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woman's portrait. Basilio reveals to them that he imprisoned his infant son, Segismundo, due to a prophecy by an oracle that the prince would bring disgrace to Poland and would kill his father, but he wants to grant his son a chance to prove the oracle wrong. If he finds him evil and unworthy, he will send him back to his cell, making way for
Astolfo and Estrella to become the new king and queen. Clotaldo enters with Rosaura, telling Basilio that the intruders know about Segismundo. He begs for the king's pardon, as he knows he should have killed them. The king says he should not worry, for his secret has already been revealed. Rosaura tells Clotaldo that she wants revenge against Astolfo, but she won't say why. Clotaldo is reluctant to reveal that he thinks he is Rosaura's father.
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Segismundo heir to his throne. As king, Segismundo decides that
Astolfo must keep his promise to marry Rosaura to preserve her honor. At first Astolfo is hesitant because she is not of noble birth, but when Clotaldo reveals that she is his daughter, Astolfo consents. Segismundo then claims Estrella in marriage himself. Segismundo resolves to live by the motto that "God is God", acknowledging that, whether asleep or awake, one must strive for goodness.
468:
and giving him her honor before he abandoned her to marry
Estrella. She followed him to Poland for revenge, finding that Clotaldo is her father, but he is unwilling to fight for her honor. Rosaura compares herself to female warriors Athena and Diana. She wants to join Segismundo's battle and to kill Astolfo or to die fighting. Segismundo agrees. While soldiers cheer for Segismundo, Rosaura and Clarín are reunited, and the king's soldiers approach.
333:
has been going by the name of Astrea. When
Segismundo is awakened and arrives at court, Clotaldo tells him that he is the prince of Poland and heir to the throne. He resents Clotaldo for keeping this secret from him for all those years. He finds Duke Astolfo irritating and is dazzled by Estrella's beauty. When a servant warns him about the princess's betrothal to Astolfo, Segismundo is enraged by the news and throws the servant from the balcony.
464:
allegiance to the king. Back in the palace, everyone prepares for battle, and
Clotaldo speaks with Rosaura. She asks him to take Astolfo's life, as he had taken her honor before leaving her. Clotaldo refuses, reminding her that Duke Astolfo is now the heir to the throne. When Rosaura asks what will be of her honor, Clotaldo suggests that she spend her days in a nunnery. Disheartened, Rosaura runs away.
186:
1605:
1589:
160:". The story focuses on the fictional Segismundo, Prince of Poland, who has been imprisoned in a tower by his father, King Basilio, following a dire prophecy that the prince would bring disaster to the country and death to the King. Basilio briefly frees Segismundo, but when the prince goes on a rampage, the king imprisons him again, persuading him that it was all a dream.
589:
Wilson and
William M. Whitby consider Rosaura to be central to the work since she parallels Segismundo's actions and also serves as Segismundo's guide, leading him to a final conversion. For some Rosaura must be studied as part of a Platonic ascent on the part of the Prince. Others compare her first appearance, falling from a horse/hippogriff to the plot of
607:, the goddess of chastity and justice. Astraea was the last of the immortals to leave earth with the decline of the ages. Her return signals the return of a Golden Age. Many writers of the Renaissance and early modern periods used the figure of Astraea to praise the rulers of their times. It is possible that Rosaura (an anagram of
337:
and Clarín. Rosaura wants to leave, but
Segismundo tries to seduce her. Clotaldo steps up to defend his child, but Segismundo pulls out a dagger threatening to kill him. As Clotaldo begs for his life, Astolfo challenges Segismundo to a duel. Before they proceed, the king sedates the prince again and sends him back to his cell.
451:
inside is hers. Estrella walks in and demands to see it immediately, but, afraid of being discovered, Rosaura says the locket in
Astolfo's hand is actually her own, and that he has hidden the one she was sent to fetch. Estrella leaves furious. Meanwhile, Clotaldo sends Clarín to prison, believing that Clarín knows his secret.
