 I have here Telemachus from Penelope. 00:50:31.000 --> 00:50:34.880 It was a very influential work, because although it is true that it remains 00:50:34.880 --> 00:50:36.840 within the parameters that it is. 00:50:36.840 --> 00:50:40.840 Classical or neoclassical epic, well, it's a text, uh, prose, 00:50:40.840 --> 00:50:44.840 it could practically be considered a novel, and a novel that 00:50:44.840 --> 00:50:48.840 was largely limited to this idea that you can make an epic poem 00:50:48.840 --> 00:50:52.840 in prose, well, it was something that stood out quite a bit in 00:50:52.840 --> 00:50:56.840 the 18th century because, uh, the authors could be within the 00:50:56.840 --> 00:51:00.840 parameters of epic, but without needing to rhyme or without 00:51:00.840 --> 00:51:04.000 needing to give rhythm to the compositions. 00:51:04.000 --> 00:51:08.000 One way to create epic poems in prose, which we could say is 00:51:08.000 --> 00:51:12.000 contradictory, and from current literary theory we could 00:51:12.000 --> 00:51:16.160 say that they are not epic poems because they are in prose. 00:51:16.240 --> 00:51:20.240 In any case they are novels, not this type of novels that I have come to 00:51:20.240 --> 00:51:24.240 call epic novels, because they have a lot of epic influence and formally 00:51:24.240 --> 00:51:28.240 they are very similar to epic, but with the only difference being that 00:51:28.240 --> 00:51:32.120 they are in prose and specifically a very influential one in terms of the use of 00:51:32.120 --> 00:51:34.080 the Middle Ages. 00:51:34.080 --> 00:51:38.080 During the 18th he was the happy man of Father Teodoro de 00:51:38.080 --> 00:51:42.080 Almeida, which I have here in the most current vision there 00:51:42.080 --> 00:51:46.080 is, I am told published by a religious publisher that it seems 00:51:46.080 --> 00:51:49.560 that this has not been published again since the 90s. 00:51:50.600 --> 00:51:54.600 I think that this edition is a translation they use 00:51:54.600 --> 00:51:58.600 from Portuguese because it's a Portuguese work. The 00:51:58.600 --> 00:52:02.600 author was very important in Portugal, and this very 00:52:02.600 --> 00:52:06.600 recent edition is based on an 18th-century translation, 00:52:06.600 --> 00:52:10.600 I think from the early 19th century, but in any case, 00:52:10.600 --> 00:52:14.600 from that era. It's a novel that follows the model of 00:52:14.600 --> 00:52:18.440 Telemachus, which was published in 1778. 00:52:18.920 --> 00:52:22.240 And it was enormously, enormously disseminated. 00:52:22.240 --> 00:52:26.240 It was very successful in Spain, it is not good in Spain and in the 00:52:26.240 --> 00:52:29.840 colonies, because if one reads the Periquillo Sarmiento by Fernández del 00:52:29.840 --> 00:52:31.680 Jardín. 00:52:31.680 --> 00:52:35.680 One thing that really caught my attention is that the protagonist, 00:52:35.680 --> 00:52:40.960 Periquillo Sarmiento, is assigned it as mandatory reading in school, in the man. 00:52:40.960 --> 00:52:41.840 Felipe: Not at all. 00:52:41.840 --> 00:52:45.840 It was a very well-known work, especially because it had a lot of educational 00:52:45.840 --> 00:52:48.920 value, or rather, whether it had educational value from current standards 00:52:48.920 --> 00:52:50.480 is questionable. 00:52:50.480 --> 00:52:53.840 At the time, at least, it was considered to have some educational value. 00:52:54.680 --> 00:52:57.720 The work, as I say, is based on the model of Telemachus. 00:52:57.720 --> 00:53:01.720 The author confesses in the prologue that he wanted to compose an epic poem, 00:53:01.720 --> 00:53:05.640 but that he was not very good at rhyming, at stringing verses together. 00:53:05.640 --> 00:53:09.640 And he said, well, in the end I'm going to do it in prose, but it's a prose 00:53:09.640 --> 00:53:13.400 thing about an idea that was originally going to be in verse. 00:53:14.280 --> 00:53:18.280 It probably resembles epic poetry, and especially didactic 00:53:18.280 --> 00:53:22.280 epic poetry, in the style of Telemachus by Leon, which was also 00:53:22.280 --> 00:53:25.600 in prose and the only difference is that in this case it was also in the Middle 00:53:25.600 --> 00:53:27.280 Ages. 00:53:28.280 --> 00:53:29.400 Especially because the. 00:53:29.400 --> 00:53:33.400 The fundamental idea of ​​this book was to be able to 00:53:33.400 --> 00:53:36.680 react in some way to the waves of irreligion 00:53:36.680 --> 00:53:39.680 that were periodically emerging. 00:53:39.680 --> 00:53:42.680 As the most radical Enlightenment progressed in the 18th century. 00:53:43.880 --> 00:53:47.880 In other words, all this feeling of universal anguish, of universal 00:53:47.880 --> 00:53:51.880 annoyance that Meléndez Valdés said, the Goldschmidt who doesn't 00:53:51.880 --> 00:53:55.960 pronounce himself German but is so dull, existential to the point of pouring. 00:53:56.360 --> 00:54:00.360 So, above all, what is criticized here in the man in the happy 00:54:00.360 --> 00:54:04.360 name of the Father, the miracle that is considered to come from 00:54:04.360 --> 00:54:08.360 a lack of religiosity and that the best way to combat that is, 00:54:08.360 --> 00:54:13.600 well, by remaining very stoic, very Christian and with absolute trust in God. 00:54:13.960 --> 00:54:17.800 To do this, the author divides two characters. 00:54:18.080 --> 00:54:22.080 One of them is extremely religious and has absolute faith in 00:54:22.080 --> 00:54:25.720 the divine, and the other is so passionate that he ends up committing 00:54:25.720 --> 00:54:27.560 suicide, right? 00:54:27.560 --> 00:54:31.560 Then all this exaltation of passions is shown, something that is nevertheless 00:54:31.560 --> 00:54:34.880 portrayed as bad, as something morally reprehensible. 00:54:35.840 --> 00:54:39.920 And the real protagonist, uh, is the counterexample of that. 00:54:39.920 --> 00:54:44.640 A medieval Christian knight who always remains faithful to God. 00:54:45.800 --> 00:54:49.120 And with all this appeal to the medieval world, especially to 00:54:49.120 --> 00:54:52.120 the chivalric romances, but with a didactic background. 00:54:52.520 --> 00:54:55.520 The didactic background of Thomas is not so explicit. 00:54:55.760 --> 00:54:57.800 It is mentioned mainly in the dialogues. 00:54:57.800 --> 00:55:00.680 There are moral reflections from the characters, but it is above all an 00:55:00.680 --> 00:55:03.560 adventure novel that is quite easy to read. 00:55:04.080 --> 00:55:08.000 Honestly, for the 21st century, this is still 00:55:08.000 --> 00:55:11.000 readable and much more enjoyable, huh? 00:55:11.000 --> 00:55:14.280 In other words, it is a much more enjoyable read than many other novels 00:55:14.280 --> 00:55:15.920 that I will discuss below. 00:55:15.920 --> 00:55:19.920 It is a novel, as I say, of adventures, which intended 00:55:19.920 --> 00:55:23.920 to offer a moral example, eh, that would serve as a 00:55:23.920 --> 00:55:27.760 reference for that new century of disbelief in God. 00:55:28.480 --> 00:55:30.800 And of course, that's what they want to do. 00:55:30.800 --> 00:55:34.800 In that sense, the author, the Portuguese one, chose to refer to a 00:55:34.800 --> 00:55:38.800 historical figure, a historical figure, but not a very well-known 00:55:38.800 --> 00:55:42.800 one, because that would prevent him from creating adventures and 00:55:42.800 --> 00:55:46.800 developing a series of fictional episodes that take place in a specific 00:55:46.800 --> 00:55:50.440 context. Escogido is a Ladislaus III of Poland, who is, well, right? 