The conquest of Peru and the decisive participation in it of the four Pizarro brothers are the thematic axis of a dramatic trilogy composed by Tirso de Molina around 1626-1631 (Todo es dar en una cosa, Amazonas en las Indias and Ta lealtad contra la envidia). The phenomenon of literary commissioning and the vindication of the slate lineage, exempting it from any taint of rebellion against the Spanish crown, mark the ideological coordinates that Tirso adopts in this trilogy. To this end, he takes as source the Historia general del Perú (1617) by Inca Garcilaso, with whom he shares an epic and exalting vision of the conquering Pizarros.

Based on an overview of Vélez de Guevara's theatre, article selects eight of his plays that belong to the genre of palatine comedy. Six of them are of certain authorship (Amor es naturaleza, Celos, amor y venganza, La obligación a las mujeres, El rey en su imaginación, El rey muerto and Virtudes vencen señales) and two of very doubtful attribution (El embuste acreditado y disparate creído and Cumplir dos obligaciones y duquesa de Sajonia). The adaptation of each of the plays to the patterns that make up the Palatine genre is analysed (twelve clearly individualised features), and the study concludes with the division of the corpus into two groups: the comic Palatine comedies (five titles) and the serious Palatine comedies (three titles).

After a brief approach to the presence of theatre written in Spanish in the Philippines during the 17th century, article focuses on the book-relación de la Sagrada fiesta, tres veces grande (Manila, 1677), which contains a total of three comedies, two loas, an entremés and a sarao. This is followed by the critical and annotated edition of the Entremés del envidioso and the Sarao agitanado entre ocho hombres y mujeres, texts that had remained almost completely forgotten from 1677 to the present day.

Study of the two parts of the Comedia de la invención de la sortija (recently discovered and incorporated into the corpus of Spanish Golden Age theatre) in the framework of the celebration given to Cardinal Rodrigo de Castro during his visit in Monforte de Lemos (1594). The play, another example of Jesuit school theatre, contains marked elements of the courtly stage internship (the knightly game of the ring with its inventions) and achieves a perfect symbiosis between its serious-catechetical dimension and a more comic-ludic one that appeals to the hilarity of the audience. This is achieved both with the addition of four hors d'oeuvres (two for each part) interspersed between the scenes of the long play, and with the integration of hors d'oeuvre passages and inventions full of jocularity in the body of the comedy. For the mentality of the time, there was no aesthetic or ideological conflict between the two poles; the serious and edifying message of the festejo is complemented by the risible side (the two sides of the theatre).

Rescue, recovery, edition and annotation of four carols written by Agustín Moreto in 1668 in connection with the Madrid celebrations for the beatification of Rosa de Lima. These four texts are a clear antecedent to the comedy 'Santa Rosa del Perú', which Moreto wrote a few months later, leaving it unfinished due to his imminent death in 1669.

Critical and annotated edition of two comedies by Tirso de Molina

Study of 'El Pastor de Nochebuena', by Blessed Juan de Palafox y Mendoza, in the context of training of fictional prose in New Spain.

findingThis is the recovery and critical edition of a long poem by María Estrada Medinilla, a poet from New Spain, written in Mexico in 1640 and considered lost until now. From this textual finding , the wealth of verses written by the poet that we have preserved and know today has tripled. A poem of more than 800 lines that reveals a strong influence of Góngora.

research The first work on the chronicle sources used by the playwright Tirso de Molina when writing his dramatic trilogy on 'La santa Juana'. The double version of the chronicle written by Fray Antonio Daza, imposed by inquisitorial pressures, is the basis of the double version that Tirso de Molina will also make of his trilogy.

Location, edition and annotation of two loas written and performed in honour of the Viceroy Conde de la Monclova: the first one written in Puebla de los Ángeles (1686) when he took possession of the Viceroyalty of New Spain, and the second one in Lima (December 1669), by the Peruvian author Lorenzo de las Llamosas, when the Count was already the new Viceroy of Peru.