El capitán LaFontaine Rousseau, militar condecorado francés con licencia, emigra a la ciudad de Puebla, México, a establecer un negocio de esencias, ahí conoce a Ana María, pero para conseguir su amor, deberá cambiar sus malas costumbres y con una nueva actitud decide recuperar la confi anza de su amada. Poemas de amor, refl exión, canciones y cuentos, dan un realce y matizan esta narración de fi delidad a la familia y honor a la patria. De esta relación nacen unos gemelos, uno amable y el otro cruel, y la pequeña María Teresa (Mariquita), juntos enfrentaran el camino de la desventura y una posible traición. Inicia la batalla del 5 de Mayo, el capitán es requerido para combatir con las tropas Francesas en Italia, Edmud se enlista en las fi las mexicanas y Dubois en las Francesas, Edmud toma prisionero a Dubios, por lealtad a su familia y hermano, lo ayuda a escapar, al terminar la batalla, Edmud es apresado por las tropas enemigas, su vida estará en manos de su hermano egoísta y fi el a Francia. Valentina y Tolin, eternos enamorados, con un alto sentido de la amistad, ayudaran a la familia LaFontaine a enfrentar esta batalla de egos, soberbia y honor.

She takes into account plays that reveal their conventional, formulaic views of the Christian feminine ideal as well as those whose variety and flexibility present women subverting their expected roles. By identifying moments of resistance and subversion in the texts the author argues against excessively monolithic interpretations of such discourses of containment.

Spain's Golden Age, the seventeenth century, left the world one great legacy, the flower of its dramatic genius—the comedia. The work of the Golden Age playwrights represents the largest combined body of dramatic literature from a single historical period, comparable in magnitude to classical tragedy and comedy, to Elizabethan drama, and to French neoclassical theater. A History of Spanish Golden Age Drama is the first up-to-date survey of the history of the comedia, with special emphasis on critical approaches developed during the past ten years. A history of the comedia necessarily focuses on the work of Lope de Vega and Calderon de la Barca, but Ziomek also gives full credit to the host of lesser dramatists who followed in the paths blazed by Lope and Calderon, and whose individual contributions to particular genres added to the richness of Spanish theater. He also examines the profound influence of the comedia on the literature of other cultures.

This study illustrates how a focus on language, which is manifest in so much of contemporary literary theory, can help to open some of the canonical texts of Spanish Golden Age theater to new readings.

This book is a volume in the Penn Press Anniversary Collection. To mark its 125th anniversary in 2015, the University of Pennsylvania Press rereleased more than 1,100 titles from Penn Press's distinguished backlist from 1899-1999 that had fallen out of print. Spanning an entire century, the Anniversary Collection offers peer-reviewed scholarship in a wide range of subject areas.