Bowdlerizing or maximizing? Two strategies to render Shakespeare’s sexual puns In nineteenth-century spain


  • Laura Campillo Arnaiz



In 1883, Ricardo de Miranda, Marqués de Premio Real, addressed a letter to poet and novelist Emilia Pardo Bazán in the newspaper La Época.2 In this letter, Miranda argued Zola’s “immoral naturalism” was lacking in English novelists and playwrights, whose works could be read in family, as they were appropriate for people of all ages. Miranda emphasised the great difference in naturalistic styles between Shakespeare and Zola, and subtly blamed the latter for writing “coarse and revolting” novels.3 In order to prove his point, the Marqués de Premio Real invited Countess Pardo Bazán to review Shakespeare’s plays, with the exception of Titus Andronicus, a tragedy about whose authorship Miranda was not sure. Four days after the publication of this letter, Pardo Bazán answered the Marqués with another, where she reviewed Shakespeare’s texts and showed the extent to which his works were full of a realism that made Zola’s pale in comparison.

Biografia do Autor

Laura Campillo Arnaiz

Anna Stegh Camati is a retired Associate Professor of English and American Literature of the Federal University of Paraná (Brazil), and at present she is Professor of English and American Literature at the Centro Universitário Campos Andrade (UNIANDRADE–PR). She obtained her Masters degree in English and American Literature in 1978 at the Federal University of Paraná and her Ph.D. in English Language and Anglo-American Literature at the University of São Paulo in 1987, with the dissertation The Serio-Comic Theatre of Tom Stoppard: Parodic Theatricality in Travesties. She also works with translation in several fields of knowledge such as the visual arts, music, and literature. She has articles published on English and American literature in general, mainly on theatre and drama in newspapers, magazines, periodicals, and books. Her recent publications include studies on textual appropriation and stage adaptations of Shakespeare’s plays, such as “Hamletrash: a Brazilian Hamlet Made of Scraps”. In: RESENDE, Aimara (ed). Foreign Accents: Brazilian Readings of Shakespeare. Newark: U of Delaware Press, 2002, and “Shakespeare no Parque: Hamlet de Marcelo Marchioro”. In: AQUINO, Ricardo B. & MALUF, Sheila D. (orgs). Dramaturgia e Teatro. Maceió: EDUFAL, 2004. E-mail: