Un dios que se transforma en héroe

Abstract

Desde la perspectiva de la genética textual, en este trabajo observamos las representacionesdel personaje de Peter Pan en los textos de J. M. Barrie dedicados a este con respecto a sussemejanzas con el dios griego Pan, para ver de qué manera dialogan con los diferentes sentidosque el dios fue connotando a través de siglos. Analizamos la fotonovela The Boys Castawaysof Black Lake Island (1901); The Little White Bird (1902), novela en la que aparece en seiscapítulos; las "Fairy Notes" (1903) en borrador y el libreto inédito llamado Anon: a play de la obra teatral Peter Pan or The Boy Who Would Not Grow Up (estrenada en 1904); la novela Peter Pan in Kensington Gardens (1906), que consiste en esos seis capítulos de The LittleWhite Bird; la novela Peter and Wendy (1911), adaptación de la obra de teatro; un guion cinematográfico,Scenario for a Proposed Film of Peter Pan (c. 1918), que no se filmó; y ellibreto de la obra, finalmente publicado, con bastantes cambios, en 1928.

From the point of view of Textual Genetics, in this article we shall go through the representations of the Peter Pan character in the texts by J. M. Barrie which include him, as regards his likeness to the Greek god Pan, in order to see how they set a dialogue with the different senses this god has implied throughout the centuries. We shall analyze the photo-novella The Boys Castaways of Black Lake Island (1901); The Little White Bird (1902), a novel in which Peter appears in six chapters; the "Fairy Notes" (1903) and the unpublished script, called Anon: a play, for the play Peter Pan or The Boy Who Would Not Grow Up (first performed in 1904); the novel Peter Pan in Kensington Gardens (1906), which consists of those six chapters in The Little White Bird; the novel Peter and Wendy (1911), an adaptation of the play; a film script, Scenario for a Proposed Film of Peter Pan, (c. 1918), which was never shot; and the script for the play, which was finally published, with several changes, in 1928.