El delincuente honrado (Spanish Edition) [Gaspar Melchor de Jovellanos] on *FREE* shipping on qualifying offers. El delincuente honrado. Some years ago J. Polt drew attention to Jovellanos’ description of his play El delincuente honrado as a “comedia tierna” or “drama sentimental. If comedy. El delincuente honrado by Gaspar Melchor de Jovellanos at – ISBN – ISBN – CreateSpace Independent.

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In both plays we find a pair of close friends Torcuato-Anselmo, Dorval-Clairvillea duel forced by insulting comments though this is not an issue for Diderotand bastardy, though in the French play father and son already know each other and in the Spanish they do not.

Quel est l’objet d’une composition dramatique?

Regardless, therefore, of whether Jovellanos and Olavide were friends in every sense of the word, the influence of the latter is in disputable and probably considerable. Of course the delinduente staging of such honrrado would make it necessary to abandon at least the unity of time; as it is, the genuine drama of Torcuato is already past, and the play can only discuss what is to be done with him.

The demands of this honor must therefore be complied with, all the more rigorously when they are not in accord with the laws.

In this predicament, he resorts to royal clemency as a solution for his protagonist, a solution foreseen by Montesquieu: In his preface, he calls it a comedia; but later he qualifies this term:. No use is to be made of valets ojvellanos the furtherance of the action.

Jovellanos ” El Delincuente honrado” | Biblioteca Virtual Miguel de Cervantes

In the preceding pages we have attempted to review the nature of Jovellanos’ play, its sources, and the circumstances of its composition. The play’s five acts are in prose, with a fairly close adherence to the three unities of the neoclassic stage. His opinions and Justo’s increase the piquancy of their situations. The attitude toward the duel and legislation affecting it is also much the same in the two works, and at times is expressed in strikingly similar language.

Literary historians have been less than kind to Gaspar Melchor de Jovellanos’ El delincuente honrado The revolution of the Romantics was an esthetic one, specifically directed against the canons of the eighteenth century stage; the intellectual or philosophic content of its plays is negligible or at best vague.

The king does not appear on the stage; he is, however, presumed to be at San Ildefonso, the summer quarters of the court and only two leagues from Segovia, making it possible to send two appeals to the monarch and to save the hero without greatly exceeding the limits of the unity of time 6. Unity of place is preserved within a liberal interpretation of the concept: Cookies are little nuggets of information that web servers store on your computer to make it easier for them to keep track of your browsing session.

The answer sounds, with rare exceptions, like a program for the production of more Delincuentes: This melodramatic and sentimental tone pervades the play from the very beginning, and tears are copiously shed by the characters 7.


Those motivations and affections which might give rise to conflict serve only to add pathos to the submission of the characters -a pathos which finds expression in sentimentality and tears.

Honrao, climate, the laws of the past-history shapes the character of a people, and it is folly and injustice to attempt a sudden and violent change, even for the better. Mercier, however, is not willing to rescue Durimel; and the hero dies. Torcuato himself, illegitimate son of an unknown father, orphaned of his mother, driven to the commission of an illegal act, forced to conceal his guilt from his wife, the widow of his victim-Torcuato, ready to tear himself from this wife to expiate his guilt, ready also to sacrifice his life to save that of Anselmo, is an easily recognizable precursor of the Romantic hero pursued by his adverse destiny, or, as Rivas would have it, by la honraddo del sino.

What could serve as an illustration of the author’s thesis -the situation of Torcuato torn between honor and civic duty and forced eventually to accept a duel- is not presented on the stage. The movements of Torcuato in the first act, indicative of his troubled state of mind; the tears; the groupings and movements of characters in the fourth and fifth acts, with Torcuato in chains, in the dark prison area; the pleas and posturings of Laura; and the final release and embraces -all develop plot through action, movement, pantomimeand set up scenes designed to be visually impressive: The possession and circulation of such books played an important part in the Inquisition’s case against the asistente.

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When Jovellanos came to Seville, he found jovellanis in a position of some importance which was thrust on him rather suddenly. There is never the slightest doubt that Torcuato will do what he must. He was accepted in the brilliant home of Olavide; and this transplanted colonial, nineteen years his elder, open to the most advanced and dangerous philosophical currents of his time, and enjoying the friendship and esteem of the intellectual titans of what passed for the most civilized nation in Europe, must have made a considerable impression on the young provincial fresh from the universities, the best of which were in eighteenth-century Spain in a lamentable state.

Whereas in many a classical and neoclassic play the usefulness could be found only by a trained and not overly-scrupulous eye, in the newer works it is all too evident; the sweetness becomes the elusive quality.

It forms only the antecedents of the play, made known through lifeless narration. His attitude is essentially Montesquieu’s: The works of Voltaire were for bidden in toto by the Inquisition of Toledo inthis prohibition extending even to those who had dispensation to read forbidden books; although by one of those curious quirks of the censorial mind, translations of his plays were tolerated if the author’s name was not mentioned The fact that Durimel is killed while Torcuato is not is of little importance; we have, already seen that Jovellanos’ ending, with its recourse to a solution outside the drama, is largely irrelevant.


If it was translated by Olavide, Jovellanos must have known it see note We can be the more certain joveellanos this in view of what we know of Jovellanos’ relations with Olavide and hobrado the latter’s ideas, literary activities, and readings.

Although El delincuente honrado might in places seem Romantic, it would be a mistake simply to consider it an early appearance of the dramatic system of Jovellznos, Rivas, and Zorrilla.

The scene of recognition in which Saint-Franc reveals himself to his son must be read against the corresponding scene in Jovellanos’ play:. These scenes are described in some detail, with indications as to the presence of furniture, books, etc.

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Jovellanos may have been familiar with this play also, dlincuente since it was a literary repercussion of the Jean Calas case, of which he must have been aware. In this he differs from Torcuato, who, in law, is guilty of the crime for which he is to be executed.

A activation email has been sent to you. When informed of Anselmo’s sacrifice, he does not hesitate to confess his crime. Email address subscribed successfully. In both cases you should know how to switch cookies back on! The play’s title indicates at once that the conflict of the play rests on the paradoxical nature of delincufnte combination.

It seems more than likely that from him and his circle Jovellanos received his introduction dleincuente the thought of the Enlightenment, as well as to its favorite artists and artistic forms. A genuine moral conflict within the character would have been conceivable before the duel, or in reaching the decision to abandon Laura after having married her; but Jovellanos, with scant regard for the motivation of this decision, ignores both dramatic possibilities.

Jovellanos’ Don Justo, when his petition for clemency has been refused, takes exactly this delincunete The same is true of Jovellanos, whom we can count among the followers of. There, and not in the passions, the lyricism, the individualism, and the medievalism of Rivas, of Hartzenbusch, of Zorrilla. The sentimental and moral qualities of the work have already been noted; it must, however, be remembered that the entire moral -or moralizing- honraro which Jovellanos gives it forms part of a concept of theater which he holds delincuenre common with his French models.

The law in this case, designed to remedy the abuses of honor, is itself an evil; the harshness of the punishments it imposes is a greater evil than the abuses it is to correct