The Car of the Magi It is the name that Ramón Menéndez Pidal assigned in 1900 to an old theater piece of Toledo origin that is estimated to have been made in the 12th century. The text is also known as Adoration of the Magi.
The work was found in a library belonging to the Cathedral Chapter of Toledo, in a codex with biblical annotations, by Felipe Fernández Vallejo. Author is not known. Anyone who wants to observe it can attend the National Library of Spain, where there is a copy.
Its value lies in the fact that it is considered the first dramatic text written in the Spanish and Castilian languages. It was formally published for the first time in 1863, by Amador de los Ríos. It is due to Ríos and Manuel Cañete to make the Spanish people understand the importance of this text during the 19th century.
It is considered, as a result of the study of its language by scholars, that the Car of the Magi It was written shortly after Per Abbat compiled and published the verses of the Cantar del Mío Cid, which adds greater value to it..
Such is the scope and impact of the text, that in 2001 Unesco spoke about it by naming the Car of the Magi "Oral and Intangible Heritage of Humanity ”, in addition to considering it a masterpiece.
It was the responsibility of the renowned teacher Menéndez Pidal to make an exhaustive study of the phonetic, metric and lexical characteristics. He also made a comparison with other texts with similar themes in French and English to establish their relationships, giving strength to the unparalleled of the work..
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The work has a total of 147 verses, with varied metrics, which is why it is classified as “polymetric”. The text is truncated, it is not complete. It is not known for sure what happened to the remaining fragments, however, in the adaptation presented to the public, they are complemented by statements produced by presumptions..
The text presents certain problems regarding the allocation of the entries of each character, because the work is written in a kind of continuous prose where it is not specified exactly who each dialogue belongs to..
The only thing that allows us to make a reservation regarding the differentiation between parliaments are some marks that separate them. Despite this, the theatrical adaptations carried out have been very well received..
The in-depth studies carried out on the theatrical piece produced a notable French influence on it. In fact, it was concluded that the Auto de los Reyes Magos is, therefore, an adaptation into Spanish of a French drama with a liturgical character where the arrival of the Magi and their adoration of the redeeming messiah were revealed..
It is important to note that when making comparisons between Spanish and French work, a notable presence of language typical of the vulgar is evidenced, so that the text that influenced the Car of the Magi it was possibly of popular origin and not cultured.
Whoever drew up the text made a special effort to ensure that the language used adjusted as much as possible to the Toledo of that time, hence a crucial part of its value. For this reason many Mozarabic words are perceived that by that time had already been Castilianized.
The own text of the Car of the Magi, wave Adoration of the Magi, focuses on what Saint Matthew mentioned in his gospel, specifically in chapter 2, between verses 1 and 12.
The work describes its own plot starring Melchior, Gaspar and Baltasar, the "kings", when, guided by a star, they looked for the redeeming messiah to deliver the offerings. Although it should be clarified that the work refers to these as "star fans", that is: astronomers.
Although what happened is well known by all, it is one of the most relaxed biblical plots in the world, the text presents interesting adjustments, in addition to "assumptions" of what could have happened.
Despite the fact that the text does not show annotations for the actors, the play is popularly divided into five scenes:
In this scene three monologues are presented where each character expresses his thoughts about the new star that has appeared in the skies, and the meanings and repercussions that his presence can bring with it. In addition to starting the path in pursuit of the star to see if it really leads to the redeemer.
Character entries are symmetrical and very well treated.
In this scene the wise men choose the gifts that they are going to bring to the infant with the sole reason of revealing the real essence of the child, if his character is really divine.
This scene shows the astronomers entering Herod's chambers, manifesting what they were able to appreciate about the star and the prophecy of the arrival of the messiah. Herod receives them, listens to them and promises that he will also go to worship the infant.
This scene is a monologue by Herod. In it the ruler, who in the previous scene stated that he would worship the messiah, shows that he fears his presence and the connotations that the fact that he becomes an adult may have. Herod calls his elderly advisers and discusses it, to make way for scene 5.
In this scene, subject to the Gospel of Saint Matthew, the Magi are shown approaching the child, delivering the offerings, worshiping them and prostrating themselves before him..
Then, thanks to the premonition received in dreams, going to their lands, but by different paths to avoid Herod.
We owe to this theatrical work as much as to the Cid Campeador, for showing Spanish-speakers the characteristics of the Cervantes language during its formation. Its value is, certainly, immeasurable both for philologists and for lovers of history.
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