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REVIEWS Carrasco Urgoiti, María Soledad. El moro retador y el moro amigo (Estudios sobrefiestas y comedias de moros y cristianos). Granada: Universidad , 1996. Biblioteca de Bolsillo 21. Paper. 320 pp. Along with an introduction by the author and another by Francisco Márquez Villanueva, this volume consists of eleven interconnected studies on the subject clearly enunciated in the parenthetical title. Ten of the thoroughly -documented essays were first published between 1963 arid 1988 and are here reprinted in their original form; the final one, not previously printed, was the author's induction address to the Academia Norteamericana de Ia Lengua Española in 1994 (with some bibliographical updating). Gracefully written and mercifully jargon-free, these essays are arranged in five well-defined sections. In the first section, La Fiesta, are "Aspectos folclóricos y literarios de la fiesta de moros y cristianos en Espana," 25-66; "La fiesta de moros y cristianos y la cuestión morisca en la España de los Austrias," 67-90; and "Notas sobre un motivo áulico en Pedro de Padilla and Ginés Pérez de Hita," 91-105. The three studies explore the interaction offolk, literary and rulingclass elements in the development, both past and present, of the traditional performances known as "fiestas de moros y cristianos." The four remaining sections deal more specifically with Moorish themes in the theater of the Golden Age. Under the rubric Romancero y Comedia, the first two studies concern Lope de Vega: "El cerco de Santa Fe de Lope de Vega, ejemplo de comedia épica," 109-22, the play being based on ballad material about the conquest of Granada, and "Notas sobre el romance morisco y la comedia de Lope de Vega," 123-56, in which the author divides her discussion into "comedias de moros y cristianos" and "comedias moriscas," a distinction that is further elucidated in the book's final essay. The third study is titled "El buen caballero, Maestre de Calatrava, de Juan Bautista de Villegas (Nota sobre Ia relación de romancero y comedia en el Siglo de Oro)", 157-73. The last essay in this section deals with four plays 97 98BCom, Vol. 49, No. 1 (Summer 1997) of Calderón: "Presencia y eco del romance morisco en comedias de Calderón (1629-1639)," 175-91. Section III, Godinez y la Tradición de Moros y Cristianos, consists of two studies relative to the theater of Felipe Godinez: "De buen moro, buen cristiano: Notas sobre una comedia de Felipe Godinez," 195-229, and "La comedia hagiográfica Los tres hermanos del cielo [1660: Godinez refundido por el actor Francisco de la Calle," 231-42. La Calle reworked the play analyzed in the previous essay. Section IV, entitled La Comedia Morisca como Tarea Colectiva, is a study of one play: "En torno a La Luna africana [1643] comedia de nueve ingenios," 245-76. The Luna of the title is the wife of Boabdil, the last Moorish king ofGranada. The nine authors are: Luis de Belmonte, Luis and Juan Vêlez de Guevara, Alfonso Alfaro, Agustín Morete, Antonio Martínez de Meneses, Antonio Sigler, Jerónimo Cáncer and Pedro Rósete. The final section, A Modo de Conclusion, is formed by the essay "La comedia morisca de Lope de Vega," 279-313. Dr. Carrasco again distinguishes between Lope's "comedias de moros y cristianos" (e.g., El cerco de Santa Fe) and his "comedias moriscas" (e.g., El remedio en Ia desdicha). She sees different attitudes toward the "other" reflected in the two types: the former is characterized by combat and elimination; the latter, by conversion and absorption. The same distinction appears in the title of this book: the "moro retador" is symbolic of the first category; the "moro amigo," of the second. Attractively printed, these studies are unusually free of errata, except for a few proper names that are misspelled but not consistently so: Hannah Bergmann for Hannah Bergman, 18 and 249; Cardillac for Cardaillac, 79; Nöel for Noël, 86; Fitcher for Fichter, 137; Zorilla for Zorrilla, 190. This important book now forms an outstanding triptych along with the author's two earlier works on Moorish themes: El moro...
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