00:55:50.480 --> 00:55:54.480 I don't know if he's a very well-known historical figure 00:55:54.480 --> 00:55:58.480 nowadays, but he certainly wasn't in 18th-century Spain, and 00:55:58.480 --> 00:56:02.080 since he wasn't known, well, it allowed people to invent all sorts of nonsense 00:56:02.080 --> 00:56:03.920 about him. 00:56:03.920 --> 00:56:07.920 This novel, as I say, is more like the chivalric 00:56:07.920 --> 00:56:11.880 romances of the Middle Ages than any historical 00:56:11.880 --> 00:56:14.880 novel of the 19th century. 00:56:14.920 --> 00:56:16.120 Well, the topic of history. 00:56:16.120 --> 00:56:20.120 In general, fantastic beings appear, demons appear, spirits of darkness 00:56:20.120 --> 00:56:24.920 appear, and all that, and the character fights against all these demonic beings. 00:56:24.920 --> 00:56:28.920 And well, it's more fantasy than anything else; it's more of a fantasy 00:56:28.920 --> 00:56:32.920 novel with Christian moralizing, and above all, because of its moral 00:56:32.920 --> 00:56:36.920 advice and that desire to remain stoic in the face of all the world's 00:56:36.920 --> 00:56:40.920 adversities, it was something that was very popular with the 00:56:40.920 --> 00:56:44.920 sensibilities of 18th-century Spain, which were rather conservative, 00:56:44.920 --> 00:56:48.320 rather reactionary, rather prudish, if you will. 00:56:48.320 --> 00:56:50.800 This was something I liked quite a lot, although not everyone liked it more. 00:56:50.800 --> 00:56:54.800 There were some critical voices, such as Mor de Fuentes in La Serafina, 00:56:54.800 --> 00:56:58.480 who said that this book was very good because it allowed you to save yourself a 00:56:58.480 --> 00:57:00.360 2000 lire syrup. 00:57:00.360 --> 00:57:02.640 No? Huh? 00:57:02.640 --> 00:57:05.440 The same could be said of Serafina de Fuentes, but oh well. 00:57:05.440 --> 00:57:08.000 No, I'm not going to get into that discussion right now in general 00:57:08.000 --> 00:57:09.280 knowledge. 00:57:09.320 --> 00:57:12.440 It was a book that was very well received in Spain. 00:57:12.840 --> 00:57:16.840 There were certain detractors, some of them like De Fuentes, whom I just 00:57:16.840 --> 00:57:20.840 mentioned, and another, Father Andrés Merino, of Jesus Christ. Uh. 00:57:21.600 --> 00:57:25.600 Because although he was also a rather pious author, like Teodoro 00:57:25.600 --> 00:57:29.600 Almeida, also religious, he saw a certain problem in this kind 00:57:29.600 --> 00:57:33.600 of literature such as The Happy Man, which although in the 18th 00:57:33.600 --> 00:57:36.880 century there had been a common agreement that the 00:57:36.880 --> 00:57:40.880 Did literature have a didactic role, did it have to teach? 00:57:40.880 --> 00:57:44.880 Well, one problem that could arise from literature teaching 00:57:44.880 --> 00:57:48.480 or being didactic is that, uh, works like that included 00:57:48.480 --> 00:57:51.480 a lot of historical nonsense, uh? 00:57:51.480 --> 00:57:55.480 There is no respect for historical events and the number 00:57:55.480 --> 00:57:59.120 of fictional or fantastical episodes is numerous. 00:57:59.160 --> 00:58:03.160 So, if literature was supposed to teach, and it was supposed to teach 00:58:03.160 --> 00:58:07.080 about the Middle Ages, well, this wasn't going to teach us much. It 00:58:07.080 --> 00:58:10.080 could teach me a lot on a moral level, but not that much. 00:58:10.080 --> 00:58:14.080 And well, on a moral level I was somewhat upset because this idea that 00:58:14.080 --> 00:58:17.600 people should be independent, uh, could be controversial. 00:58:17.600 --> 00:58:21.240 The original title was The Happy Man, Independent of the World and of Fortune. 00:58:21.440 --> 00:58:24.080 And since this is all well and good for men, but trying to apply this ethic to 00:58:24.080 --> 00:58:25.440 women 00:58:25.440 --> 00:58:29.600 for whatever reason, Father Andrés Reino de Jesucristo was not too happy about it. 00:58:29.600 --> 00:58:33.600 This led her to publish a novel in response to the 00:58:33.600 --> 00:58:37.600 happy man entitled Eh, in 1786 The Happy Woman, 00:58:37.600 --> 00:58:42.200 the Happy Woman, dependent on the world and fortune. 00:58:42.200 --> 00:58:44.640 Yes, the happy man was independent of the world and of fortune. 00:58:44.640 --> 00:58:47.360 A happy woman is dependent on the world and on fortune. 00:58:47.360 --> 00:58:49.160 It is a continuation of The Happy Man. 00:58:49.160 --> 00:58:52.680 It is a critical combination with the happy man and above all, critical. 00:58:52.920 --> 00:58:55.920 In the prologue with the theme of historical events. 00:58:56.080 --> 00:59:00.080 In other words, in The Happy Man there is a series of historical absurdities 00:59:00.080 --> 00:59:04.640 about Poland, about a dislocation and so on, which only serve to hinder people. 00:59:05.080 --> 00:59:08.000 And in this novel we're going to try to stay true to history. 00:59:08.000 --> 00:59:12.000 The Middle Ages, and well, uh, the truth is that in terms of 00:59:12.000 --> 00:59:15.720 erudition about the Middle Ages, The Happy Woman is a pretty comprehensive 00:59:15.720 --> 00:59:17.600 novel, uh? 00:59:17.680 --> 00:59:21.680 It is a long, very long novel, quite unbearable in many aspects, because 00:59:21.680 --> 00:59:25.680 it consists of long moralizing lessons, much less entertaining than The 00:59:25.680 --> 00:59:29.680 Happy Man. Although it is true that it has a novelistic plot that is quite 00:59:29.680 --> 00:59:33.200 well crafted and that could be salvaged if an anthology were made. 00:59:33.200 --> 00:59:36.240 But the important thing here is that it takes place in the Middle Ages, in the 00:59:36.240 --> 00:59:37.800 Middle Ages with moralizing purposes. 00:59:37.800 --> 00:59:41.800 It has nothing to do, absolutely nothing to do with what would later 00:59:41.800 --> 00:59:45.800 become the Romantic novel, the historical novel, also romantic 00:59:45.800 --> 00:59:49.800 for the stockings, because, for example, the interest in national 00:59:49.800 --> 00:59:53.800 customs is nonexistent, it does not take place in Spain, it takes 00:59:53.800 --> 00:59:57.800 place in Poland and in countries in that area, not in Spain, in very 00:59:57.800 --> 01:00:01.800 distant countries, precisely in order to give greater allegorical 01:00:01.800 --> 01:00:05.600 value to everything that is being talked about. 01:00:05.600 --> 01:00:09.040 But the customs of Spain at this point are of very little interest. 01:00:09.960 --> 01:00:13.960 And well, later, in 1792, another very similar novel appeared, 01:00:13.960 --> 01:00:17.960 which is Valdemar or Martínez Colomer Martínez, who had previously 01:00:17.960 --> 01:00:22.640 written some imitations of Cervantes, imitations of the exemplary novels. 01:00:22.640 --> 01:00:26.640 It is proposed today, 792, to make an imitation of the happy man that is 01:00:26.640 --> 01:00:30.640 Valdemar, a work that has perhaps been given too much importance because 01:00:30.640 --> 01:00:33.640 it was not known that it was an imitation of the happy man. 01:00:34.000 --> 01:00:37.600 But anyone who reads The Happy Man or reads Valdemar will see that it's more of 01:00:37.600 --> 01:00:39.440 the same. 01:00:40.400 --> 01:00:43.360 Everything that can be said about the happy man, I can accept at the Valdemar. 01:00:43.360 --> 01:00:47.360 The only difference is that while in The Happy Man we are talking about two 01:00:47.360 --> 01:00:51.360 characters, one who is a counterexample of the other, in Valdemar we will talk 01:00:51.360 --> 01:00:53.960 about a character who at first was passionate about what he wants to commit 01:00:53.960 --> 01:00:55.280 suicide. 01:00:55.280 --> 01:00:57.920 In fact, the first scene is him trying to commit suicide, but you will see the 01:00:57.920 --> 01:00:59.280 moment 01:00:59.280 --> 01:01:03.040 when a Christian hermit stops him, saying, "Don't commit suicide, God loves 01:01:03.040 --> 01:01:04.960 you very much," I don't know what else. 01:01:05.360 --> 01:01:09.360 And well, from there a novel unfolds that aims above all to provide a 01:01:09.360 --> 01:01:13.360 series of moral principles, of Christian virtue, although it takes 01:01:13.360 --> 01:01:17.360 place in the Middle Ages and in very distant kingdoms that the average 01:01:17.360 --> 01:01:20.960 person in the 18th century didn't usually know much about. 01:01:21.840 --> 01:01:25.160 It was the most successful novel by the author Martínez Colomer. 01:01:25.720 --> 01:01:28.480 And well, as I say, so much so. 01:01:28.480 --> 01:01:32.480 The happy woman of Andrés de Jesucristo and the Valdemar 01:01:32.480 --> 01:01:36.480 of Martínez Colomer stay in that line of EH of Telemaco 01:01:36.480 --> 01:01:40.480 and of Father Almeida of works that are really mmm 01:01:40.480 --> 01:01:44.960 novels, but that live off epic poetry, that is, epic novels. 01:01:45.320 --> 01:01:47.960 It still has very little to do with the historical novel of the 19th century; the 01:01:47.960 --> 01:01:49.320 historical 01:01:49.320 --> 01:01:51.960 novel of the 19th century will be much better structured, it will give much more 01:01:51.960 --> 01:01:54.640 importance to what the mediocre hero is, eh? 01:01:54.640 --> 01:01:57.960 It's a good thing I haven't read Lukács' book on the historical novel. 01:01:57.960 --> 01:01:59.040 He'll know. 01:01:59.040 --> 01:02:03.040 The historical novel, in the Scott style, is not about great historical 01:02:03.040 --> 01:02:07.040 figures, but about mediocre heroes, or about characters who are invented 01:02:07.040 --> 01:02:11.040 or who lived in a specific era and embody the values ​​of that era, but who 01:02:11.040 --> 01:02:15.240 represent the common people, not specific historical figures, right? 01:02:15.240 --> 01:02:19.040 These works depict great princes, great kings, great dukes 01:02:19.040 --> 01:02:22.040 or counts who are used as examples of virtues. 01:02:22.840 --> 01:02:26.840 And well, the brown bucket of 1792 and 1793 is perhaps 01:02:26.840 --> 01:02:30.840 the novel that has generated the most controversy, 01:02:30.840 --> 01:02:34.840 the most controversy in the sense that it has allowed 01:02:34.840 --> 01:02:38.840 for a series of judgments to be made, which I agree 01:02:38.840 --> 01:02:44.480 with, and it is Rodrigo de Monte in 1793, The Origin of the Problem. 01:02:44.480 --> 01:02:48.480 Alberto lists an article by Alberto Lista in the early days of 01:02:48.480 --> 01:02:52.480 Romanticism that said that the origins of the romantic 01:02:52.480 --> 01:02:56.440 historical novel were already in Monte Gon in the 18th century. 01:02:56.440 --> 01:02:58.920 The only one who says that Huntington's problem is that he didn't know how to 01:02:58.920 --> 01:03:00.200 write Spanish well. 01:03:00.200 --> 01:03:03.640 I don't know what they mean by this, or to what extent. 01:03:03.800 --> 01:03:06.520 Lists of those who write better Spanish, who put all their effort into judging it 01:03:06.520 --> 01:03:07.880 in this way. 01:03:08.800 --> 01:03:12.800 But the point is, uh, I think the comparison that Lista made makes no sense 01:03:12.800 --> 01:03:16.800 because it implies a complete lack of understanding of this whole trend, 01:03:16.800 --> 01:03:19.840 uh, of the 18th century, of the epic novel, of the influence 01:03:19.840 --> 01:03:22.840 of Telemachus and the influence of Sleeping Peter. 01:03:22.840 --> 01:03:26.480 It is, uh, this work is totally decontextualized and to believe 01:03:26.480 --> 01:03:29.480 that it is romantic because it is a work set in the middle. 01:03:29.480 --> 01:03:33.480 But then, by that logic, all neoclassical dramas in the 18th century, 01:03:33.480 --> 01:03:37.480 which are set in the Middle Ages, starting with García de la Huerta's 01:03:37.480 --> 01:03:40.600 Raquel, should be romantic. I think it makes no sense to compare this with the 01:03:40.600 --> 01:03:42.200 19th century. 01:03:42.200 --> 01:03:42.560 This. 01:03:42.560 --> 01:03:45.440 This edition by Guillermo Carnero in the lecture hall insists that it is already a 01:03:45.440 --> 01:03:48.320 historical novel in the style of Romanticism. 01:03:48.560 --> 01:03:51.840 And if you search for articles online you'll see that many say it's a 01:03:51.840 --> 01:03:53.520 historical novel. 01:03:53.520 --> 01:03:56.160 Era published an article in the Romantic style in which I believe I give 01:03:56.160 --> 01:03:57.520 sufficient 01:03:57.520 --> 01:04:00.880 reasons why I consider it a bit of an exaggeration to compare this to 01:04:00.880 --> 01:04:03.880 historical novels in the Romantic style. And here I reiterate that point. 01:04:03.880 --> 01:04:08.480 I think it's a work that draws heavily from epic poetry in particular. 01:04:08.480 --> 01:04:12.480 It perhaps imitates Tasso's Jerusalem Conquered a lot, because he had 01:04:12.480 --> 01:04:16.440 a lot of contact with Italian culture, but it has nothing to do with what would 01:04:16.440 --> 01:04:18.440 later become Romanticism. 01:04:18.440 --> 01:04:19.880 You only have to read the prologue. 01:04:19.880 --> 01:04:23.880 In the prologue the author says that what he intends to do is an epic 01:04:23.880 --> 01:04:27.880 poem, but that he has not finished rhyming, just as happened to Teodoro, 01:04:27.880 --> 01:04:31.880 to whom he offers us a first draft of what would later become, uh, his 01:04:31.880 --> 01:04:36.120 epic poem The Loss of Spain that he would publish in the 19th century. 01:04:36.360 --> 01:04:37.800 He wanted to write an epic poem. 01:04:37.800 --> 01:04:41.800 I wanted to do an essay first, a draft, and I tell you this that it is in 01:04:41.800 --> 01:04:46.040 prose, of course, but on a formal level it is much more like any epic poem. 01:04:46.040 --> 01:04:47.720 The character is King Rodrigo. 01:04:47.720 --> 01:04:50.040 He's not a mediocre hero in the Scott way. 01:04:50.040 --> 01:04:51.640 It is more of a collective tragedy. 01:04:51.640 --> 01:04:55.040 It is very similar to Spanish neoclassical 01:04:55.040 --> 01:04:58.040 tragedies set in the Visigothic era. 01:04:58.760 --> 01:04:59.920 I say this, and I stand by it. 01:04:59.920 --> 01:05:03.200 I don't think it's a work that has anything 01:05:03.200 --> 01:05:06.200 to do with the romantic novel genre. 01:05:06.200 --> 01:05:08.320 It's more of an epic novel, isn't it? 01:05:08.320 --> 01:05:12.320 I argue that we should use the term "epic" because it seems much 01:05:12.320 --> 01:05:16.320 more accurate to me and because it fits better with this whole 01:05:16.320 --> 01:05:19.600 trend of imitations of Nelson and Father Almeida. 01:05:20.120 --> 01:05:22.880 And in this case, we would be dealing with yet another erotic novel. 01:05:22.880 --> 01:05:25.400 The same is true of Javier. The novel. 01:05:25.400 --> 01:05:27.880 Javier: Yes, sorry for the interruption. 01:05:27.880 --> 01:05:33.400 Five minutes, please. But I'm sorry, okay. 01:05:33.400 --> 01:05:36.200 Another novel he published that same year, huh? 01:05:36.200 --> 01:05:40.200 Belisarius's daughter, another epic novel that in this case also focuses 01:05:40.200 --> 01:05:44.120 on education, just like The Happy Man, but on the education of women. 01:05:44.120 --> 01:05:49.840 Just like the happy woman appealing to Belisarius's daughter, huh? 01:05:49.840 --> 01:05:51.840 Therefore, it was also approved in the Middle Ages. 01:05:51.840 --> 01:05:55.720 I won't have much more because I'm a bit short on time. 01:05:56.120 --> 01:06:00.120 But I also wanted to mention the case in 1797, of a novel 01:06:00.120 --> 01:06:04.120 that I think is very important because it was one of the 01:06:04.120 --> 01:06:08.120 first to use the label historical novel and it is easy, 01:06:08.120 --> 01:06:11.240 easy historical novel by Pedro Maria de Oliveira. 