TH E D RAMATIC ART L O PE DE V EGA

TOGETH ER W IT H

LA DAMA BO BA

ED ITED FROM AN A UTOGRAP , H IN T H E B IB LIOTECA NACIONAL T MAD R ID W IT OTES A , H N

RU DO L PH SC HEVILL

U N IV ERSITY OF CALIFO RNIA PRESS B ERKELEY

1 91 8

To

J UAN C. CEB RI AN

Z A SON OF SP AI N CITI EN OE TH E U N ITE D ST TES . H ONOR ED AN D L OV E D I N B OTH CO U NTR I ES F OR H I S

L -M D D D V R Y B L A S I NG E I N E E OTI ON TO EV E NO E C U SE .

P REF ACE

The large amount which Lope de Vega wrote for the stage manifestly d emands a volumin ous study of his art to do him full st e T ju ic . he limited essay here presented may consequently be

c ns ere ina e ate and an n i l o id d d qu , m y poi ts wh ch cou d or ought

to be nc i i luded w ll be missed . Of that I am aware . But within

the confined scope of this attempt my obj ect became twofold :

rst to n cate rie n s n in r fi , i di by b f hi t alo g what l es a mo e detailed investigation c ould be in stituted by someone better fitted than

se and sec n to a e at a ture ate s c t . my lf, o d , h v , fu d , ome justifi a ion for continuing an examination of the many items of interest

i h L n wh c ope co stantly suggests . I have refrained from comparing

the reat an ar it t er aster r ters for the t eatre for g Sp i d w h o h m w i h , the obvious reason that it seemed to me more important to out line first an obj ective presentation of the material derive d from

Lope himself . Comparative studies in literature are futile and unprofitable to the reader who is n ot well acquainted with all the

e e ents co are . M re er c ar s ns fre ent lea t o l m mp d o ov , omp i o qu ly d unjust conclusions whenever they attempt to prove that one writer is greater than another instead of analyzin g in an unbiased

' manner how their delin eation and interpretation of life are re

lated . The offhand as sertion is frequently to be m et with that

M r n es r r c reater t an L O e de V e a olie e a d Shak pea e a e mu h g h p g , and yet the writers of such statements too often repeat merely a

traditional catch phrase ; they do not prepare the ground by add ing a just and indispensable picture of the economic and social background which accounts for much that is unique in Lope de

’ s c r st es Arist anes Vega s art . The most sati fa to y udi of oph ,

e e r M ere an d t er ast er a r ts are t m Shak sp a e , oli o h m pl yw igh ho based on direct obj ective analysis of their productions, and the

r r th t es e ef re us a com principles or formula of thei a t . Wi h b o , parison may profitably be instituted which will further illuminate their methods of composition or reveal the extent to which they held a mirror up to the form of society in which they moved . A co arat e st ma a so be atte te mp iv udy y l mp d , which relates

L e to his re ecess rs in the nat ona op p d o i l theatre of Spain . H is

n e te ness in t s connect n is not e cess e i d b d hi io x iv , but a careful

comparison makes evident the continuity of a number of features

in an s ra at c art eat res re ate rst t h Sp i h d m i , f u l d , fi o t e technical

s e c os t n and sec n to the e id of omp i io , o d , ampl scope which char

acterizes the popular d ramatic formula of the sixteenth and

se nt n n r ve ee th ce tu ies . ( I refer especially to the break with class ic

tra t n and rece t and the ra a sa e r n f di io p p , g du l di pp a a ce o the prin ciple of limitation in subj ect matter fit for the stage ) The fin al programme of the drama of the Golden Age included every con

ceivable ot ta en ro stor ct on e en t nd pl k f m hi y , fi i , l g d , my hology a

h i n t e like . Lope s a lin eal d escenda t of a more p rimitive and a cruder art and nothin g is more astonishing than the many inno

i n i vations for which he alone s respo sible . B ut n spite of all the features in which he may b e compared with earlier playwrights to

his ec e a anta e one stan s out reéminentl his undeni d id d dv g , d p y ,

ih t en en The k e - n hi re able superiority poe ic d owm t . y ote to s c a

' tion is freshness an d constant inspiration ; the prominent trait

of the majority of his p recursors is their lack of originality : they

n s s t s et n to tate t e see too ten could ot lo e igh of om hi g imi , h y m of forced to toil an d keep vigil in the h0 pe th at some divin e afflatus

ff r th c n e e . I n s ort m en may raise the ir e o ts above e ommo l v l h ,

r z Ar ens a J an de la Gue a V r es M e like B e mude , g ol , u v , i u , igu l

n e t b ee n t e r wa atte t n Sanchez and Cerva tes s em o e f li g h i y , mp i g

forms of dramatic expression unrelated to any well - conceived

T r eatr ca ts t o er r n n ce artistic formula . hei th i l gif , h ugh v y p o ou d

ls ne er cr sta ze nto an e - r n e con in isolated detai , v y li d i y w ll ou d d t ception ; they were generally overwhelmed by a lack of restrain

r I t b e an d nullified by disregar d of balance and fo m . would ’ futile here to point out the n oteworthy exce ptions among L ope s

r t ose a r ts who re ea e in an ccas ona predecesso s , h pl yw igh v l d o i l

A st of t e r trait the evidence of genuine artistic gifts . udy h i

productions could present with much profit not only the growth

of numerous metrical forms and technical flexibility of the drama

nc but the r n ar s e e ents c o f the Renasce e , o igi of v iou l m whi h

e I n t ese two fea portray the outward aspects of S panish lif . ( h ’ r a o e L o e s r s et c c ar and s ar n o a g , t u e , po i h m p kli g p pul di l u p rt est ancestors ere Gil V cent an wo hi w i e d Lope de Rueda . N o c omp arative study would be complete which does not exhaustively

ea t t ese two r n n n d l wi h h p omi e t ames . The main difference be tween the teatro antiguo of the sixteenth century an d the work of

L e m a t s be sa to b e t s t at e the former is op y hu id hi , h whil . char acterized by a constant striving toward more adequate

is hardly a feature in the drama of his contemporaries or cessors c cann t be n in e r at east in his , whi h o fou d mb yo , l , formula .

’ ’ I n n e cer ts r L e s a s str to s l givi g x p f om op pl y , I ove e ect p ass a es c o est strate ar ent e en ta en g whi h . w uld b illu my gum , v if k

r m edi s n n n f om co a ot u know to readers of Spanish literature . The majority of citations were taken from the accessible collection in the B teca de A t res E s afioles nsat s act r as t s is iblio u o p , u i f o y hi , because the reader who approaches Lope as a new field of study could more easily obtain and re ad those plays . I have mad e no

ff rt to b e cons stent in the atter of accents on e s eca se e o i m vow l , b u

tat ons ta en r a ar et te ts r nte in an my quo i , k f om v i y of x p i d m y

fferent e c s c not be stan ar ze . di po h , ould d di d f - My thanks are due to Dr . H ills o the H ispanic Society of

A r ca who t n a n c rtes sent me transcr t ns of me i , wi h u f ili g ou y ip io items to b e foun d in the library which he directs ; to Mr . F . E .

n er nd M ss P atrc a Moorshead r er st ents the Spe c a i i i , fo m ud of

r rn a for c at n a s and assa es for m e Unive sity of Califo i , oll i g pl y p g

N na t Ma r and to c ea es P ro in the B iblioteca acio l a d id , my oll gu ,

H r rt r P r ess r Jaén and Mr . E ene Joralemon fessor e be Co y, of o , ug for the ir valuable assistance in reading proofs .

B ERKELE C F R A an ar 1 9 1 8 . Y , ALI O NI , J u y,

CON TE N TS

I. The dramatic art of L ope de V ega Introduction ’ L ope s dramatic art : the formula of art versus the formula of human life Inheritance and tradition man ife st in the characters ’ Inheritance and tradition manifest in spec ific traits of L ope s plots

Ar e c in h t c n e a ance h n f tificial d vi es t e e h iqu : b l , t e duplicatio o groups or combinations of pe rsonages P oetic language and thought : Concep tis mo an d Culto ’ L ope s learn ing : the infl uence of the clas sics ’ L ope s acquaintance with contemporary lite rature ’ e n a ea res f L o e s art : e o t on t rec rr n S ome t ch ic l f tu o p xp si i , plo s, u i g themes D a o e on o o e and narrat e i l gu , m l gu iv Characters and customs ’ Two examples of L ope s Comedic : a trage dy and a come dy

I I . L a D ama B oba The autograph

V ar an of the r t e t on of Ma r 1 6 1 7 i ts fi s di i d id , L a V ersificacié n

B IB LIOGRAPH Y

L OP E F ELIX DE V EGA CARP IO .

O r e t on of the Ro a S an Aca e Ma r 1 8 90—1 91 4 1 5 b as , di i y l p ish d my, d id , , — o . vol . I t a o ra la B arrera and o . I I XI I I v ls ; , wi h bi g phy by , v ls ,

with pre face s by Menendez y P elayo.

RES ToaI A. , Critical reviews of the prece ding edition in Z eitschrift fur romanis che

- hilolo ie 1 8 98 1 906 . P g ,

RE ER . A. NN T, H

Th L e of L o e de V e a P a e a 1 904 . e if p g , hil d lphi ,

' ‘ REN N ERI . A. , H B ra of the Dra at c Wor of L o e de V e a Car o a e ibliog phy m i ks p g pi , b s d

on the cata o e of o n R tter C or e in Revue his ani ue 1 9 1 5 . up l gu J h u h l y , p q , RE ER . A . NN T, H ’ The S ta n of L o e de V e Co e a in Revue his ani ue 1 906 . gi g p ga s m di s, p q ,

RE ER . A . NN T, H T n a in h T f L o de V e a N ew or 1 909 he S pa ish S t ge t e ime o pe g , Y k, .

- M RE F A. O L ATIO , “ L Co e a e a no e du XV I I ec e P ari 1 8 8 5. a m di sp g l si l , s ,

- M RE F A. O L ATIO ,

L es or ne de L o e de V e a in B ulletin his am ue 1 905 . igi s p g , p q ,

CH R E J . R . O L Y, ’ Athena eum N o e er 1 8 53 and F ras er s Ma az ine o . 59 and 60 , v mb , ; g , v ls ,

1 8 59 .

ORM S B . Y, J

L e de V e a in ua rterl R evie w 1 8 94 . op g , Q y ,

- F Z M U R CE KE J . IT A I LLY, L d V n h n Dra a Ta l rian L ect re L on on ope e ega a d t e S pa ish m . ( y o u ) d ,

1 902 .

- F Z M U R CE KE J . IT A I LLY,

C a te r on S an L terat re C a . V I I L on on 1 908 . h p s p ish i u , ( h p ) , d ,

B Y S AN M R I A . ONILLA A T N , n r ct on to e t on of P e rtbdnez e l ome ndad or de Oca fia I t odu i his di i y C ,

Ma r 1 9 1 6 . d id ,

B U CH M . A. ANAN , A ni T e tre in e e e n eent Cen r The niversi t t a S pa sh h a th S v t h tu y, U y of

ont o thl 1 0 Tor o M n y, 9 8 .

H A F VON S c Acx , . .

e c c t der ra at c e n L terat r und K n t in S an en 2u t G s hi h e d m is h i u u s p i , d e di .

e n ar e F ran rt a . M . 1 8 54 . T or has een tran ate nto l g d , kfu , his w k b sl d i — an E . de M er Ma r 1 8 8 5 1 8 8 7 . S p ish by i , d id ,

CH EF F ER A. Ge c c te de s an c en N ationaldram as L e 1 8 90 . S A , s hi h sp is h , ipzig,

F R E A. A IN LLI,

r ar e r und L o e de V e a B er n 1 8 94 . G illp z p g , li ,

K E . L L IN , J . — Ge c c te des Dra a Das an c e rama o . V I I I XI L e i s hi h m s ; sp is h D , v ls , pzig , — 1 8 7 1 1 8 75 . This work is unf ortunatelv wr itten in an involve d and

re pellent style . F or full lists of titles cf

- F Z M U R CE KE . IT A I LLY , J

tor a de la terat ra es afiola Ma r 1 9 1 6 . 358 436 His i li u p , d id , , pp , .

CEJ ADOR v F R U C J U . A A , LIO

tor a de la en a t e rat ra e s afiola v ol. I V M a r 1 9 1 6 His i l gu y li u p , , d id , ,

pp . 69ff. I TH E DRAMATIC ART OF LOP E DE V E GA

I NTRODU CTI ON

The Opinion is widespread that it is impossible for any human being to reach a fai r and comprehensive estimate of the dramatic art of L op e de V ega on account of the unlimited number of

comedies c he has r ce . I n t er or s one of his whi h p odu d o h w d , c e c a s to en r n a e his u erhum an ro ucthr hi f l im du i g f m p d , , s _ p fl turn s out to be the main obstacle to any satisfactory study of

his a s . H e r tens st ents a a . N e ert e ess t s a e pl y f igh ud w y v h l , hi ll ged

‘ reason for ne ect n L e and his art is am now con nce gl i g op , I vi d ,

ere one se era n r nes c r e in h m ly of v l mi o o , whi h ha dly w igh t e balance against a single overwhelming cause : the incredibly

nat r e f hi r n u t active stat o s p i ted works . And this fact touches

n n r i i huma atu e n ts most vulnerable spot . After many years of fruitless effort to interest my students in Lope in any per ’

anent or r ct e sense es tate to sen t e an on e r to m p odu iv , I h i d h m y l g

r r r n hi I ou lib a ies to consult the available editio s of s plays . s this not an inexplicable fault in the record of S panish studies the world over ? Can we point to the works of any truly great

a r t t er nat ons and affirm t at the sa e is tr e ? pl yw igh of o h i , h m u

Are not sc r s e t ns a es eare Goet e M ere or o e of di io of Sh k p , h , oli m en ess a e to be had in ar s acce ta e or s ? I n the of l f m , v iou p bl f m

’ case of Lo e on the t er an — s re one of the r s ost p , o h h d u ly wo ld m

— h r o s c e ra ca or fascin ating geni uses t e reco d sh w hi fly biog phi l ra c S il di s and as re ar s the a s t e se es bibliog phi al t e , g d pl y h m lv , e t er n er ttent ser es of c ect ns or an ccas na re r nt i h i t mi i oll io , o io l p i

f e he r er are for the o a sin gle com edic . The volum s of t fo m greater part misguided efforts which have been highly successful in keeping his works peacefully shelved . ’ Ta e for e a e the est on L e s a t ra an k , x mpl , qu i of op u og ph m u

r s c n er all c rc stances st r the e nn n sc ipt , whi h u d i um mu fo m b gi i g

f i r c I s it not of any conceivable investigation o h s d amati art . n atural to suppose that they would all b e accessible in critical ° c ART OF L OP E DE VE GA

edifionSp or Some form of adequate reprint ? Yet in the face pf tliis cr n nee our eff rts a e een s ent for the st art yi g d o h v b p , mo p , on plays already printed in a form which does not give us the

n en n e n i nn r cr n T fu dam tal co c ptio of h s ma e of eatio . his implies

n o criticism of the results already offered ; it is rather an expres sion of regret that the limited energies and enthusiasms of

an s sc ars s be t s scattere and not recte to a Sp i h hol hould hu d , di d

sin gle end . We shall never have even a working edition of any

reat an s r ter t ese sc nnecte et ds st r g Sp i h w i , if h di o d m ho of udy pe

s st . The tas is en r s to be s re and e er r e r i k o mou , u , lif v y b i f ; ou

ents are err n and cr t cs e er rea to te us . Y t judgm i g , i i v dy ll so e it is inconceivable that so wealthy a literature as the Spanish should not stir us up to ever in creasing efforts in order that its

history an d its master minds may be illuminated ; but we are

n ere the er ect state our t ls and a ac c r hi d d by imp f of oo , l k of ou

age and concerted energy to make them better without delay . It is with trepidation that one begins to speak of any of the

’ printed versions or collections of Lope s comedie s . The most

eas access e co ect on the r o es conta ne in the ily ibl ll i , fou v lum i d

B iblioteca de autores es a noles cann t be asse t t ra se p , o p d wi hou p i in so far as it represented a commendable effort to gather his

e scattered r ct ns . N e ert e ess t s edit n cann t wid ly p odu io v h l , hi io o

b e rec en e to the a era e st ent . The n t e t e omm d d v g ud dimi u iv yp ,

the r tt e a er the cr e a e in tr e c n the num b i l p p , owd d p g ipl olum ,

erous naccurac es c are a arent es ec a en c are i i , whi h pp p i lly wh omp d

t a t ra s or ear e t ns all see to a e een e se wi h u og ph ly di io , m h v b d vi d i h to make Lope repellent . I n the case of the plays included n t e

bras eltos r nte anc a in the e teent cent r we O S u , p i d by S h igh h u y ,

e re cc ta e r at t s set has the sa anta e hav a mo a ep bl fo m ; hi di dv g ,

o e er not n of e n re at e scarce in our rar es but h w v , o ly b i g l iv ly lib i , of containing dramas which manifest no judicious selection or

n b s t con absolute trustworthiness of text . And what ca e aid o

done the mountainous edition begun by the Ac ademy ? Much has

n n rn n th e ects of the c l ect n its already been writte co ce i g e d f o l io ,

nt r s ze its ea t c a er its n acc rac es e en ere u owa d i , h vy , hi k p p , i u i v wh

r e s as s . C are for ex an autograph could have se v d a a b i ( omp ,

4 DRAMA TI C AR T OF L OPE DE VE GA any successful proj ect should be easy to determine sin ce it d epend s entirely on a judicious selection of plays sufficient to

e a co re ens e ea of his ra at c art on a a nsta n giv mp h iv id d m i , p i ki g

re r nt t at se ect n and on a or s e and attract e . p i Of h l io , f m impl iv

As re ar s a care se ect on his st a s t s is eas e g d ful l i of be pl y , hi f ibl

n n a d highly desirable si ce it clears away much dead weight .

’ After reading available plays and forming an opinion of Lope s art no n ew a c a e een a e to find and rea has , pl y whi h I h v b bl d ,

n T modified my co clusion . his must also be the experience of

’ ot ers nd eans t at the ar e n er L e s a s is no h , a m h l g umb of op pl y

r r n n n n f hi d awback to p i ti g a editio o s best com edie s . P erhaps the suggestions of those who know Lope m ay aid in makin g out

an a ra e st of a s . At all e ents o not t rt or dmi bl li pl y v , w uld hi y

ort s a o es eac conta n n at the ost t ree a s care f y m ll v lum , h i i g m h pl y ,

re r nte and nee be t o t n tes or ntr ct n fully p i d , , if d , wi h u o i odu io , be a greater monument to Lope than any other that critics could devise ?

I n connect n t the anner re r nt n his r s it io wi h m Of p i i g wo k , must b e remembered that no arbitrary procedure can ever again

a e L e a o ern t at the rea ers who st m k op m d , h body of d will udy him intelligently and sym pathetically must ever remain small— no unusual fate for the greatest of our writers— and that a d epend a e re r nt of the est a a a e e ts not o ern ze is all bl p i b v il bl t x , m d i d ,

n that ca be asked .

F na the r at the e t n ma b e eas eter ne i lly , fo m of di io y ily d mi d ,

its a n r ose b n e er ost ro e na e to ace a if m i pu p e v l f m vi w , m ly , pl scholarly selection within reach of any student of S panish letters the world over . May this ardent hope be realized in the near future ! V arious editions of single plays need not be mentioned here as they hardly change the facts presented regarding the lack Of

’ M re er en we co e o s L e s art . o o t Opportun ity to tudy op v , wh m

nt h stat L e cr t c s we are but tt e etter examine i o t e e of op i i i m , li l b

’ e re er who es tates to or his own n on Lo e s Off. Th ad h i f m Opi i of p

r a es off on a st nt for aid and d ramatic gift inva i bly go ill hu ,

r rn t the n ons S c ac or T c n r or presently etu s wi h Opi i of h k , i k o , DRAMATI C ART OF L OP E DE VE GA 5

C r e or Menen ez P e a or s r ho l y , d y l yo, of ome autho who derives

r t ese . N t n can be re s earten n to a te er n f om h o hi g mo di h i g ach , a d

when recently a studen t return ed with a revamped Opin ion ex

tracte r the a e cr t cs eter n e l d f om bov i i , I d mi d to ay aside for a

tt e e all ot er r e n in r er li l whil h wo k b gu , o d to ease my troubled

s u in o l this matter . Let me begin by statin g very clearly that

a e no es re to e tt e the reat or t es n n t I h v d i b li l g w k Of h e me , o ably that Of Menendez y P elayo whose unfin ished series of essays on

L ope will ever make evident to us how irreparable is the loss of

his n e e u compl t d studies . B ut some of the criticisms referred to

a o e ere set n t ree- arters of a cent r a o and an b v w dow h qu u y g , m y

of our nts e as e as our n r at n a e r t poi of vi w , w ll i fo m io , h v g ea ly

c an e s n ce t en . P er a s s o be ess ear of it all h g d i h h p I h uld l w y , if I had not had it served up to me in various forms with rarely a

n w n e poi t of view . I n Germ any the word s of August Wilhelm von Schlegel and Schack are still religiously repeate d from generation to genera

t n and we are ta t to el e e t at t ro t e the ast io , ugh b i v h h ugh h m l word on the Spanish drama has been said . Indeed the world kn ows how many admirable things these eminent judges have set

n and t at e r ra se the c ass c P en ns ar t eatre far dow , h th i p i of l i i ul h

r B outweighs any adverse criticism they m ay have utte ed . ut . the motive power which formed their Opinions was n ot infre

h d i roo i r quently an un critical enthusiasm . This a ts ts n the o

n r mantic movement and leaves us unconvi ced today . AS rega ds

’ S chlegel s dicta especially I recall an experience of my stud ent

days in Germany which shows how deeply fixed a point of view

en vent re in c ass to may become even amon g sch olars . Wh I u d l express my doubts about an assertion which Schlegel had made

e h an s ra a rece e the c c oncern in g the natur of t e Sp i h d m , I iv d old “ t ln re primand : An der Kritik dieses Me nnes ist nichts zu riit e .

e er s n ce een ssesse the es re P erhaps so . B ut I hav ev i b po d by d i to give the reputation of that worthy Old gentleman a little shak in o n n to e in estr n re er the r n c e of g d w , if o ly h lp d oyi g fo v p i ipl

for his art set a c re ens e s ste N e chbeter ei . Schack , p , up omp h iv y m ’ of dr amaturgy inspired by a comparative study of the world s 6 DRAMA TI C ART OF L OP E DE VE GA

theatre an d colored by his ardent love for those principles of the

ro ant c e ent c er in o r n m i mov m whi h w e v gue du i g his youth . H av

in at ere nn era e ra at c e e ents or or u ae re re g g h d i um bl d m i l m f m l , p

sente s ec c rases s c as the ra n of c ar ters he d by p ifi ph u h d wi g h ac , t

e e ent of t tr t to nat re and act a soc et d v lopm plo , u h u u l i y , psycho

ca e ce ence care e ec t n of eta s ar et of s logi l x ll , ful x u io d il , v i y mood ,

and scores ot ers he t ere on tte Lo nt th of h , h up fi d pe i o e system .

I t is evident from the beginning that Schack has set up specific stan dards and that he is goin g to adapt his favorite authors to

his ea ze sc e e . I n the case of L e t s is s ea n es e id li d h m op hi mi l di g, p

ci ll for st ents ar n ot c n e hi a y ud who e a quai t d with s art . It is certainly an illogical procedure to conceive an ideal dramaturgy and th en look about and see which authors satisfy most elements

’ the r a . LO e s n t ns rat on ere so Of fo mul ‘ p i d—ividuali y, i pi i , w - - peculiar and so origiD aI tt to grasp him in his entirety we must start we s to e a n n ot ro a en era sc e e but , if wi h xpl i him , f m g l h m , with a purely obj ective an alysis of what he wrote : n ot by con ceivin r nc es c he ne er had or at east n e er e g p i ipl whi h v , l , v liv d

to but not n he s ec c e e ents or en en a c up , by i g t p ifi l m ph om whi h constitute the unwritten formula of his art .

I n A er ca we nt t r e to T c nor our rst S an s m i poi wi h p id i k , fi p i h sc o ar who rote at a o t the sa e t e t at c ac ro ce h l , w b u m im h S h k p du d

’ n f his history of the P en insular drama . Tick or s analysis o the

’ S an s sta e n ta of L o e s art an d r s st n s an p i h g , o bly p wo k , ill fi d m y

i nt n c n in ant readers . B ut h s prese atio ould ot exceed qu ity what

’ seemed compatible with the entire history of a n ation s lite rature

nd cons ent is er na e ate es ec a to a . N or a equ ly v y i d qu , p i lly d y have we in this particular followed up the fine tradition of Sp an ish studies which he established by makin g any attempt at

’ — a comprehensive study of LOp e s dramatic art . We have beside

’ r and o ra ca r Mr . Rennert s excellent biog aphical bibli g phi l wo ks

— r f r e on ra s to our acco nt c e er a numbe o b i f m og ph u whi h , how v ,

st ce . Tic nor too eas re L O e do not claim to do him full ju i k , , m u d p

f i w n his n r by the convention al rod o h s day . O i g to sa e tempe a

nt his se he n e er reac e out for o n co ors to e ress me , poi , v h d gl wi g l xp

i t nor he e er e cee the o n s coo and fre h s sympa hy , did v x d b u d of l DRAMA TI C ART OF L OP E DE VE GA

quently very dry exposition ; but he n one the less shows eve ry

where that his vast early reading reposes on romantic foun da

t ns t at his s at es are t c io , h ymp hi wi h su h elements of dramatic art

as have been customarily emphasized by the chief exponents of

t at o e ent . T s is ll h m v m hi a quite logical . Tickn or wrote wh en literature in E n gland and especially in America had not y et

r te a a r ro ant c s and ter r r e d if d w y f om m i i m , li a y c iticism fr quently

‘ held up stan dards based upon the warm an d passionate produc

t ns so t ern E ro e . A P etrarc or a Ca eron es ec a io Of u h u p h , ld p i lly ,

see e to n cate t ese stan ar s and the r ant c sts ere m d vi di h d d , om i i w able to turn to accoun t in their theories many of the salient traits

f n r o Italia and Span ish literatu e . I t would b e absurd to deny that Lope has any of the qualities which found an echo in the

’ r nt n B n L r i h oma ic moveme t . ut to explai ope s d amatic art n t e

’ f r e T light O omanticism would be qually so. I n icknor s Opinion

a n er the a s c he sc sses resent a a t umb of pl y whi h di u , p f i hful

’ re f e en c e f r pictu o S panish soci ty . Wh I ome to sp ak o L ope s a t

s a tr to s t at t s is n ot con n c n so and t at s c I h ll y how h hi vi i gly , h u h asse rtions made without qualifications are exceedingly mislead

in . B ut t s n on was and st is one of the o es of g hi Opi i , ill , h bbi “ ra at c cr t c s to fin d ere er oss e a e cate ser a d m i i i i m , wh v p ibl d li ob v ” n tion of local or n atio al customs .

’ E ngland has given us Chorley s admirable exposition of the character of the S panish stage ; few scholars have labored over L ope and his bibliography as sympathetically as he and a great

n of his affir at ns are t ere re s est e . B ut ma y m io , h fo , highly ugg iv

s e as ze a a n t at am s ea n r the o nt I mu t mph i g i , h I p ki g f om p i of view of the teach er who is attempting to make Lope attractive

’ n F r o nt v e C or e s tt to the average stude t . om this p i of i w h l y a i tude is often a poor guide because he reaches back altogether too i far to explain matters directly be fore him . F or this reason t is difficult to agree with those who think it n ecessary to quote

’ I r t Chor ley whenever Lope s art is discussed . t has f om ime to time b een the habit of English critics who have followed in

’ “ Chorley s footsteps to call Spanish society essentially super ” “ a one to c the occas on a ent of oso c re fic i l , whi h i l mom phil phi 8 D RAMA TI C ART OF L OPE DE VE GA

fl ection is n n n u co ge ial . B y these and similar assertions the Span iard naturally gets the impression that such foreign critics

are e resse t the act t at t e t e se es on the chi fly imp d wi h f h h y h m lv ,

t er an e n to a s c et essent a r n and th o h h d , b lo g o i y i lly p ofou d , e modern student is thus introduced to those unfortunate antagon

s s t h i i m which go back o t e days of Queen El zabeth . Such phrases also constitute an easy way of explaining our inability to do justice to the prin cipal features of an art as peculiar as that of

LO e de V e a . C or e re er a es et s r p g h l y , mo ov , ppli m hod of histo ical and philos ophical analysis which seem top -heavy t o the beginn er because he reaches back to the earliest crude phases of Spanish c t r n r h n ul u e to explai a g eat art of t e seve teenth century . N O on e tod ay is seriously in clin ed to base his judgment Of the culture

’ the P en ns a on B c e s r ant c a ter on a n to b of i ul u kl b illi h p Sp i , e

n in hi i t i ili ti fou d s H s ory of C v za on . And yet a great deal of

C r e has the r n B c e for e er tr th att r ho l y i g of u kl , how v ue e l e may be here and there he has for the most part become Old -fashioned ; he presents an attitude which we can no longer accept unless

f T n renovated by a ew new ideas . he followi g quotation will

’ explain best what I mean by Chorley s reaching back too far to

r H i explain the character of the Spanish d ama . e s talking of “ ” th ntense se - c nsc s n a s of the an ar e i ly lf o iou i dividu li m Sp i d , and continues :

I n the e arli er time s it pre sents its elf with out disguise in the form of pe rson al in d epen dence an d fi e ry self -assertion ; an d from it s act ion on the

en e ra e a of ort and t ff e t ro o t E ro e t he g l id s w h du y di us d h ugh u u p , by e en n he e a of the n t t t on of C a r m a b e d velopm t , o t f ud l basis, i s i u i hiv l y , y — de duce d the qualities involved in the Castilian type of honor ove rwee n in e -a e r on n ct o re ent en t of Ofi e nc e e a o a nt enanc e g s lf ss t i , pu ili us s m , j l us m i

f r v e e in t t e an d ffi c e the ortan c e att ac e to r t of o p i il g i l O , imp h d pu i y blood an d the high sen se of the obligati on s annexe d t o the c la ims o f n ro n the t n fl en ce o t ca oc a an d n obility . O this g u d , migh y i u s, p li i l , s i l

r le e the t rn in P en n ar affa r t at e an in the a m o al, t loos by u i sul i s h b g d ys n n n e a a e at the e r o c c on c e rn us now of F er di a d a d Isab ll , h v , p i d whi h s , b e e n working f or m ore th an a c entury ; an d a strange work they h ave n e r e e an d oro has e c o e in o e m a de ! What w as o c ud , simpl vig us , b m s m

r ne in ot e r a t ere or ea ene in a ll a t re spe cts fanc ifully efi d , h s l d w k d , v s ly

n in r el f he e r f r c omplic ate d . I t is a c ombin atio whi ch ic s o t f ocity o wa

a e an d of the i a of e r ona n e e n en c e are n e like g s, w ld w ys p s l i d p d , mi gl d DRAMA TI C ART OF L OP E DE VE GA

t the co rt e e an d ca r c e of a t e of r an d ost ent at on a n d wi h u si s p i s im luxu y i , forc e d int o un n atural shape s by the high pre ssure of de spotism in S t ate

a n d Church .

P e re us ted la ba r re we n consc o s e c a a s o n , u i u ly x l im t thi p i t,

c e ac to our own n h om b k days a d t e matter in han d . F or after

’ all is sa and n e to a e Lo e s art t oro nate id do , h v p h ughly illumi d ,

w n e o on to his wn e ed g ly o comedie s . Lope explains Lope better

t an h a s f h t e d y o Wamba explai n him .

I n a n the cr t c s of the ate Menen ez P e a o to b e Sp i i i i m l d y l y ,

o n in his H istoria de les idees estétice s en E s ii nd in f u d p e e , a those essays on individual plays which he prefixed to the volumes

’ the Aca e s e t on has n o a . T ese s at re tter of d my di i , equ l h c te d u

an oes are t ro o t ns r n and co n ro on e ose h ugh u i pi i g, mi g f m wh

n erstan n of Lo e was so ro n os e taste was so un u d di g p p fou d , wh

e rr n so n s o be at ere at once an d re r nte in a i gly u d , h uld g h d p i d l form accessible to a l . I m ay be pardon ed for n ot mention in g all of the recent critics

’ r n or the mon ographs which are related to L ope s wo k . The fact that they deal largely with bibliographical matter must justify T their exclusion from my argument . he fear expressed above lest we accept too lightly current L ope criticism will meet with

r f t opposition on the part of many conservative reade s . O hat

e n e f es nts of I am well aware . B ut perhaps a d fe c o th e gia old

n h rt of t rs r n out so et n n ew and t at is all o t e pa o h e will b i g m hi g , h

r r s is o n to r t an d I desire . The ve y best c itici m b u d g ow mus y stale unless ven tilated and ren ewed from time to time ; the differ en ce between certain books on shelves and m en in their graves

’ “ l H ow n a m an lie is not very great after al . H amlet s lo g will

’ ” i the earth ere he rot ? also applies to the criticisms of bygon e

r re ac t rro days . What we say today ought of ight to b e pl ed omo w

n r nat n re com re ens e re tr e . by somethi g mo e illumi i g, mo p h iv , mo u DRAMA TI C ART OF L OP E DE VE GA

’ LOP E S DRAMATI C ART : TH E F ORMU L A OF ART V E RSU S TH E F ORMUL A OF HU MAN L I F E

The first tenden cy of the average student who desires to dis

’ cover Lop e s principles of composition is to search through his

essa cl Arte nuevo de he cer com edies an d the n er s ro y , um ou p

lo u s nd e c n re e h g e a d di atio s p fix d to t e first editions of his plays . f T s is to m e at least a r t ess aca e c roce re . L o e l hi , , f ui l d mi p du p

r t n a comedia and L o e tr n to e a n it is on e are w i i g , p yi g xpl i how d ,

two a s te fferent m en two n s r n in dis b olu ly di , mi d wo ki g wholly

t n n nd n ffer n e e The r n e e i ct fashio a o di e t l v ls . A te n vo esp cially h ‘ w

is n o c e to at we es re st to n o but e ant c -com lu wh d i mo k w , p d i ill - =rbin ed material drawn from his readin g ; lit is the acceptance in theory of dramatic principles to which the work of his life gave the lie un critical repetition of traditional phrases con cernin g

the un t e ac an d act n re re e e ves c n e er l e f im , pl e io , whi h v odg d

’ on L e s tree a nai e e anat on of the fferences a arent op , v xpl i di pp

et een his own creat n and the stan ar rks of c e b w io d d wo old , oupl d with excuses for caterin g to the poor taste Of the contemporary

- theatre goer . N or do his p rologues and his casual defin itions of

the comedie lead us out of the woods an d into the sunshine .

n ee n all is sa and one the L o e who te s us of his I d d , whe id d , p ll art is a mind circumscribed by acce pted academic teachings to which any deliberate opposition would have been un pardonable

eres . Cer antes t his ea re ra at c and s t et c h y v , wi h m g d m i ligh po i

t and the ar o s e ocre c nte rar es his ear eff rts gif , v i u m di o mpo i of ly o ,

’ e ll e r es t r in t ese tra els and L e s jogg d a th i liv h ough h mm , if op original genius had n ot br oken the academic bon ds which his

n ns re se - cr t c s to acce t we a e had n o u i pi d lf i i i m p , would h v m onstruo de le ne ture lez could not point with pride to _ _

his r rt r c rn s es an e a e of e er n te or com epe oi e whi h fu i h x mpl v y o , wrights destined to

1 2 DRAMA TI C AR T OF L OPE DE VE GA so through the dictates of his own gen ius ? H e certainly could not and the D orot is ere r e i re t in h , ee th to p ov t . W e a old t e fore word that the sentiments of the lovers are presented mes vivos

eca se of the r se . As a atter of act t e r c n ersati n b u p o m f , h i o v o seems much more stilted and unn atural by the very fact that it is

in r se . Ta e for e a e the d a ue Act 1 scene . p o k , x mpl , i log Of , v

C two o ers e er s ea as do F ernan and Dor tea ere ould l v v p k do o h , and be c ns ere san e ? c er n e c a at ons so an o id d Su h ov do e x l m i , m y re erences to the c ass cs s c atent tat ns of the Ce est n a f l i , u h p imi io l i and Ot er n o st c r s s c rea n s etters and rec t n of h veli i wo k , u h di g of l i i g

erses at are t e bu the s a c nat n of eat res c ar v , wh h y t u u l ombi io f u h acteristic of Renascen ce dialogue ? It is gratuitous to add that t ere are a so n e a t es of reat n n c ar t at a h l mi gl d qu li i g , u dyi g h m , h poet who had drunk so deeply of life as Lope could not fail to

’ add en n n tes . T s Dor tea s or s to Ce a e en n g ui e o hu o w d li , d f di g

’ rse for n e e o F ernan s ersona t and en s he lf havi g yi ld d t do p li y g iu , have an exquisite touch : she would live forever through his “ r n verses . gQué mayor riqueza para un a muj er que ve se eter i z a a ? P or e la er s ra se aca a na e ue la ra sin d qu h mo u b , y di q mi ella cree que la tuvo ; y los versos de su alabanz a son eternos

test s ue en con su n re . On the t er an the igo , q viv omb o h h d , formal conversation of lovers m ay lose all unn atural traits when e resse in erse and the rea er s es to see an e a le xp d v , if d wi h x mp n n rt o b s he s e of Ro e an d J et let ot u wo hy t e et by t id m o uli , him re e scenes in l e be llero de Olmedo n ta the t r ad som e C , o bly hi d scene of the second act .

’ en ne Lo e s c a e n t ns of the comedia I have m tio d p asu l d fi i io , of

r ar s er a s in his a s and asserte t at which the e e ev al ex mple pl y , d h

t e t at is n at n a o t L o e se they too tell us but lit l h illumi i g b u p him lf, T little that is distin ctive about his own peculiar art . hus we are told in cl Acero de Madrid

n e se in e ntaron la s c o e a N o e b ald v m di s ,

prim e ro en Grec ia que en Itali a y Roma .

A i v n e e o con e o ll se e j mpl s y s j s ,

porqu e son de la vida los e spej os . DRAMA TI C ART OF L OP E DE VE GA

at reater en t in el Cas ti o Ven anz g l g h , g g a

A ora a e R ca r o 5 h s b s , i d , ue e s la c o e a un e e o q m di sp j , e n ue el nec o el a o e l e q i , s bi , vi j o,

el o o el e rt e el a ar o m z , fu , g ll d , el re e l o e rn a or y, g b d , 1a on ce a la c a a a d ll , s d , S ien do al ej e mplo e scuc ha da

de la a del on or vid y h ,

re t rat a n e t ra c o re u s s st umb s,

ana 6 e e ra O livi s s v s,

e c an o r a e ra m z l d bu l s y v s, don aire s y pe sa dumbre s ? B ast a que Oi del pape l de aque lla prime ra dama el e stado de mi fama :

bien c laro m e hablaba en él . gQue escuche me persiia des la segunda ? P ue s no ignores que n o quie re n los seii ores

Oit tan clara s verdades .

Acc ordin g to this we are to see in the com edia a mirror of actual

u an e a rase not so new but t at t r wr h m lif , ph , h o he play ights have us it r n ed f eque tly with slight variations . I n theory this m ay be so but how L e has o e it in a r e , op m difi d ctual p actice w shall see as we proceed .

’ t ere re L e s art w as not ntr ns ca one e erate If, h fo , op i i i lly of d lib

re e tat on one t at he c reas n a t can we non e the p m di i , h ould o bou , less successfully analyse the complicated nature of his vast crea tion ? I believe so : for the con clusion which I have gradually

’ reached is that Lope s han diwork is a combin ation of tangible e e ents con ce e his a n at n and e n in ar l m , iv d by im gi io modifi d o ly p

’ l n T r ticu ar phases by the facts of huma life . he fo mula of Lope s comedia is t s one of the rest art c es not an hu pu , whi h do by y ,

eans c nsc s at east a a s o a rr r to nat re m , o iou ly l , lw y h ld mi o up u , an d c nse ent it a es a s ar c ontrast th the or a , o qu ly , m k h p wi f mul i r r e en s h ‘ e er resse of human life . B ut n o g eat c eativ g iu as v exp d

in n r the ot er and e a ra a c himself wholly o e o h , whil d m whi h

h a er or a e t at a es eare more fully satisfies t e l tt f mul , lik h of Sh k p , 1 4 D RAMATI C ART OF L OP E DE VE GA

r n ents the r er so the art must emb ace also ma y elem of fo m , of

' L ope betrays increasingly a ten den cy to reduce the scope of his artistic formula and to exten d and make more his own the formula

h w s n ot o suc which is always true to human life . If e a wh lly

e f l in s eff r ster t enera n ase in t ose c ss u thi o t , if po i y , g lly u bi d h

rn er r rta t has a o e his judgments which conce lit a y immo li y, ll w d

nd r t c r as res en to the few plays to become literary a a tis i t e u op , he n evertheless represents the highest point reached by any ex

r ponent Of the formula fo which he stands . And by an even stran er ec s n ster t he has s ffere but tt e ore t an g d i io of po i y , u d li l m h his re t c ntem rar a es eare se or s are a ar g a o po y , Sh k p , who w k pp ently becoming less and less the spiritual possession of our youn ger generations . B efore we begin to an alyz e in detail the artistic formula of

L e an d resent its n a t es as e as its e e cts w op p livi g qu li i w ll d f , e pause to ask ourselves in what atmosphere his type of pl ay could

b e er ecte . T s est on o er is est an s ere the p f d hi qu i , h wev , b w d by whole of the exposition which follows . Yet it may not come amiss to speak briefly here of two things : the attitude of min d of

’ o s ar the omedia and the n s of t er L pe public tow d c , ki hip o h

’ Spanish works beside which Lope s productions as child ren of the inventive faculty take their place . The Spaniard of the Ren ascence couples with his unsurpassed power of imagination a gift of self- delusion and a simplicity of Welte nsche uung— speakin g of the average man of the people which have made possible the creation of unique types of litera f ture o peculiar artistic inspiration . I refer in fiction to the ro ances of c a r and s ar st r es of a en t re the as m hiv l y imil o i dv u , p tora n e s and in erse to th reat r c oetr and l ov l , v , e g body of ly i p y

he t comedia . I n immediate connection with this very statement we must take into consideration not only the abyss which exists between the relatively much smaller body of realistic fiction

s c as the Ce est na s the ro e st r es the sat r r ( u h l i book , gu o i , i ical w it

’ n s and all of a n s a n at e r se terat re but s i g ) , Sp i im gi iv p o li u , al o the abyss existing between the relatively much smaller body of rea st c ra a re resente the farces L e de R e a li i d m ( p d by of op u d , DRAMA TI C ART OF L OP E DE VE GA

the entr em es es Cer antes L e an d t ers and the of v , op o h ) , highly t poetic comedia . I f we are to judge by bulk alone this litera ure of the imagination looms very much larger in the history of the

an s e e t an t e r rea s e traor nar as the atter Sp i h p opl h h i li m , x di y l

n reater is . Works of pure in vention appealed longer a d had a g

’ L e hold on their artistic intelligence than any other type . If op s com edia is here classed with the great types of literary invention an analysis of its chie f elements may presently justify this point of view ; like them his creation is an extraordin ary tribute to the artistic powers of appreciation Of the Span ish people whose con stant favor alone vitalized his works an d allowed them to hold the stage in un interrupted popularity thr oughout his lon g career . Yet we shall later feel in clined to wond er at this artistic intelli

ence t s n ess e of a oet c or of the a nat n g , hi bou dl lov p i w k im gi io ,

’ when we come to learn that Lgp e s comedie represents a rare composite expression which min gles reality withvarious idealize d

eat res and n ot se o t nrea t es for c a e n e er f u , ld m wi h u li i whi h I h v v

fo n an ar a e in conte orar c ents n or an founda u d y p ll l mp y do um , y i tion in reliable pictures of Span ish society of h s time . W e still have to state the chief reason why the comedia takes its place beside works of the inventive faculty rather than thos e

inspired by the un adorned actualities of life . that reason m ay

’ b e n in L e s concess ns to tra t n not n r en t at fou d op io di io , i f equ ly the expense of a closer observation of contemporary mann ers an d

—t f I i i f hi o psyehOog c accuracy . I n sp te o s overwhelmin roduC g p “

- v ’ tivit his ariet an d or n a t L o e s i n ent e en s was y, v y igi li y , p v iv g iu

n — t A ‘ n evem ee ro the r of terar aca e c an d e tr f m g ip li y , d mi stag adi and the reader will see from what follows to what extent

r n they dete mi ed the formula of his art . I t is the presence of

t ese tra t ns the acce tan ce or tat on s ec c n er e h di io , p imi i of p ifi , i h it d

eat res he na t to s a Off th n en f u , t i bili y h ke e i flu ce of somethin g

a rea r nte the ass at n of tra ts st e or of rren l dy p i d , imil io i of yl cu tly used material which compel us to class the com edia with w of the imagination rather than with those which held a mi t T up to n a ure . he influence exerted by the former will b e appar

en t from what is said hereafter . DRAMA TI C ART OF L OP E DE VE GA

The scope of this ess ay obliges me to discard any considera

’ tion of the less vital themes of L ope s vast programme . I refer to such works as the comedies de S antos and to those which deal

t ec ar e en s t ca s ects and se st r ca wi h p uli l g d , my hologi l ubj mihi o i l

ta es . The rst n ee are not re te r an s c t re of l fi , i d d , mo f om Sp i h ul u

he e oc n er c ns erat n but t e are art er re o e t p h u d o id io , h y f h m v d , as a r e not on r the ra at c r a of an e ul , ly f om d m i fo mul hum lif t an an a s we c ose to n c e but ten do o ence e en h y pl y ho i lud , of vi l v

’ to L ope s purely artistic achievement . As regards all of the

atter t e t e n ee n crease the of his t t but add l yp , h y i d d i bulk ou pu practically n othing vital to the great elements of his art ; they

e certa n ar trar r nc es s c as t at e er s ect is giv i bi y p i ipl , u h h v y ubj

fit for t eatr ca resentat on a er ran e but o n to the h i l p i , wid g , wi g vague dramatic application of these p rin ciples they add no im portant or illuminating feature to our an alysis . I am dealin g on ly with those plays through which the n ame of L ope has any

e of s r n in c he resents act a n t e es hop u vivi g, whi h p u l , livi g h m in an n n te ar et of or and on a can as c has not i fi i v i y f m , v whi h

o a e as a e so an comedies of hi s da . I n s rt wh lly p l d h v m y y ho , I am drawin g my in feren ces chiefly from those plays which

’ present L ope s n earest approach to the game of life and love in all of its comic or tragic aspects . F or we can retain an abiding

’ interest only in those children of Lope s fan cy which r eveal the tra ts of our c n an er ta e the s and ass ns of i ommo , hum h i g , whim p io all men an d women clothed by him in the living colors of his

n u paralleled poetic gift. ‘ I sh all now takeup the chief elements of his literary inherit anoes and the tradition which forms a part of the foundation on which his comedia was raised . DRAMA TI C ART OF L OP E DE VE GA

I N H ERI TANCE AN D TRADI TI ON MANI F EST I N TH E CHARACTE RS

Let us go back three hundred years an d imagin e ourselves

’ seated among the spectators at various representations of L ope s comedies . As we try to seize and hold the images that stand out r o the r of ra act n ass n e re our es n er f m whi l pid io p i g b fo ey , um

n ous i delible impressions are stamped upon our memories . The

re st t ese I s t at we a e seen the W ol k a aster an fo mo of h h h v of m h d , - - - fl c a ter as n n a certa n n herDf charaeters has t whi h , f f hio i g i um , , wi h

a c s en t e ot n resent n t e da a ter da m gi kill , giv h m m io , p i g h m y f y in an n e n er f ffere n n Th ee h u limit d umb o di nt combi atio s . sp irfl c ‘ e is ne er the sa e ne er n oto s t e r tt c s s cann t a v m , v mo nou , h i wi i i m o f il to ar use the a ter of th a en ce t e r e t ns a n o l ugh e udi ; h i mo io of p i , an s atre ea s and e awa en in all a s at t c gui h , h d , j lou y , lov k ymp he i L . re ponse Yet in spite of the in credibly r i action which s _ d _ _ characterizes the eat m a orit ofm m Hi s art st c r a estati on Of i i fo mul a L _ s te of the ar e a n of re sta e s ness c as is pi l g mou t pu g bu i , whi h , a arent at e er t rn er tte ta ente actors and actresses pp v y u , p mi d l d to the attent n and to win the a or of the c we are hold io f v publi ,

n to ask rse es a a n and a a n is t s the er ect a e bou d ou lv g i g i , hi p f im g of actual contemporary Span ish society which so many writers t e i e T i h ak t to b ? he answer must b e n t e negative . Let us look t a some of the phen omena which pass before us .

