Supernatural persuasion and Luis de Molina's theology in three of Tirso de Molina's works: El burlador de Sevilla (1630), El condenado por desconfiado (1635) and Quien no cae no se levanta (1636) Public Deposited
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- Last Modified
- March 21, 2019
- Affiliation: College of Arts and Sciences, Department of Romance Studies
- This article seeks to reveal Tirso de Molina's view of auxiliis through analysis of three of his religious plays, El burlador de Sevilla (1630), El condenado por desconfiado (1635) and Quien no cae no se levanta (1636). While several aspects of Tirso's theological perspective have been well researched, the supernatural characters and their theological implications have received practically no scholarly attention. This study demonstrates that the playwright utilizes these characters to illustrate his personal belief in man's free will. In order to explore his theological perspective, the essay first briefly looks at the presiding debate of auxiliis in its historical context and then analyzes the dramatic functions of three distinct manifestations of supernatural forces in the plays: the demonic manipulation in El condenado por desconfiado, the ghostly apparition of Don Gonzalo in El burlador de Sevilla and divine messengers' attempt to win souls in both the plays aforementioned and Quien no cae no se levanta.
- Date of publication
- August 2011
- Resource type
- Rights statement
- In Copyright
- "... in partial fulfillment of the requirements for the degree of Masters of Arts in the of Romance Languages."
- Hsu, Carmen
- Degree granting institution
- University of North Carolina at Chapel Hill
- Place of publication
- Chapel Hill, NC
- Open access
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|Supernatural persuasion and Luis de Molina's theology in three of Tirso de Molina's works : El burlador de Sevilla (1630), El condenado por desconfiado (1635) and Quien no cae no se levanata [sic] (1636)||2019-04-11||Public||