Bursev

Tirso de Molina
EL BURLADOR DE SEVILLA Y
CONVIDADO DE PIEDRA
This edition of the play is intended to be a reliable edition but is, under no circumstances, to
be considered as a thorough critical edition complete with variant readings, extensive notes, nor any
of the valuable expository discussion that is usually found in such. Those who would like to study
the play or to comment on it withgreater security than can be claimed for this electronic edition
should refer to one of the modern critical editions of the work. Of particular interest will be the
critical edition prepared by Luis Vázquez and published in Madrid by Estudios in 1989, or that
prepared by Gerald E. Wade and published by Scribners in New York in 1962. Either of these
editions should be easily found in any reasonableuniversity library. In them you will also find a
bibliography of early editions and manuscripts available for the play, cogent discussion of the work
as literature, and a suggestive bibliography of articles about this play and its puzzling textual history.
You may also want to refer to the facsimile reproductions of the princeps editions of El burlador de
Sevilla and of Tan largo me lo fiáis asprepared by Xavier Fernández and published by Estudios in
Madrid in 1988.
El burlador de Sevilla has also been the subject of many studies that have been published
since these two editions were prepared. These items may be identified by reference to the valuable
ABibliography on the Comedia@ published each fall in the Bulletin of the Comediantes.
Among the video tapes of the AHCT collection, the mostinteresting peformances of the
Burlador are those prepared for the RTVE in Spain some years ago, a version performed at El
Chamizal=s Siglo de Oro drama festival by the Teatro Repertorio Español of New York under the
directions of René Buch in 1988, and a version directed by Isaac Benabu at the Universidad de
Barcelona in 2000 as performed at El Chamizal..
The most recommended translation of the playis that edited by G. Edwards and published by
Aris and Philips in Warminster, but the most often referred to translation is that by Roy E. Campbell
as found in Eric Bentley=s The Classic Theater, Volume III, Six Spanish Plays.
WARNING! All passages in the text set within square brackets [...] are passages that are
either errors in the text of the princeps or missing from that text. Any such wordsor passages
represent corrections or editorial decisions upon the part of one or more of its editors. Before using
such passages for anything other than reading the work, you should consult one of the critical
editions and the facsimile texts identified above so that you can make an informed decision about
their value.
Vern Williamsen
July 23, 2001
PDF edition by Matthew D. Stroud
July 4, 2002EL BURLADOR DE SEVILLA
Personas que hablan en ella:
Don DIEGO Tenorio, viejo
Don JUAN Tenorio, su hijo
CATALINÓN, lacayo
El REY de Nápoles
El Duque OCTAVIO
Don PEDRO Tenorio, tío
El Marqués de la MOTA
Don GONZALO de Ulloa
El REY de Castilla, ALFONSO XI
FABIO, criado
ISABELA, Duquesa
TISBEA, pescadora
BELISA, villana
ANFRISO, pescador
CORIDÓN, pescador
GASENO, labrador
BATRICIO, labrador
RIPIO,cirado
Doña ANA de Ulloa
AMINTA, labradora
ACOMPAÑAMIENTO
CANTORES
GUARDAS
CRIADOS
ENLUTADOS
MÚSICOS
PASTORES
PESCADORES

ACTO PRIMERO
Salen don JUAN Tenorio e ISABELA, duquesa
ISABELA:
JUAN:
5

ISABELA:

Duque Octavio, por aquí
podrás salir más seguro.
Duquesa, de nuevo os juro
de cumplir el dulce sí.
Mis glorias serán verdades

JUAN:
ISABELA:
10
JUAN:
ISABELA:

15

JUAN:
ISABELA:
JUAN:
ISABELA:JUAN:
ISABELA:
JUAN:
ISABELA:

20

promesas y ofrecimientos,
regalos y cumplimientos,
voluntades y amistades.
Sí, mi bien.
Quiero sacar
una luz.
)Pues, para qué?
Para que el alma dé fe
del bien que llego a gozar.
Mataréte la luz yo.
(Ah, cielo! )Quién eres, hombre?
)Quién soy? Un hombre sin nombre.
)Que no eres el duque?
No.
(Ah de palacio!
Detente.
Dame, duquesa, la mano.
No me detengas,...