01:06:11.240 --> 01:06:15.240 This novel has gone completely unnoticed by literary historiography because 01:06:15.240 --> 01:06:18.880 it was considered to be a translation of a text by Paco al andar, right? 01:06:19.520 --> 01:06:20.000 And it's true. 01:06:20.000 --> 01:06:23.840 He himself says that he has based it on what he has written, but it is not a 01:06:23.840 --> 01:06:25.800 literal translation of what he published. 01:06:25.800 --> 01:06:29.800 Was it a play, a drama called exactly that? But what 01:06:29.800 --> 01:06:33.200 it does is, on the same plot of the drama, 01:06:33.200 --> 01:06:36.200 compose a totally original novel, huh? 01:06:36.880 --> 01:06:37.960 And set in the Middle Ages. 01:06:37.960 --> 01:06:40.200 But it has nothing to do with the historical novel of the 19th century 01:06:40.200 --> 01:06:41.360 either. 01:06:41.360 --> 01:06:44.680 In this case, the most interesting thing is that it's a gothic novel. 01:06:44.680 --> 01:06:48.680 It takes place in a dark and gloomy castle 01:06:48.680 --> 01:06:52.520 where utterly abominable events occur. 01:06:52.520 --> 01:06:55.760 There is a mad, tormented Castilian man who forces 01:06:55.760 --> 01:06:58.760 his wife to devour the heart of her lover. 01:06:58.760 --> 01:07:04.280 A huge drama, a tremendously gruesome thing, and a rather heartbreaking ending. 01:07:04.280 --> 01:07:06.280 The most interesting thing about that novel is that it anticipates the Gothic 01:07:06.280 --> 01:07:07.280 novel. 01:07:07.280 --> 01:07:08.400 There will be a conference tomorrow. 01:07:08.400 --> 01:07:11.240 Miriam López Santos has spoken to her about this. 01:07:11.240 --> 01:07:15.080 The first Gothic novel to date that had been recognized as such was Cornelia 01:07:15.080 --> 01:07:17.000 Bronquial 1801. 01:07:17.000 --> 01:07:20.560 We'll be talking about the fact that there's an earlier one in 1797. 01:07:20.960 --> 01:07:24.080 Is it easy to write a completely Gothic novel, not a novel with Gothic elements, 01:07:24.080 --> 01:07:25.680 huh? 01:07:25.680 --> 01:07:29.520 Fangirl in 1797, labeled a historical novel, before she died there was another 01:07:29.520 --> 01:07:31.440 historical novel. 01:07:31.440 --> 01:07:34.080 The thing is, I'm not going to talk about it because it's about Alexander the 01:07:34.080 --> 01:07:35.440 Great, and I think it's a 01:07:35.440 --> 01:07:38.280 historical novel called Alexander the Great, a historical novel, but it doesn't 01:07:38.280 --> 01:07:39.720 take place in the Middle Ages. 01:07:40.040 --> 01:07:44.040 I'm not going to discuss the topic, but it's very interesting because it's an 01:07:44.040 --> 01:07:48.040 adaptation of a French translation of an ancient Persian poem about Alexander 01:07:48.040 --> 01:07:51.320 the Great, such an interesting subject, but better for another time as I don't 01:07:51.320 --> 01:07:52.960 have the time. 01:07:52.960 --> 01:07:55.600 The last thing I want to talk about is Olavide Olavide, one of the most 01:07:55.600 --> 01:07:56.960 important 01:07:56.960 --> 01:08:00.960 novelists of the 18th century, if not the most important, who published in the 01:08:00.960 --> 01:08:04.960 19th century, but who composed almost all of his novelistic work himself, and 01:08:04.960 --> 01:08:08.960 who even wrote a novel set in the time of the Catholic Monarchs, entitled The 01:08:08.960 --> 01:08:12.640 Sun of Seville, which is included in this anthology of novels by La Fuente 01:08:12.640 --> 01:08:15.640 that you can find at the Verbum publishing house. 01:08:15.640 --> 01:08:17.880 That novel, Sol de Sevilla. 01:08:17.880 --> 01:08:21.880 This one is a little closer to our idea of ​​a historical novel, but it 01:08:21.880 --> 01:08:24.880 doesn't at all align with the concept of the romantic 01:08:24.880 --> 01:08:27.880 spirit of the people, of the customs of the people. 01:08:27.880 --> 01:08:28.800 None of that, huh? 01:08:28.800 --> 01:08:29.360 Quite the opposite. 01:08:29.360 --> 01:08:33.360 It is a novel that exalts the Catholic Monarchs and exalts ideas of the world 01:08:33.360 --> 01:08:37.360 that have little or nothing in common with the ideas of national sovereignty 01:08:37.360 --> 01:08:40.760 that were so prevalent in the nineteenth-century historical novel. 01:08:41.120 --> 01:08:43.440 Huh? This novel, on the contrary, reflects something throughout almost the 01:08:43.440 --> 01:08:44.600 entire novel. 01:08:44.600 --> 01:08:46.680 It's not a mindset you live with, huh? 01:08:47.720 --> 01:08:51.720 Completely, totally reactionary and anti-enlightenment and 01:08:51.720 --> 01:08:55.720 very contrary to the revolutionary ideas of the French Revolution, 01:08:55.720 --> 01:08:59.280 which was one of the biggest critics of the French Revolution 01:08:59.280 --> 01:09:02.280 and all these ideas of national sovereignty. 01:09:02.600 --> 01:09:05.240 In no other context. 01:09:05.240 --> 01:09:07.040 Well, I hope I haven't gone over the time limit. 01:09:07.040 --> 01:09:09.680 It's a topic you can discuss much more, but I don't want to dwell on it. 01:09:09.680 --> 01:09:11.040 Regarding time, 01:09:11.040 --> 01:09:14.480 if there are any details or clarifications, I prefer to address them 01:09:14.480 --> 01:09:16.240 during the question and answer session. 01:09:16.280 --> 01:09:19.280 Thank you very much for your attention. 01:09:23.520 --> 01:09:27.520 Thank you very much Javier for all the references you have provided, 01:09:27.520 --> 01:09:31.520 which we have certainly taken into account, and we have also noted 01:09:31.520 --> 01:09:35.040 many interesting considerations, for example, regarding the continuity of 01:09:35.040 --> 01:09:36.800 periods. 01:09:36.800 --> 01:09:37.400 Many times. 01:09:37.400 --> 01:09:40.680 Well, what I was referring to was that Spanish 01:09:40.680 --> 01:09:43.680 novel that was fossilized in the 18th century. 01:09:44.200 --> 01:09:48.200 Well, if there is room for debate or 01:09:48.200 --> 01:09:51.520 discussion afterwards, then so be it. 01:09:51.520 --> 01:09:54.960 We'll take advantage of that, we're a bit short on time, so let's move on to the 01:09:54.960 --> 01:09:56.720 next intervention. 01:09:56.720 --> 01:09:58.400 Thank you very much, Javier. 01:09:58.400 --> 01:10:02.400 The following speaker is Carlos Mata Indurain, a tenured 01:10:02.400 --> 01:10:07.880 professor accredited by ANECA and a professor accredited by Catalonia. 01:10:08.320 --> 01:10:11.720 He is a researcher and academic secretary of the Griso Golden 01:10:11.720 --> 01:10:14.720 Age Research Group at the University of Navarra. 01:10:15.080 --> 01:10:18.920 His academic work stands out especially in the field of Golden 01:10:18.920 --> 01:10:21.920 Age literature and the work of Miguel de Cervantes. 01:10:21.920 --> 01:10:26.720 Although he also plays a prominent role in the research of the historical novel. 01:10:27.240 --> 01:10:31.240 In fact, his doctoral thesis was titled Francisco Navarro 01:10:31.240 --> 01:10:34.720 Villa, isolated 1818 to 1895 and his historical novels. 01:10:35.000 --> 01:10:37.560 Thank you so much for joining us. Thank you, Carlos. 01:10:37.560 --> 01:10:39.960 When you think it's the right thing to do. 01:10:39.960 --> 01:10:43.000 Well, thank you very much for the presentation. 01:10:43.000 --> 01:10:44.920 Many thanks to the organizers. 01:10:44.920 --> 01:10:48.920 Antonio Israel, Azucena, thank you for this invitation that allows 01:10:48.920 --> 01:10:52.520 me to speak again about the historical novels of Cervantes and Manuel Fernández 01:10:52.520 --> 01:10:54.320 González. 