Background
Guillén de Castro y Bellvis was born in Valencia in 1569.
(La fuente argumental de este relato viene del Orlando fur...)
La fuente argumental de este relato viene del Orlando furioso de Ariosto. Considerada una novela dentro del Quijote, también Cervantes contó esta historia.
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(Esta obra traza un perfil que será después clásico de la ...)
Esta obra traza un perfil que será después clásico de la literatura de la España del siglo XVII, el del galán presuntuoso, el petimetre cortesano, narcisista, pagado de sí mismo, algo provinciano pendiente siempre del espejo para exhibir su presunta capacidad de seducción.
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(Esta obra rememora las mocedades de Rodrígo Díaz de Vivar...)
Esta obra rememora las mocedades de Rodrígo Díaz de Vivar, Gimena Gómez, Diego Lainez, Urraca y el Rey, personajes con la sangre caliente de la nobleza castellana de la Alta Edad Media que evolucionan, gracias a de Castro, en un teatro que preconiza la mezcla de los géneros, el espíritu barroco, la libertad de escritura, y el desorden de las situaciones.
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(Esta es una versión teatral de la célebre historia del Qu...)
Esta es una versión teatral de la célebre historia del Quijote.
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Guillén de Castro y Bellvis was born in Valencia in 1569.
As a young man he became a captain in the coastal militia and later accepted the post of governor of the fortress of Scigliano, in Spanish territory in southern Italy. As a dramatist Guillén de Castro belonged to that school which followed the precepts for the Spanish national theater laid down by Lope de Vega. Many of his approximately fifty dramas follow traditional Spanish ballad themes, and there are three which dramatize various parts of Cervantes' works. His best known drama, Las Mocedades del Cid ("The Youthful Exploits of the Cid, " 1618), however, does not employ Lope's technique of transmuting the essential spirit of a single ballad into an entirely new dramatic expression. Castro, instead, organized and incorporated into his play many of the original ballads themselves. It was a process which at once assured him of historical and poetic success and communicated a certain unwieldiness to his dramatic organization. The Cid ballads that he used derive from a late 14th-century epic and are historically without foundation. As the dramatist tells the traditional story, the young untried Rodrigo, not yet possessor of his sobriquet of Cid, is forced for the sake of his father's honor to kill Count Lozano, the father of his beloved Jimena. His exploits against the Moors and his ultimate reconciliation with Jimena make up the body of this drama of physical and emotional conflict. Pierre Corneille, in 1636, used Las Mocedades as the basis for the first outstandingly successful French drama, Le Cid. Other Castro plays that employ ballad material according to this same formula are El Conde Alarcos, El Conde Dirlos, and Las Hazañas del Cid.
(Esta obra rememora las mocedades de Rodrígo Díaz de Vivar...)
(Esta obra traza un perfil que será después clásico de la ...)
(La fuente argumental de este relato viene del Orlando fur...)
(Esta es una versión teatral de la célebre historia del Qu...)
His first marriage in 1595 appears, on the evidence of his dramatic treatment of the marriage theme, to have been not entirely happy. He married again in 1626 in Madrid, where he had obtained the literary patronage of the Marquis of Peñafiel.