N O art c ro esses to ct re an soc et a l l e whi h p f pi u hum i y , f mi y if ,

a e s es the a era e m an or an can set tse an d ily pi od of v g wom , i lf y restrictions ; it can n ot Omit arbitrarily n or overemphasize a cer

f e r resse tain number o facts or elements . Thus w a e imp d with the fact that human society in the com edia has with rare ex

i r All reasons en in e ense of t s s cept ons no mothe —. giv d f hi omi sion but M i c the fact that we are n ot dealing so much with a limitation imposed upon a great art by etiquette or cur rent m anners as with a silent acquiescence in ‘ a literary tradi tion which goes back through centu ries of the life of Rome and 1 8 DRAMATI C AR T OF L OP E DE VE GA

the L at n n at ns a tra t n n on h i io , di io e t e less fixed because it shows

c as n e o c io al xceptions . We m ay presume that the mother has a a s a e an n ra at c a ass e art in act a an lw y pl y d u d m i , p iv p u l hum society ; her duties and her influence have been circumscribed ; she t be seen but not ear and e en t at on in h r own migh h d , v h ly e

T e M home . h usual appeal to oorish influence on the seclusion

en can n ot be sre ar e a t et er to b e s re et of wom di g d d l og h , u , y by

tse it a es a ea ar ent eca se the a ters i lf m k w k gum , b u d ugh would have to b e in clud ed in the elimin ation and we should have no

comedia . M re er e ce t n s e a n t s eno en on c o ov , x p io xpl i hi ph m whi h was accepted by the Renascence drama all over Eu rope and make us realize that the introduction of a mother into the plot m ay lead us even farther away from the picture of actual society

t an her c sto ar ss n . Ta e for e a e la discrete h u m y omi io k , x mpl ,

E namorad a in c the ot er has all the r ss tra ts a , whi h m h g o i of

enna all the undi nified ea nesses Of s l Old o an who du , g w k a i ly w m c rts the a ances of a o n a ant and art c ates in ou dv y u g g ll , p i ip rendezvous and other conven tion al episodes design ed for con n n old e a es or uien ame n o ha e eros in ch ot er ivi g f m l ; Q g fi , whi m h and a ter are r a s ntr u n to win the sa e er in d ugh iv l i ig i g m lov , which race the logical victory of the young daughter leaves the

t er an r and s a e an d the a c oses t the atter mo h g y h m d , pl y l wi h l “ re roac n her a t r for he r c nn n Tu has ec esta p hi g d ugh e u i g, h ho ” n nc on . r ta e los Melindr es d R elis e in c the i ve i O k e , whi h wid

e m other Lisarda is e cte as rea to acce t an t er ow d , , d pi d dy p o h d f husband . S he falls in love with a supposed slave o the house

’ l who has a r a ta en the a ter s an c e the son ho d, l e dy k d ugh f y , whil

a s ai s in o e t a s ose ema e s a e . Lisarda t ere l o f l l v wi h upp d f l l v , h f re resses on er as a enna t the t t e of t er o , imp e m ely du wi h i l mo h , but t o t s eetness or n t for she too eets t dis wi h u w dig i y , , , m wi h

fi r h I th r r an ent com tu e and ridicule at t e close . s this e eti ed d g le ’ er f an c et ? F na in L e s D orotea in c moth o Sp ish so i y i lly , op , whi h

r ti se or ers na stor t an is st a e to ass e we c i cs e m e p o l hi y h ju ifi bl um ,

fin th r s tre e a ot er Te ora who is w n d e epul ive ex m of m h , od , illi g

’ r E n we to sell her daughter s hon or to a nabob fo gold . ve if grant the possibility of an individual cas e of such depravity in

20 DRAMA TI C ART OF L OP E DE VE GA

at h r in h e t e best literary manner . I n the elderly woman of

’ L e s comedia we are c nse ent e n r op , o qu ly d ali g with an inhe itance skillfully modified by the facts and made acceptable to the public

his n r i by i compa able w t and graceful verse .

’ A theatre- goer of L ope s day would b e impressed in the n ext place by the numerous figures of the disguised or wanderin g

a sel the a en who ece e or a an one her er d m , m id , d iv d b d d by lov ,

es her ent t n er the ar ents a ser ant a s a e or hid id i y u d g m of v , l v , e en r i v a lackey o a youn g gallant . This s a puzzling element in

’ L rm n n ope s fo ula . H ow ma y you g women were wand ering th r ough Spain or the streets of S pan ish cities in disguise ? Why

the c acce t t s re in its ne er - en n ar et nd did publi p hi figu v di g v i y , a why was it copied by all the playwrights of the seventeenth cen t r ? vI t cann t b e e a n e n ess we a t t at a ole u y o xpl i d , u l dmi h wh

n e z audie c may become hypnoti ed by a literary type . That the disguised damsel was nothin g else is man ifest n ot only fr om her great age in fiction an d legend but by the rather un origin al way in h r i h which s e eappears n the history of t e comedia . Did the spectators find in the contrast between the restraints and limita tions of r eality an d the freed om of fiction a kind of esthetic or artistic satisfaction ? I have searched through matter- of- fact books an d documents an d yet n ever ran across the unrecogniz

a e s se a en . D es n ot a es eare a e it e ent bl , di gui d m id o Sh k p m k vid as only he could that V iola of Twelfth N ight is but a child of his poetic fancy ? I n both L ope and Tirso examples of this

s u se da se ar a r c on so t at n ee n ot c out di g i d m l e f i ly omm , h I d pi k

art c ar c aracters nor a e the t e effort to e nstrate p i ul h , m k fu il d mo that she must have been a common occurren ce in actual society because she is so thoroughly at home in novel and comedia . Yet to be fair to Lope the run away maiden is frequently charmingly

ra n she s o s all the wit at s an d etr t c his d w ; h w , p ho , p o y wi h whi h

en s was so a ndan t en o e . On on e occas on at least in g iu bu ly d w d i , , eden elo ue mor act scen e L e a ears not Mes p u c s q a , III , xiv , op pp only to regard the disguised maiden with a twin kle of fun in his

but to a t ran t at she is a c aracter in e r te ro eye , dmi f kly h h h i d f m books . DRAMA TI C ART OF L OP E DE VE GA 2 1

Conde . gH ab ranse en el mundo visto muj eres que disfra za das haya n hecho extrafia s cosa s ?

M endoza . gQuién duda que han sido ta nta s ue han oc a o los ro q up d lib s , y de la fama la s alas ?

’ Another puzzling feature of Lope s stage is the Occasion al

presence of courtesans of the better class ; these stand out in glarin g contrast with the refined girl hedged about by all the

res r n s he r t ai t of position . This feature gi ves rise to strikin N . g ” nu -O contrasts in stage p ictures because we h ave the freest morals

the s e of s clu m a o . I n t s t e of an by id e sio nd m desty hi yp wom ,

e er L e co ne terar tat n t act r sent n how v , op mbi d li y imi io wi h f , p e i g

to us vivid local color in poetic guise . H e unquestion ably had in min d now and then the type of woman presented with great

ree in the Ce est n a terat re and ess re ent t at of f dom l i li u , , l f qu ly , h

the ta an novell n n t t s tat on st of c I li e, mi gli g wi h hi imi i a udy lo al

morals and customs . This is not the place to speak at great len gth of the manners

of the L at n ca ta s of the Ren ascence es ec a the ar er i pi l , p i lly l g

c t es : P ar s R e Ma r e e and t ers . B ut a f w r s i i i , om , d id , S vill o h e wo d m ay serve to throw some light on the characters of the go-between and the courtesan . Most accepted n arratives of moral corruption are a a s to be sc unte to a certa n e ree eca se t e ear lw y di o d i d g , b u h y b

n ma y signs of exaggeration . Innumerable writers have indulged their fancy in scan dalous tales because unsavory morsels have

r always made att active and salable readin g . Glaring pictures of ncre e ree esc r t ns the ra e of the i dibl f dom , d ip io of immo l lif e nt re s c t of a c t a e a a s ca se an a re a s d i o ie y i y , h v lw y u d g e ble hu

der in the cre o s rea er . I n t s n e st c or s es ec a dul u d hi , ov li i w k p i lly

a e c ntr te t e r s are and the ern cr t c r ets t at h v o ibu d h i h , mod i i fo g h

i n f A er n he s taking highly colored entertai ment for act . ft sifti g all the eviden ce and building rather on silent archives and un a rne st r we are to be s re ace to ace t a c n t n do d hi o y, , u , f f wi h o di io

unl e n t n t a . Ma r an d es ec a c t es ik a y hi g od y d id Seville p i lly , i i

c c ne an c lt res in c R an and M r s whi h ombi d m y u u , whi h om oo i h c st s nate resent a ree anners e ce ent u om domi d , p f dom of m x ll ly DRAMA TI C ART OF L OP E DE VE GA

’ depicted in some of Lope s vivacious scenes . The existence of

s a er the e ocrat c s r t the ser ants the est sex l v y , d m i pi i of v , qu of

c is a a s in the at s ere the tat ns a s c t whi h lw y mo ph , limi io of o ie y thrown entirely upon its own resources for amusement because restricted communications practically isolate d it from the rest

of the r the an at n of street e e e e to an un wo ld , im io lif d v lop d

ar a e e e ree an d na the nrestra n e an estat ns p ll l d d g , , fi lly , u i d m if io

the s t ern te era ent all t ese acts an d an re of ou h mp m , h f m y mo made possible the presence of the free woman an d gave her an

sta s e ro nence in e and in art . It is t ere ore c ear e bli h d p mi lif , h f , l

n r er n e e ent n o hi o e that Lope i t oduce d a v y huma l m i t s c m dia . B ut the remarkable fact remains that he presented this side of

' life with an unusual delicacy of touch . S ince comparisons are

ten e it is nterest n to n t out how c c eaner of h lpful , i i g poi mu h l and purer he has kept his ton e than the Elizabethan and Ja

cob ean ra at sts in E n an for t ese atter ten s n d m i did gl d , h l of i k

’ into unspe akable depths of filth and in decen cy . Lope s art con

ciousl so t to atta n a e e in its ora ton e for c s y ugh i high l v l m l , whi h

we a s owe a e t of rat t e e er s t to the ffic a l o d b g i ud , how v ligh , o i l

cens or who rotecte c rals ro the e s l terat re . , p d publi mo f m vil of i u

I n s ort we are ea n t n on to L at n s c et h , d li g wi h a co dition comm i o i y ,

and reac n far ac nt the c ass ca a e c r te he hi g b k i o l i l g , whi h p ohibi d t

rt s a r mta n art in the s c a at er n s of men vi uou m id f o ki g p o i l g h i g ,

n r n h r Th a d so b ought about the substitutio of t e cou tesan . e latter combined with her freedom of manners beauty and clever

ness and eca in e a s e art of s c et and in terat ure , b me lif vi ibl p o i y , li

the admitted companion of m en . Among the novelistic characters to whom L ope has given

r f n r et n or n a t is the n a ant t aits o e dless va i y a d igi li y you g g ll ,

s r te a e and c nse ent of act n . The t e is n ot pi i d , liv o qu ly full io yp

n t e an s creat n for we find him in all terat re disti c iv ly a Sp i h io , li u

f h n en h is r n nt in n e and e o r b ut o t e Re as c ce ; e p omi e ov l m m i ,

on he s a e ere his as n a t es i e the especially t t g , wh d hi g qu li i g v him

i h di L h see s to m e to sur first place . Yet n t e com e a of ope e m pass all others ou account of the astounding diversity given to

hi c his o s his lses his s his rt es and s spee h , mo d , impu , whim , vi u DRAMA TI C ART OF L OP E DE VE GA

his o es . L ca a c racter all act n st a e a f lli ogi lly ha io mu h v foil , an d so Lope set by his side another tradition al figure which he M EL with s emen! 111; This inseparable appearance of master and servant easily be

co es an d ec an ca in th an s of an n er r en s m dull m h i l e h d i f io g iu , and so betrays the fact that we are dealin g with a stage device

r n ather tha a common phenomenon of human society . Lope has man aged to put into the servant the unbounded resources of his wit an d made him one of his chief claims to rank m mg

’ the or s reat c c r The reason for the ex w ld g omi playw ights; isten ce of HW W the gallant derives chiefly from his

e r n in nt r f n n a pp a a ce ce u ies o ovel a d drama . H e was necessary to the t an d ass e erse or s s c as t at a s n plo um d div f m , u h h of dvi i g

r en ar an a e teac er but es ec a t at of ser ant f i d , gu di , y , h , p i lly h v ,

’ slave or lackey . On comparin g L Ope s gallant with all the types which precede d him we find how much this versatile play

r t r e his terar e s he an a e to a e w igh imp ov d li y mod l , how m g d m k

r a danger ously stereotyped characte alive . H ow he succeede d in creatin g a n ever- en ding series of comic scenes involving master

and ser ant a a s a ear a rac e n ent n . n ee v will lw y pp mi l of i v io I d d , he has so accustomed his reader to look for these witty scen es

n n that any play with out them causes ge ui e disappointment . B ut let us see to what extent the servan t is an invention of

’ L o s n . Rea e as contraste t terat re re ea s p e mi d l lif , d wi h li u , v l the resence of the c on ace rat er t an the tt ser ant p omm pl h h wi y v , and in Span ish society n o doubt could b e found numer ous ex

e f he tten n a ser ant the s a e the ac e the ampl s o t a di g m id v , l v , l k y ,

’ h r B r n n lady s escudero an d t e est . ut we a e ow deali g with a personage endowed with far more than the average traits . The h latter are not conceivable as dramatic possibilities . Even t e

era e terar o e s the ser ant t at can be r e or won av g li y m d l , v h b ib d

er the ser s ar an the ra e a o the sent enta com ov , iou gu di , g v y , im l

an n or the t re of essen e r and o- et een t ese an d p io , mix u m g g b w , h

rs ou a e a e to add the ac s n t c neces othe w ld h v f il d viv iou , livi g ou h

r in o s as e al ost ent re on act on . L e t eref re sa y pl t b d m i ly i op , h o , conceived a character to the flexibility of which there are no DRAMA TI C AR T OF L OP E DE VE GA

bounds . H is attendin g servants embrace every conceivable

a t : t e ar s re and tt a s rs t e n ent tr c s qu li y h y e h wd wi y dvi o , h y i v i k an d sc er re e es t e erc e stac es t e are of di ov m di , h y ov om ob l , h y full

e t sa s t e ra on a ast a nt of u an ex ri d ligh ful w , h y d w v mou h m pe ence t e are e t rea n r at n and n ot n re ent , h y fill d wi h dy i fo m io , i f qu ly

t s stantia earn n and c ass ca nstances t e are a wi h ub l l i g l i l i , h y loy l ,

e te and se -sacrificin r en s t e m a e en be e ce ent d vo d lf g f i d , h y y v x ll

os ers t e re resent in the ost c re ens e sens phil oph , h y p m omp h iv e

’ h r t e pe ennial resourcefulness of Lope s own gifts . And all this is tr e a t to a c esser e ree of the criada who at u , l hough mu h l d g , tends the heroine . I n this very fullness and completeness of mental traits in the ser ant es one of his c e e ects and we te nat r v li hi f d f , qui u ally ask ourselves how likely it was that such atten dants or lackeys

’ e n r f xisted a ywhe e outside o L ope s fertile brain . Readers of the comedia get the impression th at innumerable gallants walked the streets of the Spanish cities and that each was favored by heaven with a servant in some way extraordinarily endowed . I f

’ we m ay consider the best part of this figure as Lope s creation we are nevertheless dealin g with an inherited type modified by the d emands of the stage into a personage to whom his gen ius

n t gave the breath of life . It is appare t hat he kept actual ser vants and lackeys sufficiently in min d to make his own characters

e e ss es . T e are a e e en t e e in acc ptabl po ibiliti h y liv , v if h y mov

t s s n ow and t en an a ne r of s c et ra se wh a eem h im gi d fo m o i y , i d

c a e st as was t e r oet c s eec a o e the r se above a tu l lif , ju h i p i p h b v p o

e L e orr e of common day . They are alive becaus Op b ow d with

n t s h co r the o e ent the a e osco c ani co summa e kill t e lo , m v m , k l id pi

n f he r t i n his an r ar matio o t wo ld abou him , g vi g h diwo k w m blood and poetic existence . ’ I do not presume to mention all the characters of Lope s plays which would ordin arily find a place in this discussion ;

I shall limit myself to givin g a few more which may b e of interest

r th at er ccas na re ace the to the reader . They a e e f h , o io lly pl d by

nc e as the a nt so re ent to the ace of the t er . u l , u f qu ly ok pl mo h

s ere tra t n etra n in t ese er H ere Lope again exceed m di io , b yi g h p DRAMA TI C ART OF L OP E DE VE GA 25

s n e re n - er o ag s a mo pai s taking Observation of current mann s .

n ee so e of his old men ar a n st the reatest creat ons I d d , m e mo g g i — of his sta e . To one tra t ona fi ure the r c old s ter who g di i l g i h , ui bases his advances on the power of gifts and gold— Lope has given an or n a t rn resent n in the se of a a ar igi l u by p i g him gui f mili ,

conte orar c aracter the I ndie no or n a o . The no e t and mp y h , b b v l y romance which attached to an adventurer return in g from the Indies laden with riches and boasting of s tran ge experiences made a fruitful addition to the dramatic possibilities of the

om edia an Lo e co scarce a to e on the sta e c , d p uld ly f il giv him g

he n e i H i all the interest awake d n real life . e s a part of the a ent r e e ent of the com edia an d ta es his os t on the dv u e l m , k p i i by side of the soldie r who return s from campaigns in F landers or

ta t at c tra e e an er n ersona e who n ects n to I ly , h mu h v l d , w d i g p g i j i

e er ot n ew e e ents of ntr e tr c er and ro anc . v y pl l m i igu , i k y m e I n speaking of the influence of in heritance and tradition upon the ch aracters a word must be said about the poetic nomen clature of the d rama tis p ersona e . We d e al her e with one of the stereotyped features which characterizes n ot only the Spanish drama of the Golden Age but the whole Renascence drama every

T f r h en e f e re t e es where . he reason o t e exist c o thes ste o yp d nam is not far to seek : they were adopted under the in fluen ce of the

ct on so rces of the ra a co e t the e en c es of fi i u d m , upl d wi h xig i

e i r dialogue in verse . They seem especially suitabl n a d ama

is n ot ent re an a e of conte orar con t ons but which i ly im g mp y di i ,

r L e re en e on the picture of an ide alized fo m of society . Op p s t d the stage between seventeen thousand and twenty thousan d char actors for o he e ses a s r r s n e ran e of na es . , wh m d vi u p i i gly wid g m Their drawback will of course always be their inevitable repe t on nd the rea er is so et es o e ess ost in the on iti , a d m im h p l ly l l g

of D rotea Te'o ora B elisa F en sa F en iso F nea F neo lists o , d , , i , , i , i ,

r n L a renc o T r n C a n B at n C acon and en d L au e cia, u i , u i , h pi , i , h ,

’ n f h en s f L s M of others . They form o e o t e elem t o ope

c has ro n a e but c we st earn to en re art , whi h g w p l , whi h mu l du f h as an in offensive feature of the poetic language o t e comedia . 26 DRAMA TI C ART OF L OP E DE VE GA

I NH ERI TANCE AN D TRADI TI ON MAN I F ES T I N SP ECI F I C TRAI TS OF L OP E ’ S P L OTS

The rapidity of action which characterizes practically all of

' - ’ Lope s plays has been touched upon above -and will lie discussed “ w “ in c nne n t o ctio wi h the chief features of his dramatic technique .

At t s o nt hi p i , evitable result

o ca c an es due to m e tat on e a and re ose are re ace l gi l h g di i , d l y p pl d

in the a or t of cases sta e e ces of an e terna c aracter m j i y by g d vi x l h ,

no e st c e s des str n t eatr ca effects a ra conce e v li i pi o , iki g h i l dmi bly iv d

to s r r se the s ectat rs u ses s and ass o c u p i p o , by imp l , whim p i whi h

do not re r sent n s r t r t in the c aracters n p e a y pi i ual g ow h h .) O e of the excellent traits of L Ope in this conn ection is his self

restra nt the an n er in c he has re ra n e r o er o n i , m whi h f i d f om v d i g

t s s e of his ra at c or a . Cr t cs of ast enerat ons hi id d m i f mul i i p g i ,

a n ta en for a start n nt the or of Ca eron who se h vi g k i g poi w k ld , u d all these featu res with more mechani cal skill than L Ope and p er

t his tec n e at t es to the o nt of r t a e seen foo ed h iqu , im p i igidi y , h v

n L e in t e r sc e es of c ass cat n and a e fit to i clude op h i h m l ifi io , m d

eca se of t ese t ar s ns a ro ant c ra at st . T s him , b u h ou w d ig , m i d m i hi

n d n ate eca se no ot er act stan s out so is misleadin g a i adequ , b u h f d

r n e rea n of his a s as t s t at it is clearly after a p olo g d di g pl y hi , h

impossible to find any pige onhole into which his vast gen ius

r t f his art has a t o san n w can be compressed . The spi i o h u d wi do s

and permits the reader to look upon a wide range of human

re e ns on all th it s o s a co t at es . e activities ; h w mp h i of h g o om m\ r ns of m en of c ro ant c ra at sts and ev en hearts and b ai , whi h m i d m i

t n e on . H iS in Calderon had an in ade qua e co c pti L gift of vention was so en ormously taxed that it had to m ake concess ions t o literary a nd acad emic traditions in certain elemen ts of his plot material which do n ot represe nt profoun d aspects of human

life : there fore critics h av e singled out these external t raits an d

' ‘ bran de d them as signs of the roman tic drama l he fact is th at

‘ r

28 DRAMA TI C ART OF L OP E DE VE GA

the orn n . F re ent nns r m i g qu ly i a e successful meetin g places .

