Read El Medico de Su Honra by Pedro Calderón de la Barca Free Online
Book Title: El Medico de Su Honra|
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Reader ratings: 5.2
The author of the book: Pedro Calderón de la Barca
Date of issue: August 31st 2011
ISBN 13: 9788498973853
Format files: PDF
The size of the: 2.81 MB
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Calderón’s tragedy is perhaps the most focused examination of the most prevalent theme in Golden Age theater: honor. The “surgeon” in question preserves his honor in the only way the code allows: through the spilling of blood. In a classic extenuation of the surgeon metaphor, this particular operation is messy. The illness is cured (i.e., honor is preserved at the end), but at what expense?
The “happy” ending adds a nice bit of irony and ambiguity. My interpretation is that Calderón is critiquing the code of honor that can so easily condemn the innocent while preserving the public image of those whose hands are the bloodiest. In another ironic twist, those with the bloodiest hands are the ones who are the most obsessed with their honor, who lose it in their failed preservation of it, and who rationalize their actions in any way necessary to prove that their tarnished honor remains intact. The modern political equivalent is summarized in the phrase, “It’s not the crime, but the cover-up.” Likewise, for the characters in Calderón’s comedia, it’s not the actions (sometimes quite innocent) that lead to their sullied honor, but how they respond, which is often with stupid, brutal, ham-fisted machismo. They bring about their own downfall, but also construct new narratives of how they rescued their wounded image. To use the metaphor of the play, they self-diagnose like a hypochondriac, only to cure the illness by killing the patient.
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Read information about the authorPedro Calderón de la Barca y Henao was a dramatist of the Spanish Golden Age.
Calderón initiated what has been called the second cycle of Spanish Golden Age theatre. Whereas his predecessor, Lope de Vega, pioneered the dramatic forms and genres of Spanish Golden Age theatre, Calderón polished and perfected them. Whereas Lope's strength lay in the sponteneity and naturalness of his work, Calderón's strength lay in his capacity for poetic beauty, dramatic structure and philosophical depth. Calderón was a perfectionist who often revisited and reworked his plays, even long after they debuted. This perfectionism was not just limited to his own work: many of his plays rework existing plays or scenes by other dramatists, improving their depth, complexity, and unity. (Many European playwrights of the time, such as Molière, Corneille and Shakespeare, reworked old plays in this way.) Calderón excelled above all others in the genre of the "auto sacramental", in which he showed a seemingly inexhaustible capacity to giving new dramatic forms to a given set of theological constructs. Calderón wrote 120 "comedias", 80 "autos sacramentales" and 20 short comedic works called "entremeses"
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