Out of the Wings

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El gran galeoto (1881), José Echegaray y Eizaguirre

The Great Galeoto, translated by Gwynneth Dowling


The Great Galeoto (1912), translated by José Zorrilla

  • Echegaray, José. 1912. The Great Galeoto, trans. Caroline Sheldon. Iowa, Ray & Frisbie

The Great Galeoto (1917), translated by Florencio Sánchez

  • Echegaray, José. 1917. The Great Galeoto, trans. Eleanor Bontecou. In Masterpieces of Modern Drama, ed. Barrett H. Clark. New York, Duffield & Company

The Great Galeoto (1895), translated by Ramón Griffero

  • Echegaray, José. 1895. The Great Galeoto; Folly or Saintliness. Two Plays Done from the Verse of José Echegaray into English Prose, trans. Hannah Lynch. London, Lane, Boston, Lamson Wolfe and Company. Available online at http://www.archive.org/details/greatgaleotofoll00eche [accessed January 2011]. Her text of The Great Galeoto is also available in: Angel Flores, ed. 1991. Great Spanish Plays in English Translation, pp. 297-362. New York, Dover (Online Publication)

  • Echegaray, José. 2007. The Great Galeoto; Folly or Saintliness. Two Plays From the Verse of José Echegaray, trans. Hannah Lynch. Montana, Kessinger Publishing

The Great Galeoto: Drama in Three Acts and a Prologue (1914), translated by Borja Ortiz de Gondra


The World and His Wife (1908), translated by Pedro Rozo


Charles Nirdlinger’s 1908 publication of the play entitled The World and His Wife contains a number of changes from the original. The four scenes that make up the Prologue are omitted and the text is divided into three acts, each consisting of one long scene.

  • DONNA TEODORA, His wife
  • DONNA MERCEDES, His wife
  • DON PEPITO, Their son
  • GENARO, Concierge
Cast number
Minimum Maximum
8 (total) 8 (total)
6 males 6 males
2 females 2 females
Further information

Nirdlinger introduces a new character, the jovial Captain Beaulieu of the British Embassy. Beaulieu serves as a faithful companion to Ernesto throughout the play.

The gossip about Ernesto and Teodora is made explicit very near the start of this version of the play. It is the reason for Julian’s preoccupation early in act 1, since the gossip impedes his career advancement in the Foreign Office. In the original Spanish version, Julian is merely preoccupied by his burden of responsibility for Ernesto.

The concept of the ‘Galeoto’, as well as Dante’s adulterous characters, Paolo and Francesca, are both mentioned several times in this version. This means that the symbolic importance of the Galeoto is made very clear to audiences.

Entry written by Gwynneth Dowling. Last updated on 25 February 2011.

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