463:
The people find out that they have a prince and many rebel, breaking him out of his prison tower, although at first they comically mistake Clarin for the prince. Segismundo finds
Clotaldo, who is afraid of his reaction. Segismundo forgives him, asking to join his cause, but Clotaldo refuses, swearing
332:
Clotaldo gives
Segismundo a sedative that "robs one in his sleep of his sense and faculties" (109), which puts him in a sleep similar to death. In the Royal Palace of the capital city of Warsaw, Clotaldo has learned that Rosaura is a woman; Clarín explains that Rosaura is Princess Estrella's maid but
638:
There have been many different interpretations of the play's ending, where Segismundo condemns the rebel soldier who freed him to life imprisonment in the tower. Some have suggested that this scene is ironic – that it raises questions about whether Segismundo will in fact be a just king. Others have
467:
As war nears, Segismundo sees Rosaura, who tells him that she was the youth who found him in his prison and also the woman who he tried to seduce in court. She tells him that she was born in Muscovy of a noble woman who was disgraced and abandoned. She had the same fate, falling in love with Astolfo
450:
After recriminating Astolfo for wearing another woman's portrait around his neck, Estrella commands Rosaura (still going by Astrea) to fetch this locket for her. When she approaches Astolfo for the locket, he says he recognized her as Rosaura and refuses to give her the locket, because the portrait
336:
The king demands an explanation from his son. He tries to reason with him, but Segismundo announces he will fight everyone, for his rights were denied him for a long time. Basilio warns him that he must behave, or he might find out he's dreaming. Segismundo interrupts a conversation between Rosaura
471:
Segismundo's army is winning the battle. Basilio, Clotaldo and Astolfo are preparing to escape when Clarín is killed in front of them. Segismundo arrives and Basilio faces his son, waiting for his death, but Segismundo spares his life. In light of the Prince's generous attitude, the King proclaims
323:
At the palace, Astolfo (Duke of Muscovy) discusses with his cousin, Princess Estrella (Segismundo's cousin), that as they are the nephew and niece of King Basilio of Poland, they would be his successors if they married each other. Estrella is troubled by the locket that Astolfo wears, with another
588:
saw it as a strange and exotic plot, like a parasitical vine. Rosaura has also been dismissed as the simple stock character of the jilted woman. With the British School of Calderonistas, this attitude changed. A. E. Sloman explained how the main and secondary actions are linked. Others like E. M.
529:
One of the major conflicts of the play is the opposition between king and prince, which parallels with the struggle of Uranus vs. Saturn or Saturn vs. Jupiter in classical mythology. This struggle is a typical representation of the opposition in baroque comedy between the values represented by a
307:
After being abandoned by their horses, Rosaura, who is dressed as a man, and Clarín walk through the mountains of Poland without food or anywhere to go for the night. They arrive at a tower, where they find Segismundo imprisoned, bound in chains. He tells them that his only crime was being born.
148:. First published in 1636, in two different editions, the first in Madrid and a second one in Zaragoza. Don W. Cruickshank and a number of other critics believe that the play can be dated around 1630, thus making Calderón's most famous work a rather early composition. It is a philosophical
542:
is significant to the character Rosaura. She feels she has been stripped of her honor, and her aim is to reclaim it. Rosaura feels that both she and her mother were subjected to the same fate. She pleads to Clotaldo about earning her honor back, which he denies and sends her to a nunnery.
642:
It is worth considering that Segismundo's transformation in the course of the play is not simply a moral awakening, but a realization of his social role as the heir to the throne, and this role requires him to act as kings act. For some, the act of punishing the rebel soldier makes him a
1608:
1592:
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Machiavellian prince. Others argue that, while this action may seem unjust, it is in keeping with his new social status as the king. Daniel L. Heiple traces a long tradition of works where treason seems to be rewarded, but the traitor or rebel is subsequently punished.
454:
Segismundo mutters in his sleep about murder and revenge. When the prince wakes up, he tells Clotaldo about his "dream". Clotaldo tells him that even in dreams, people must act with kindness and justice. When he leaves, Segismundo is left reflecting on dreams and life.
710:, a 2016 adaptation by Paula Rodríguez and Sandra Arpa which focuses on the principal female character in Calderon's play – showing how she fights against what life had done to her, as well as against the established order and the limits imposed on her
218:
The age of Calderón was also marked by deep religious conviction in Spain. The Catholic church had fostered Spanish pride and identity, to the extent that "speaking Christian" became, and remains, synonymous with speaking Spanish.
891:
646:
It may well be that, rather than intending his audience to see this action as purely right or wrong, Calderón purposefully made it ambiguous, creating an interesting tension in the play that adds to its depth.
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882:
308:
Clotaldo, Segismundo's old warden and tutor, arrives and orders his guards to disarm and kill the intruders, but he recognizes Rosaura's sword as his own that he had left behind in
1868:
815:
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where Astolfo (the name of the character who deceives Rosaura in our play), also rides the hippogriff and witnesses a prophecy of the return of the mythical Golden Age. For
312:(for a favor that he owed) years ago for his child to bear. Suspecting that Rosaura is his child (he thinks she is male), he takes Rosaura and Clarín with him to court.
