El rey ángel en tiempos de valido e imperio
Rodrigo de Herrera's work, Del cielo viene el buen rey, and Calderón de la Barca's apocryphal, El rey ángel, show the continuity and vitality of the ancient apologue known as "The Superb Emperor", which during the first Modern Age was also the basis for other dramatic texts in th...
| Main Author: | |
|---|---|
| Format: | Electronic Article |
| Language: | Spanish |
| Check availability: | HBZ Gateway |
| Interlibrary Loan: | Interlibrary Loan for the Fachinformationsdienste (Specialized Information Services in Germany) |
| Published: |
2023
|
| In: |
Hispania sacra
Year: 2023, Volume: 75, Issue: 151, Pages: 179-190 |
| IxTheo Classification: | CD Christianity and Culture CG Christianity and Politics HB Old Testament KAH Church history 1648-1913; modern history KBH Iberian Peninsula |
| Further subjects: | B
teatro del Siglo de Oro
B Libro de Daniel B rey ángel B confesionalización B emperador soberbio |
| Online Access: |
Volltext (kostenfrei) Volltext (kostenfrei) |
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| 520 | |a Rodrigo de Herrera's work, Del cielo viene el buen rey, and Calderón de la Barca's apocryphal, El rey ángel, show the continuity and vitality of the ancient apologue known as "The Superb Emperor", which during the first Modern Age was also the basis for other dramatic texts in the main European languages. Based on the interpretation of certain biblical passages from The Book of Daniel that exemplify the sin of pride against God, the two pieces that concern us - halfway between comedy and self-confessional - mutated the original meaning of the story into the model of the angel king. This model revealed the contradictions between a confessional society and the bureaucratic practices of the monarchy and the king's exercise of absolute power. | ||
| 520 | |a La obra de Rodrigo de Herrera, Del cielo viene el buen rey, y el apócrifo de Calderón de la Barca, El rey ángel, muestran la pervivencia y la vitalidad del antiquísimo apólogo conocido como "el emperador soberbio" que durante la primera Edad Moderna también fue la base de otros textos dramáticos en las principales lenguas europeas. A partir de la interpretación de ciertos pasajes bíblicos del Libro de Daniel que ejemplifican el pecado de soberbia contra Dios, las dos piezas teatrales que nos ocupan - a medio camino entre la comedia y el auto confesional - mutaron el sentido del cuento por el modelo de rey ángel. Así, en estas obras, después que el monarca actuase como un soberano soberbio, este nuevo tipo de rey ángel restituía el orden perdido poniendo de manifiesto las contradicciones entre una sociedad confesional y las prácticas burocráticas de la monarquía y el ejercicio del poder absoluto. | ||
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