At War with Primavera
Botticelli and Calderón's El sitio de Bredá
Bibliographic Data
| ID | 9865849 |
|---|---|
| Authors | Frederick A De Armas (0000-0002-5582-2170, corresponding author) |
| Year | 1999 |
| Volume | 82 |
| Issue | 3 |
| Pages | 436 |
| Publication date | 1999-09-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Hispania (JOURNAL) |
| Journal identifiers | ISSN: 0018-2133 • E-ISSN: 2153-6414 |
| Publisher | JSTOR (PUBLISHER) |
| DOI | 10.2307/346283 |
| OpenAlex | W2962991 |
| Language | EN |
| Citations received | 1 |
| References cited | 5 |
In El sitio de Bredd, Calder6n makes use of Italian Renaissance art in order to construct a subplot that softens the cries of war. This counter-movement to the well known horrors of war serves first of all to humanize the Spaniard who had acquired a reputation of cruelty in the Netherlands. It also allows a text of war to humanize the face of the enemy. Indeed, a haunting woodland scene in the first act can be viewed as a dramatic ekphrasis of Botticelli's Primavera. The action in Calder6n's scene corresponds to the left and right sections of the painting: from Mercury's message on the left to the rape of Chloris/Flora on the right. The three Graces in both painting and play stand for the Senecan notion of liberality. It is through acts of generos- ity that bellicose impulses are transmuted into a vision of harmony and abundance
| Unique citing works | 1 |
|---|---|
| Citations per year | 0,08 |
| Citation span | 2013 - 2013 (1) |
| Citation velocity | historical |
| Highly cited | No |