01:10:54.880 --> 01:10:58.880 Although the real expert on Fernández and González here is the 01:10:58.880 --> 01:11:02.880 person I just spoke about, not Javier with his doctoral thesis 01:11:02.880 --> 01:11:06.400 from 1992 and the monograph derived from it that was mentioned in his 01:11:06.400 --> 01:11:08.160 presentation. 01:11:08.960 --> 01:11:11.120 Can you hear me okay? 01:11:11.120 --> 01:11:13.040 Just for me, perfectly. 01:11:13.040 --> 01:11:14.480 Okay, perfect. 01:11:14.480 --> 01:11:18.480 Well, in my case I had already dedicated a couple of previous 01:11:18.480 --> 01:11:22.480 works to Fernández and González, specifically to their 01:11:22.480 --> 01:11:26.480 novels that address the Cervantine theme, but I was very 01:11:26.480 --> 01:11:30.480 keen to focus my attention on this one entitled The Captives 01:11:30.480 --> 01:11:34.120 of Algiers, which presents a very peculiar editorial problem or 01:11:34.120 --> 01:11:35.960 circumstance. 01:11:35.960 --> 01:11:39.960 We do not know the text of this story from a 20th-century 01:11:39.960 --> 01:11:43.960 edition, Editorial Tesoro, which is part of the 01:11:43.960 --> 01:11:47.960 mythical Capa y Espada collection, but we do not 01:11:47.960 --> 01:11:51.960 know if it was published in the 19th century as a 01:11:51.960 --> 01:11:56.560 standalone book or through the delivery or pamphlet format. 01:11:56.840 --> 01:11:59.840 I will return to this issue a little later. 01:11:59.920 --> 01:12:03.920 Love, adventure and intrigue in the chivalrous and romantic 01:12:03.920 --> 01:12:06.920 setting of our history constitute the motto 01:12:06.920 --> 01:12:09.920 of our unique swashbuckler collection. 01:12:09.920 --> 01:12:13.600 This is what that collection, which publishes titles in the mid-20th century, 01:12:13.600 --> 01:12:15.480 promised. 01:12:15.480 --> 01:12:19.480 And indeed, the novels of Fernández and González 01:12:19.480 --> 01:12:24.440 certainly provide such elements to clarify the picture a little. 01:12:24.440 --> 01:12:28.440 I will begin by recalling that Fernández y González, a true professional 01:12:28.440 --> 01:12:31.720 of the serial novel, which is published in installments today, 01:12:31.720 --> 01:12:34.720 wrote several works that are related to Cervantes. 01:12:34.960 --> 01:12:38.960 Thus we have The Battle of Lepanto, which is an 01:12:38.960 --> 01:12:42.960 epic poem awarded in 1850 at the Floral Games 01:12:42.960 --> 01:12:48.800 of the Lyceum of Granada and published that same year in Granada. 01:12:48.800 --> 01:12:52.800 Next comes The One-Armed Man of Lepanto, subtitled 01:12:52.800 --> 01:12:56.720 Episode in the Life of the Prince of Wits, Miguel de 01:12:56.720 --> 01:12:59.720 Cervantes, Madrid, Muñoz Printing House 01:12:59.720 --> 01:13:02.720 and Red 1874. 01:13:02.920 --> 01:13:06.920 This is a medium-length novel centered on certain love affairs 01:13:06.920 --> 01:13:10.920 of the writer that end with his enlistment as a soldier and his 01:13:10.920 --> 01:13:14.920 participation in the famous naval battle of 1571 against the 01:13:14.920 --> 01:13:18.920 Turks, the captives of Algiers, which is presented as a 01:13:18.920 --> 01:13:22.920 continuation of the previous one, but of which I have already 01:13:22.920 --> 01:13:28.400 said that we do not have the 19th century text, we only have the 20th century text. 01:13:28.800 --> 01:13:32.000 Madrid, Editorial Tesoro, 1954. 01:13:32.640 --> 01:13:36.000 And finally, the Prince of Wits, Miguel 01:13:36.000 --> 01:13:39.000 de Cervantes Saavedra, Barcelona. 01:13:39.000 --> 01:13:42.840 Espasa Hermanos Publishing House, a typographic establishment without a year, 01:13:42.840 --> 01:13:44.760 has no foot. 01:13:45.160 --> 01:13:49.160 The imprint does not indicate the 01:13:49.160 --> 01:13:54.080 year, but it could be around 1,876,878. 01:13:54.480 --> 01:13:58.480 This is a much longer novel, as it has 01:13:58.480 --> 01:14:01.960 no less than 1,300,300 pages. 01:14:01.960 --> 01:14:04.400 This is one volume, this is the other volume. 01:14:04.400 --> 01:14:08.400 Here are the 1300 pages that make up that very 01:14:08.400 --> 01:14:12.160 long novel about Miguel de Cervantes. 01:14:12.160 --> 01:14:16.160 Well, all these stories, well, the epic poem, which is also a 01:14:16.160 --> 01:14:20.080 story in some way, and these novels certainly don't have great literary 01:14:20.080 --> 01:14:22.080 quality, but they are. 01:14:22.360 --> 01:14:26.360 Perhaps Javier might disagree here because he argues that, 01:14:26.360 --> 01:14:30.360 of course, within Manuel Fernández de González's vast 01:14:30.360 --> 01:14:34.360 output, there are good works, but these, in my opinion, lack 01:14:34.360 --> 01:14:38.360 great literary quality. However, they are very interesting 01:14:38.360 --> 01:14:42.360 for understanding the path taken by Cervantine recreations 01:14:42.360 --> 01:14:46.360 during the Romantic period in the 1870s, when Cervantes 01:14:46.360 --> 01:14:49.760 was becoming a canonical writer, the quintessential 01:14:49.760 --> 01:14:52.760 author of the Spanish language. 01:14:53.960 --> 01:14:56.600 Well, I have already mentioned that I have not been able to determine whether 01:14:56.600 --> 01:14:57.960 there 01:14:57.960 --> 01:15:01.640 was an independent edition in the 19th century of the captives of Algiers, as 01:15:01.640 --> 01:15:03.480 there was of the Manco de Lepanto. 01:15:03.960 --> 01:15:07.960 The novel that precedes it might be assumed to be so, but 01:15:07.960 --> 01:15:11.960 neither the specialized bibliography on Fernández y 01:15:11.960 --> 01:15:15.960 González, nor the catalogs and reference works in use make 01:15:15.960 --> 01:15:19.960 any mention of it, to refer to a classic that was mentioned 01:15:19.960 --> 01:15:23.960 this morning, the famous catalog of Spanish novels and 01:15:23.960 --> 01:15:27.960 novelists of the 19th century, by Juan Ignacio Ferreras, 01:15:27.960 --> 01:15:31.960 both in the old edition of 1979 and in the revamped one of 01:15:31.960 --> 01:15:35.960 2010, mentions a series of novels by Fernández de González, 01:15:35.960 --> 01:15:39.200 published in the mid-20th century by Editorial Tesoro. 01:15:39.440 --> 01:15:45.080 Ferreras says, among which are some not listed in any catalog. 01:15:45.360 --> 01:15:49.360 And there he gives a list of these problematic novels for which we do not 01:15:49.360 --> 01:15:53.080 have a 19th-century text, and among them is The Captives of Algiers. 01:15:53.600 --> 01:15:57.600 For her part, María Teresa de Préstamo Landín, in her doctoral 01:15:57.600 --> 01:16:01.600 thesis The Constable Don Álvaro de Luna and his court in the context 01:16:01.600 --> 01:16:05.600 of the popular novels of Manuel Fernández González, mentions 01:16:05.600 --> 01:16:09.600 in her catalogue The Captives as a variant of the Manco de Lepanto 01:16:09.600 --> 01:16:13.600 and then in the bibliography, since she limits herself to citing 01:16:13.600 --> 01:16:16.760 what is known to be the 1954 edition of Tesoro. 01:16:17.440 --> 01:16:21.440 Nor has consulting bibliographic databases allowed me to 01:16:21.440 --> 01:16:25.240 locate the record of that hypothetical exempt edition. 01:16:25.720 --> 01:16:28.800 It existed, and not only is there a single copy 01:16:28.800 --> 01:16:31.800 left, but not even a bibliographic record of it. 01:16:32.600 --> 01:16:35.760 The Captives of Algiers was published in installments or 01:16:35.760 --> 01:16:38.760 newspaper pamphlets and no one has located this text. 01:16:39.800 --> 01:16:43.800 I even wanted to consult with the interlibrary loan service at my 01:16:43.800 --> 01:16:47.520 university, because sometimes librarians handle resources that are beyond the 01:16:47.520 --> 01:16:49.400 reach of researchers. 