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The Siege of Numantia (Spanish : El cerco de Numancia) is a tragedy by Miguel de Cervantes set at the siege of Numantia, captured and razed by Scipio Aemilianus in 133 BC.
The play is divided into four acts, (jornadas, or "days"). The dialogue is sometimes in tercets and sometimes in redondillas, but for the most part in octaves. The work was composed circa 1582 and was apparently very successful in the years before the advent of the playwright Lope de Vega. It remained unpublished until the eighteenth-century. Since then, it has been hailed by many as a “rare specimen of Spanish tragedy” [1] and even as the best Spanish tragedy not only from the period before Lope de Vega, but of all its literature. [2]
Some critics have seen resemblances between Cervantes' tragedy and Aeschylus's The Persians , [3] while others reject that the play is a conventional tragedy. [4] Some envision the play as containing epic elements or even exhibiting opposing epics: Virgil's Aeneid and Lucan's Pharsalia , [5] while Barbara Simerka argues for generic instability and the counter-epic [6]
In the first act, Scipio appears with his generals in the Roman camp before Numantia. He explains that this war has been going on for many years and that the Roman Senate has sent him to finish the task. He reprimands his troops, whose martial spirit has begun to be superseded by the pleasures of Venus and Bacchus. The soldiers are re-inspired with courage. Numantian ambassadors enter with proposals for peace, which are rejected. The Greek Chorus, in Cervantes' work is replaced by allegorical figures.
Spain appears, and she summons the river Duero, on whose banks Numantia stands. The old river god appears, attended by a retinue of the deities of the smaller rivers of the surrounding country. These allegorical characters consult fate, in the guise of Proteus and discover that Numantia cannot be saved. The lengthy speech dealing with Spanish history has been taken as a moment of praise for the future Spanish empire, [7] and as containing elements that question imperial expansionism. [8]
In Act Two, the scene is now transferred to Numantia. The senate is assembled to deliberate on the affairs of the city. The senate adopts bold resolutions. The story moves into light redondillas - the loves of a young Numantian, named Marandro for Lira. Although Venus is invoked, Marandro assures his friend Leoncio that true love (as opposed to Roman lust) does not impede his duties as citizen and soldier. [9] A solemn sacrifice is prepared; but amidst the ceremony an evil spirit appears, seizes the sacrificial ram, and extinguishes the fire. The confusion in the town increases. A dead man is resuscitated by magic in a dramatic scene reminiscent of the necromantic revivification by the witch Erichto in the Pharsalia.
In the third act, all hope for a successful resolution of the dispute between Romans and Numantians has now vanished. While the men would go out and fight the Romans in the field rather than die of hunger in the siege, the women of the play prevent them from doing this. It is they who recommend a mass suicide, for, in this manner, they will not become enslaved to the Romans. It is the women, then, who impel Theagenes to carry out this fatal action, thus playing a key role in the tragic denouement. [10]
The city resolves to burn all their valuable property, to put their wives and children to death, and to throw themselves into the flames, lest any of the inhabitants of the town should become the slaves of the Romans. Scenes of domestic misery and of patriotism ensue. Famine rages in Numantia. Marandro, accompanied by his friend, Leoncio, ventures to enter the Roman camp.
The tragic denouement ensues in Act Four. Here, Marandro returns with some bread smeared with blood in order to feed Lira, but he falls at her feet mortally wounded, foregrounding the theme of sacrifice. [11] Scenes of destruction and mass suicide ensue, as men kill their women and then turn the sword on themselves or duel with each other. The allegorical figures of War, Sickness and Hunger take over the stage in an apocalyptic ambiance. [12]
When Bariato, the last youth left alive, commits suicide by throwing himself from a tower, the Roman general realizes that he cannot go home with slaves and spoil, and that the small city of Numantia has triumphed over the power of the Romans. His lament signals for some critics the final catastrophe and his role as tragic hero. His hubris and desire for domination rather than negotiation has brought him to his knees. The allegorical figure of Fame enters at the end of the piece, and announces the future glory of Spain, a great power that will rise out of the ashes of Numantia like the phoenix.
Miguel de Cervantes Saavedra was an Early Modern Spanish writer widely regarded as the greatest writer in the Spanish language and one of the world's pre-eminent novelists. He is best known for his novel Don Quixote, a work considered as the first modern novel. The novel has been labelled by many well-known authors as the "best book of all time" and the "best and most central work in world literature".
This article concerns the period 139 BC – 130 BC.
