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En este artículo se estudia una de las producciones dramáticas de Juan Pablo Forner, su única pieza larga completa que hemos conservado en la actualidad, La escuela de la amistad o El Filósofo enamorado, estrenada, ante el gran público, en Madrid, en el Teatro de la Cruz, el miércoles 28 de enero de 1795. Se investiga sobre la repercusión que tuvo la puesta en escena de este texto en los años posteriores a la muerte de Forner, hasta los finales del reinado de Fernando VII en España, según quedó reflejado en las publicaciones periódicas del momento, la aceptación que recibió por parte del público que acudió a los locales teatrales y por los críticos que se ocuparon de ella, las recaudaciones de taquilla que obtuvo en las sesiones, la estructura de la función dramática en la que fue incluida, las compañías teatrales que se encargaron de los montajes, las reposiciones de las que fue objeto. Todo ello va a demostrar que El Filósofo enamorado fue una comedia de éxito, demandada por los espectadores, que acudieron con regularidad a los espectáculos en los que, en los teatros del periodo, le fue reservada una importante y esencial participación.

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This paper deal with another text dedicated to treat with the traditional dramatic theme of the legend of Raquel, the Jewish of Toledo of which the Castilian King Alfonso VIII supposedly fell in love: Diálogo trágico. Intitulado La Raquel. Facil de egecutar en casas particulares. Sacado de la historia y adornado con intervalos de música. Por un aficionado, written by the Castellón-born José March y Borrás, a work not well known until the present, and not mentioned between the creations that historically dealt with those same issues. In this article, the Diálogo trágico is framed in the dramatic tradition in which it is inserted; it is dentified the group of works of the Enlightenment to which it belongs, and the historic literary genre that is its own; the data that is preserved about its unknown author is provided; the composition received by the same is studied; information are rescued about the printers who made it known in their century; and a modern edition of it is made, in order to make it available to interested readers. With everything, it has been tried to contribute to rescue an important part of Spanish bibliographical heritage, that, until now, it has remained in the shade, and to complete, in this way, the usually presented panorama of the Spanish culture and Literature of the age of the Enlightenment.

Copyright of Cuadernos Dieciochistas is the property of Ediciones Universidad de Salamanca and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos Dieciochistas is the property of Ediciones Universidad de Salamanca and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)