01:16:49.640 --> 01:16:53.640 And there has been no way to locate this hypothetical 01:16:53.640 --> 01:16:56.760 19th-century exempt edition either. 01:16:57.080 --> 01:17:03.040 However, the text published in 1954 by Tesoro de algún sitio had to be released. 01:17:03.400 --> 01:17:07.400 And what I can affirm is that the plot of 01:17:07.400 --> 01:17:11.400 The Captives of Algiers coincides, but 01:17:11.400 --> 01:17:15.400 mind you, not entirely verbatim with the 01:17:15.400 --> 01:17:20.880 text of The Prince of Wits, the 1300-page novel of around 01:17:20.920 --> 01:17:24.240 1,876,878. 01:17:24.920 --> 01:17:28.920 So, does The Captives of Algiers constitute a 01:17:28.920 --> 01:17:32.920 summary of the longer novel, or is it rather an 01:17:32.920 --> 01:17:36.920 abridged earlier version that would have had to 01:17:36.920 --> 01:17:41.880 be published as a serial book or in a serial novel around 1874-76? 01:17:42.800 --> 01:17:46.800 Lacking more precise editorial data and the absence of that text 01:17:46.800 --> 01:17:51.000 from the 19th, I am not in a position to give a definitive answer. 01:17:51.560 --> 01:17:55.560 What is clear is that many of the allusions made by the 01:17:55.560 --> 01:17:59.560 captives refer to and cannot be understood without the 01:17:59.560 --> 01:18:03.840 context of the outlandish and extensive 1300-page story. 01:18:04.480 --> 01:18:08.480 It remains to be determined, then, what the exact production 01:18:08.480 --> 01:18:12.480 process of The Captives of Algiers was, whether it was extraction 01:18:12.480 --> 01:18:16.480 and abbreviation of the long text or whether this was already a 01:18:16.480 --> 01:18:20.480 previous text that was later expanded by the novelist to take 01:18:20.480 --> 01:18:24.400 advantage of a narrative story full of stories, intrigues, secondary characters, 01:18:24.400 --> 01:18:26.400 etc.? 01:18:27.400 --> 01:18:31.400 Okay, going back to the 1954 edition, which is the 01:18:31.400 --> 01:18:35.400 only text we can handle well, the flap contains a 01:18:35.400 --> 01:18:39.400 very interesting informative text where it talks 01:18:39.400 --> 01:18:43.400 about piracy and how Fernández González offers 01:18:43.400 --> 01:18:47.400 us a magnificent picture describing the life of 01:18:47.400 --> 01:18:51.400 the captives in the Algerian baths and also the 01:18:51.400 --> 01:18:57.240 disappointments and hardships suffered by Miguel de Cervantes. 01:18:57.560 --> 01:19:01.560 That flap also tells us the price of the novel: 01:19:01.560 --> 01:19:05.760 Paperback, 25 pesetas; Clothbound, 35 pesetas. 01:19:07.000 --> 01:19:10.880 The second flap also has informative value, as it contains a 01:19:10.880 --> 01:19:13.880 list of works that are part of this collection. 01:19:14.320 --> 01:19:18.320 This includes 31 titles by Fernández and González themselves, 01:19:18.320 --> 01:19:21.920 eight by Ortega and Frías, two by Parreño, one by Richard 01:19:21.920 --> 01:19:24.920 Brandt and one by Fenimore Cooper. 01:19:25.160 --> 01:19:26.800 All for 25 pesetas. 01:19:26.800 --> 01:19:30.440 Except for the double volumes, which cost twice as much, they cost 50. 01:19:31.880 --> 01:19:35.880 Continuing with the paratexts or texts that are not yet 01:19:35.880 --> 01:19:39.880 the text of the novel, I want to mention a note that appears 01:19:39.880 --> 01:19:43.880 on the credits page under the heading "important" in 01:19:43.880 --> 01:19:46.920 capital letters and signed by the editor. 01:19:47.360 --> 01:19:51.360 It says: Contemporary historical criticism has dispelled darkness and 01:19:51.360 --> 01:19:54.880 undone errors and misunderstandings surrounding the immortal figure of Miguel 01:19:54.880 --> 01:19:56.640 de Cervantes. 01:19:57.120 --> 01:20:01.120 A century ago, when Don Miguel Fernández González, where Don 01:20:01.120 --> 01:20:05.120 Manuel Fernández y González wrote this work, many of the novelistic 01:20:05.120 --> 01:20:09.120 adventures and love affairs included in it were still attributed 01:20:09.120 --> 01:20:12.880 to the Complutense gentleman, and we trust that the reader's 01:20:12.880 --> 01:20:15.880 good judgment will be able to discern them. 01:20:16.040 --> 01:20:18.800 Well, I think the instruction is very clear, isn't it? 01:20:18.800 --> 01:20:22.800 Fernández González exaggerates, invents, lets his imagination run wild, 01:20:22.800 --> 01:20:25.920 and the discerning reader will be able to distinguish what is real from what is 01:20:25.920 --> 01:20:27.520 invented. 01:20:28.160 --> 01:20:31.360 This important detail came up in one of the presentations this morning, didn't 01:20:31.360 --> 01:20:32.960 it? 01:20:32.960 --> 01:20:36.960 When we evaluate a 19th-century historical novel, we have to take 01:20:36.960 --> 01:20:40.960 into consideration what the state of historical science was at 01:20:40.960 --> 01:20:44.320 that time, which did not have the rigor or the level of knowledge that it does 01:20:44.320 --> 01:20:46.040 today. 01:20:46.320 --> 01:20:50.320 That is why I always say that when judging these novels from a historical 01:20:50.320 --> 01:20:54.320 point of view, we should not compare them with what we know today, in 01:20:54.320 --> 01:20:58.320 this case about the life of Cervantes and his time, but with what was 01:20:58.320 --> 01:21:01.600 known according to the historiography of that time. 01:21:01.960 --> 01:21:05.960 Nor should we forget the freedom of the historical novelist who, as a 01:21:05.960 --> 01:21:09.440 creator of fiction, can take liberties that the historian cannot. 01:21:09.680 --> 01:21:13.680 Therefore, when we find an incorrect or inaccurate fact or an anachronism 01:21:13.680 --> 01:21:17.680 in these works, we should not always think that it is due to the author's 01:21:17.680 --> 01:21:21.680 ignorance, that he has made a mistake, that he knows nothing, but that 01:21:21.680 --> 01:21:25.680 many times it is the adaptation of those facts that he handles to his 01:21:25.680 --> 01:21:28.640 discursive strategy, always from the point of view or from the plane of 01:21:28.640 --> 01:21:30.160 fiction. 01:21:31.240 --> 01:21:35.920 Well, I had a quote and an anecdote about the author here. 01:21:36.440 --> 01:21:40.440 The quote was an assessment made by Javier Muñoz de 01:21:40.440 --> 01:21:45.320 Morales Galiana, of the joint production of Fernández and González. 01:21:45.320 --> 01:21:47.960 But it more or less says what I've already said, that in such an extensive 01:21:47.960 --> 01:21:49.320 body of work 01:21:49.320 --> 01:21:53.080 it's normal to have ups and downs, with better works, worse works, and so on. 01:21:53.360 --> 01:21:56.160 What I do want to remember, and please excuse me Javier, is that I'm not reading 01:21:56.160 --> 01:21:57.560 the quote right now. 01:21:57.560 --> 01:22:01.560 What I do want to remember is, uh, the anecdote that Hernández 01:22:01.560 --> 01:22:05.520 Herval recounts in his fabulous, fabulous in the sense that he makes up many 01:22:05.520 --> 01:22:07.520 things, uh? 01:22:07.600 --> 01:22:10.200 Biography of Fernández and González. 01:22:10.200 --> 01:22:13.200 And I find this anecdote very revealing. Don't you think? 01:22:13.720 --> 01:22:17.720 It says that someone affectionately allowed him to 01:22:17.720 --> 01:22:21.080 publish books unworthy of his talent and fame. 01:22:21.480 --> 01:22:25.480 Fernández y González, who had a solution for everything, would reply: "When a 01:22:25.480 --> 01:22:29.280 publisher comes to commission a book from me, I set up my loom and ask the 01:22:29.280 --> 01:22:31.200 bookseller what kind of book you want." 01:22:31.200 --> 01:22:34.200 A white-collar story or a tale of bandits? 