Comedias de Agustín Moreto: Segunda parte de comedias, VII; "El caballero," "El parecido," "La fingida Arcadia." Agustín Moreto. Ed. María Luisa Lobato, Guillermo Gómez Sánchez-Ferrer, Héctor Brioso Santos, Luisa Rosselló Castillo, and Marcella Trambaioli. Teatro del Siglo de Oro: Ediciones críticas 215. Kassel: Edition Reichenberger, 2018. vi + 562 pp. €88

Barbara Mujica
2020 Renaissance Quarterly  
del Siglo de Oro: Ediciones críticas 215. Kassel: Edition Reichenberger, 2018. vi + 562 pp. €88. The most recent addition to the Moreto project directed by María Luisa Lobato, this volume contains three plays by one of the most active yet underrepresented dramatists of early modern Spain. While a few of the plays of Agustín Moreto (1618-69) are regularly read and performed, notably El desdén, con el desdén and El lindo don Diego, most are unknown to contemporary audiences. Yet during his own
more » ... t during his own time, Moreto was a popular playwright whose plays were adapted for the stage by important authors such as Molière and Carlo Gozzi. One reason Moreto is so underrecognized is the dearth of modern editions of his plays. Working with an international team of specialists, Lobato has been publishing Moreto's plays in accessible volumes since 2003, with the objective of preserving his legacy. Each collection of comedias (full-length plays) is comprised of three works edited by different scholars. Volume 7, under the general direction of Guillermo Gómez Sánchez-Ferrer, contains El caballero (The gentleman), El parecido (The look-alike), and La fingida Arcadia (The pretend Arcadia), works that were published posthumously in Valencia in 1676 by Benito Macè. The first two are typical comedias de enredo (comedies of intrigue), revolving around identity games, misunderstandings, and trickery. In contrast, La fingida Arcadia was inspired by pastoral literature such as Lope de Vega's novel and play, both entitled La Arcadia, and the fingida Arcadia episode of Cervantes's Don Quijote. To date, the authorship of the play has not been definitively established. It may have been written in collaboration with Pedro Calderón de la Barca and possibly Antonio Coello. Each play is preceded by a prologue containing information on the probable date of composition and sources, a plot summary, an inventory of the versification, and an overview of existing manuscripts. The texts are accompanied by copious notes that clarify problematic language, obscure allusions, wordplay, and clues about costuming. Each chapter concludes with a bibliography and a list of textual variations occurring in manuscripts and early printed editions. El caballero, edited by Héctor Brioso Santos, is a delightful-although rather sillycomedy of intrigue. Don Félix de Toledo returns to Madrid from the war in the Low Countries anxious to verify whether Doña Ana, his beloved, has been faithful to him. He sees her leaving church with Doña Luisa, who believes she recognizes him and questions him about his identity, but he tells her only that he is un caballero. When Don Lope, Luisa's beloved, sees her with Don Félix, he becomes jealous and demands that his suspected rival tell him his name, but Don Lope again identifies himself only as un caballero. The muddle of mistaken identities, dissimulations, and outright lies almost
doi:10.1017/rqx.2020.86 fatcat:vc5btink2zcwvap7kc65n5bl6u