The unheralded entrance of the lover into the very room of the

e e m a b e ta en as an a s n a t o ar trar re c b lov d y k mu i g, l h ugh bi y , b a h

of c sto on the art of the oet s nce it is a r u m p p , i alw ys g eeted by

an e c a at on of ear nd s r h x l m i f a di app oval on t e part of the girl . As a purely novelistic episode it is an inheritance out of the

c ass cs for we ma reca t t h l i , y ll ha Ovid advises t e lover to make

’ it one of his prin ciples to force his way into the woman s house

oss e a r n c e a e us of es e a h if p ibl , p i ipl m d e p ci lly by t e Italian

no e . The ro t of the ses of the o ers th oss v l p ximi y hou l v , e p ible

s ns e c an e ro a c n es ere no t a ca e o ig x h g d f m b l o i , w doub ppli bl t

oca con t ons but ar n on th ess c on t ll n l l di i , e e e l omm o a ovels d eal

n t e so es of e in e Li g wi h pi d lif citi s . We are bound to view any great liberty of action on the part

of o n o en who are ot er se e cte s re ne an d y u g w m , h wi d pi d a fi d , educate d accordin g to the retired position occupied by the aver

a e ot er and a ter ce c the oet g m h d ugh , by whi h p

r a en e the act a c n t n s s al rsona b o d d u l o di io . e Q m e pe ges who show independence of both thought and action L ope pre sented characters an d con ditions which gave his wit freer play

than colorless reality ; he en tertain ed his audien ce by means of

r r n n n s n t on rat r t n h r a pictu e f a kly i te ded a a excep i he ha t e ule . This is one of the feat ures which makes certain writers voice their enthusiasm over the lifelike d escriptions of S panish morals

and c st s to b e o n in the comedia but as a rea state u om f u d , , I l dy d

a e t e r assert ns see ase on state ents an d ct res bov , h i io m b d m pi u which in their turn are foun ded on in ferences drawn from these

A nt roc r n o es us in very plays . s an argume this p edu e i v lv a

c ous c rc e the r a t e n t at in t s o e atter vi i i l , p ob bili y b i g h hi wh l m

we

Consider in g the wide range to c riticize L ope for occas ionally reducin g the whole world to a

n of rson a n far a a small stage . Thus the mentio a pe ge livi g w y

ma r t s e ne resent to c a as a re at e r en y p omp om o p l im him l iv , f i d

r nt n ce T s t e e of n ersa ac a ntances is o acquai a . ( hi h m u iv l qu i hip a part of the artistic formula which found no obstacles in dis DRAMA TI C ART OF L OP E DE VE GA

tances and t o for rante t at the a nat n of the s ecta , o k g d h im gi io p t rs was e a to an ra t act on to a t o er an o qu l y pidi y of i , fligh v y

stance or to a re o a to an ace . The e ces accor n di , m v l y pl d vi di g to which characters in localities widely apart are k nown to one anot er are t ro acce te as sta e ss t es and are h ho ughly p d g po ibili i , necessary to connect scen es in plots which rej ected the unity of

ace an d c are a ter all n a t re of rea t and pl , whi h , f , o ly mix u li y fancy) I n connection with this fusion an d the presence of in evitable artificial elements not only in the S pan ish but in every nat ona ra a we are a t to o er t at a eta e st of i l d m , p v look h d il d udy life in the Eur opean capitals at the period under consideration makes evident a number of truths concern ing human existen ce

ff r n r h widely di e i g f om t e facts of modern city life . The ah sen ce ne s a ers of co n cat on t th t r or of w p p , mmu i i wi h e ou e w ld to

c re erre a o e the ac of all o ern n ent ons a e whi h I f d b v , l k m d i v i , g v

ast ortan ce to the arr al an d e art re of all ai to v imp iv . d p u m l , messengers and c ouriers ; it in crease d the carryin g power and v ta t of ss conce n n e ro n ence to all c c r i li y go ip , di g u du p mi lo al o cu rences o e er s t to scan a s acc ents r rs acar s , h w v ligh , d l , id , umo , pl d ,

a ets etters and the e . T ere or n a s e en en p mphl , l lik h f e i dividu l d p d t upon their own resources lived a life measured by standards

ff r r n i wholly di e ent f om our ow . We may thus assume t to b e extremely likely that individuals in families of reasonable prom in en ce were widely acquainted amon g the inhabitants of the same city .

B ut c t e e er c rcu scr e can ne er b e nate i y lif , how v i m ib d , v domi d

n by an artificial formula in every phase or level of society . E ve formal court manners have never meant that a whole city led

h o r f on rc nd an existence of pure etiquette . T e c u t life o m a h a

nt n e its co rse on one s e of a c ea a e on aristoc rats mai ai d u id l v g , the other side of which the masses of the people pursued th eir

I e en so t the sane and commonplace ways . t must hav be wi h

f h P s or the act a S an s or o ne er society o t e hillip , u l p i h w ld w uld v

ce t t n h ave survived . I t seems more critical to ac p wi h ma y quali

fications the peculiar point of view which makes the artificial traits found in the com edies of the seventeenth century a mirror DRAMA TI C AR T OF L OP E DE VE GA

of r eality . This con clusion is hardly borne out by obj ective

c ents ea n t Th do um d li g wi h facts . e vast majority of the S pan ish men and women who lived durin g the reign of the Phillips did n ot constitute an unnatural or a n on -moral community ; they

ere a ass of so n e n re w m u d b i gs with d blood an d san e thoughts .

Yet we rea o es in ress for e a e an d a ne the d of v gu d , x mpl , im gi wh ole S panish people pursuin g the idle fashion of a walloon collar or a roun d -toed shoe ; we are told of rascals an d picaros in the streets of a n and so e e e t at er c t s ar Sp i , b li v h ev y i y w med

t t e we are resse t eatr ca e s and t ere r wi h h m ; imp d by h i l du l , h fo e

a n e t at the streets r an at n t t the c as n of s or s im gi h g igh wi h l hi g w d , and we visualize the processions of alguaciles draggin g culprits to r s n we reca the ntr n a ent re -see n career of p i o ; ll i igui g, dv u ki g certa n o n o en but a to re e er t at the c t es ere i y u g w m , f il m mb h i i w

rt o s r s n the n or a sec e e . W a e full of vi u u gi l livi g m l , lud d lif e h v

ear re eate the se er t es of the n s t n and ct re h d p dly of v i i I qui i io , pi u

a n tor ente a n n an tr na . Conte orar Sp i m d by bli d , i hum ibu l mp y criticism of the actions and usages of human society are worthy of the ost care scr t n but t e are it st be re e ere m ful u i y , h y , mu m mb d , a st n ar a a e at a ses s e efforts an d s ra c lmo i v i bly im d bu , mi guid d po di

o es and not at nor a con t on s . A a r t m a ra f lli , m l di i pl yw igh y d w certa n ct res of soc et on th a tte r n c e t at a c c i pi u i y e dmi d p i ipl h omi , a at et c or a tr a c scene n ee not b e ta en as a rect er t p h i , gi d k di i i

cism or a fi e a e of conte orar e . s ort it is a x d im g mp y lif 6 h , est on of the alance he m a str e be h art st c formu a qu i b , ik t g i i y tw fi Th r o and the formula of actual human life . e d amatic p et may put on the stage episodes or events n ot because he considers them

r worthy of reco d . This is especially so with conclusion drawn from an Oedipus Tyrannus is aracter or his career is a common occurren ce ; Electra is a unique creation of the poetic

’ n r r s ar s art t at th or min d . We cann ot i fe f om Shake pe e h e w ld

i ol m en e K n L ear who e t e r ro s full of foolish d lik i g , divid h i p p erty according to the hollow pr otestations of love m ade by their

et s or Ot e s or F a staffs ar d aughters . H ow many Macb h h llo l e t n n o th rea co e the r n c e s h ere ? Descendi g i t e lm of m dy , p i ipl hold DRAMA TI C ART OF L OP E DE VE GA

t a so e e f wi h m what wid r range o application . Specific events

of co n e are ca e but s ccess ser es rt mmo lif dupli bl , u ive i of a ificial

co n at ns er rare so and t at on en we r e n mbi io v y ly , h ly wh a e d ali g with arbitrary modifications of local customs or literary imitation

and inheritance .

Of et c a ses art c a or stere t e an a e of the po i bu , ifi i l o yp d l gu g ,

s eec e c rts and ntr e s a r te e as p h of lov , ou hip i igu I h ll w i b low, t tha demands a special chapter . H avin g mentioned devices of

ot and e e ents of t- content a few a t na or s pl l m plo , ddi io l w d will sum the repetition or limitation evident in the

ran e t o t the ers na es a a t to b e attr te g of h ugh of p o g , qu li y ibu d not only to the rapidity of action which hinders a philosophic

’ treat ent e but to L e s art st c or a in en era c m of lif op i i f mul g l , whi h is devoted to an in fin ite number of combinations of the themes

of o e ea s and on or . L o e n te reco n ze he l v , j lou y h p u doub dly g i d t in adequacy of this formula when applied to the fulln ess of human

act t es and n otabl in his tra e es o escen ivi i , g di t d d “ W ! t h f ll n h i : o t e depths o a t o s sti e a . A d s r t fi h “ e p e rt m i ’ " euS SIOM ty offi ffvé fdrces in his mighty themes of

se - sacrifice t n e t re en e his ers e ic lf , du y , i fid li y , v g , highly div ifi d p tures of inn er struggles can hardly find room within the scope

of t s essa and the r ea er b e est re ar e st n hi y , d will b w d d by udyi g

them in L ope himself . Of the prominent themes of love and

’ j ealousy little need b e said] N o other poet of the world s liter ature has soun ded their sombre depths more skillfully ; n o one has en t e r race tt or oro s t rns and giv h m mo e g ful , wi y hum u u

e n t ns or resente t e in re fferent o s . d fi i io , p d h m mo di m od

B u we ust e o ent on the t e e of nor ex t m dw ll a m m up h m ho , pended into a veritable cod e which domin ates all other senti m nts It was e few ot er ra at c ot es the a nt e , lik h d m i m iv , h ppy hu

h e r n in g groun d for every dramatist . Much as be n w itte about

’ it and it is t ere ore tr te to add a s s t n on the an ar s , h f i di qui i io Sp i d “ c racter s o n t at he was ea o s in onor s en and ha , h wi g h j l u h , udd ” in arre . n ee we n o ro or a r s on the quick qu l I d d , k w f m f m l wo k

e t t t ere ere e e ne ra es of r e ances affr nts subj c ha th w w ll d fi d g d g i v , o

nd ns ts as t ere ere a so r nc es o ern n the a en s a i ul , h w l p i ipl g v i g m d 32 DRAMA TI C ART OF L OP E DE VE GA

c c be e acte . I n ot er or s the an ar is re whi h ould x d h w d , Sp i d p

ent i l n hi s ed as meticulous n al matters co cerning s hon or . B ut so ere all eo es the S o t : the Greeks the ta ans and w p pl of u h , I li , the F ren ch . E ven the colder northern r aces rehearse this tradi tion al theme in novel an d drama ; its effectiven ess was so apparent

f r that it was seized and repeated or decad es on eve y stage . I s it t ere ore a s ec ca S an s t e e or is it not the act h f p ifi lly p i h h m , f

‘ that the S paniards have merely written m ore an d more impres sively about it ? After comparing a great many writers an d

a s fin d t at the treat ent of on or is to n o s a e tent pl y , I h m h , m ll x , a atter of or a raseo o to et er w t constant tat on m f m l ph l gy , g h i h imi i and copyin g which gave unoriginal minds a welcome opportunity f to deal with a lofty subj ect . Consequently the reader will re quently come acr oss a stilted disquisition on hon or in the liter at re of th Ren ascence c is enera in ee n t an u e , whi h g lly k pi g wi h I! acce te conte rar n t of V e . p d, mpo y poi i w

’ To r es e no an a s s of the e e ents of L o e s or a um , ly i l m p f mul ,

c a st treate can be as i nat n as his own whi h I h ve ju d , llumi i g

or s for he has a ter all an n ta e wa of escr n the w d , , f , i imi bl y d ibi g

Th r na n s on world which his fancy has set up . e t aditio l li e al g which so many of his plots move are best given in the following

V CI‘ S CS

F enisa . gQ ué m an c ebo m e pas e a de st os que v an dan do e l t alle ? gQué guij as de sd e la ca lle

m arro a or e le . v e a ? e j , p qu gQ ué seii a m e has vist o h ac e r e n la e a ? uién m e e igl si gQ sigu , que a e sta r c e losa t e obligue ? gQué vie j a m e vin o a v e r ? gQué billet e s m e has h alla do con pa lab ra s d e sh on e st as ?

ué a ara re e ta gQ plum p spu s s , qué tinte ro me ha s queb ra do ? ué c nta ue n o s e a t a gQ i , q uy o c ompra d a por tu mano ? ué c a n toca ? gQ h pi , qué n n R elise . E va o

quie re s que mi h onor t e arguya .

Le dis crete E na morada . DRA MA TI C ART OF L OP E DE VE GA

Or the followin g

n H er a ndo. gQuié n ha h e ch o milagro tan n otable en tu se ntid o ?

L ucinda. L a confian z a de que s oy qu erido. B en di a el c e o la n en c on la tra a g g i l i v i , z , la ora el o ento el anto el ra o h , m vimi , m , P d , los c e o los t o ! l s, disgus s

H e rna ndo. Y gn o dic e s que b e n diga también a E st e fania ? — L a discrete E na morada . ARTI F I CI AL D EV I CE I N TH E TEC I U E : B AL A CE TH E S HN Q N , DU P L I CATI ON OF GROU P S OR COMB I NATI ONS OF P ERSONAGE S '

’ I n speaking above of certain characters in Lope s com edia who m a be cons ere as ta en in art ro tra t on but y id d k p f m di i ,

’ o e the oet s art a e one of the ro n ent aces m difi d by p , I g v p mi pl to the o n a ant and his ser ant and to the ero ne or de ma y u g g ll v , h i

t her atten an t co n at on s or a rs re eate in n n te wi h d , mbi i p i p d i fi i ways an d presen ted in such a manner th at we cann ot conce ive either master or servant existing without the other . We now go on e step further an d examine the artificial result obtained by balan cing these pairs one against the other . This device has rea een s o en of r ters on the comedia an d its al dy b p k by w i ,

nnat ra c aracter con e ne . I t t ere ore re res a u u l h d m d , . h f , qui d efence or an explanation only if we cling to the untenable idea that everything in the comedia reflects real life . B ut if we

’ ee in n certa n o art st c e e ents of L e s sta e k p mi d i wh lly i i l m op g , and et his own o nt of e on the ra at c nteract n the g p i vi w d m i i io , t eatr ca effect eness of t ese a es of cat on we s a h i l iv h g m dupli i , h ll find in them a conscious development of infinite possibilities in

s t at on or and co c con s on . I t is a arent t at the i u i , hum mi fu i L pp h ’ ser ant m a n ot on cate the aster s o e affa r see v y ly dupli m l v i ( , for e a e el Acer o d Madrid Act scene but he m av x mpl , e , III , vii ) also fin d himself involved in the same predicament as his em

' o er an d ran r es e the a s r t his own s t pl y f kly bu l qu , by b u di y of i u

- T ss at on the oc ser s t his aster . ese t es i , m k iou pligh of m h po ibili i

L o e reco n ze as a so rce co e and occas ona a ser p g i d u of m dy ,‘ i lly n n T F is r in vant makes plain the Obj ect of this inve tio . hus b e to cl Ansente en cl Luge r tells us

S a n a a tu a e ue an a o bi , y s b s q d z m s

‘ los c ri ados a l s on de n ue st ros due rios .

El e e 5. E a o m e e o a P a a vu lv lis , y y vu lv ul ;

Dios sab e que m e pe sa .

DRAMA TI C AR T OF L OP E DE VE GA

E li a D vi z es at e ; que ya llega . gE s E steban ?

Ca rlos . Y tu ac a so eres Paula ?

E lisa . ( Ap.) ( E xtra no c a so ! 10 h cuan to amor pu e d e y c iega ! E n la v oz he c onocido

a Carl os .

Ca rlos. ( Ap .) E lisa e s ésta ; ue la v oz lo m an ifie st a q ,

aun que la v oz ha fingido.

The lovers now quarrel and the rest of this scene as well as the

‘ subsequent ones are amon g the best comedy that we h ave from

’ Lope s p en . F or another example of this humorous balance see

Act scene of t s a . Tec n ca the c se interin fl u I , viii , hi pl y h i lly lo ence of master an d servant has the drawback of making them too e en ent n on e an t er t e r e ts and entran ces are d p d upo o h , h i xi

enera s tan eo s and the nd a t of on e o er a s g lly imul u , i ividu li y v l p

’ f h r B i n e n that o t e othe . ut t is a leme t of L ope s formula to which one grows accustomed as one does to a peculiarity of a

reat a nter an d the act re a ns t at the ser ant has n ot g p i , f m i h v deteriorated into a mechanical attendant as in the hands of less

n i genious playwrights . The juxtaposition on the stage of gr oups or pairs of person

i i t n f ages s logically accompan ied by a duplication n situa io . O t s an e a es co be c te but an e cer t or two st hi m y x mpl uld i d , x p mu suffice to illustrate this phenomen on introduced by L ope into both tragedy and comedy . I n el Ce stigo si n V enganza the car riage which brings Casandra an d her attendant has been over turned at the crossing of a stream ; both are rescued by F ed erico and his servant

S a le F ederico con Casandra en los b razos

F ederico . H a t a on e ro a i s p s qu ,

los bra zos m e dan lic en cia .

Cas a ndra . A r a e c o c a a ero g d z , b ll ,

vu e st ra mucha gen tile za .

F ederico. Y y o a mi buen a fortun a

ra e r e or e t e t m p s a s lva,

casi fue ra de ca mino.

asa ndra . ué e nt e S eno r e s e ta ? C gQ g , , s DRAMATI C ART OF L OP E DE VE GA 3 7

F ederic o. Cria dos que me ac ompafian . N en ais S edor ena : o t g , a, p

todos vien en a servi ros . S ale B atin con a recie en los braz os

B e tin. M er e Om e uj , dim , sc o p sas, si dicen que sois livi an as ? H a o u e me e a id lg , n d ll v s ? A sac art e por lo menos de tanta en a o a aren a f d s , c omo la falda del rio

en estas orillas deja .

P n o ue fue tre a a ie s q t suy ,

or t en e r n n a tan e a p i f s b ll s, volear se el coche al salir ; ue si n o er tan c erca q fu a ,

corriéra de s gran peligro.

The same play offers an example of duplication in dialogue which c ould easily pass unn oticed as such . I n Act I Casan dra asks her ser ant L crec a at s h t n s of th n c nt F e er co v , u i , wh e hi k e you g ou , d i ;

en Casan ra has e th r o F e er c s s B at n his ser wh d l ft e o m d i o a k i ,

ant to e his n on of Casan ra . I n at P es ar del Arro o v , giv Opi i d y

° we have a typical duplication of situation and Ian a e . The act n Jac nta inTakfi ve of her er Car s is e io of i gIez lov lo , follow d by a similar decision on the part of her maid Isabel who bids

are e to Ma the ser ant of Car s Act scene x . f w ll yo , v lo . (S ee II , xiii ) The repetition of similar sentiments or phrases may assume a oet c r of reat c ar n es ec a in scenes in c p i fo m g h m , fou d p i lly whi h only the lovers and n o servants take part . Thus the dialogue between Sancho and E lvira in el mejor Alcalde el Rey is in

’ Lope s best vein

n h e i S a c o ; d spués , E lv ra

S ancho. l e r o a ren mia S a , h m s p da ;

s l E v r de o . S ale E lvira a , l i a mis oj s ( )

E lvira . A A D o i Con cuanto en o o ( p .) x y, i s x s j s tem e a mor y de sconfia ! ue la e e ran a ren a a Q sp z p d d ,

presa de un cabello e sta.

S a ncho. Tu pad re dic e que ya t iene la palab ra dada

a nu criado de don Tello.

‘ gMira qué e stralias mudanzas ! 38 DRAMA TI C AR T OF L OP E DE VE GA

E l ir v a . N o e n b ald e mis e spe ran za s

c olgab a a mor de un cab e llo .

ue a re m e ha a a o gQ mi p d c s d ,

S anc o con nu e e r h , scud o ?

H o e r o la a ho ero. y pi d vid , y mu V e ivid, mi dulc cuida do ; e m l qu yo e daré a mue rt e .

S a ncho. P a o ue m e r o E r s ; q bu l , lvi a .

E l a a en los o o ra lm j s mi , d e llos la ve rda d a dvi e rte ;

ue S in a t r e a c o q , dmi i sp i ,

dij o mil ve c e s que si .

E lvira . S an c o n o oro or ti h , ll p , sin o por ir a P al ac io ; que e l c ri arme en la. llan e za e ta e c a eri d s humild s a, e ra c osa que podia

c ausa rm e mayor t riste za .

Y que e s c ausa justa a dvi e rt e . n h S a c o. xQué n e c io a mor m e ha e ngafia do ! n e o a o vivid , mi ci cuid d ;

u m r l r q e yo e d a é a mue t e . E n afios e ron de E ra g fu lvi ,

e n cuya n i e ve m e ab ra so .

E lvira . S an c o ue m e r o a o . h , q bu l , p s E l alm a e n los oj os mi ra ; que a m or y sus e spe ra n za s m h n n e a da do a que sta lic iO . S u propi a de finic iOn

s u r t o e s e n n a e q e a mo do v ga z s . L u e go gy o s oy tu m a rid o ? ¢ N o dic e s que e sta t rata do ?

Again the spirit of duplication an d balance of c ross- purposes may deal only with groups of lovers as in Quien ame n o he ga

eros . Act scen es and . H ere F e and Ana are o fi ( II , iv v ) lix b th co s n s n d ers but Juana is a so In o e t F e and u i a lov , l l v wi h lix secret as s An a to e her win e Co nt Octa o is ly k h lp him , whil u vi also in love with Ana an d secretly asks F elix to help him win

f h wo r i n her . Thus each o t e t love s s supposed to le d a h elping han d to a rival .

A oo e a e of cat n in s t at on t s t e atr g d x mpl dupli io i u i , hi im m i

’ on can be o n in el Domi ne Lucas a c ar n en d es rit m y , f u d , h mi g j p , DRAMA TI C ART OF L OP E DE VE GA 39

of e n d n r full lif a actio th oughout . The chie f characters are two

st ents F r an an d A e rto c s ns a ance a a nst Luc ud , lo i o lb , ou i , b l d g i

rec a and L eon ar a a so co s ns const t t n a or a accor i d , l u i , i u i g f mul d

in to c one a r of co s ns arr es an t er t at is F or an g whi h p i u i m i o h , h , l i o

arr es L c rec a e his co s n A erto arr es her c o s n m i u i whil u i , lb , m i u i ,

L eon r a da .

A lb erto .

S i c on t o m e c a ig sé, no c re o que t e he engafia do ; que s oy c ab a lle r o h on ra do n n y a lgu a re t a h e re dé . D e F lorian o s oy pr im o ;

a si s e re u r a y , pu e s t p im

de L c re c a a m i m e e t u i , s im a n l l i e o mismo que a e st m o .

L eo na rdo. Digo que y a s oy c ont e n t a

de ac e r t a n en c a a e n to h bu s mi , l y pe rdon o e fin gimient o .

I n la N oche de S a n Juan art ce o nates a t o the ifi d mi , l h ugh r oman tic color an d movement have made some criti cs very enthu

i i e r h A n s ast c ov t e play . n occasio al genuin e n ote of r eal life is str c but an of the t e es ac tr e ns r at on oss u k , m y h m l k u i pi i , p ibly because all of them had been employed many times be fore by L H i ope . e especially makes use of h s well kn own devices of

a an ce cross- r oses an d cat on a n t e to the b l , pu p dupli i , pplyi g h m

’ a et es of S t . J o n s E ve . The a resents two ro s in g i i h pl y p g up , eac of c a rot er and s ster a the c e arts e ac h whi h b h i pl y hi f p , h

’ r ot er n at ra o n the ot e r rot er s s ster e the b h u lly l vi g h b h i , whil

r n r ff n t sisters h ave sec etly give thei a ectio s o two oth er m en . L a E sclava de su galen p resents a balan ce an d crossin g of in trigues based upon the love of Don Juan and E len a for one an other while at the same time E len a is loved by Ricardo an d

Don J an S erafin a c nst t t n a nd of s ot . u by , o i u i g ki ubpl I n comedy balan ce and duplication of intrigue are n aturally

r r r i far more at home than in serious d ama o t agedy . Indeed n the first we fin d it developed to its highest complexity as m ay

n t n in i r r b e seen from the followin g combi a io la d sc e te E namo ade . 40 DRAMA TI C ART OF L OP E DE VE GA

H ere a at er el Ca itdn B ern ar o and his son L c n ar e f h , p d , , u i do,

set o er a a nst a t er B elisa and her a ter F en sa . v g i mo h , , d ugh , i

S on and a ter are secret ers but the t real rns d ugh ly lov , plo ly tu

’ on he at er s es re to ar r the a ter th s n is t f h d i m y d ugh , while e o s ose to be co rt n th t er an e a e a s n upp d u i g e mo h , x mpl of mu i g cross - purposes which L ope himself has put into gr aceful verse :

Capitan. [ a B elisa ] S i yo e stuvi e ra a visa do de que L u c in d o Os que ria — que en Opin ion le t enia de h ombre m e n os a sen t a do

o ro o t rata ra a y p pi qui ,

B lis a de l ca a en t o e , s mi ; que e s da r a mi bi en aume n to

que nos t roqu e m os ansi. Casa do c on quie n e s ma dre de en co o c on o mi bi , m fi

de v os a el o mio mism , hij v engo yo a t e n e r por pa dr e ;

F e n a e r y is , mi muj

e t ra a t en ra y vu s hij , d

pa dre en L u cin d o ; y d aré. a t odo el mun d o pla c e r

la di scre cion del t roca r

las e dade s por los gustos .

