| Popis: |
Calderon's Darlo todo y no dar nada, in re-casting a comedia attributed to Lope de Vega (La mayor hazana de Alejandro Magno), makes the docile concubine Campaspe, "given" to the painter Apelles by Alexander according to ancient legend, into an apparently self-determining warrior maiden who resists the "gift" of her person from one man to another. Yet the motivation she attributes to her own act (fear for Apelles's life and her own) must modify our view of her protofeminist discourse. This happens, not so much out of Calderon's desire to placate his audience, but out of a well-documented tendency to affirm and retract simultaneously in baroque comedias. |
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