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pointed out that Calderón, who lived under the Spanish monarchy, could not have left the rebel soldier unpunished, because this would be an affront to royal authority.
292:
618:
480:
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927:
1909:
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171:, as well as restoring one's honor. It remains one of Calderón's best-known and most studied works, and was listed as one of the 40 greatest plays of all time in
1620:
Theater project produced by Puy Navarro in collaboration with Amnesty International. Francisco Reyes, Associate Producer. March 2007 at The Culture Project, NYC
177:. Other themes include dreams vs. reality and the conflict between father and son. The play has been adapted for other stage works, in film and as a novel.
1648:
743:(composer) and Alasdair Middleton (libretist); Directed by Graham Vick. Premiered by Birmingham Opera Company, Argyle Works, Birmingham, on 21 March 2012.
1476:
1641:
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were not adequate to sustain its subsequent decades of heavy military expenses. Spain's power was rapidly waning by the time Calderón wrote
203:
was defeated by England in 1588, however, while Spain was trying to defend the northern coast of Africa from the expansion of the Turkish
1624:
568:
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1103:
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The concept of life as a dream is an ancient one found in Hinduism and Greek philosophy (notably Heraclitus and the famous Platonic
315:
222:
Another current that permeated Spanish thinking was the departure from the idea that royal power resided in God's will, as noted in
429:
1803:
1795:
1771:
31:
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was presented by the Magis Theatre Company in February 2017 at La Mama Experimental Theatre Club, with a new translation of
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48:
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145:
66:
54:
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Amidst these developments during the 16th and 17th centuries, Spain experienced a cultural blossoming referred to as the
1939:
1934:
1894:
513:, which Lope de Vega had brought to the stage. This legend is, itself, a derivation of the story of the early years of
1914:
1819:
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This religious fervor permeated the theatre of the time in that a prevalent theme was free will versus predestination.
603:, Rosaura hides a mythological mystery already utilized by Ariosto. When she goes to Court, she takes on the name of
611:, "dawns") could represent the return of a Golden Age during the reign of Segismundo, a figure that represents King
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1924:
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fatherly figure and those embodied by the son. An opposition which, in this case, may have biographical elements.
784:
1712:
1333:
1704:
1480:
929:
Drama for students [Volume 23]: presenting analysis, context and criticism on commonly studied dramas
1846:
1787:
779:
747:
1679:
223:
555:, the monster, free will vs. predestination, the four elements, original sin, pride and disillusionment.
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309:
1619:
244:, 1613) stated that political power resided in the people and rejected the divine rights of kings, and
1811:
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The Rosaura subplot has been subjected to much criticism in the past as not belonging to the work.
421:
266:
233:
1899:
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612:
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256:
107:
1306:
H. B. Hall, "Segismundo and the Rebel Soldier," Bulletin of Hispanic Studies 45 (1968): 189–200.
1779:
1577:
936:
862:
498:
1186:
Maurin, Margaret S. "The Monster, the Sepulchre and the Dark: Related Patterns of Imagery in
1688:
693:
252:(1599) went even further by stating that the people had the right to murder despotic kings.
141:
136:
1353:
1338:
1173:
Ambrose, Timothy. "Calderón and Borges: Discovering Infinity in the Labyrinth of Reason",
1107:
685:
595:
518:
173:
153:
1100:
756:
752:
722:
1635 play by George Drance SJ, and presented on the same bill with the autosacramental
509:
to Shakespeare. Key elements from the play may be derived from the Christian legend of
502:
275:
204:
200:
196:
1177:, (ed.) Frederick A. de Armas, pp. 197–218. Lewisburg: Bucknell University press, 1998
551:
Motifs and themes derived from a number of traditions found in this drama include the
1883:
740:
1532:
1127:"Las posibilidades dramaticas de Barlaam y Josafat: De Lope de Vega a sus epigonos"
798:
701:
679:
506:
270:
245:
190:
1069:, vol. 1, The Library of Iberian Resources Online (1973), accessed 7 December 2013
792:(and was distributed under this title in its English-language subtitled version).
