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Albert Camus,Théâtre, Récits, Nouvelles, ed. Roger Quilliot (Paris: Editions Gallimard; Bibliothèque de la Pléiade, 1967), p. 1846. Subsequent references to this edition will appear in the text asThéâtre. References to hisEssais, ed. Roger Quilliot (Bruges: Gallimard, 1967), will also appear in the text asEssais.
Raymond Gay-Crosier,Les envers d'un échec (Paris: Bibliothèque des Lettres Modernes, 1967), pp. 134–136. Among the many parallels between the ideas inLe Théâtre et son double and Camus' play, it is interesting to note this summary given by Gay-Crosier: “L'Etat de siège s'efforce d'actualiser méthodiquement plusieurs éléments que le manifeste du ‘thé âtre de la cruauté’ propose au lecteur, notamment ‘la bataille de symboles’, le spectacle qui ‘pousse à une sorte de révolte virtuelle’, ‘l'attitude hé roïque et difficile’.”
Gay-Crosier, pp. 155–158.
Salvador de Madariaga, “Un des nôtres,”Preuves, no. 110 (April, 1960), p. 13.
Vicente Marrero, “La seconde patrie de Camus,”Table Ronde, no. 146 (February, 1960), p. 151, citing Camus' answer to a question by López Sancho for the magazineABC.
This parallel is passed from critic to critic without ever being explained. John Philip Couch refers to it in his article “Camus' Dramatic Adaptations and Translations,”French Review, vol. 33, no. 1 (October, 1959), p. 31; Manuel Durán quotes Couch in his article “Camus and the Spanish Theater,”Yale French Studies, no. 25 (Spring, 1960), p. 129, adding only his endorsement; and finally, we find the same comparison in Ilona Cooms' bookCamus: homme de théâtre (Paris: Gigel, 1968), p. 152.
Marcelino Menéndez Pelayo,Estudios y discursos de crítica histórica y literaria (Santander: Edición Nacional de las obras completas de Menéndez Pelayo, 1941), tome III, p. 118.
Pedro Calderón de la Barca,La Devoción de la cruz (fifth edition; Zaragoza: Editorial Ebro, 1968), p. 56.
Menéndez Pelayo, p. 199.
In his article Couch argues that Pelayo's criticism of Julia's character could be directly applicable to Caligula. We cannot agree with this judgment. If it is true that Julia's five or six homicides are incomprehensible because of their motiveless nature, the same cannot be said about Caligula's atrocities. All the crimes performed by the Roman emperor are governed by an overriding motive — achievement of the impossible — and conform perfectly with the logic of the absurd man.
Eugène Baret (trans),Oeuvres dramatiques de Lope de Vega (Paris: Didier, 1869), p. xxvi.
Lope de Vega,El Caballero de Olmedo (eight edition; Zaragoza: Editorial Ebro, 1966), p. 40. All subsequent references to this edition will appear in the text.
It is man who complicates things by misusing words: “Oui, tout est simple. Ce sont les hommes qui compliquent les choses. Qu'on ne nous raconte pas d'histoires. Qu'on ne nous dise pas du condamné à mort: ‘Il va payer sa dette à la société’, mais: ‘On va lui couper le cou.’ Ça n'a pas l'air de rien. Mais ça fait une petite différence” (Essais, p. 30).
The subject for this paper was suggested to me by my brother, Julio Esteban, who did some of the initial research.
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Esteban, M.A. An elective affinity: Camus' translations of Lope and Calderón. Neophilologus 66, 547–558 (1982). https://doi.org/10.1007/BF01956499
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DOI: https://doi.org/10.1007/BF01956499