De la tragedia clásica al drama romántico en la Mérope de Bretón de los Herreros (1835)

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                            [a] => In 1713 Scipione Maffei premiered his tragedy Merope in which he gave form to a Greek legend treated by Euripides in a work almost completely lost today. The tragedy showed the pathos of the feelings of a mother who saw the life of her only son threatened by the tyrant who, years earlier, had murdered the king, her husband, along with her two eldest sons. Voltaire, in 1744, introduced some structural changes in Maffei's work that enhanced the interest and pathos of his plot. In 1783, Alfieri accepted Voltaire's changes and chose to strengthen the figure of the tyrant and to increase the sentimental role of Polidoro, the adoptive father of the hidden prince. Bretón de los Herreros, in 1835, the year of the emergence of romantic theatre in Spain, fostered harmony with Madrid audiences by giving some touches of romanticism to the story and raising the pathetic component of the maternal and paternal-child affections, linked to tyranny and to his violent overthrow, that had already been offered by his predecessors. Maffei, Voltaire and Alfieri achieved notable success with their works, while Breton failed in an unappealable way, quite possibly because it was a tragedy with a classical theme and because of that same pathetic exaggeration that turned it into a melodrama with a happy ending that came to collide with the wretched endings of romantic dramas.
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                            [t] => Archivum: Revista de la Facultad de Filosofía y Letras
                            [x] => 0570-7218
                            [g] => Nº 72,  2022,  pags. 373-397
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