673:
428:
1160:
Osaura Parker, Alexander A. "The Father–Son Conflict in the Drama of Calderón",
573:
261:
156:
and the mystery of life. The play has been described as "the supreme example of
1315:
Daniel L. Heiple, "The Tradition Behind the Punishment of the Rebel Soldier in
1552:
1519:
1506:
1250:," ed. Bruce W. Wardropper, 90–100. New York: New York University Press, 1965"
442:
228:
185:
1633:
1062:
30:
This article is about Pedro Calderón de la Barca's play. For other uses, see
1426:
770:
552:
208:
164:
92:
1101:
De La Barca, Pedro Calderón. Introduction to "The Wonder-Working Magician"
580:. Segismundo and Rosaura appear represented below Calderon (de la Barca).
17:
1614:
1598:
1216:
Heiple, Daniel L. "Life as Dream and the Philosophy of Disillusionment",
149:
1581:
1203:
Sullivan, Henry W. "The Oedipus Myth: Lacan and Dream Interpretation",
590:
168:
96:
1451:
207:, and the gold and silver that Spain took from its possessions in the
1402:"Rosaura review – feminists unlock the mystery of Calderón's classic"
769:
Popular song: Some of the latter lines from Act 2 are sampled in the
577:
539:
118:
1011:
Critical Introduction to Pedro Calderon de la Barca's Life's a Dream
996:
Critical Introduction to Pedro Calderon de la Barca's Life's a Dream
972:
Critical Introduction to Pedro Calderon de la Barca's Life's a Dream
984:
Payne, "Spanish Society and Economics in the Imperial Age" (Ch. 14)
269:(1605), played with the vague line between reality and perception.
1126:
659:
617:
567:
479:
314:
291:
184:
1013:. Boulder, Colorado: University Press of Colorado. pp. 1–15.
998:. Boulder, Colorado: University Press of Colorado. pp. 1–15.
974:. Boulder, Colorado: University Press of Colorado. pp. 1–15.
1572:
in Spanish at Repertorio Español in New York City. November 2008
713:
1637:
199:
was the most powerful European nation by the 16th century. The
755:(composer) and James Maraniss (librettist), premiered by the
279:(1619), talks about a village that rebels against authority.
1567:
410:
1334:"Theatre review: Life is a Dream, Donmar Warehouse, London"
1295:
The Return of Astraea: An Astral-Imperial Myth in Calderón
805:
samples an English translation of a passage from the play.
1218:
The Prince in the Tower: Perceptions of La vida es sueño
1205:
The Prince in the Tower: Perceptions of La vida es sueño
1149:
The Prince in the Tower: Perceptions of La vida es sueño
1175:
A Star-Crossed Golden Age: Myth and the Spanish Comedia
1379:"Review of Rosaura by Paula Rodriguez and Sandra Arpa"
1151:, pp. 3–14, Lewisburg: Bucknell University Press, 1993
1110:, barca.classicauthors.net. Retrieved 8 November 2013
1276:
William Whitby "Rosarura's Role in the Structure of
1029:. Madrid: Instituto de Estudios Politicos de Madrid.
678:, was performed in Brussels in 1647, and printed by
629:(International Festival of Classical Theatre, 2012).
1861:
1830:
1763:
1756:
1731:
1678:
1671:
838:. Cambridge: Cambridge University Press, 2009, p.78
625:, 35th Festival Internacional de Teatro Clásico de
163:The play's central themes are the conflict between
114:
103:
88:
80:
72:
62:
41:
27:
Spanish-language play by Pedro Calderón de la Barca
1091:, pp. 78–79. London: Henry S. King & Co., 1873
881:
299:, 35th Festival Internacional del Teatro Clásico,
1297:. Lexington: University of Kentucky Press, 1986.
916:, University of Pennsylvania Press (2003), p. 15
797:Song: The title track of progressive metal band
1869:List of Calderón's plays in English translation
816:List of Calderón's plays in English translation
1120:
1118:
1116:
1649:
1147:De Armas, Frederick A. "The Critical Tower",
519:Hindu–Buddhist concept of reality as illusion
189:Title page of a comedy by Spanish playwright
8:
1087:Translation by Denis Florence Mac-Carthy in
259:. It saw the birth of notable works of art:
1242:A. E. Sloman, "The Structure of Calderón's
859:Pedro Calderón de la Barca: Life Is a Dream
53:Detail from bronze relief on a monument to
1760:
1675:
1656:
1642:
1634:
1282:Critical Essays on the Theater of Calderón
1265:Critical Essays on the Theater of Calderón
1248:Critical Essays on the Theater of Calderón
955:: CS1 maint: location missing publisher (
883:"The 40 best plays to read before you die"
339:
47:
38:
914:Early Modern Spain: A Documentary History
726:translated by Drance and Alfredo Galván.