Re et t on in sent ent and erse or a n of oct c eu p i i im v f m, ki d i j ’ d es r t i a ch r t y istic an estat n of L p fl a ac e m if i i sw o M alogue it is wholly artificial although frequ

' i r r I l r r i r his w t or graceful ve se o both . n e Ace o de Mad id L sa do and Riselo t et er t the c e er ser an t B e tran a e a ree og h wi h l v v , l , h v g d

to eet B elisa and he r a nt Teo ora on the P ra o . B e r e m u , d , d fo

h atter a ear t t e r ser ant L eon r B e tran reca s t e l pp wi h h i v , o , l ll

h ers s of a ar ce n te r ere on the ea is e e o e t e v e popul , wh up id d v l p d

e c in t rn a roma nce in a- o the ac e c os n t a by a h u ( ) , l k y l i g wi h humorous burlesque of the culto sentiments of the oth er two

Paseo del Prado i e l c n ca s de color biza rros eltren L is a rdo y R s o o pe , ; y B

L isardo. 0 c o o tar an Ris elo ! 1 , m d , gQué he de h a ce r ?

Risclo. Am or te valga . DRAMATI C ART OF L OP E DE VE GA 41

Lisardo. Te mo que de en vidia salga

de ste mi sol el del cielo .

Riselo. An tes no saldré si sab e

que e s sol y que fuera e sta.

B eltran. L as a ve s lo c antan ya a B elisa en v oz siiav e Mananicas floridas

del mes de ma yo, r mi n ecorde d a ine ,

no duerma tanta.

L isardo. C o de Ma r o o amp s d id dich s s, si soys de sus pies pisados ;

en e u or v er la e rt a fu t s, q e p hu del Duque subis tan alt o ' e l de e tr o cristal vu s os j os , que asomé is los blan cos rayos or las e r e e o a p v d s c l si s, muros de sus verde s cuadros ; e r o r do fl ore s h mosa alf mb a , don de t ejien do y pintan do e sta la natu ra le za mas ha de cin co mil aiios ;

arro ue o r t a no y l s c is li s, r nor an o uido so o y m s , ue arece ue corr q p q éis, t ono de an B as can tan o s Ju l d , r u a rr en o a r a po q e y co i d p is , en las a e a c o y ya guij s d sp i , are e ue entra con a p c q is fug s , y que soys tiple s y baj os ;

r r n fi eco dad a mi i a,

no duerma t ant o.

Ris elo. A e ue a or el en to v s q v is p vi , el sol larifi ado ya d c c , sob re sus pluma s ten die n do vuestros vistosos penach os ; las que asomé is por los n idos las c e a or ean o ab z s g j d , y las que ya en altas ram as dais bu e n os dias al Pra d o ; tr o ue con a a o a ig s q m p l s, y mi] amar illos la zos sois un tapiz de ve rdu ra s se mbrado de papagayos ; a r e u en lamos ve d s, a q i c on tant as h oj a s y ram os

v is iO de a e re rea t l g lib , 42 DRAMA TI C AR T OF L OP E DE VE GA

a e ar de oct re o p s ub , m ay ;

ara ue la n fia en a p q i v g , ue e ta e e ran o L isardo q s sp d ,

r c or a su ia e d d a t ,

n o due rm a tan t o.

B eltran. Ta e rna de S an Mar in b s t ,

e n e ro o ro ant o g s y pu s , que y a pon éis re post e ros c omo a cémila s de B ac o ; c a one ue a OS cub ris j s , q y c on .e l pa n de le ch e bl an co

ran ce e ue re oné f s s, q p g is aguardi ent e y le tiia rio ; c a rret on e de a ra s b su , que vais las c all e s limpian do ;

ro e ro ue a an e c s p s, q m éi c on o c to c a o s li i uid d ,

sin s e r roc e s iOn del Cor p pus , la s ti en das en tapizan d o ; o ot ros re rio y v s , ai s f s ,

ue a tos re r a o q d is y sf i d , romadizo y ot ra s cosa s a los que salen sud an d o ;

or e e e rt e a la tia p qu d spi ,

e a a B elisa ac a o y ll , si s due rme de sc uida d a agora

de ue la a ar a L is rdo q gu d a , rec or a re ona d d mi f g ,

n o due rma t an to.

’ e t s is a str n e a e of L e s etr and wit he Whil hi iki g x mpl op po y , re eats the eat ater in the a Act scene and we a e p f l pl y ( II , xxii ) h v another sp ecimen of the duplication of sentiment an d poetic form in an apostr oph e to the winds of Madrid by Lisardo and Riselo ( a r omance in a- e the ea e n a a n r es e B e tran the ) id b i g g i bu l qu d by l ,

r r servant . I n la Viuda valenciana Lope p esents th ee youn g gal

ants who enera a e ar t et e r and on ar o s occas ons in l , g lly pp og h v i u i

i n f r e on f r r I dulge n a bala ce o dialogue with a ep titi o ve se fo m . n

Act scen e eac enters an d rec tes a sonn et t o t e n I , v , h i wi h u b i g aware of the p resence of the oth ers ; thereupon all agree to n ar rate what kind of favors they had enjoyed at the h an ds of the

w W e a e t ree e en a ance a s n acco nts young wido . h v h v ly b l d , mu i g u A of their unsuccessful courtship told in varied roma nce forms . s

44 DRAMA TI C ART OF L OP E DE VE GA

Don ua n . J E st oy mu ert o.

L eona rdo . E scuch a .

Don Jua n. t Qué he de e scucha rt e ?

L eonarda . E s o e s locu ra .

Don ua n. J E s por ti .

Ma rtin. P a re c en re pre sentantes

que sab en bien el papel. ( Ap .) — A t I I c en e . c , s ix

And another in a serious tone in la B e be p ara los otros y discrete p ara si

E scu c ha gYo ? gP ara qué ? m H as e de e sc uc ha r .

N O quie ro . Te odora m e hablé

N o b ahlalla . gP or qué ? m n Porque yo e ofe do. gY si m e detuvo ?

Hui r . xH uir l

Y fue ra bien h e c ho. gCOm O pud e ?

Con los pie s .

L oc a e stas .

’ Como tII ne c io . iTan t O rigor ! T n e go amor .

Yo a or . , m y

Yo no lo c reo. Ma s gque t e pe sa ?

N o h ara. E s o ye s valor ? T n e go c elos . 5Mori r m e d ej a s ? gQué gracia ! Y m a e en oj o. m Y yo e vengo . D i ré quien soy .

Ya 10 has dich o. 5A quién ? A n qui e ab orre zc o. gF ue rt e muj e r !

E st o s oy . — Act I I I cene . , s v DRAMATI C ART OF L OP E DE VE GA 45

I n my n otes appen ded to la Dame bobe I had occasion to speak of

an art c a str t n of stanzas erses nd rse ra en s ifi i l di ibu io , v a ve f gm t

cc rr n in la N oche toledana Act scenes — and re re o u i g ( III , xi xv ) p

s n h enti g t e extreme to which this can b e carried . A final example

of t s eat re ta en ro tra e and e onstrat n t at hi f u , k f m a g dy, d m i g h there is n o characteristic of form or content for which a p arallel cannot be o n in the r na n entor L O e is the ast scene f u d o igi l i v , p , l Of Act II of la Corona merecida

i Muy bi en ve n dos s eais . V oy a ac ompafia r a la Re ina ;

v e dm e de spués .

Don I nigo. ( ap . ) Tie mblo. B oii a S ol. ( ap . ) Te mo .

L eonor. . ( e p ) Yo m e ab raso .

Rey. ( ap .) Yo m e quemo . L onor e . ( ap .) Celos vive n .

Rey. ( ap . ) Amor re in a . ( va ns e los reyes ) .

D on i ii i o . V a o S ol. g m s, n r n i Do Alva o. Content o e st oy . ( va se Dona Don I h ya

y D on Alvaro ) .

E l R ey s e abr asa .

A S ol mira . gQué 0 8 ha dic ho doha E lvi ra ?

n r Que muy e su g a c ia e stoy .

B e lla e s S ol .

D e un angel c opia . Muc h o t e mo que e st e sol a n ue st ro rey e spa nol

nos le ha de h ace r de E tiopia .

’ E en in los Comendad or es de Cordoba in c one v , whi h would

ar e ect s c art ce m a be o n a a an ce of t ree son h dly xp u h ifi , y f u d b l h

n ets and t er ers endants Act scene . o h v e p ( I , vi ) The mech anical features of the dialogue just discussed are b v

’ no means a characteristic to b e foun d only in L ope s latest m an

r en ne in he st . n e r . Their presence in nume ous plays m tio d t li of com edie s rst r nte in 1 604 roves t at t e r r etor ca fi p i d p h , h i h i l

i r effectiveness appealed to him early in h s caree . DRAMA TI C ART OF L OP E DE VE GA

POE TI C L ANGUAGE AN D THOU GHT : CON CE P TI S MO AN D C UL TO

It is a great misfortune that the language of poetry has in so many cases proved to be a bar rier between a great writer and

poster ity . That this is so in the case of the drama especially

is e ent for two reasons . F rst we do not s ea in erse and vid i , p k v ,

the world of all verse - plays is therefore on a highe r level and

o es in a ner at s ere t an t at of c on da . S econ m v fi mo ph h h omm y d ,

the appreciation of verse is the gift of a few : it deman ds a

s ec a attribute ' of s r t an est et c e ot on or effort of c p i l pi i , h i m i whi h

n o ly a small minority of m en is capable . If we add to this the

ass n oo s the te or ar es n a an d nat ona p i g m d , mp y vogu , i dividu l i l

ec ar t es to sa n ot n of the str ct ra an d ec an ca p uli i i , y hi g u u l m h i l

ffic t es of c e rse is ca a e the a era e st ent of di ul i whi h v p bl , v g ud

r r i fin in r n f T ll lite atu e s apt to d himself f o t o a stone wall . o a

’ t L e n r n e e n h his op s u limited poetic gifts a e o xc ptio . While e is unequalled in superior qualities of genius which will ne ver

let a ar e art of his creat on die but ace a a s in l g p i , will pl him lw y

’ the re r nt of th or s reat oets his et c an a e fo f o e w ld g p , po i l gu g possesses to n o small de gree certain elements of a local or transi

i h r r n n tory quality . These demand n t e eade not o ly a excep tion al gift of esthetic app reciation but an intelligent grasp of a peculiar type or vogue of literary culture distinctly a thing

’ f h i l r er s cs L o e s st e o the past . T e d fiicu t ch a act i ti of p yl which the average student m ay und erstand less an d less as the years

o n are t os of all etr his t e and are en era g o h e po y of im , g lly

es n ate for the sa e of con en en ce as conce tismo and d ig d , k v i , p

t h r r ns f h on r lt c ul o. I shall use t e latte fo m i tead o t e l ge cu c T t re nismo since it is the one p referred by L Ope himself . o s igma tize with these names everything poetic which has the earmarks of e t er a t is a sta e for so ate conce tos or an cca i h qu li y mi k , i l d p , o ’ n r sioual culto verse by no means indicate a poet s ma ne . Indeed it should b e clearly understood in any criticism of S panish poetry of the Golden Age that the p resence of these elements DRAMA TI C ART OF L OP E DE VE GA

‘ would n e ver have cre ated the names co ncep tismo and culto had it n ot been for their abuse . P oetic lan guage has never been an d c n e er be e e t er tra t and the cent r es e ould v d void of i h i , u i imm diately precedin g Lope furn ish many fine and illuminating

a s f r ex mple o them . I shall presently attempt to desc ibe both conce tismo and culto a tt e in eta es ec a n c ta p li l d il , p i lly by givi g i

n r t i o s f om L ope himself . N othing throws more light on his art and his work than consid eration of the growth of poetic lan guage and of the n ersa t of ec ar t ts res and or u iv li y p uli hough , figu w d colors .

P etr m a b e the ost ass at e and tat e e en o y y m imil iv imi iv , v if it is the most original form of expression which the human spirit h T i l i i as . o put t bald y everything s grist to ts mill . I t absorbs

ro nat re sc ence oso an d the o e t o t- rea f m u , i , phil phy wh l h ugh lm engendered by human experience ; it takes color from the arts and gets its voice from music itself . Ideas related to all these

i m r are consequently present n all poets . L et e be a little mo e

r r n r r P r n r n specific as ega ds S pa ish lite atu e . ove cal poet y a d its lin eal descen dants in S pain are filled with concep tos and culto the cancion eros the c e ets of the teent cent r ; , hi f po fif h u y ,

ose na e is e on furn s e ce ent e a es and the reat wh m l gi , i h x ll x mpl , g

ets of the s teent cent r e o t s or of an a e po ix h u y mpl y hi f m l gu g ,

n e n n though in varyin g de gree . I do ot believ that a y date ca or need be set for the earliest presen ce of co ncep tismo and culto ; n or n w c ncerne t an t n but t e r a se an d t at eed e b e o d wi h y hi g h i bu , h

n r falls chiefly within the seventeenth ce tu y . Our E nglish poets fu rnish abundant examples of this form

e ress on but it has asse t t a art c ar es n at on of xp i , p d wi hou p i ul d ig i

. i n as only the exaggeration of the phenomen on makes t offe sive . ’ n N either S panish term as such can be related to Euphuism . Wh e “ ’ a es ear sa s All the or s a sta e and all the m en S h k p e y w ld g , ” nd en ere a e rs he ts a s eec nt the o t of a wom m ly pl y , pu p h i o m u h “ i on to To ta e ar s a a nst Jacques which s full of c cgp s . k up m g i ’ se tro es is conce to as is a so H a et s tt e do a a of ubl a p , l ml li l g gerel DRA MA TI C ART OF L OP E DE VE GA

e r o Ca e a r e n d rn e Imp i us s d a d a tu d to clay, Might st op a hole t o kee p the win d away : 0 t at t at e rt e t the or in w , h h a h , which k p w ld a e ’ S h ould patch a wall t o e xpe l the winte r s fl aw !

On the other hand

N ow is the winter of our disconten t a e r o s u er t sun of or M d glo i u s mm by his Y k, ( Richa rd I I I ) is pure culto in its figures of speech ; and This to me in dreadful ” secrecy impart they did ( H amlet ) is decidedly culto because ’ th n rte s nta . Tenn s n s c ar n rs s of e i ve d y x y o h mi g ve e ,

H e r eet a e to e the ea o f h v uch d m d ws,

An d e t h e ro l f t e daisi s sy, present a beautiful concep to for which we have a parallel in

’ Lope s cl Acero de Madrid

N fia ue al a r el a a i q , s li lb

oran o los e r e ra o d d v d s p d s, e smalt an el de Mad rid

de j azmin e s tus pi e s blancos .

L e so on er -fine r t n is co nc tos and ow ll , f d of ov w i i g, full of ep

culto e en in his r se . en r e te s us B rns t , v p o Wh Ca lyl ll of u tha

“ ’ h has a et s s and str es t ar s the n n te and e po oul , iv ow d I fi i

Eterna and s n ee s t at all t s is but unt n to the l , oo f l h hi mo i g ” o se-to to reac the stars he n es in a re ar a h u p h , i dulg m k bly

ea t conce to. B ut s a w e it t s na e and b u iful p why h ll e giv hi m , spoil what we are in the habit of calling pure poetry by an absurd designation ? L et us rather return to concep tismo and culto t at a se e t ate et c an a e and et a tt e , h bu of l gi im , po i l gu g , g li l clearer idea of their nature . I shall then give some examples

’ taken from Lope s comedia .

To e n t the two en ena are c ose re ate as are b gi wi h , ph om l ly l d

st an estat ons ar ness and sc r t in terat re and mo m if i of d k ob u i y li u , the extended use of one was bound to involve the other . As they

er a e in t e r ses so t e stren t ene one an t er in ov l pp d h i u , h y g h d o h DRAMA TI C ART OF L OP E DE VE GA 49

t at e c was s ccess in art at east in r n n h vogu whi h u ful , p l , ui i g

S an s tr p i h poe y of the seventeenth century. L ope hardly seems

to a e a ver c ear st nct on et een t e and en he m k y l di i i b w h m , wh criticises his contemporaries he quite generally brands their

n defects o ly as culto. Thus he wr ote in the D orotea :

Cesar. A e oe ta e s c to ue c t a de e rt e su oe a ue no qu l p ul , q ul iv su p m , q e a co a a era ui e c ra o un r or un o d j s sp s u , c mo lab ad camp ;

ue e so e s c t ra a n e e o ran ue lo t o an or q ul u , u qu ll s di q m p

Orn ame nt o .

L udovico . L a le e n a de la s c o a ue no s e t e nen or e c r t a c e y s gu d s s q i p s i s di , u s 1 n n n q e on igu ale s 0 o e te dido y lo que n o fue e sc rit o .

Cesa r. A mi m e par ec e que a] nombr e culto no pu e de h ab e r e timol ogia que m ej or le ven ga que la limpie za y el de spej o de la se n t eueia lib re de la e scurida d ; que no e s orn am en to de la

ora c on la c on on de los t r no m al c o oc a o la i fusi é mi s l d s, y barb ara frase t raida de los c ab ellos c on m etafora sobre

m etafora .

L udovico. V c o a es la ora c on e n en o ca ue s e aca or t r no i i s i bu a l gi , q s p é mi s

e c ros im ro rios ue m as e c re c e ue ec a ra l s u y p p , y q s u q d l a n atura le za de la cosa defin ida ; y si la s que ent re si ti en en e se n cial c orre spon dencia n o se pu e d en defin ir la una sin la

otra ué re on ra veler aloma l s n e r , gq la c i h a a p a a a v s pa a

e cr r a o definirlas or e t e t r n o e ue lo o d s ibi l s p s é mi , pu s q mism e ra e e ro c e rnic alo a un ale On e e ra c i iie ii a un fu v l g , v l g a a fragat a ?

This justifies the in ference that a poet guilty of obscurity and of

i t I n lt using too many concep tos s plainly cul o. n ma y ways cu o

r t n w n se nd stort on conce tismo as on o w i i g as a abu a di i of p , g g rismo was a pathological and fin ally an insan e exaggeration of

ulto Conc e tismo as s c t at is as an a se was a c nsc o s c . p u h , h bu , o i u

t fin r t n the e ress on a t t er es in a tempt at e w i i g, xp i Of hough S i

c ar res es ec a s es and eta ors c e re on p e uli figu , p i lly imil m ph whi h w ,

he o e c ear en o but a o e n or a en tat ons descri t wh l , l ugh , v id d m l d o i , p

e e A ar e tions or sentiments too directly an d baldly expr ss d . m k d . distinction of concep tis mo is its d ecided leaning toward meta

n u n es the s nta and o ter rm physical expressio . C t i volv y x u fo f ll n oes a a t all rectness and a es it a first o a , the d w y wi h di m k

e nce tismo m a sa rule never to call a spade a spade . Whil co p y y “ ” h tte is a n e o er culto oes a t er ro s t e bu rfly wi g d fl w , g f r h , d p

r son c e a ns an d s ea s n of n e any compa i whi h xpl i , p k o ly wi g d 50 DRA MA TI C AR T OF L OP E DE VE GA

flowers an d station ary butterflies ; from which absurdity the

rea er n ers t at on e is e nt for h d i f h m a t e other . Concep tismo i n es the n ences of oso and wit culto h inven i volv i flu phil phy , , t e

t on n no n at n ze or s the trans er th n i of u k w l i i d w d , f of e fu ction of

arts of s eec n o ns e n t rt re nto e r r s r p p h , u b i g o u d i v b fo m , colo

rases ta n the ace the n n and nse ara e r s n ph ki g pl of ou , i p bl wo d bei g

se r e ult f pa at d . C oW on o the mechanism ’ s eec t et er t an a se of et c ns n h r of p h , og h wi h bu po i lice e a d t e unwa

ran e orm 0 IS O a e n t s ed e r n f a d wi t xp essio s o thou ht . Con

ce ti smo is ase on c e e r eas culto is re o sc re and p b d l v id ; figu d , b u d m uay intend ed to shock and im

p ress by its origin ality . At their worst both are guilty of un

n at r a se aca e c rase - a n n ence in an its u l , mi d mi ph m ki g, i flu d m y of earlier expressions of the fifteenth an d sixteenth centuries by a

e e he s s T e rt r misguid d attempt to imitat t cla sic . his ffo conce ne d

tse n ot n t the e e ents st e s c as n ers n trans i lf o ly wi h l m of yl , u h i v io ,

os t on and so on but a so of content the er a e of c ass c p i i , , l , v bi g l i

t o ct on and e en e n es ec a res ns e for my h logy , fi i l g d b i g p i lly po ibl much useless lumber I n the language of the Re nascence Of this

i n r It i I shall have a little more to say n a subseque t chapte . s impossible to overestimate the figures of speech which drew the ir

’ r h ss c . W e n ee t n on A rora life s blood f om t e cla i s d hi k ly of u ,

P s D ana and th on st of ersonifications to et a a nt hoebu , i e l g li p g f i

A r s th s n w idea of this inherited vocabulary . s ea ly a e Cele ti a e

n nner s have a specimen intend ed to ridicule this growi g ma i m . Calisto exclaims

aun qu e prim e ro se an los c a uallos de F e b o apac e nt a dos en aque llos

e r ra o ue e en an o han a o fin a su orn a a . S e ron o v de s p d s, q su l , qu d d d j d mp i

D e a enor e o ro e o e a e a oe a ue n o e s a a c onue n ie nt e x , s , ss s d s , d x ss s p si s , q h bl l e a t o o n o e s c o n la ue t o o s n o art c an la ue oc o a qu d s mu , q d p i ip , q p s

n n en Di : a n e s e on a e l s ol e a ran t o o lo ue e . e tie d . u qu p g , s b d s q diz s

And how sh all we estimate prope rly the influence exerted upon this langu age by works of the realm of religion and phil osophy ? The growth of the poetic language of the sixteenth century can b e admi rably studied in the writings of the most

s e nn n t the one ose taste was a wa s prominent author , b gi i g wi h wh l y

r oo arc as de la V e a . I n the c ass c c ar uner ingly g d , G il o g him l i h

DRAMATI C ART OF L OP E DE VE GA

nat ra a e e ress n to e er ase et c s u lly g v xp io v y ph of po i peech of.

his da . xam les of his r c erse in its rest or east y p ly i v pu f m , l

affecte o es or ec ar t es an n ar n n o ll d by v gu p uli i i of y ki d , e k ow t a

er n s t rat re H i i f rn lov s of Spa i h li e u . s comed a, u ishes examples

of every conceivable vein : from pr ofoundly tragic passages which

st a e r e his a en ce to the test an d a st r mu h v g ipp d udi , ligh g ye ve se

r imaginable . There are models of every ve se structure to ether

i with an in fin ite ran e i n sent ment . P assages with concessions to conc ep tismo an d culto are foun d as well as ever t ur l

o ar oetr t s is enera ar e e s te ca a or p pul p y ; hi g lly m k d by xqui i lo l fl v , and is as full of life and sparkle today as it was three hundre d

ears 3 “ y 3 W W W , ’ n o r ncill s c are a re eu d es rit a n tably oma o , whi h pu j p , mL ma y h f W are a part of the treasure which he as left us . O his popular verse practically un tarnished by culto innumer able

examples might be given of the flavor of the following ; here we

r s scenes a nte Go a so have a picture which ecall p i d by y , vividly

' r do we see the dancer Gil befo e us .

n n Musicos . ( ca ta do ) 10 h qué bien que ba ila Gil los o o de B ara a con m z s j s, la ch acon a a las sonaj as y el villan o al t amb oril ! h ué en c e rt o a an 10 q bi , i y g l , Gil tafien do An r ! b aila , d és n los e O pon e fu ego e pi s,

0 al ai re volan do v an . N o hay m ozo que ta n gent il

r e e n B ara as ago a bail j , la ch acon a a la s son aj a s

y e ] villan o al t a mboril . j Qué m oza de se charia u o o de t al ona re n m z d i , e c oc e a l a re que da d s i , y a vola r lo de safia ? n mas t A 10 m e os su il ,

s e ac e ra a c u an do b aila h j s ,

on la s s ona a la ch a c a a j s,

y el villano al t amboril . — a a r del A rro o xu . Al p s y , I, DRAMA TI C ART OF L OPE DE VE GA 53

Or the n a ers n e n n e of followi g, v io of a w ll k ow fabl

U u cuento viej o ha ve nid o i a qu a pe dir de cogote . J utaronse los raton e s

ara rar e del a p lib s g t o, y d espués de nu largo rato de ta o n on e dispu s y pi i s,

' dije ron que ace rtarian on pon e rle nu ca scabel ; ue an an o c l ato c on q d d g él,

gua rdarse mej or podian .

