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490 Miguel José Deyá Bauzá

galas son de Marte horrendo,
adornos son de su fama,
porque tantos agujeros
cuantos el vestido muestra
tienen en rostro y pechos
dados por vuestros contrarios;
con solo esos cuatrocientos
rotos y descamisados
he de entraros, vive el cielo,
en Túnez, aunque lo impidan
más demonios (p. 19) 72 .

There was such an uproar in favour of its reinstatement that the
authorities were forced to rescind the order and allow the scene to be
reintegrated .
73

Conclusion

It is worth noting how, in the work of Cañizares, the Turks play a
very minor role, although they remained a great power in the period
the play was written. The author doesn’t identify Barbarossa with the
Ottomans who employed and supported him and under whose banner
he fought. That runs contrary to the enduring Spanish tradition
whereby the Turks were identified with Islam. As has been
demonstrated, however, in general the play by Cañizares was loyal to
the historical facts. Literary license is used, in particular to define the
profile of the characters, especially that of Charles V. If there is a single
feature that characterizes the Emperor in the play, it is his moral
superiority. In that regard, the play makes use of one of the main

72 «Those are the Spaniards, / my Lord, veteran soldiers, / the men who gave you so
many victories / in Italy. / Those men wearing ragged clothes, / their faces scorched by
the summer sun / and by the cold of many winters / endured in your campaigns. / You
can count on them, Sire / for although they are not well-dressed gentlemen / they are
good shots and fight hard. / Their wretched rags / are the drapes of fearful Mars / and
the ornaments of their fame. / As numerous as the holes / in their clothes / are the
scars in their faces and chests / caused by your enemies. / With just four hundred of
those / ragged, half-naked soldiers / God willing I will enter Tunis on your behalf, /
even if there are more demons there / to prevent it» (p. 19).
73 M. Larraz, Le Théâtre cit., p. 331. According to Hüseyin Güngör Sahin, the play
had been performed in Madrid in November 1810 but he wrongly dates the play to 1769,
nineteen years after the death of Cañizares and more than half a century after its
premiere. G. Shahin, Barbaros Hayreddin Pasha, llamado Barbarroja, en el teatro
español y latinoamericano como un instrumento de la propaganda, in Ö. Seçkin (ed.), El
viejo mundo y el nuevo mundo en la era del diálogo, Universidad de Ankara, Ankara,
2014, p. 794.

Mediterranea - ricerche storiche - Anno XVII - Agosto 2020
ISSN 1824-3010 (stampa) ISSN 1828-230X (online)