"Amar después de la muerte" di Pedro Calderón de la Barca nelle due versioni italiane distanti due secoli

This study examines the two Italian translations of Amar después de la muerte by Pedro Calderón de la Barca, produced almost two centuries apart: Pietro Monti's nineteenth-century prose version (1855) and Diego Símini's recent verse translation (2023). The analysis highlights the substantial differences between the two renderings, shaped by their respective historical and cultural contexts as well as by the translators' stylistic choices. Through a comparative reading of selected passages, the article addresses issues of textual criticism, metrical reproduction, translation strategies, lexical choices, and the representation of the gracioso. The findings show that, while both translations aim to remain faithful to Calderón's original, they embody distinct approaches: Monti's version is marked by a didactic and accessible style, whereas Símini's seeks to recreate the polymetric structure and baroque effects of the source text. The comparison thus underscores the role of translation as both cultural mediation and a reflection of changing modes of reception of Golden Age Spanish theatre in Italy.