Reescritura e intertextualidad en Calderón: No hay cosa como callar

The study of the differences of degree between intertextuality and rewriting can allow to a better understanding of some aspects of literary interpretation. After present some theoretical questions about both concepts, I analyze Calderón’s comedy No hay cosa como callar as a perfect example of the problem. It protagonist, don Juan de Mendoza, has been linked repeatedly with the myth born in El burlador de Sevilla, play that presents soft intertextual contacts, while the relationship with La fuerza de la sangre, one of Cervantes’ Novelas ejemplares, is fare more profound: in fact, the calderonian comedy could be considered as a new example of the rewriting of a novel in prose, pattern that determines certain characteristics of the resulting work. Then, the feature of rapist of the main character is an unvariant maintained from the original, and not a conscious innovation of the poet, because until The Libertine, by Thomas Shadwell, it’s not introduced this innovation in the trail of the myth.