S a o u r t6n r n li n a ba bica o,

olilar o hoci uiromo c g , q , encre an o el rue o o o y sp d g s l m , o al ena o ro an dij s d m o, de spués de hablar culto nu rato gQuién de todos ha de se r e l que se at re va a pon e r ese cas cabel al gato ? — L a E scla va de su a ldn I x. g , ,

’ N t n e er e a s Lo e s r c ns rat on o hi g , how v , qu l p ly i i pi i as for e a e the n : , x mpl , followi g

Musicos . ( Canten y danzan ) Dent e parabiene s

cl a o arr o m y g id , los a e re ca o l g s mp s,

las fu ente s y rios . Alcen las cabe zas los e r e a os v d s lis , y con frut os nue vos

almen dros fl oridos. E c hen las mananas.

e del rocio d spués , on e spa das ve rd e s

guarn icion de li rios. S uban los ganados por el monte mismo u cub ri6 la n e e q e i v ,

a pacer tomillos.

(F olia ) Y a los nuevos desposados echo Di os eu b en dicion ; DRAMA TI C ART OF L OPE DE VE GA

ara n les den los ra os p bié p d ,

pue s hoy para e n un o son . ( vuelva a danzar) Montanas h ela das

o e r os r c o y s b bi is s, antiguas enc inas

ro t o in o y bus s p s, da d paso a la s agu a s e n arro o o y s limpi s , que a los valle s b aj an

de los hie los frios .

Cant en ruisefi ores , y c on dulc es silb os sus am ore s cu ente n

a e st os ve rde s mi rt os . F ab riquen las a ve s c on n ue vo artifi c io para sus hiju e los

amorosos n idos .

( F olia ) Y a los n ue vos de sposa dos e ch e Dios su b e n dic ion ;

ara n le s de n los ra o p bié p d s, h pue s oy pa ra e n un o s on .

— P eribé fi ez c l comenda dor d Ocafi I y e a , .

I spoke above of the barrier which verse forms m ay b e to a

reader of subsequent ages . H ow true this is becomes especially evident from the passages where the lan guage of genuine inspira

' t n i rr e ses nt ult L e rar s s he r f io s ma d by lap i o c o. op ely poil t wo k o

51 5 3 5 13 but t ere are n e ert e ess erses in w c the l ca ; h , v h l , v hi h ogi l clearn ess and simplicity r eceive an ugly and unnatur al turn by

h c rr n t s en he s c f r touches of t e u e t vogue . S ome ime ev t pee h o cha acters supposed to be of the people is artistically en dan gered an d

en an art fic a t rn . T s in o nion is the case t the giv i i l u hi , my pi , wi h

’ r stic Peribafi ez ot erw se one of L o e s reat creat ons . I n u , h i p g i cl Anzuelo dc F enisd the lan guage is n ot always satisfactory

eca s th c aracters of low e— a ers s ers a s and b u e e h lif g mbl , oldi , b wd , others at home in a shipping port— in dulge in a sin gular pur ity

W a e e er an t er o bit of e ence ere of s e c . p e h e h v , how v , o h g od vid h

’ of Lope s shr inkin g from unveiled improprieties and indecencies DRAMA TI C ART OF L OPE DE VE GA 55

which compel his worst enemies to admit that in his literary art h i r e s ma ked by a sin gular and pleasing fin eness of feelin g. H e

is a a s at his est en he es us ct res in tt e r e lw y b wh giv pi u li l , b i f ch aracterizations presentin g an attitude of min d or a person al trait in which his gift of succin ct phrase is astoun ding . I can n ot re ra n r ot n the o n est c scen e so t at f i f om qu i g foll wi g dom i , h

’ the reader m ay judge for himself how deep were Lope s sympa thies with the people

C an o s e e tra el c er o u d mu s lu ,

en e del c a o e o o vi mp mi sp s , de su c ena d ese oso ;

n te o el a a r ero sié l lm p im , a o a ab rille 1a erta y s lg pu , arroj an d o el a lm oha dilla ; que sie mpre t e ngo en la villa

qui e n mis lab ore s c on c ie rt a .

El d l s a se a rro a e a mul s j , y y o m e a rroj o en sus b ra zos ; t al v e z de n ue st ros ab razos 1 e hamb rie nta se en o a a b stia j ,

n t n o a rufiir y si ié d l g , “ dic e E n dan d ol e la c en a

al an a o c ara en a g d , bu ,

volvera P e d ro a sa lir . M entra a a le s e c a i s él p j h , ir por c eb ad a m e man da ; o la t ra o 1a aran a y ig , él z d ,

y d ej a la que aprovec ha . Re v uélv la n el e e re e e p s b , y alli m e vuelve a ab ra za r ; que no hay t an baj o luga r

que el am or no lo c eleb re . S alim os don de y a e sta

n n v é la o a da do os oc s ll ,

or e e l a o la c e o a p qu j y b ll , fu era del olor que da

or o a n e tra c oc n a p t d u s i , t oc an a la c ob e rt era

e l an de an ra vill o m e ,

que a b ailalle nos in c lin a . é ol n o an t e e S c a e limpi s m l s , no on plata aun que yo quisie ra ; t s n d Ta a e ra pla os o e l v ,

que e stan ve rtien do clavele s . 56 DRAMA TI C ART OF L OPE DE VE GA

Av aholo su oscodilla

do so s on l r or Pa c ta p im , que no la como mej or ol sofior do muosa villa ;

61 lo a a or ue a f ee y p g p q , u a ena o a o o a q o p s b c d t m , do ue co o a su a o a q , m p l m ,

lo que os mej or n o m e dé . B eb e e 1 ta y d ja a mi d , b éb olo las fue rzas yo ; tra o o a no ig liv s, y si ,

es postro 1a voluntad .

Ac a a 1 o a ab d a c mid , u st as las an o los dos p o m s , dam oslo grac ias a Dios por la m orc od re c ebida ; v am on os a ac o tar y s , d on de lo posa a la aurora c uando so lloga la hora

do v en irnos a llamar . — eri dfiez el comend dor a fia 1 . P b y a Oc ,

The n is the rtra t of a rt ne- nt n lindo t followi g po i fo u hu i g , wi h rea st c t c es not n rt V elaz ez e the sat r ca li i ou h u wo hy of qu , whil i i l wit reminds of the great Quevedo :

xN o sino ven ga nu manc ebo de stos do a ora do a c or a h , l z , con ol o rer to a or a s mb i z ,

c ort or on n o pluma a, c d u ev ,

c e o a e rto ar e o u ll bi muy p j , ufi os a lo e nec an o p v i ,

1 d e r o an o 0 o fu a limpi y s , 10 do dontro suc i o y vi oj o ;

ota ta sin odollas b s jus s, p c a a r en t o o nu m os des lz d , las ca a a ta 10 8 ics lz s h s p , ol bigote a las e stre llas ; a onc o o et j b ill s y c p e , a on a a a ue a o ro c d f ls q s mb ,

ante do a ar ran o o re gu s mb , y g d h mb do a n son et o y un billet e ; y con sus man os la vada s

l s ro o ren a e e o t s mil d t p squ , c on que nu poco s o re fre sque e nt re sab an as d elgadas ; DRAMA TI C ART OF L OPE DE VE GA 57

a o oc o ias y pas d s h d ,

s v e r ora t e ra o vaya a f s s, 0 on amistad os prime ra s vuelva a de shac er las mias !

V en ra tar o o e tar d d , y s é e o ra ac en a c l sa, da mi h i d , com en zara la con tienda

d e st o do si fué o no fué . Yo e scon de ré y ol da ra;

r eu r m i busca a d das po ,

n r ra t a a i e t a jus ic i qu , voce s y aun coc os habra;

n a ra n oc e n o a ra dia o h b h , h b , que la casa no alb orote — Dac a 1a ca rt a do doto. — S oltad la ha c ienda que es mia . — E ntrad en e sta e sc ritura . — — i N o quie ro. ; Ah si ! gN o quoré s ?

Yo os ar n a o ue ontréis h é , i f m , q , r r si ol b rio do aho a os du a .

Y n r mas m e o tro que mi e t a s p s , me h aga muy mas apriosa dos itulos c on e a do t d s ,

Cocentaina y P ufioon rostro.

Yo he dicho. — L a Viuda valenc iana I , , iv.

The soldier sketched in the followin g excerpt stan ds bodily before the reader :

L os solda dos n o pode mos

r c on ec reto sor ama s , y con stante s en el qu ere r ;

que e st as dos falta s ten e mos . Apena s en tra el solda do n l e do co or co as m di as l , on o e xt r fia a or c alz d a l b ,

r r r e ma o somb e o ic o mplu d , a c on oro a at o lig s , z p n co on do M an bla , jub il , c uando ya t od os estan

mu rmurand o eu recat o. L le van c olore s y b rio

l s o en a as o a o oj s , y g l s l s mas j arc ia s y b ande rolas i que por la b arra el nav o . 58 DRAMATI C ART OF L OPE DE VE GA

Pues sconstancia on ol quoror ? scomo puede se r constancia ?

Ya e ta en F an e a e ta en F ranc s l d s, y s ia, el u ent o e r a s , lla muj e — ; B ien haya mi con dicion ! — L a N ocho tole n I I i da a , , .

’ take an inimitable example of a servant s Wit ; he counsels master to steer away from the shoals of matrimony

Conside ra un a muj er tu a o al r a l d acosta ,

a tu a o al e antar l d l v , y al mism o lado al come r ; e o ot ra n oc o tu a o lu g h a l d , el ie a ar a er o a si p l g s, muj t p ,

e re s rar la ro a si qui ti p , muj e r to gan a ol cuidado ; ec a nu ra o e r si h s b z , muj ; mra a er ra si i s, muj mi s ,

en er das re r muj si spi as,

y aun t o sab ra re spon der. Considérala t a mbién

n do e r e n e co s mil imp f cci o s, que no c ab en en ra zon e s ui on b oca do homb re do bien ;

ra ue e D ana y ve s q sta i , u ho c o o ol sol ara a q e y m m vill , por cu alquiera f rogon cilla

querras troc arla m afiana . — E l Ausent en l lu ar I I I e e g , ,

I n the latter passage we have the cynical attitude towar d ’ an n of the e t u E ste an one of L e s st n te wom ki d d ligh f l b , op mo o

r r r wo thy c eations . B ut these sparkling and natu al passages are occasion ally impaired by concessions to the current vogue of

et c s eec . P er a s Lo e e in t s as he in his po i p h h p pe yi ld d hi , did W M to the spirit of contemporary

erse . T s is all th r e to be re rette eca se he had er v hi e mo g d, b u p fected his gift of expression in many ways since his exp erimental beginn in gs . early verse

60 DRAMA TI C ART OF L OPE DE VE GA

te r r i mpo a ies when we should find but a sin gle instance n LOp e .

’ L et me now give a few more examples of Lope s concep tismo and culto s t e m aid in the necess r st of one th e t r s , a h y ay a y udy of e f a u e

' of his art . A good example of concep tismo consisting of a clever series of figures m ay be foun d in the following characterization of cl Amor

Y es molin ero el amor ; que t ambién dontro del pocho un molino ti ene hec ho

para m olor mi d olor. L a pie dra do] pensamiento

' on el a a do o o c gu mis j s, en o r o do eno o moli d t ig j s,

hace h arina do t orm ento. De aquest a so c ue co ol pan do dolor que me suste nt a ; n mas me e nt a quo c ua do alim ,

e s c uan do mon os mo dan . — E l Molina I I i . , , v ii

r h n r l Vi d el en ie na Le nar a rece es O t e followi g f om a u a v c , o d iv her r in the ar so as not to be rec n ze he sa s love d k , og i d ; y

F D u es e o r e . or ios, q e h ch c u l Ya m e on cion do el c orazon

or sin e no ve o am luz, pu s ; que ha tocado e n el de seo

c om o pie d ra ol eslabon .

l r ue e ta a o c ra Como e h omb e q s s u s,

ara enc en e r t oca y, p d luz, , f é e n a a e tra oca u mi lm vu s b ,

que ha da do cente llas pura s .

e sc a ha o el cora on Y sid z ,

r r a e ta que e a m at e i dispu s , ol o e fue 1a re e t a y g lp spu s ,

y la lengua ol e slabon . Tengo una luz en cendida e n ol a a ue os v o t rata lm , q y , si oI airo n o m e la mat a

do ve ros escurec ida . N o os v oa yo com o ciego

en r en la ima inac ion d t o g , porque parec e in venc ion

h ab e r tin iebla s y fuego. DRAMA TI C ART OF LOPE DE VE GA 6 1

S i no es fian ena mi za bu , n o so comi e nce la historia ; e es o sin or y pu s limb gl ia,

n o sea limbo con pena .

S od vos ara ue o os v oa , p q y , o o n or e tre o c m pi t x mad , ue aun ue la noc e ha n o q q h pi tad ,

dej a luz con que so voa .

I n these we find a relative simplicity of thought ; but the fol

n rce a on th conce to ser reca ls the tra est lowi g fo d pl y e p , l v y “ ” in Don Quixote on 1a raz on de la sinrazon . The metaphysical n ature of concep tisnw is also evident in this passage

e oras en on e S onor e t c s, a, lo que e stimo tu belle za ? Diras tu que es mas rique za sor E ena er , l , mi muj ; y sab ré yo re spond e r ue aun e l ro o s e r e r e r q p pi p di a,

si no on o sor e r , si d , pudi a

que fue ra tuyo sin se r. Pue s quien dej ara por ti l ro o sor en u o o p pi q e viv , no hara mucho en que so privo

do lo que e s fuera do at. — La Esclava de eu galan I 1

An example of a mechanical heaping of brief conceptos b e n in la B oba ara los otros discreta ara si : , fou d p 3] p

l ri n n las a a E b o ace e lm s, i n n l s oc o la ojocuc o e o p h s, lo a a r o en el a or g ll d v l , n l en ent o lo altivo e os p sa mi s, lo an o o en la e e ran a im s sp z , l ent o en el e eo o al ad d s ,

l ra o e n el c ora on o b v z , en e on ol e ec o lo vali t d sp h , l ort en la r enc a o c és p ud i ,

rr o on ol e rec o lo a oj ad d sp i ,

l en e ro o en la an re o g s s g , r en e l e eo lo amo oso mpl ,

l e rar o en la c a a o t me i us , e en ol e o o lo apac ibl d sp j , l a o o en l a or o pi d s o m ,

y 10 t e rrible en los c elos . 6 2 DRAMA TI C ART OF L OPE DE VE GA

I n most of the passages just cited the metaphysical character

conce tismo is a sent but it is er fre ent resen in the of p b , v y qu ly p t numerous sonnets which Lope has introduced into his comedias in h r t e fo m of letters or mon ologues . I n many cases concep tismo

’ m ay be amusin g and unobj ectionable when combined with Lope s

wit . Ta e for e a e the l n assa e in la E s la de k , x mpl , fo lowi g p g c va su Galdn :

gY ol S erafin ?

S ora fin .

E n a lo e r mi vid v é,

n o a ti ue lo e re mi . si , q s a xQué glosa hacerse podia ! j Com o ?

E scucha .

E s ol ti diminutivo

’ el t11 e s o del mi d , y hij , porque lo regala an si

c on el ac ent o mas vivo.

E1 tu es a o t o el mi. b j , y ipl

’ Tu an a tl e a a m d , t d s fi ,

’ ’ 11 es t ro et a t 11 es coc e ro t mp , h ;

i es ar n i e s c r ia : t c l i , t hi im or e s o al tu n o e ro y p qui ,

n o a ti ue lo e re mia . si , q s

’ n d nt a s tr s and his r c e B ut L ope s sa e ju gme alw y iumph , idi ul of the contemporary vogue with its un poetic defects forms a valuable contribution to the liter ary criticism of his time . I n Guardar y guardarse we have an amusin g passage in which a lackey conjures his master in culto

‘ D oria E lvira . gl ngrat o ! Quej osa que do

do tu c rue ldad . n Cha con. ( A su amo.) gN o t o muovo

e r e r o a a que llas p las h m s s, que en a qu e l ja rdin do rosas dos c i elos do n ifias llu even ?

i l s do n na C acon ? gC e o i s , h j N o la v os h ac er pu ch eros ? DRAMA TI C ART OF L OPE DE VE GA 63

D on F elix O o t r i i n s r j s, a c o e perde os

Mas e a r e es r i ion si qu d m t a c , el u ar e difi ult o q ed m c ,

y ol i rm o si ingrat o soy .

Chacén. P ar on ur rt o e a c j a stoy,

S enor on en ua e to. , l g j cul P or a que l candor b rillant o ue a a a o tent a q viv luz y lm s , aun que c an oro so argenta e l a o nau ra an e piél g f g t ,

ue do to a o o . q sus, duel s, j s

And in the same play the servant burlesques the speech of Inés

who escr e her stress as she r ses an d resses in e a erate d ib d mi i d , x gg d

culto.

Chacon. E n e ot o n e ta f , I és, g s toc an doso tu sefiora , y es sol que los c ielos d ora ? 5P ue s no ?

N o.

j Comion z as P arece mo que la v e o

on ren a r domill s c c ua t o a , c ofrocillos a a y v jill s, ir por oxtrafi o rod e o

on busc a do la he rmosura .

I n lo Cierto p or lo dudoso a very obscure sonnet of Don E nrique

is r c e the ser ant Ra r act scene . e idi ul d by v mi o ( III , iv) Whil in S ervir a S efior discreto we find a char acterization of culto poetry which classes it as a disease

E lvira . Oigo d ec i r que a poet as e v n irle s ror su le e fu ,

mas on c o a do a or y s s m ,

por c i e rtas causas secret as .

Giré n. Di c on los lib ros ve rda d .

E lvira . Y aun un médic o d e cia que e ra e sta n e gra poe sia

e spec i e do en fe rm e dad . S rn a o a lo n o a , dij , divi , u o uno on ot ro s o e a q e d p g ,

r e s o ra so e tr e a po qu sca y s i g ,

y e s t od o nu puro ven ino. D o s eiior oet a igam , p ,

j P or mi ha h e c h o e sta in ven cion . DRAMATI C AR T OF L OPE DE VEGA

The first scene of act II of la B oba p ara las otros 3] discreta

r i m p a a s ay also interest the read er . B ut best of all is the fol

’ lowing sonnet with which we close Lope s ridicule of the current poetic fad :

Con uroto e on o l r n j , d m i cu to a o,

ue a a e t e o o era e q s lg s d s m z mis bl , ue a n a a e a r o not q pe s s b h bla , cas able ,

y y a presume do An fion tebano. P or 1a lira do Apolo sob eran o

to c on uro cul e ro inexora e j , t bl , que lo dos libe rtad para que hable

en su nativo idioma castellano. ‘ 5P or qué me t orque s barb ara tan monto l gQué cultib orra y b rindalin tab ac o ” c aractiquizan t oda intosa fron te ? — — a 1a cr t an o orro. S o o aco. H b is i , p y p l — — Tene a ue so v a. N o m ates ten e dl , q e , t ; l — — ” suo t am e . Aqui do Apolo. Aqui do B aco. — Rimas de l Licenciado B urguillos .

The above examples may suffice to show that certain qualities of culto and conce tismo are not to be c n e ne t t p wholly o d m d , ha they are capable of rising to genuine expressions of beauty and wit and t at t e r an er la n t in t e r use ut t e r x , h h i d g y o h i b h i e ag

r i ge at on and abuse . Inasmuch as I am merely attemptin g to give a brief outline

’ of Lope s dramatic art I cann ot do justice at this point to his

n and t t re ate and asc nat n t t e be . I n mi d hough , l d f i i g hough h y

eed L ser s to a a c re ens e r ritten on d , ope de ve h ve omp h iv wo k w this subj ect on account of the richness and the wide scope of his sympathies . It would be stran ge were it otherwise in a dram at i w n e r e st ho has composed so many plays touchi g ve y human th me . This does not mean that Lope gives utterance t o a distinct phil os n re t an es Cer antes n ess nre e s ac ophy a y mo h do v , u l u b lliou qui escence in the constituted order of thin gs makes one . H is point of ew n reat ar et est ns c ncern n the n a vi o a g v i y of qu io o i g i dividu l , society and the state can be gleaned from his comedias . H is

r s tt t e s e resse in r s at east is as loyal eligiou a i ud , a xp d wo d , l , normal and undisturbed as that of any man of the people ; his ideas on politics and society throw a great deal of light on the DRAMA TI C ART OF L OPE DE VE GA 65

rr n hi n i cu e t thought of s t ime . I n no other se se s his comedia

r a more complete or satisfactory picture of contempora y life .

T s is the rea the nst e L e resents an im a e hi l , u udi d op who p g of his tim es in those highly diversified thoughts of his innumerable

r ter Al h h h e en f his r a r m a cha ac s . L t oug t e el m ts o d am tic fo mula y b c r scr e tra t n r sta e tat ns st the e i cum ib d by di io o g limi io , ill t o t r cesses of the reat a r t c nsc s or un h ugh p o g pl yw igh , o iou ly c nsc s e his a e t s of the est oc entar o iou ly , fill d di logu wi h ome b d um y evidence that we possess on the niental and spiritual life of the

m en and en of his da . As re ar s the t ca s e m c wom y J g d poli i l id , u h _ _ m a be eane r the ome ia on narc n s and y gl d f om c d mo hy , ki g hip

ern ent in enera the tterance re ea in now an d t en gov m g l , u v l g h a surprisingly frank cr iticism of the abuses and injustices inher ' w i i r e h ent n sove e owe . To be s re L e s a s ts t r gnp u , op u u lly up hypo s usses ea states and ere he c ses to e M di c id l , wh hoo giv

ta e am es e ee s or ses in r ers he de iled x pl of vil d d impul ul , his action in times long past and presents a king of distant cen .