1129:. Universidad de Santiago de Compostela
827:
773:song "Que es la Vida" by Martillo Vago.
505:. It has been explored by writers from
400:And even dreams themselves are dreams.
948:
440:
1502:David Belcher, "What Dreams May Come"
135:
7:
370:Death dissolves his pride and state:
362:Lives and rules with sovereign sway;
1910:Plays by Pedro Calderón de la Barca
1625:Odeon Theatre, Bucharest, Romania.
1400:Billington, Michael (5 July 2016).
422:Segismundo's soliloquy (in Spanish)
364:All the cheers that round him ring,
319:The royal palace in medieval Poland
25:
1452:"Birmingham Opera Company – Home"
1233:. Madrid: A. Perez Dubrull, 1881.
1162:Forum for Modern language Studies
1027:DEFENSA DE LA FE (DEFENSIO FIDEI)
894:from the original on 14 June 2022
392:What is life? A thing that seems,
390:What is life? 'Tis but a madness.
384:Here am bound, the scorn of fate;
376:In the dream beyond death's gate?
1603:
1587:
1584:(Denis Florence MacCarthy, 1873)
441:Problems playing this file? See
426:
388:I enjoyed of light and gladness.
32:Life Is a Dream (disambiguation)
1067:A History of Spain and Portugal
926:Sara Constantakis, ed. (2006).
386:'Twas a dream that once a state
372:Who would wish a crown to take,
1742:The Great Theater of the World
1520:Que es la Vida – Martillo Vago
1354:"Rosaura – Corral de Comedias"
497:), and is directly related to
398:Since is life a dream at best,
382:'Tis a dream that I in sadness
366:Born of air, on air take wing.
1:
1229:Marcelino Menéndez y Pelayo,
1063:"The Spanish Empire" (Ch. 13)
394:A mirage that falsely gleams,
368:And in ashes (mournful fate!)
358:The king dreams he is a king,
1321:Bulletin of Hispanic Studies
1052:Brockett & Hildy, p. 134
559:Analysis and interpretations
57:in Madrid, J. Figueras, 1878
1613:public domain audiobook at
1597:public domain audiobook at
1510:, July 2010, Vol. 75, No. 1
1427:"paula-rodriguez – ROSAURA"
847:Brockett & Hildy, p.145
788:is a partial adaptation of
633:
586:Marcelino Menéndez y Pelayo
396:Phantom joy, delusive rest,
1956:
1665:Pedro Calderón de la Barca
1025:Suarez, Francisco (1971).
146:Pedro Calderón de la Barca
67:Pedro Calderón de la Barca
29:
1542:– via www.imdb.com.
1125:Garcia Reidy, Alejandro.
861:, Penguin, p. viii,
374:Seeing that he must awake
137:[laˈβiðaesˈsweɲo]
46:
1713:El pintor de su deshonra
1533:"Life Is a Dream (1987)"
1456:Birmingham Opera Company
634:Segismundo's conclusions
517:, which illustrates the
360:And in this delusive way
345:Segismundo's reflections
158:Spanish Golden Age drama
1293:Frederick A. de Armas,
675:Het Leven is maer Droom
547:Other motifs and themes
525:Father vs. son conflict
238:On the Defense of Faith
1431:Paula-rodriguezact.com
1164:, 2 (1966), pp. 99–113
1009:Kidd, Michael (2004).
994:Kidd, Michael (2004).
970:Kidd, Michael (2004).
857:Racz, Gregary (2006),
668:
630:
581:
485:
415:
320:
304:
193:
132:
1905:Philosophical fiction
1705:El médico de su honra
1041:On Kings and Kingship
715:Calderón’s Two Dreams
663:
621:
571:
483:
414:
318:
295:
250:On Kings and Kingship
188:
1812:The Prince in Chains
1804:The Mayor of Zalamea
1796:The Mayor of Zalamea
1772:The Mayor of Zalamea
1721:The Mayor of Zalamea
1231:Calderón y su teatro
1106:10 July 2009 at the
834:Don W. Cruickshank,
692:was produced at the
672:A Dutch adaptation,
572:Part of a façade of
511:Barlaam and Josaphat
495:Allegory of the Cave
1940:Works set in Warsaw
1935:Plays set in Poland
1895:Counter-Reformation
1733:Autos sacramentales
1582:English translation
1483:on 24 February 2019
1194:, 35 (1967): 161–78
1078:Constantakis, p.186
267:Miguel de Cervantes
1915:Spanish literature
1568:New production of
1358:Corraldealcala.com
1342:. 15 October 2009.