01:22:34.480 --> 01:22:37.440 Do you want cane, mallet, or fine silk? 01:22:37.440 --> 01:22:40.560 And according to what he wants, which is regulated by what he pays. 01:22:40.880 --> 01:22:44.280 Is this how I work, making fine silk or cane? 01:22:44.280 --> 01:22:45.200 Mallet. 01:22:45.200 --> 01:22:46.480 Well, I think it's one. 01:22:46.480 --> 01:22:48.160 A very revealing quote. Don't you think? 01:22:49.280 --> 01:22:53.280 Okay, to contextualize the captives of Algiers, I'm going 01:22:53.280 --> 01:22:57.280 to briefly gloss over the content of The Prince of Wits by 01:22:57.280 --> 01:23:01.280 Miguel de Cervantes Saavedra, a story I've studied at 01:23:01.280 --> 01:23:06.880 another time and which is completely unreasonable to fill those 1300 pages. 01:23:07.680 --> 01:23:11.680 Fernández de González invents secondary characters who have adventures, 01:23:11.680 --> 01:23:16.360 in which they meet other characters, whose adventures are also recounted. 01:23:16.360 --> 01:23:20.360 And so, through accumulation, he manages 01:23:20.360 --> 01:23:23.840 to fill those 300,300 pages. 01:23:23.840 --> 01:23:27.040 Let's remember that he was paid per sheet of paper and 01:23:27.040 --> 01:23:30.040 per line, and therefore had to fill out paper, right? 01:23:30.120 --> 01:23:32.920 Good, huh? 01:23:32.920 --> 01:23:36.920 In this novel, is the narrative material studied, stretched, 01:23:36.920 --> 01:23:40.000 excuse me, everything, everything possible, huh? 01:23:40.040 --> 01:23:44.040 Is there this trend that Ferreras called a "stuttered 01:23:44.040 --> 01:23:48.040 style," a technique I've called "abuse of paragraph 01:23:48.040 --> 01:23:53.280 breaks," not with dialogues like "Hello, hello, how are you?" 01:23:53.280 --> 01:23:56.480 Okay. You arrived either at 12, no, at one. 01:23:56.840 --> 01:23:59.840 And so each of those replies was a line. Right? 01:24:00.680 --> 01:24:04.680 Eh, Fernández y González has no qualms about including in these 01:24:04.680 --> 01:24:08.680 1300 pages all the documents of the information from Algiers, 01:24:08.680 --> 01:24:12.680 from Cervantes, the Cervantine poem of the stasis to Saint Teresa 01:24:12.680 --> 01:24:16.680 and even, to include, he includes his entire epic poem The Battle 01:24:16.680 --> 01:24:20.680 of Lepanto of 1850, saying, "Why am I going to describe the Battle 01:24:20.680 --> 01:24:25.440 of Lepanto again, if I already told it in my epic poem?" and he includes them. 01:24:25.440 --> 01:24:30.240 I think that's 100/8 of that epic poem, right? 01:24:31.160 --> 01:24:34.240 Okay, so what's the content 01:24:34.240 --> 01:24:37.240 of this thick novel? 01:24:37.240 --> 01:24:41.240 The first volume, which occupies 668 pages, 01:24:41.240 --> 01:24:45.240 is divided into Book One, Cardinal Aguaviva, 01:24:45.240 --> 01:24:49.240 60 chapters, Book Two, from Rome to Lepanto, 01:24:49.240 --> 01:24:53.840 47 chapters and Book Three, Lepanto, 12 chapters. 01:24:54.320 --> 01:24:58.720 The second volume, which occupies pages 669 to 1300. 01:24:58.720 --> 01:25:00.000 The numbering is sequential. 01:25:00.000 --> 01:25:03.200 In both volumes, Book 4, "The Captivity 01:25:03.200 --> 01:25:06.200 in Algiers," has 69 chapters. 01:25:06.200 --> 01:25:10.040 Book 5, Esquivias, 21 chapters; Book 6, the 01:25:10.040 --> 01:25:13.040 Mayor of Argamasilla, 13 chapters. 01:25:13.040 --> 01:25:16.960 Book 7, The Daughter of Cervantes, 35 chapters 01:25:16.960 --> 01:25:19.960 and a conclusion of 14 chapters. 01:25:20.960 --> 01:25:24.960 Well, if we compare the content of the long novel with 01:25:24.960 --> 01:25:28.880 the short story of the captives of Algiers, we find 01:25:28.880 --> 01:25:31.880 that the captives of Algiers coincide. 01:25:32.240 --> 01:25:36.240 The content coincides with the entire second volume of the 01:25:36.240 --> 01:25:39.320 long novel, but obviously with abbreviations. 01:25:39.560 --> 01:25:42.680 Everything is explained in a much more succinct way. Isn't it? 01:25:43.760 --> 01:25:47.760 Yes, the second volume of the extensive novel 01:25:47.760 --> 01:25:53.520 consisted of 632 pages divided into 152 chapters, all with their own titles. 01:25:53.960 --> 01:25:57.960 The novella reaches 275 pages divided into 01:25:57.960 --> 01:26:01.840 24 untitled chapters and an epilogue. 01:26:02.640 --> 01:26:06.640 Chapters 1 to 16 of the short novel, mmm, narrate 01:26:06.640 --> 01:26:10.960 Cervantes' captivity until his release in 1580. 01:26:11.360 --> 01:26:15.360 That is to say, they are equivalent to what were 69 chapters 01:26:15.360 --> 01:26:19.360 in the longer novel; chapters 17 to 24 of the captives deal 01:26:19.360 --> 01:26:23.840 with Cervantes' marriage in Esquivias with Catalina de Salazar. 01:26:24.360 --> 01:26:29.040 His crush on Atentos Aldonza Lorenzo, huh? 01:26:29.600 --> 01:26:33.200 And Cervantes' relationship with his natural daughter, Isabel. 01:26:33.200 --> 01:26:37.200 That is, everything covered in the extensive novel 01:26:37.200 --> 01:26:40.960 throughout three books, the 5th, the 6th and the 7th, 01:26:40.960 --> 01:26:43.960 with 21, 13 and 35 chapters, respectively. 01:26:44.120 --> 01:26:48.120 Finally, the epilogue of the novella, which 01:26:48.120 --> 01:26:52.120 occupies two pages from 268 to 70, 275, 01:26:52.120 --> 01:26:56.120 corresponds approximately to the 14 chapters 01:26:56.120 --> 01:27:00.560 that formed the conclusion in the 1300-page novel. 01:27:00.920 --> 01:27:04.920 Cervantes' commissions for Andalusia, his economic 01:27:04.920 --> 01:27:08.920 hardships despite the triumph of Don Quixote in 1605, the 01:27:08.920 --> 01:27:12.920 Veleta episode in Valladolid and the ending in which he 01:27:12.920 --> 01:27:16.880 refers to how his sister Magdalena and his natural daughter 01:27:16.880 --> 01:27:19.880 Isabel enter the Trinitarian convent. 01:27:20.240 --> 01:27:24.720 And here the text of the captives of Algiers ends somewhat abruptly. 01:27:25.520 --> 01:27:29.520 The rest of Cervantes' life is not included or 01:27:29.520 --> 01:27:33.520 summarized, including the final years, the 01:27:33.520 --> 01:27:37.600 writing of his profile, and his death in 1616. 01:27:38.680 --> 01:27:42.680 I cannot stop because I want to stick to the allotted 01:27:42.680 --> 01:27:46.680 time to minimally summarize the plot, as I say, 01:27:46.680 --> 01:27:50.680 of what is the second volume of the long novel and 01:27:50.680 --> 01:27:54.680 what is the plot of the captives of Algiers. 01:27:54.680 --> 01:27:58.680 Don't include any adventures, backstabbing, or 01:27:58.680 --> 01:28:02.680 intrigues; all the women who fall in love with Cervantes, 01:28:02.680 --> 01:28:06.680 the Jewish Abigail Noemí, the obese wife of Hassan, 01:28:06.680 --> 01:28:11.720 the King of Algiers who also falls in love with Cervantes. Right? 01:28:12.680 --> 01:28:16.680 But all this, the historical data known about Cervantes' 01:28:16.680 --> 01:28:20.680 captivity, which is even there at some point Fernández 01:28:20.680 --> 01:28:24.680 González handles, or rather, cites the sources he uses, 01:28:24.680 --> 01:28:28.680 such as Father Haedo, not about Algiers, etc. Well, the 01:28:28.680 --> 01:28:32.680 escape attempts, the fact that he was never punished, 01:28:32.680 --> 01:28:36.680 even though escape attempts were punished with the 01:28:36.680 --> 01:28:40.680 death penalty, etc., etc. All this, which more or less 01:28:40.680 --> 01:28:44.680 corresponds to the official biography of Cervantes, 01:28:44.680 --> 01:28:48.680 is conveniently seasoned with the corresponding 01:28:48.680 --> 01:28:52.400 amount of internal rebellions in Algiers. 