La discreta enamorada as an Example of Dimensional Development in the Comedia

La discreta enamorada is one of Lope's more comic plays. There is a farcical flavor to it, suggesting an earlier period of Spanish drama. The plot is taken from the Decameron, the third story of the third day. The purpose of the present study is to recognize several dimensions of the play and to measure, in a limited way, the distance between the bare framework of the source story and the socially-developed structures of the comedia. It is understood that the changes brought by time itself, that is, the elapsed time between Boccaccio's writing and Lope's day, account basically for the transformations we shall be noticing. Our main interest then is in examining the nature of some of those developments, with comparative references to the novella serving to emphasize the complex of background elements, planes, national traits, and realized characters of Lope's treatment of the theme. In the original tale, a lady of wit and beauty finds herself unable longer to endure the sole companionship of her dull, tradesman husband and determines to attract the attention of a certain gentleman of fine bearing, who is quite unaware of her. She goes to a good, simple friar and under pretence of confession begs him to cause his friend, the gentleman in question, to desist from his attentions to her, and to inform him that it was she herself who requested it. The gallant, whose understanding is quick as that of the friar is slow, at once perceives what the game is and begins to pass up and down before the lady's house. She, seeing the success of her plan, goes again to the friar in tearful protest, this time carrying a urse and a girdle which she declares the gentleman sent her as presents. The friar returns the presents to him with a stern warning. The gallant, convinced of the lady's good will, contrives to let her know that he has the two articles in his possession. Nothing is wanting now but the absence of the husband from the city, which a business trip to Genoa soon brings about. No sooner has he departed than the lady goes to the friar in feigned fury, claiming that his friend has tried to gain entry into her rooms by climbing a tree outside her window. The friar bitterly assails the gentleman for his outrageous conduct and threatens him with the ven

Art · Early Modern Spanish Literature · Renaissance and Early Modern Studies