El retorno de Astrea: Astrología, mito e imperio en Calderón. Frederick A. de Armas. Ed. and trans. Guillermo Gómez Sánchez-Ferrer. Biblioteca Áurea Hispánica 108. Madrid: Iberoamericana, 2016. 380 pp. €44.
est are the last two chapters. Chapter 7 is dedicated to Hordognez’s style and, more specifically, the translator’s interventions in the text aimed at improving his translation stylistically and dissipating any possible ambiguity. In chapter 8, Lampugnani focuses on Hordognez as a critic of Celestina and studies the passages where he intervened by modifying or expanding the plot, stage directions, and characters’ description. The study ends with a brief conclusion, a bibliography, and an appendix with a list of editions of the Italian translation followed by the transcription of some paratextual material at the beginning of the Italian translation. This is, without doubt, an important study that surely fills a gap in Celestina’s criticism. However, it is evident that Lampugnani’s study is somewhat outdated. This can readily be detected by the choice of the Spanish edition on which he bases his analysis. Since the original text used by Hordognez has not been preserved, Lampugnani’s comparative study is based on the edition prepared by Criado de Val and Trotter in 1970, a critical edition with many limits and whose text is too defective to be considered reliable. Similarly, both the appendix he added with a list of editions of the Italian translation not collected in catalogues and his bibliography would have greatly benefited from an update. Nevertheless, these minor faults do not invalidate Lampugnani’s study and every scholar interested in Celestina or in the theory and practice of translation will be surely grateful to the linguistic and sociolinguistic analysis carried out in La prima traduzione italiana de “La Celestina.”