1259:E. M. Wilson, "On
1061:Payne, Stanley G.
912:Cowans, Jon (ed).
890:. 18 August 2019.
836:Don Pedro Calderon
696:in 2009, starring
669:
631:
613:Philip IV of Spain
601:Frederick de Armas
582:
515:Siddhartha Gautama
489:Dreams vs. reality
486:
416:
321:
305:
257:Spanish Golden Age
194:
181:Historical context
108:Spanish Golden Age
1930:Theatre of Poland
1925:Warsaw in fiction
1920:Dreams in theatre
1877:
1876:
1857:
1856:
1780:The Night of Love
1752:
1751:
1578:Project Gutenberg
1089:Calderon's Dramas
942:978-0-7876-8119-7
868:978-0-14-310482-7
688:'s adaptation of
476:Themes and motifs
431:
406:
405:
354:
351:(close of Act II)
242:De defensio fidei
124:
123:
81:Original language
16:(Redirected from
1947:
1788:The Phantom Lady
1761:
1689:The Phantom Lady
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1610:La vida es sueño
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1570:La vida es sueño
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1541:
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1529:
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1499:
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1488:
1479:. Archived from
1477:"Santa Fe Opera"
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1323:50 (1973): 1–17.
1317:La vida es sueño
1313:
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1278:La vida es sueño
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1261:La vida es sueño
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848:
845:
839:
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759:on 24 July 2010.
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234:Francisco Suárez
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720:Life is a Dream
690:Life Is a Dream
686:Helen Edmundson
667:, 35th Festival
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1536:. Retrieved
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1485:. Retrieved
1481:the original
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1459:. Retrieved
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933:(Collection)
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680:Jan Mommaert
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241:
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191:Lope de Vega
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36:
1757:Adaptations
1538:23 February
1487:23 February
1461:23 February
1436:23 February
1411:23 February
1385:23 February
1363:23 February
935:. Detroit.
764:Other media
698:BAFTA Award
651:Adaptations
574:Burgtheater
262:Don Quixote
224:Machiavelli
1890:1635 plays
1884:Categories
1839:Henry VIII
1507:Opera News
1133:9 November
822:References
443:media help
229:The Prince
131:(Spanish:
63:Written by
18:Segismundo
1900:Free will
1745:(c. 1634)
1522:, YouTube
951:cite book
801:'s album
780:Raúl Ruiz
771:Jumpstyle
553:labyrinth
499:Descartes
209:New World
165:free will
93:Free will
1680:Comedias
1615:LibriVox
1599:LibriVox
1284:, 101–13
1104:Archived
892:Archived
810:See also
700:-winner
484:Calderón
283:Synopsis
232:(1532).
150:allegory
144:play by
55:Calderón
1862:Related
1716:(1640s)
1267:, 63–89
803:Visions
708:Rosaura
656:Theatre
627:Almagro
609:auroras
605:Astraea
591:Ariosto
459:Act III
310:Muskovy
301:Almagro
140:) is a
115:Setting
89:Subject
84:Spanish
1850:(2010)
1842:(1883)
1831:Operas
1823:(1986)
1815:(1960)
1807:(1956)
1799:(1954)
1791:(1945)
1783:(1927)
1775:(1920)
1724:(1651)
1708:(1637)
1700:(1635)
1692:(1629)
1629:. 2011
1580:in an
1280:," in
1263:," in
1246:," in
1043:(1599)
939:
898:8 June
865:
778:Film:
578:Vienna
328:Act II
303:(2012)
119:Poland
1764:Films
1672:Plays
799:Haken
731:Opera
540:honor
534:Honor
288:Act I
265:, by
110:drama
104:Genre
1540:2019
1489:2019
1463:2019
1438:2019
1413:2019
1387:2019
1365:2019
1135:2013
957:link
937:ISBN
900:2020
863:ISBN
379:....
169:fate
167:and
97:fate
76:1635
1319:,"
1190:",
1065:in
751:by
739:by
593:'s
576:in
501:'s
248:'s
226:'s
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1356:.
1336:.
1115:^
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240:(
34:.
20:)
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