Marcus Annaeus Lucanus, better known in English as Lucan, was a Roman poet, born in Corduba, Hispania Baetica. He is regarded as one of the outstanding figures of the Imperial Latin period, known in particular for his epic Pharsalia. His youth and speed of composition set him apart from other poets.
Publius Cornelius Scipio Africanus Aemilianus, known as Scipio Aemilianus or Scipio Africanus the Younger, was a Roman general and statesman noted for his military exploits in the Third Punic War against Carthage and during the Numantine War in Spain. He oversaw the final defeat and destruction of the city of Carthage. He was a prominent patron of writers and philosophers, the most famous of whom was the Greek historian Polybius. In politics, he opposed the populist reform program of his murdered brother-in-law, Tiberius Gracchus.
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Spanish literature generally refers to literature written in the Spanish language within the territory that presently constitutes the Kingdom of Spain. Its development coincides and frequently intersects with that of other literary traditions from regions within the same territory, particularly Catalan literature, Galician intersects as well with Latin, Jewish, and Arabic literary traditions of the Iberian Peninsula. The literature of Spanish America is an important branch of Spanish literature, with its own particular characteristics dating back to the earliest years of Spain’s conquest of the Americas.
Soria is a municipality and a Spanish city, located on the Douro river in the east of the autonomous community of Castile and León and capital of the province of Soria. Its population is 38,881, 43.7% of the provincial population. The municipality has a surface area of 271,77 km2, with a density of 144.97 inhabitants/km2. Situated at about 1065 metres above sea level, Soria is the second highest provincial capital in Spain.
Numantia is an ancient Celtiberian settlement, whose remains are located on a hill known as Cerro de la Muela in the current municipality of Garray (Soria), Spain.
De Bello Civili, more commonly referred to as the Pharsalia, is a Roman epic poem written by the poet Lucan, detailing the civil war between Julius Caesar and the forces of the Roman Senate led by Pompey the Great. The poem's title is a reference to the Battle of Pharsalus, which occurred in 48 BC, near Pharsalus, Thessaly, in Northern Greece. Caesar decisively defeated Pompey in this battle, which occupies all of the epic's seventh book. In the early twentieth century, translator J. D. Duff, while arguing that "no reasonable judgment can rank Lucan among the world's great epic poets", notes that the work is notable for Lucan's decision to eschew divine intervention and downplay supernatural occurrences in the events of the story. Scholarly estimation of Lucan's poem and poetry has since changed, as explained by commentator Philip Hardie in 2013: "In recent decades, it has undergone a thorough critical re-evaluation, to re-emerge as a major expression of Neronian politics and aesthetics, a poem whose studied artifice enacts a complex relationship between poetic fantasy and historical reality."
The Roman Republic conquered and occupied territories in the Iberian Peninsula that were previously under the control of native Celtic, Iberian, Celtiberian and Aquitanian tribes and the Carthaginian Empire. The Carthaginian territories in the south and east of the peninsula were conquered in 206 BC during the Second Punic War. Control was gradually extended over most of the peninsula without annexations. It was completed after the end of the Roman Republic, by Augustus, the first Roman emperor, who annexed the whole of the peninsula to the Roman Empire in 19 BC.
Antonio Buero Vallejo was a Spanish playwright associated with the Generation of '36 movement and considered the most important Spanish dramatist of the Spanish Civil War.
Lucentum, called Lucentia by Pomponius Mela, is the Roman predecessor of the city of Alicante, Spain. Particularly, it refers to the archaeological site in which the remains of this ancient settlement lie, at a place known as El Tossal de Manises, in the neighborhood of Albufereta.
The Celtiberian oppidum of Numantia was attacked more than once by Roman forces, but the siege of Numantia refers to the culminating and pacifying action of the long-running Numantine War between the forces of the Roman Republic and those of the native population of Hispania Citerior. The Numantine War was the third of the Celtiberian Wars and it broke out in 143 BC. A decade later, in 133 BC, the Roman general and hero of the Third Punic War, Scipio Aemilianus Africanus, subjugated Numantia, the chief Celtiberian city.
Martí de Riquer i Morera, 8th Count of Casa Dávalos was a Spanish literary historian and Romance philologist, a recognised international authority in the field. His writing career lasted from 1934 to 2004. He was also a nobleman and Grandee of Spain.
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Frederick A. de Armas is a literary scholar, critic and novelist who is Robert O. Anderson Distinguished Service Professor in Humanities at the University of Chicago.
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