Il cane dell’ortolano de Lope de Vega según Ameyden, Gasparetti y Fiorellino

Lope de Vega’s posthumous fame in Italy is very different in relation with time passing: if in the XVIIth century he was really appreciated and his dramas and comedies were often translated, adapted and represented, nowadays he’s practically absent in the dramatic production and there are just a few titles available in Italian translation. This happens including for his masterpieces. The case of El perro del hortelano is quite interesting, since there are three versions respectively by Ameyden, Gasparetti and Fiorellino, belonging to different periods and different conceptions of translation and literary taste. This article tries to analyze them, in a comparative perspective.