Presencia y latencia del diablo en tres comedias de Agustín Moreto

In this paper, we analyze the dramatic configuration of the devil in three plays by Agustín Moreto, Los siete durmientes (1651) El más ilustre francés, San Bernardo (1657) y El azote de su patria (1669). The main prospect is not only the study of the stage power of a character with such a wide range of theatrical and artistic possibilities, but also his structural role in the conflict and his decisive influence on the action even when he is not actually present.

Dankbrief Salomon Rothschilds an die Vertreter der Israeliten Wiens für den Glückwunsch zur Verleihung des Wiener Bürgerrechtes 1843

Max Grunwald

Aus Moses Mendelssohns Gesammelten Schriften : (Leipzig Brockhaus, 1843-45 . Mit Einleitung von Ch. A. Brandis)

Ludwig Goldstein