— ‘ i r ta ries or fore1 g l ands . H s attitude towa d the power and

s t n of ar st cra es is on the e a r nat n his po i io i o ci whol f i ly illumi i g, most convincing expressions being those in which he depicts

n ust ce violenc ravit or t er ces of the se s rand i j i , m y , o h vi lfi h g

ei n r N r tr n ndemn o t an his can be n s g eu . 0 mo e s iki g co ati n h fou d of th n e crat c e stence of the owe ful lord whose chief u d mo i _ _ p r e xi _ p rinciple is that might makes right B ut Lope is generally at m a

er c asses as the t ht s ok e and acte . T ere can be no low l hou d , h doubt that his heart was with the reat bourgeoisie in spite of all 51 s social intercourse and friendliness with aristocracy he too would have voiced the sentiment so well expressed in L a

’ “ ” - B r er 8 r s F a t il ter e s s e e . uy e wo d , u op , j ui p upl

One of the most genuin e n otes in LO e is therefore his cham 1

i nm f h e crat c s r t the an s e e p o g o t e d mo i pi i of Sp i h p opl , m_ a_ni e e l ll in his ct res the er c asses his c ntr fest sp c a y pi u of low l , ou y f lE his san t es of the r e s to other t the S I m IICIt o , e yp bou g oi , wi h P y and the sound c ommon sense with which the latter are

u o e on e a en owed . V ery frequent y we n a ce 0 DRAMA TI C ART OF L OPE DE VE GA

r the n r le e and s n er e ers r im poo , u p ivi g d di i h it d memb of a ve y

r r pe fect fo m of society . This does not necessarily imply any

nc s e cr t c s recte a a nst c nte rar c n t ns for i i iv i i i m di d g i o mpo y o di io , , as state a e L e was not cr t ca of his t es nor w s b d bov , op i i l im , a e

nat re or t r st in r n en e H by u gif s a sati i any p ofou d s s . e also c a ne a saner and we ma ca it so a reer s t n for h mpio d if y ll , f po i io

en he e as z e a a n and a a n the necess t of rant n wom , mph i d g i g i i y g i g them greater iberty o c Ol ce 1 n etermini i n ess l n marriage or any other state . H e justlfied the1 r oppos1 tm m s and their desire to see and speak

r r freely with the m en they ar e to mar y . We each this con clu i sion chiefly by in ference from many scenes in h s plays . P er haps the exagger ated liberties which some of his women char actors ta e t c ntrar to ca c sto a s a es r e k , qui e o y lo l u m , l o imply d i

’ f n n z on Lope s part to see a greater freedom or woma ki d reali ed . I n this connection we m ay add that n owhere is the hon or code so overemphasized as in the cases in which arbitrary fathers or brothers keep a hawk - like vigilance over the actions of daughter T or sister lest she brin g discredit on their hon or and n ame . hese pictures frequently imply a criticism of the selfishness and arbi trary author ity the m an and a plea for a more reasonable

n position for the woma .

68 DRAMA TI C ART OF L OPE DE VE GA

trans at ns ar ze ers ns or n este c a n l io , popul i d v io , u dig d ompil tio s

rn n f ll .k of lea i g o a inds . The latter stricture m ay sound too

ars nt we a e t r sce an es est o s c ass ca h h u il w d h ough mi ll i , j bo k , l i l

c entar es ct n or s c sc ss ns on the anc ents omm i , fi io , philo ophi di u io i , whose utterances were now and then presented in a form hardly

rec n za e the a t rs . The sa e is tr e ra as r c og i bl by u ho m u of d m , ly i

erse c r n c es and the rest the a t rs of c see resse v , h o i l , u ho whi h m imp d with the necessity of winnin g prestige by citing clas sical authors

en and ere er oss e . I n the ma r t of cases t ere wh wh v p ibl jo i y , h

re tho n en ce of the c ass cs re ces tse to c n - ac s fo , i flu l i du i lf ommo pl e . Only in the rarer cases of such profoundly learned m en as

e e the st str n nte ect of his ti e w find Qu v do, mo iki g i ll m , e a .

r r n tho oughly satisfacto y acquai tance with the classics . L ope

stan s a f a et een e e and the ar s er c a d h l w y b w Qu v do popul , up fi i l

presentation of classical material . H e is acquainted with every

a t r e er t e anc ent terat re is n n to u ho of old , v y yp of i li u k ow him . Of the Greeks direct reference to Plato seems to me to be the most

c n and t s st be due c e to the e stence n e ommo , hi mu hi fly xi of o

at n c terat re to its nter reters c entat rs and ta pl o i li u , i p , omm o , imi

t rs a e ce to its os . Of the atter L eon H e re o who g v voi phil ophy l , b o

is ent ne st re ent LO e an d his r s cc m io d mo f qu ly by p , wo k o upy a

i n r n f n prominent place n any co side atio o this i fluence . Tm

’ contributed to Lope s comedia a peculiar meta h sicel lan a e

evident in discuss1 ons of love beau o. Aris

totle too is ent ne t re erence to his Et cs his treat se , , m io d wi h f hi , i A h on the soul and his work on animals . mong t e historians

H r c es the rst ace as far as am a are his e odotus oc upi fi pl , I w ,

e n rr t his ct on and - re e e ents e n re styl of a a ive , fi i folk lo l m b i g mo appreciated than the writin gs of more scientific historians like

ts n n Thucydides . Of the Greek dramatis I have oticed o ly occa

sional and unimportant remin iscences . The writers of later

r s n n to L e es ec a P tarc se Moralia ages we e al o k ow op , p i lly lu h , who exerted an influence all through the Renascence not to b e over ’ n n a th n enc P t rc stated . I am of the Opi io th t e i flu e of lu a h s

i m be n n I/ ives was not so great . To us t ay astou di g that the

name of this writer should have carried with it such extra DRAMATI C ART OF L OPE DE VE GA

ordin ary weight ; yet even so great a think er as Montaigne is ’ l P tarc s an a ers ns s e of i a h st m ful of lu h im dv io , om wh c h h ve t e a p h of t e commonplace . B ut it must be remembered that the note worthy translations of Amyot in F ran ce an d Diego Gracian in

S pain were much read books . LOpe must have kn own the latter

e l . M c re recent but st ll e n n to Gree terat re w l u h mo , i b lo gi g k li u ,

are the B zant n e roman ces Thea enes and Karikle Klit h n y i , g ia, op o

’ a nd L euki e an d t ers c er n n in L s d pp , o h whi h w e k ow ope ay

thr ough Span ish and Italian versions . They are responsible for a h few romantic or epis odic features in t e comedia .

B c nstant n t n the names of H mer and V er l he y o ly u i i g o gi , t

s n of th n uence e erte the I lia d th d ss and th fu io e i fl x d by , e O y ey e

A en eid eca e n e ta e . I t be ffic t to find a r m , b m i vi bl would di ul p o i n ent character in any one of these epics who is not mentioned by

L e . The st r es and R e the a vent res of U sses op o i of Ilium om , d u ly , ‘ the ta es of H e en and Dido at et c and semiscandalous the l l L , p h i , c ar s of Circe the t ul ea t and a r of Ac ll es t ese h m , you hf b u y v lo hi , h a nd scores of other characters and epis odes are mentioned again

and a n . The c e Lat ets too are e n n to LO e gai hi f in po , , w ll k ow p ,

v n a er r m nent lace l e H race O id holdi g v y p o i p , fo low d by o ,

’ at l s vena Mart a and t ers . s e r e of O s C u lu , Ju l, i l o h I pok b i fly vid fi l l iw my book on that Latin poet and the Rena sc ence . I need supplement what I said there merely by adding

’ that scores of Lope s plays show a very profoun d indebtedness

o th t ts e s es and r s r nc les the Met t e hough , pi od amo ou p i ip of a

r h th Ars Amatoria th R m edi Amari n m o p oses, e , e e a s, a d the

H eroides .

The Lat n ets r e a ne n r at n on the s i po p ov d mi of i fo m io god ,

nd e s the er es and er n es e en and t a d migod , h o h oi of l g d my hology .

V en s and A n s C and P s c e Or e s and E r c u do i , upid y h , ph u u ydi e ,

as n an d Me ea P erse s and Me sa P a n and Ga at a J o d , u du , ygm lio l e , the labors of H erc ules an d the stories conn ected with the Golden

ee e se ist rica er es of Gree and R an st r F l c , mih o l h o k om hi o y , to

nt n s nstances sc nnectedl and at ran t es n m e io ome i di o y dom , h e a d ’ e r on L e s a es n n s c or es of others app a op p g agai a d again .

Th n er s anec tes c nnecte t c ass ca anti t e um ou do o d wi h l i l qui y, 70 DRAMA TI C ART OF L OP E DE VE GA

ra ca eta ls a s men and th e re ta en biog phi l d i of f mou e lik , we k chiefly from compilations which in their turn extracted them

r st r ans and ra ers s c as L Tac t s et n s f om hi o i biog ph , u h ivy , i u , Su o iu

r othe s .

1 nnumerable

y . N o bird or was too stran ge or rare to have its existence vouched for by Pliny or his Renascence commentators who have won an “ ” rta ace a on the s nsters and n tters in the sun immo l pl m g pi k i ,

“ ‘ ” r l o as viejas que dicen consejas tras el fuego. The matte r available for a study on the influence of Pliny alone would make several large and entertainin g books . Among L atin works of fiction the chie f place is occupied by the Golden Ass of Apuleius ; its novelistic incidents are full of vivacity and origin ality and prompted imitation among drama

tists and n e sts a e . Re erence to e ca treat ses es e ov li lik f m di l i , p ciall Ga en to s on nat ral en ena s erst t ns and y l , book u ph om , up i io

the e a o n but cann t b e sc sse n ow . H ow c all lik , b u d , o di u d mu h of this was beyond the intelligence of the audience when recited

on the stage is ditfi cult to determine . S uflice it to say that ser

ants ac e s ruifi ans and co rtesans are not n rant of t n s v , l k y , u ig o hi g c ass c and t at we st ta e for rante t at all th s ater a l i , h mu k g d h i m i l ll was in the air and the common poss ession of a people . l h References to biblical characters and episodes . above a l t e

Old Testa ent are not nc on but no eans as re ent m , u omm , by m f qu

nc in s r as those just treated . Their prese e play of a eligious c racter is nat ra but a sc ss on t e a s t o t the ha u l , di u i of h m f ll wi h u scope of this essay . DRAMA TI C ART OF L OPE DE VE GA 71

L OP E ’ S ACQU AIN TAN CE WI TH CON TE MPORARY L ITERATURE

Am ong the meagre autobiographical details which L Ope has

iven us in his D r tea a s ate ent n ern n his e cat on his g o o t m co c i g du i ,

r reading and literary taste in general is of interest . H e the e tells us in the part of Don F ernando :

do la e a ue o a sa a o la ra at ca no nora a la retor ca d d q dig y bi y g m i , y ig b i ; descub ri ra ona e n en o rontit oc a ara c a era c enc a z bl i g i , p ud y d ilid d p u lqui i i pero para lo que mayo'f lo tenia era para versos ; do suerte que los carta c o d la licion s m ervian rra ore r en a ento pa i s o s o e s do bo d s pa a mis p s mi s, y

' ri i r e n e n muchas vece s mas esc b a e n ve sos latinos o ca st lla os . Com cé a j untar libros do todas letras y lenguas ; que después do los principios do la r e a e erc c o ran e de la at na o en la to cana do la ran g i g y j i i g d l i , sup bi s , y f cesa tuve noticia .

This tells us three things in regard to Renascence literature t at F renc was not n n n to L e t at he was e ao h h u k ow op , h w ll

' uainted t ta an and t at he was e er occ e in r ea n q wi h I li , h v upi d di g and writing Spanish verse . If we limit ourselves only to the evi

d nc of th comedi t s conc s n is e er er c rro orate . e e e a, hi lu io v ywh e o b d Although Lope may have kn own something of the F rench lan

a e find ract ca n o e ence of an ac a ntance th gu g , I p i lly vid y qu i wi

c nte orar F renc terat re. On the t er an he st o mp y h li u o h h d , mu

a r a ta an e tens e e e er S an s et or col h ve e d I li x iv ly , whil v y p i h po lection of S panish verse must have been known to him .

t re ar to ta an l terat re the novellieri ro B oc Wi h g d I li i u , f m cacc on nc n the e tens e c ect ons of the teent and io , i ludi g x iv oll i fif h

i teen ent r es ere a ar ro n to L e . o e of his s x th c u i , w f mili g u d op S m

t r no n re t tracea e to ta an novelle but cer plo s a e t o ly di c ly bl I li ,

n tain episodes of others betray all the marks of Italian i fluence .

T s is ca we reca t at S an s terat re ffere b ut hi logi l , if ll h p i h li u o d

tt in t s st ct on t at in the e the s rt st r li le hi yle of fi i , h fi ld of ho o y we have to deal with hardly more than third rate imitations of

r e n we rea the n ovelas of Cer antes c Italian sou c s u til ch v , whi h

n er strike the first independ ent note of importa ce . Italian lit a

r w s ls n n to L e es ec a the e cs ture of chival y a a o k ow op , p i lly pi 72 DRAMA TI C ART OF L OP E DE VE GA

of B ar o Ar sto and Tass e Dante and P etrarch are oi d , io o, whil

re ent ent ne or s e t ou t t e rs is re eate . f qu ly m io d , om h gh of h i p d Among the poets the influence of P etrarch overshadows that of all t ers not n eca se the ar n a t es of his o h , o ly b u of w m , livi g qu li i

erse but eca s his s r t had r a n ass ate v , b u e pi i al e dy bee imil d by

’ n Al so ma y Spanish poets before Lope s day . l this deserves an e tens e se arate st in so far as it t r s t n ot on x iv , p udy h ow ligh ly on the r t of S an s r c erse but a so on certa n oet c g ow h p i h ly i v , l i p i

’ elements of L ope s artistic formula .

’ As regards L o e s extraordin ary h ~ verse the fact that the large body W of his bone and flesh of his flesh would be evid ent from his

orks at e er t rn e en we c ose to t rse es to the w v y u , v if h limi ou lv

n f h n h h testimo y o t e cmn edia . Again a d again e speaks of t e _ c e oets and a st all the na es ent ne o a e hi f p , udy of m m io d w uld m k

n r t t r A w a comprehensive history of co tempo ary li era u e . s as

en FY

do him the model for the sixteenth and seventeenth centuries . I t would be futile to give most of the names which L ope mentions since his own fin e tact and delicate touch made him appreciate the best which that astoundingly productive per iod had to

offer .

I n rose terat re L O e was no ess at e t an in erse p li u p l hom h v , but the type which he mentions most frequently in the comedia i n H i nn f r rr n i s the pastoral roma ce . s ma er o efe i g to t leads m e to believe that he considered it the only other type of literatu re

n A i outside of verse p roduction with artistic fi ish . nd this s so .

The astora n e as a e a ter all t ese ears a o e all p l ov l h p l d f h y , b v i s r ificialit is e ent to us but the act re ains t at it er t a t y vid , f m h v y often reaches high poetic levels which rightly give it a place be

rs f far reater ortance is the Celes ti na and side lyric ve e . O g imp ,

L O e who no ess t an the a t r of t at n e r is a as te r p , l h u ho h u iqu wo k m

nd f the e ress on ass on tates it ot con of dialogue a o xp i of p i , imi b h

in n s en e hi sciously an d unconsciously ma y c s of s plays . Refer DRAMATIC ART OF L OPE DE VE GA 73 onces to the story of Calisto and Melibea and to the gr eat figure of Ce est na erse are a co n occ rrence e s r e l i h lf mmo u , whil imila iti s in st e an a e and e s s can b n yl , l gu g pi ode e poi ted out with fro

uen T n q cy . he i debtedness of L Ope to any single creation is n ot er r n nce but t ere is an e ce t on to t s r e v y p o ou d , if h x p i hi ul , it is the Ce est n a ic a e a ee ress n n l i , wh h m d d p imp io upo him as well as upon all the writers of the Renascence . I have else

’ where treatod the influence of this remarkable book upon Lope s

D orotea and his cl Caballero de lmed c re e O o, whi h a good exampl s of how the spi rit of the whole work mani fested itself in the

comedia . As re ar s th D or otea am nc n e to see in t at g d e , I i li d h stran e a an e tre e artificial fabric in c Gerar a a g pl y x m ly , whi h d ,

n er tat n Ce est na is ract ca the n l n wo d ful imi io of l i , p i lly o ly ivi g c aracter the t ers e n too ten s o e a s la of h , o h b i g of p il d by di p y '

e antr aca e c lness and bad art . The r ances p d y , d mi du om of c a r c nte rar c a s c nta n n s c n e s as la hiv l y , o mpo y h pbook o i i g u h ov l

D on ella Teodor es es n ve s e and a ent re ere c , b id o l of lov dv u , w

no n to L o e nor nee s ea the c r n c es es er es k w p , d I p k of h o i l , liv of h o

n n s r c he rr e eas an d ts . F n a the a d sai t f om whi h bo ow d id plo i lly , late Menendez y P elayo has on various occasions pointed out how

’ unlim ited is Lope s acquaintance with the great body of national romances or ballads . If any further evidence were r equired to

hi em r w s r d s as his n ent e en s prove that s m o y as a p o igiou i v iv g iu , his acquaintance with the popular and traditional poetry of his

h e people would more than prove is cas . 74 DRAMATIC ART OF LOPE DE VE GA

’ S OME TEC N CAL F EATU RES OF LO E S ART: E XP OS T ON H I P I I ,

L O S RECU RR N G EMES P T , I TH

’ Inasmuch as Lope s inventive genius is characterized by free dom and s ntane t he was at his est w n er th t was po i y , b he ev e plo

h n wholly is own creatio . A mere suggestion was enough t o give

n f him a idea or a whole play . I t is therefore clear that he must

a e een a ere in his c nstr ct n in the se ence of his h v b h mp d o u io , qu conce t n scenes and e so es n h n erto to r r p io of pi d , whe e u d ok ep o

- duce dramatically a ready made story . I n so vast a cre ation as his comedia we are enabled to reach the good productions

n b an e nat n of the n er r nes and to m e his e s o ly y limi io i f io o , , , l a t

ns re r t T i pi d plays a e almos always based on borrowed plots . hese

ere for the reater art ta en fr ct n s rces c e w , g p , k om fi io ou , hi fly

ta an and t ere re a s r e an s c a ent r l I li , , h fo , b o b d m y epi odi dv u e e e

ents c str e a a se n te on the sta e . T e re resent m whi h ik f l o , g h y p

an art st c n er and s a certa n rt n of his rk . I i i blu d , poil i po io wo t would add but little to my argument to mention here the many

a s re ate to st r es of B ccacc B an e and ot ers but pl y l d o i o io , d llo h , the influence of Italian novella throws a certain light upon his

r plot construction . I n ce tain plays which may b e characterized as extravan anz as or n e s in a e we ma n te t at L e g , ov l di logu , y o h op

es tates to cal ze t e in a n for he es the t an h i lo i h m Sp i , giv plo Italian background as if to make the spectator believe that the events of his play are more likely to take place outsid e of the

P eninsula . I refer also to plays in which Lope made concessions to ro a e r ant c t e es -s te to an sta e and imp b bl om i h m , ill ui d y g , t t ese m a a e ee n acte in an amusin wa t e add hough h y h v b d g y , h y n t n r n or en r n to his art st c r a . Take for o hi g o igi al du i g i i fo mul ,

’ e a l Alcalde ma or in c the er ne s er is im x mple , c y whi h h oi lov plicated in a murder plot ; she flees to Salamanca disguised as a m an atta ns th e ree oct r a ter ears of st and e n , i e d g of d o f y udy , b i g “ considered worthy of higher honors she finally becomes alcalde

n e r r n ll mayor of Toledo . As such she agai me ts he love a d a

76 DRAMATIC ART OF LOP E DE VE GA

exposition is normally modified as we move forward b the addi W I M S and W W , m m to un der

stan the st r LO e is ere c ncern e t his r d o y , p m ly o d wi h fo ward

t ea n in and out act n c unter- act n sent w , wi h w vi g io , o io , i ents cr ss - r ses and ses n t he c es to the m , o pu po , impul u il om logical

end his ar s t rea s or c o ses ar trar to cu his e of v iou h d , h o bi ily t sk in .

’ The usual analysis of Lope s characters fails to lay stress on the fact that in rapidity of action impulses must dominate ove r reason and deliberation because the latter demand too many

delays to fit into his formula . Another mistaken procedure pointed out above is that of

n h r n e er n t on r t h applyi g t e p i cipl s of oth a i al d amas o t e comedia . N 0 other type of play in the world is so thoroughly an improvised

creation as that of Lope . As a highly en dowed musician may sit

o n at an nstr ent and c se t o t re e tat on s d w i um ompo wi h u p m di i , o

L o e a a s had at his s osa t o t an see n effort all p lw y di p l , wi h u y mi g , the unusual gifts which nature had so generously bestowed on .

. I t is t ere re t e to for e erate rocesses him , h fo , fu il look d lib p , mechanical construction or a conscious rearing of his artistic

’ edifice . Careful scrutin y of the majority of Lope s plays reveals that he had no fixed con ception of dramatic steps purely by acts

nd scenes and n a sense of or ar e ent r ress e a , o ly f w d mov m , of p og iv

ts and entrances c carr the a e t r its s ccessi e exi , whi h y g m h ough u v

steps until an end satisfactory to the author is reached . I n

n c es the so t on c b e atta ne ear er in the a but ma y as lu i ould i d li pl y , the fanciful creation of n ew impulses bridges every gap until

h r the imp rovisor sees fit to st0 p . Inasmuch as t e d amatic formula of Lope depends entire] 11 on a success

1 and th erea ter on ra idit of roce m he was nt to f u _ p _ du , wo

r re at n of e os t on won his ear ers nor obse ve ca fully wh ki d xp i i h ,

did he hesitate to repeat such scenes if popular . A good example

f r t n can be n in la discreta E namorada Act o this epe itio fou d ( I ,

scene and cl Acero de Madrid Act scene ) in the r er V i ) , ( I , ii fo m nt r e a n a ant i e in mother and d aughter e e follow d by you g g ll , wh l . Th re r the latter it is an aunt with her niece . e dialogues a ve y DRAMATIC ART OF LOPE DE VE GA 77

mi r A si la . study of model expositions might also be made in

s c la sm u h p y m ,

uien ama no ha a eros los M -B li n Q g fi , e liudLeL da e sa, cl Dom/i c

L ucas n ot to ent n sc res t ers e F uente ve un , m io o of o h lik O j a,

’ P embafiez l Com ndador ii d y c e de Oca a, an los Comendadores de

' Cordoba of tragic content . As a consequence of all this we must be prepared for r ecur

’ r n t e es not n at the en n of L e s a s en i g h m o ly op i g op pl y , but wov

into the bodies of the plots . Although this element of repetition

has een ascr e to ar a a se it was o ca res t f b ib d popul ppl u , a l gi l ul o

the s er an a o nt h r up hum m u which e p oduced . I have already

t c e on s e his re c m n sta e e ces s c as tr c s ou h d om of mo om o g d vi , u h i k

c ena e the ers to con erse the st n t e e acc whi h bl lov v , umbli g h m , i

ents n the a s u ses of all n s concea ent the d upo highw y , di g i ki d , lm , entrance of a messenger who pretends to be a hawker or vendor

’ of a es art c es or o s and the e ll of c ener l di i l , b ok lik , a whi h g ally

r nd s r n s s ; c aract r wh n p oduce light a pa kli g epi ode . a h e o e j oyed r eat o arit et er a or e a e was the s t n g p pul y , wh h m le f m l , imple o

bobo and boba e t er rea or e n e and t s do not ean ( ) i h l f ig d , by hi I m

the r ioso but one of the ea n c aracters . E a es re g ac , l di g h x mpl a

la Dama boba la B oba ara los otros dis creta ara si cl B bo , p y p , o

del ole i and an A n the re ser s t e es C g o, m y mo g mo iou h m

c rec r is th a t r t or of t at of nc e or whi h u u ho i y , h —u l

r t er n n est ns n r and ra t . I lthou h b o h , i volvi g qu io of ho o mo li y Q g L r ent ra ses est t and t er o est c ope f equ ly p i mod y , humili y o h d m i

tra ts in an h a s a ocate not a a s rect ro a i wom , e l o dv d, if lw y by di p p

an a a reer and saner s c a os t n for her . H e resents g d , f o i l p i io p

his ea as a e state a o e ore a n a n the a ses pl , I h v d b v , m by m ki g pl i bu

to which the subservience of womankind may lead . A highly dramatic theme is the protection of a murderer by a relative of the murdered man who is ignorant of the nature

of the crime or not aware of the identity of victim and murderer .