01:28:52.640 --> 01:28:56.640 Battles and knife fights, kidnappings, storms at sea, 01:28:56.640 --> 01:29:00.640 boarding actions, and the existence of a curious Brotherhood 01:29:00.640 --> 01:29:04.640 of the Tiger, whose secret leader is none other than Doña 01:29:04.640 --> 01:29:08.320 Magdalena, an old lover of Cervantes, who is also around. 01:29:08.320 --> 01:29:10.160 Through Algiers, eh? 01:29:10.160 --> 01:29:12.560 And what is it, huh? 01:29:13.800 --> 01:29:17.800 Well, it reappears there. No, I can't refer to this whole plot 01:29:17.800 --> 01:29:21.800 point about Cervantes's loves and affairs, because ultimately 01:29:21.800 --> 01:29:25.800 we're recovering information from the longer novel, and 01:29:25.800 --> 01:29:29.800 what we're saying here is that Cervantes is a genius, and 01:29:29.800 --> 01:29:33.800 geniuses have the freedom to fall in love, to bleed themselves 01:29:33.800 --> 01:29:37.800 dry, to be in love with three or four women at the same time, 01:29:37.800 --> 01:29:40.880 which is what happens in these novels. 01:29:41.280 --> 01:29:45.080 In the long one I'll explain it in more detail, and in the short one, more 01:29:45.080 --> 01:29:47.000 succinctly, I'm going to. 01:29:47.000 --> 01:29:50.080 I'm going to finish up now with 01:29:50.080 --> 01:29:53.080 a few small details, right? 01:29:53.600 --> 01:29:56.480 Hmm. Which one is the portrait of Cervantes? 01:29:56.480 --> 01:30:00.480 At the very least, I'll say it telegraphically: throughout 01:30:00.480 --> 01:30:04.480 the main part about the captives of Algiers, which obviously 01:30:04.480 --> 01:30:08.480 corresponds to the captivity in Algiers, there is a highly 01:30:08.480 --> 01:30:12.480 idealized portrait of Cervantes as a hero who organizes 01:30:12.480 --> 01:30:16.480 all the escape attempts, and when those escape attempts 01:30:16.480 --> 01:30:20.480 are thwarted, he takes all the responsibility and absolves 01:30:20.480 --> 01:30:24.480 or exonerates his companions, etc., etc. And all that 01:30:24.480 --> 01:30:28.480 character of magnificence, of greatness, of soul, etc., 01:30:28.480 --> 01:30:31.880 is conveniently underlined both by the main 01:30:31.880 --> 01:30:34.880 characters and by the narrator's voice! 01:30:34.880 --> 01:30:37.280 There's even a providential vision, isn't there? 01:30:37.280 --> 01:30:41.280 God is saving Cervantes from dying in Algiers because He 01:30:41.280 --> 01:30:44.640 destines him for something great in the future. 01:30:44.640 --> 01:30:48.440 I don't read all the quotes I had 01:30:48.440 --> 01:30:51.440 here, and even in both. 01:30:51.440 --> 01:30:55.440 In both the long novel and the short novel, it is recounted that Cervantes 01:30:55.440 --> 01:30:59.440 has a plan to seize Algiers because there are 25,000 Christian captives 01:30:59.440 --> 01:31:04.040 there, and therefore, they are well organized and well coordinated. 01:31:04.200 --> 01:31:08.200 They can seize the city and return it to Christendom, huh? 01:31:08.240 --> 01:31:12.240 To win it for, for, for religion, 01:31:12.240 --> 01:31:16.640 for God, etc., and for the king. 01:31:16.640 --> 01:31:20.640 That, as I say, is the idealized portrait that appears throughout 01:31:20.640 --> 01:31:23.760 1/1 of the captives of Algiers and in the last 01:31:23.760 --> 01:31:26.760 chapters, because in reality the novel could end. 01:31:26.880 --> 01:31:30.880 Could the short novel end when Cervantes is freed 01:31:30.880 --> 01:31:35.080 by Friar Juan Gil in the eight added chapters? 01:31:35.240 --> 01:31:38.000 There, a completely different image appears. 01:31:38.000 --> 01:31:42.000 It's the mature Cervantes, whom nobody pays attention 01:31:42.000 --> 01:31:46.000 to, who can't go to America, who has to barely make a 01:31:46.000 --> 01:31:50.000 living with his commissions in Andalusia as a gentleman, 01:31:50.000 --> 01:31:54.000 as a collector of back taxes, etc., etc., with problems 01:31:54.000 --> 01:31:58.840 paying his rent, etc., etc. And it's a completely sad image. 01:31:58.840 --> 01:31:59.960 Negative, right? 01:31:59.960 --> 01:32:02.360 Of an unrecognized genius. 01:32:02.360 --> 01:32:05.240 Finally, a brief note on history and fiction. 01:32:05.240 --> 01:32:07.280 And that's it, right? 01:32:07.280 --> 01:32:11.280 Let's not forget that we're dealing with a historical novel, and 01:32:11.280 --> 01:32:15.280 therefore, we're talking about fiction, right? Fernández and 01:32:15.280 --> 01:32:18.600 González try to show what Algerian society was like at that time. 01:32:18.920 --> 01:32:22.840 At least it tries to be faithful through the use of a coherent 01:32:22.840 --> 01:32:25.840 onomastics through the inclusion of Arabic words. 01:32:25.840 --> 01:32:28.840 Or are you bringing Cádiz closer, etc., right? 01:32:28.840 --> 01:32:32.280 That give, from a linguistic point of view, that local touch or that local 01:32:32.280 --> 01:32:34.040 flavor, etc. 01:32:34.520 --> 01:32:37.280 There are even some curious indications such as that the. 01:32:37.280 --> 01:32:40.280 The couscous of the Moors is similar to rice pudding. 01:32:40.440 --> 01:32:43.800 Well, I don't know if this is exactly the case, maybe not in terms of 01:32:43.800 --> 01:32:46.800 physical appearance, but not in terms of taste and other aspects. 01:32:46.880 --> 01:32:52.520 And some historical data is used or known historical data is entered. 01:32:52.520 --> 01:32:56.520 For example, the fact that Cervantes carried letters of 01:32:56.520 --> 01:32:59.840 recommendation from Don Juan of Austria increased his value as a ransom captive, 01:32:59.840 --> 01:33:01.520 etc. 01:33:01.880 --> 01:33:03.680 And regarding the image of Algiers. 01:33:03.680 --> 01:33:05.080 And with that I conclude. 01:33:05.080 --> 01:33:09.080 Although descriptions are not abundant because in Fernández de González's 01:33:09.080 --> 01:33:12.600 novels almost everything is subordinated to action and dialogue. 01:33:12.960 --> 01:33:15.680 There isn't much room for a lengthy description. 01:33:15.680 --> 01:33:19.680 Yes, at times, because he tries to describe the Alcazaba 01:33:19.680 --> 01:33:23.680 of Algiers, the streets, etc. And of course, the atmosphere 01:33:23.680 --> 01:33:28.280 of the baths, of those prisons, of the Christian captives. 01:33:28.600 --> 01:33:29.960 It's an interesting story. 01:33:29.960 --> 01:33:33.960 The Captives of Algiers, more than for its literary quality, I believe 01:33:33.960 --> 01:33:37.960 stands out for something that has also been said this morning: the 01:33:37.960 --> 01:33:41.960 construction of an imaginary world, in this case around the figure 01:33:41.960 --> 01:33:45.960 of Miguel de Cervantes, and it is one more link in the long chain of 01:33:45.960 --> 01:33:48.960 Cervantine recreations that are in very good health. 01:33:48.960 --> 01:33:51.880 By the way, even to this day. Thank you very much. 01:33:57.240 --> 01:33:59.600 Thank you very much, Carlos. 01:33:59.600 --> 01:34:03.200 We'd have to see what Alejandro Amenábar thinks about the work of De Fernández and 01:34:03.200 --> 01:34:05.000 González. 01:34:05.000 --> 01:34:07.720 Thank you so much for that microhistory exercise as well, right? 01:34:07.720 --> 01:34:11.720 Speaking of the prices of paraphrases, those quotes that 01:34:11.720 --> 01:34:15.000 help us to always understand a work well, right? 01:34:15.000 --> 01:34:18.880 Okay, let's put the debate aside for a bit. 01:34:18.880 --> 01:34:21.800 The discussion will be left until the end for the sake of time. 01:34:21.800 --> 01:34:25.800 Thank you very much to all the participants of this third table 01:34:25.800 --> 01:34:30.600 and we will now move directly to the conference that will close the day. 01:34:30.600 --> 01:34:33.200 More time passes this afternoon with Gonzalo.