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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
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is invoked, Marandro assures his friend
Leoncio that true love (as opposed to Roman lust) does not impede his duties as citizen and soldier. 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
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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. Scenes of destruction and mass suicide ensue, as men kill their women and then turn the sword on
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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.
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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
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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.
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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
267:. It remained unpublished until the eighteenth-century. Since then, it has been hailed by many as a “rare specimen of Spanish tragedy” and even as the best Spanish tragedy not only from the period before Lope de Vega, but of all its literature.
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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, and as containing elements that question imperial expansionism.
316:. 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
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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.
331:, 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
324:. 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.
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increases. A dead man is resuscitated by magic in a dramatic scene reminiscent of the necromantic revivification by the witch
Erichto in the
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themselves or duel with each other. The allegorical figures of War, Sickness and Hunger take over the stage in an apocalyptic ambiance.
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Raymond MacCurdy, “The
Numantia Plays of Cervantes and Rojas Zorrilla: The Shift from Collective to Personal Tragedy,”
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1582 and was apparently very successful in the years before the advent of the playwright
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Marandro, accompanied by his friend, Leoncio, ventures to enter the Roman camp.
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Veronica Ryjik, "Mujer, Alegoria e imperio en el drama de Miguel de Cervantes
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Veronica Ryjic, "Mujer, Alegoria e imperio en el drama de Miguel de Cervantes
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Discourses of Empire. Counter-Epic Literature in Early Modern Spain
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Some critics have seen resemblances between Cervantes' tragedy and
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University Park, Penn State University Press, 2003, pp. 87-95.
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Theogenes, Caravino, Marquino, Marandro, Leonicio, Lira
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William M. Whitby, "The Sacrifice Theme in Cervantes'
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Cambridge: Cambridge University Press, 1998, pp. 77-96
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the fall of the Spanish city of Numantia to the Romans
478:Barcelona: Ariel, 1976; Francisco Vivar, "El ideal
312:appears with his generals in the Roman camp before
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440:Emilie Bergmann, “The Epic Vision of Cervantes
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113:Learn how and when to remove this message
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239:The play is divided into four acts, (
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448:36 (1982); Frederick A. De Armas,
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825:Plays by Miguel de Cervantes
642:El retablo de las maravillas
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799:Action of 26 September 1575
474:Juan Bautista Avalle-Arce,
255:, but for the most part in
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62:"The Siege of Numantia"
742:La fuerza de la sangre
707:El licenciado Vidriera
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654:La cueva de Salamanca
622:The Siege of Numantia
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209:The Siege of Numantia
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16:For the battle, see
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220:) is a
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