El burlador de sevilla

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 theplay is 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 suchwords or 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, 20021

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, labradorRIPIO, 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

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JUAN: ISABELA: 10 JUAN: ISABELA: JUAN: ISABELA: JUAN:ISABELA: JUAN: ISABELA: JUAN: ISABELA: 20

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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...