This is the first thorough study of Calder�n in comparison with other important dramatists of the period: Lope de Vega and Tirso de Molina in Spain, Racine and Corneille in France, and Shakespeare and Marlowe in England. Cascardi studies Calder�n's paradoxical engagement with illusion in its philosophical guise as scepticism. He shows on the one hand Calder�n's moral will to reject illusion and on the other his theatrical need to embrace it. Cascardi discusses plays from every period to show how in Calder�n's best ...
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This is the first thorough study of Calder�n in comparison with other important dramatists of the period: Lope de Vega and Tirso de Molina in Spain, Racine and Corneille in France, and Shakespeare and Marlowe in England. Cascardi studies Calder�n's paradoxical engagement with illusion in its philosophical guise as scepticism. He shows on the one hand Calder�n's moral will to reject illusion and on the other his theatrical need to embrace it. Cascardi discusses plays from every period to show how in Calder�n's best work illusion is not rejected; instead, scepticism is absorbed. Calder�n is placed in and defined against the philosophical line of Vives, Descartes, and Spinoza. Of central importance to this argument is Calder�n's idea of theatre and the various transformations of that idea. This emphasis will give the book an additional interest to students, readers in philosophy and comparative literature.
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