A a n in t er ra as in c s e cr na t is a t the g i , o h d m , whi h om imi l plo foo ,

e n e wh is n stac e to the tter st b e re e and p rso ag o a ob l plo mu mov d , this obj ect is achieved in an arbitrary manner by entrustin g to

er e st n tar ost or s e ffic a cc at n the form som di a t mili y p , om o i l o up io DRAMATIC ART OF L OP E DE VE GA

which may take him out of the way for a sufficient space of time . The chief theme of this kind of plot is the base desire of some

on e in a t or t to ossess the e fiancée or s ster high u h i y p wif , i of

a assa or e en ent a t e e er in ct n so t at an v l d p d , h m v y old fi io , h m y

A n i h e - n n examples could be cited . mo g them s t e w ll k ow story

’ “ contained in Juan Manuel s Libro de P atronio : De lo que

' contescio a a a n con una ena dueiia er de un ca a ero S l di bu , muj b ll

su asa S a a n s es to se ce the e a ass a he v llo. l di wi h du wif of v l ,

t ere ore creates ma oral and sen s to stant an s h f , him y d him di l d ,

i i the n f e but h s evil scheme s frustrated by wise co duct o the wif .

The rea er a s reca t at in the stor of Da B aths e a d will l o ll h y vid , h b

an d U riah we have a variant of the same theme .

’ We m a s mariz e certa n eat res L o e s tec n e as r y um i f u of p h iqu follows : exits an d entrances are treated more arbitrarily an d

s ca t an be er ss e in ess s ontan eo s ra a whim i lly h would p mi ibl l p u d m ,

’ the characters moving rather with the motive force of L ope s

n i i fa cy . H s conception of time s so indefin ite as to make us believe that in the vast majority of his plays the question of a

te n er o rs a s or e en ont s was ent re dis limi d umb of h u , d y v m h i ly

regarded . The audience was transported into an id ealized world not confined by the limits of the stage nor controlled by the usual

flight of time . I n a number of plays L ope falls into the technical e rror of leaving the stage empty various times dur ing an my Ta e for e a e la E sclava de su aldn in ch on t e e k x mpl , g , whi w lv separate occasions every person quits the stage leaving the plot

sconnecte and so nter er n t s o t actio inall as di d i f i g wi h m o h a y , re ar s the f E t s eat re was g d M ’ hi f u fl W Q-P r o n necessar a t on to the r nc a act on n ve y fte a y ddi i p i ip l i , givi g more body to the main plot when it was thin and weak in con

n ter for th secon ar tent . I t also furnished matrimo ial ma ial e d y characters ) Cervantes r idiculed this d evice of havin g eve rybody i i l E ntr t ni married off at the end of the play n h s comedy a e e da . Exaggeration in the heaping of tone and color effect is rare

in Lo e nd conse ent his reat t e es are se o arre p , a qu ly g h m ld m m d , as in los Come ndadores de Cordoba where the spirit of vengeance

r ns s t rns nt a san nar c ase of the V einticuat o co ciou ly u i o gui y h , DRAMATIC ART OF L OPE DE VE GA and the tragic close fails to maintain the solemn grandeur of

’ h r t e est . The apparent defects of L ope s formula are due to an excessive number of combinations of recurrin g elements which are ent re oss e and acce ta e the ro a t the i ly p ibl p bl , if p b bili y of resultin g picture be not too closely compared with actual human

’ s c et . The tec n e n ta the str ct re of L e s com edia o i y h iqu , o bly u u op , has frequently been compared with that of less inspired but more

r r ca eful w iters like Alarcon or Moroto to his disadvantage . Yet nothin g can take fr om his art the claim to a unique ch arm of

resentat n nl te in its ar et a so n t re of o t p io u imi d v i y , u d mix u y u h and m at r t c ne er n e the to c of old a e a n e e u i y whi h v k w u h g , k owl dg of the depths of human experiences without overemphasiz in g t e r e t on the s a c re ens en ess of oet c e res h i w igh oul , omp h iv p i xp sion which makes every attempt at comparison futile and every effort of analysis unsatisfactory . DRAMATIC ART OF L OP E DE VE GA

D AL OGUE MON OL OGU E AN D N ARRATIV E I , ,

N o task seems more hopeless at the outset than a discussion

’ of Lo e s a e so as n n 1 s its ar et so ast its ran e p di logu , tou di g v i y , v g in t n e c or s e c an d sit at on . N o cr t ca resen o , ol , p e h u i i i l p tation can e race ore t an a art of his r nor can a mb m h p wo k , limited number Of examples hope to give more than a bare sug

est on Of all the or s of e ot n t t and e er ence for g i f m m io , hough xp i which Lope has found expression . Any specimen taken out Of its c ntent cann t e the eas re of the effect nten e a o o giv full m u i d d , thing especially so in the case of com edy . B ut the examples

n m s ffi ce s his aster t c The which I have chose ay u to how m ly ou h . n er his en n e co c scenes cannot be co nte and n o umb of g ui ly mi u d , better reason could be alleged for giving unstin ted praise to his miraculous inventive power than the hund reds of plays with which he unceasingly amused the S panish public . I n his tragedies Lope has shown a remarkable gift Of impress ing the audience by the sudden and un expected tragic turns in

n T i h c s r the career of hero or heroi e . his s t e a e whe e light dialogue is followed by an event entirely changing the face Of

in ut r h ero n is s thin gs . Thus la Moza de ca a o t e h i e di cussin g with her maid the qualities of her many suitors when her aged

a r nters and te s her a rta affr nt n cte on f the e , ll of mo l o i fli d up him ,

r er the result of which alters her whole ca e .

nfi L uisa . Don Diego esta co ado ;

j oyas to ha h e c ho fam osa s . gJ oyas ? Y galas c ostosa s ;

hast a c oc h e t o ha c omprado.

Don Diego do n oc he y c oc h e . gDo n oc h e un gran caball e ro ! Mas gay Dios ! que n o lo quie ro

para don Diego do n och e .

Otr lo o e L a a g c , uis , one s ! n o y o. zDe n oc h e visi

n tr t e ra one . L uisa . Oigo u as is s z s DRAMATIC ART OF L OPE DE VE GA 8 1

D ri M r . o a a ia V olviOse en llant o la risa . gN O es ést e mi pad re ?

Luisa . El es .

Don B ernardo dc habito de nti o ( , S a ag , i l enzo en los oj os . Dichas .)

Don B ernardo. 3Ay do mi !

Dona Maria . S ofior ué es , gq osto ? V os oran o e co e ll d y d s mpu sto, ( y yo n o est oy a e sos pie s !

ué ton a dre enor gQ éis, p y s , mi solo y un ic o bie n ?

Don B e rna rdo. V orgiion z a do que m e v en

ven ir vivo y sin h onor.

Doiia Maria . gCOmO sin h on or ? Don B erna rd o. N o sé.

D a e or D o Maria . éj m , p i s,

Dona Maria . S en o v os a e n la mia i d vid , gComo dej aros podré ? ‘ 5Habéis acaso c aido !

Que los aii os muc hos son .

Don B e rna rdo. CayO toda la Opin ion n e u h y obl za q e e tenido. N o e s do los h omb res llorar ; pero lloro un hij o m io

ue e ta en F an e do n fi q s l d s, quie o m que e supi era vengar . S en o o re orar m e a r a i d h mb , ll g ad ; or e los e o Ma ria p qu vi j s, , s omos nifi os de s do el dia

que n os quit amos la e spada .

Do ri a Maria . S in co or cl a a n a l , y lm o c lma,

Os o a re en r Oig , p d y s o ; m as ué c o sin c o or gq mu h l , si ya me t enéis sin alma ? ‘ gQué habia do hace r mi h ermanc i ‘ gDo quién os ha do v engar l

I n el Caballero de Olmedo e tra r nar nat ra ness ac t x o di y u l , viv i y and wit runn in g through more than two acts make as delightful c e as L e e er enne the e i n ac s en to om dy op v p d , whol g vi g pl e udd ly

’ a brief an d tragic close . The happy days of Don Alonso s court ship are gradually filled with a foreboding of his untimely end and few effects which Lope has devised are artistically more successful ; he is returning home at night after the crowning day of his career 8 2 DRAMATIC AR T OF L OPE DE VE GA

Don Alonso. iQué es curida d ! Todo e s

orror a ta ue el a r r h , h s q u o a e n las alfombras do F lora l ponga os dora dos pie s . ‘ Alli can tan . gQuién se ral

M as e ra al un a ra or s g l b d ,

que c amina a s u lab or. L ej os par e ce que e sta;

pe ro ac ercan d o s o v a .

P m ! L e n t r e n o ue s ge o o l va i s um t ,

’ n e s r11 s i o e l a e nto y o t c c ,

sino sonoro y siiave . m l la u ca e zQué a m si sab ,

si e sta. t rist e ol pen s amie nt o l nt le iene cer dnd e Una Voz . ( Dentro. ) ( Ca a desde j os y v a c os .) Que de noche lo ma taron

a o al cab ller ,

l e e ina 1a ga a d M d ,

la flor de Olmedo.

l e n Don Alonso. xCie os ! gQué e stoy sc uc ha do ?

S i e s ue a o e t ro son q vis s vu s s , a ue e to en la oca s on y q s y i , ‘ ado qué m e e stais in f orman do l

‘ V olve r at ras acé m o pue do l l n n on d F a a e s ve ci o bi ,

ue e ro a r e o do n q qui , u g I és ,

h ac e r que n o vaya a Olm e do. i r n L a Voz . ( D entro.) S omb ras le av sa o

n a liese que o s , y le a consej aron que no s e fues e ller el ca ba o, in la ga la de M ed a ,

la flor de Olmedo. it ii it

n e] e o ! Don Alonso. zQué do sombras fi ge mi d { Que do enganos imagina !

O e c c a . D6n de fue ye , s u h 5 , ‘ que apen as sus pasos sie nto l

Ah a ra or ! O e a a r a . [ , l b d y , gu d

A ar a re on e el e c o . gu d , sp d zMuert O y o ! P e ro e s c an c ion que por algun h ombre hic ie ron e o los do M e n a do Olm d , y di

e n e ste c a min o han mue rt o . A la mita d de l e st oy : ? gqué han do d e c ir si m e vue lvo

DRAMATIC AR T OF L OP E DE VE GA

N O esta del c amino lej os en l qui as da . N 0 m e ha que dad o n r sa g o. P ien so que cl somb re ro pue d e t ene rs e en ol ai ro o o on s l cualquie ra cabello. Ah a x , hid lgo ! gQuién es ?

A D o x y, i s ! gP or qué dudo lo que v eo ? E s mi seiior. zDon Alon so ! S ea en en o e s bi v id , T llo. COm O S efi or h g , , si e tardado i

COm O 8 . ra r ll g , si mi t e ogo hech o un piélago do sangre ?

ra ore an o e rros T id s, vill s , p , v olv od v olv od a atar o , m m ,

e a n a e ert pu s h béis, i f m s, mu o ol mas no e ol mas a ent e bl , v li , el mas galan caballe ro u ii q e ci b e spada on Castilla .

Don Alonso. e o el o a n o e s t e o T ll , T l , y i mp ma u s q e do trata r del alm a .

P on e en tu ca a o re t m b ll p s o, l y léva me a v er mis pad re s .

Tello. xQué bu enas n u evas les llevo de las fi e sta s do Me din a ! j Qué di ra aqu e l noble vi oj o ? gQué hara tu mad re y tu patria ?

V en an z a a o o e o g g , pi d s s c i l s !

( L levas e a don Alonso.)

" / F uente O e na resents the r of an nt t re em v ju p vigo u u o d , d o cratic community standing out for its rights against the vicious

er r and we a e s e s e t r st c al o e ee ov lo d , h v id by id wi h u i di gu d ply impressive tragic passages of which the following m ay serve as i an example . The peasants sittin g n council against the scoundrel

’ who has ruined their lives are moved to action by a woman s appeal

r idn r. Ya t o o ol ar o do ac enc a rot o R g , d b l p i i ,

c orre la nave do tem or pe r dida . L a hij a quitan c on tan gran fie re z a

un re on ra o do en e s re a a h omb h d , qui gid

la at r a en ue i e n la c a e a p i q viv s, y b z DRAMATIC ART OF L OP E DE VE GA 8 5

la vara qui eb ran tan injust am ente . gQué escla vo so t rato c on mas baj e za ?

' gQué es lo que quieres ti1 que el pueblo intonto ? Mor r r l r e los r n i , O da a mue t a ti a os,

e o o c o e os oca ente . pu s s m s mu h s, y ll p g [ Con tra ol soiior las armas en las manos ! El Re o o es enor e u del c e o y s l s d sp és i l ,

y no barbaros homb re s in humanos .

S i D o u n e ro o l i s ay da u st just co O, gqué nos ha do c ostar ?

Men o. M ra seii ros g i d , o ,

que vais on e stas cosa s con rocolo. P uesto que por los simple s labradores e to a ui ue mas n r as a an s y q , q i ju i p s ,

mas cuerdo represento sus te mores .

ua n Ro o. S i n ra s ent ra so com asan J j uest s de v u s p , r e r er las a ué a uar a o ? pa a p d vid s, j q g d m s L as casas y las vitias nos ab rasan

tiranos son ; a la vengan za vamos .

Laurencia des melenada . Dic hos . ( , )

L aurencia . D m en r r ue en e o ojad e t a , q bi pu d , en consej o do los homb re s ; n una er que bie puede muj ,

d r to a da r oc e . si no a a vo , v s gConocéisme ?

E steban. xs anto c ie lo ! gN O es mi hija ?

Juan Roj o. gN O conoce s a L aurencia ?

L aurencia . V en o tal g , que mi diferencia Os pon e

en c ontingenc ia quien s oy . xH ija mia ! N O me nombre s

tu hi j a.

E steban. P r ué o o ? g o q , mis j s j P or qué ?

Laurencia . P r c as ra one o mu h z s, n l r n a e y soa as p i c ip l s , porque dejas que m e robon i me v en uos tiranos s n que g ,

t raidore s sin que m e c ob re s .

gV Osot ros sms homb res n oble s ? gV Osotros padres y deudos ? V os r s ue no so os ro en g ot o , q mp l n r ii d or as e t a as o dol , 8 6 D RAMATIC AR T OF L OP E DE VE GA

do ve rm e on tant os d olore s ? O e a o en lo di e v j s s is, bi c

do F u en te Ovejun a ol n omb re .

Dadme na ar a a u s m s mi ,

e o e ra e o r n o pu s s is pi d s, pu s s is b o c s .

L os Comendador es de Cordoba re resents as far as n o p , I k w , the extreme to which L Ope has gone in givin g the whole play

an at os ere of oo t t atta n n the tr c e t and m ph gl m , wi hou i i g agi d p h

n t e t er of the ore o n a or of t at aster or dig i y i h f g i g pl y h m w k , la

E s tr ella de S evilla . N O tone in this mars the exquisite presenta

t n the c aracter the er ne and en we se her er io Of h Of h oi , wh e ov whelmed by a course of tragic events which take place inevitably one a ter the ot er we ee st e in c a n t at no ner f h , f l ju ifi d l imi g h fi

r r example of a fea ful pe ipeteia exists on any stage . E strella is in the st of her e n re arat ns en t t arn mid w ddi g p p io , wh wi hou w ing the fateful h our is upon her

l n r l ( S a a e cas a de B us to. E s t el a y Teodo ro . )

E s trella . N o m e e t en sé si v s i bi ,

c omo m e vesti do prisa .

Dam e e o ora eso e e o . , T d , sp j

T o ora . V e rt e S e ii ora on ti c d , , misma

e e or e no ha cr ta pu d s, p qu y is l ue tant a e r a e a q s v d d s dig , ui de he rm osura t an gran d o

h aga ve rda d e ra c ifra .

E s trella . Alt e rado t engo ol rost ro

y la c olor enc en dida .

T o oro . E s S enora ue la an ro e d , , q s g so ha asomad o a las mejillas

ent re t e or v e r iien z a m y g ,

3 610 a c e leb ra r tus dic h as .

E s trella Ya m e are c e ue e a . p q ll g ,

el ro tr b aii a do do r a s o is , mi e sposo a da rme la ma no

ent re mil tie rn as c aric ia s .

Ya m e a rec e ue c e p q di , mil t e rn e zas y que oidas a e ol a a or los o os s l lm p j ,

disimulando las ninas . 1 Ay ventu roso dia !

E ta ha o e o ora e t re a mia . s sid , T d , s ll

8 8 DRAMATIC ART OF L OP E DE VE GA

E l S eiior B usto Tab ora

e s mu erto. xsuerte on emiga ! E 1 con su olo que a qui os que da

e s ue e ta ol fioro o a q s h mic id , S anc o Ort do las Roolas h iz , re o de l p s , y so hara just ic ia

mafiana sin falta .

E s trella . De a dmo ente en e j , g miga ; que en vue stras lenguas traéis 1 n do 0 8 i fiernos las i ras .

Mi e r an o e s r o l h { h m mue t , y o a muerto S anc ho Ortiz ! gH ay quien lo diga ? gH ay qui en lo e scu che y n o muora ? P e ra so e i d y , pu s e stoy viva . xAy rigu roso dia !

E ta a o ha e r mi s , mig s , sido st ella a . P oro ha eda n si y pi d huma a,

matadm e .

Don P edro. E l do or l r l a p iva,

y con ra zon .

E s trella . 1Des di c ha da ha sido la e strella mia !

Mi er an o es ert o lo h u ( h m mu , y a m ert o S anch o Ortiz ! { E l quien divida t ros a lm as do nu coraz bn ! D oja dm e que est oy pe rdida .

E lla e sta de sesperada . xI nfoliz b oldad !

S oguidla. S eiiora

D a e n rat o éj m , i g ,

sangro do aquel frat ricida . e aca o con o Y pu s b tod ,

qui ero acab a r con la vida . xAy riguroso dia !

E t a ha i o Teo ora e re a mia s s d , d , st ll .

at s act r se ect ns ro his co e es are as a e stated S i f o y l io f m m di , I h v , e tre e ffi c t to a e but a s r e t e r r t m x m ly di ul m k , u v y Of h i va ie y ay b e

n f t attempted . At the openi g o el Ausen e e n el Lugar we h ave a delightful scene which repeats the characteristic gossip Of ser vants who meet on the street ; in los Melindres de B elisa we have the whimsicality and cap ricious action of a young daughter who

n s n n to her n who r c es her s tors n s a fi d othi g liki g, idi ul ui , fi d f ult DRAMATIC ART OF L OPE DE VE GA 8 9 with all her surroun dings and makes life unbearable for those

’ n r her ea est to . L a N ocho de S an Juan is an example Of Lope s a t to a nt a ter a et and con s n in c the bili y p i l ugh , g i y fu io , whi h

s ectator o s a r of a s n o se c nnecte scenes . p foll w whi l mu i g, l o ly o d F or wit and clever jeu de mots combined with adm irably comic epis odes la Viuda valenciana and cl Molino are noteworthy ex amples . Plays so un iformly good in their exposition must h

e the attent n of the c r the er o tset and L h ld io publi f om v y u , n o t c nsc s ut so e his ost race erse doub o iou ly p m Of m g ful v ,

fin est wit and humor into the Opening scenes . As it was also purpose to capture the good will and enduring patronage of the

t t e a ar e n er of the e s t ns are e t a s mul i ud , l g umb xpo i io fill d wi h mu h l I in g dialogues designed to appeal to t e peop e . n Quien ama n o haga fieros we have the followin g conversation between maste r an d servant :

Gas ton. gH as a lguna v oz ten id o

‘ d ama c on cuxi ado ?

N O.

’ gDichoso t 11 ! porqu e yo dos dicha dis im o he sido

en m at eria do cufiados .

D n F elix. A r es e re ort n o o mo si mp imp u , y que rria que ningun o

s o meti ese on sus cuid ad os . Todo e storba a los que quie ren adres e r an os o r no p , h m , s b i s ,

h asta ve c inos .

Gaston. 5V ec in os ? Esos s on los que refie re n t oda una hist oria do a mor ; ue n aten en o a s u ca a q , o di d s ,

v on lo que en la s ot ras pasa .

E s o es gen e ral e rror. N o so acost ara un ve c in o

v r al otro entrar hasta e ,

si alli so pe nsase h elar.

Do cualquie r de sgrac ia es dino. Yo c on o co una er z muj , on e un a an a a a ad d g l h bl b , que toda la n oche ostab a

n ent an a or v or a u a v , p 90 DRAMATIC ART OF L OP E DE VE GA

y por e scuc har los toque s ; ob li Olo e co e ta y g d s mpu s , a t rae r una b allesta

y dispa rallo b odoqu e s .

Mas e a on la fl ue z ll , c aq a

do e c c ar 0 la or ia s u h , p f , c ada n oche s o ponia un caldoro en la ca e a b z , c on que ol galan que lo ti rab a acia tan to riiido h ,

ue e e rt a a al a r o q d sp b m id ,

y a la se ii ora llamaba .

Don F elix. Yo or v e r ca a tan n e a , p z u v ,

con arcabuz la tira ra .

Gas ton. gQué importa ? Ta mbién busc ara l ’ a g11 n m orriOn a pru eb a .

’ ’ P eribdfiez y el Come ndador do Ocana offers an example of Lope s rare gift of putting into facile verse a domestic dialogue in which husband and wife d emonstrate their mutual obligations and necessary qualifications by means of the alphabet

Cas ilda . gQué ha do ton e r para bue na una muj e r ?

Di.

Amar y h on ra r eu m a rid o

e s et ra e te a c e e l d s b ,

en o en a or la B si d bu p ,

que e s tod o e l bien que t o pido.

a rato c e r a la C H u d ,

l D. c e e nt en a a dul , y did la E la F e n la v a , y id

fi rme e rte do ran fo. , fu y g L a G ra e a ra onra a g v , y , p h d , la ue con la I H, q ra re do ti t o h a ilust , si

qu e da mi c asa ilust rad a .

L a e ra or la L impi s s p ,

r la M a e t ra y po , m s e tus o c a lo e tra d hij s , u l mu s

qui en do sus vi ci os s o duel o.

L a N t o ens efia un no

a solic itud e s locas :

ue e e n o ue a ren don oca q st , q p p s,

e sta en la N y la 0 .

92 DRAMATIC ART OF L OP E DE VE GA

o l t da s as h oras ten dras . P or la P m e has do hac e r ob ras do padre ; porqu e que re rm e

or la era one r e p Q , s p m en la Ob ligacibn que c ob ras . P or la R rogala rm o

or la S sorv irme y p ,

or la T ten e rt e fi rme p , por la V ve rda d t ratarmo ; por la X con abiert os

ra o i tar a asi Ab rdza le b z s mi l ( ) , co o e ta o a i y m s m s qu ,

e ste mos despuos do muertos .

’ The pleasing description of P eribaiiez s home -coming has already

een e b quoted abov . A comic reversal of fortune m ay be foun d in la E sclava de su alan in c w a e t ct re g , whi h e h ve a d ligh ful pi u

’ ’ of the sudden collapse of the son s position in his father s good

’ r g aces . Don Juan arouses the latter s rage by confessing that he is engaged to be married to a poor but virtuous girl ; the

’ father slams the door in the son s face and orders that his cloth in n r g a d books be th own out of the window . Don Juan and his i servant are left n the street stunned and disconcerted .

P edro. [ Qué c e rc a e stas do llora r !

Don ua n. P e do eso P e ro t o e an ta ? J u s 5 , d , sp s A r nu c e c r a o ye och y i d s,

ca a ac e n a a re a a s , h i d , p d y g l s, y hoy xce rra da s esta s pue rt as !

’ T en s th co c an s of the two as the son s sses h follow e mi gui h , po sions come flying through the window .

l n n Pedro. Ya arroj an por as ve ta as

tus ve stid os . zB rav o e n oj o ! ’ An l m ar a e ra a da a lt d ,

y alije ran el navio . n V oy a busca r mi sota a . D ! s i o h n do e r e r Don Jua n. s ios z s a p d do dotia E le n a las c art as y una c int a do cab ellos ! zQué j oyas ! ' l Joya s del a ma . DRAMATIC ART OF L OPE DE VE GA 93

P edro. C e rt o ue ha a a buhonoras i q y lm s , pues an dan siemp re c arga das

do c in tas y do pape le s . A Elena j y, mi ! A 3 y, mi sotana ! A a ol s x y, p p o !

A re uos o x y , g g c s ! A c n ! x y, mis i tas A x y , mi cama !

en su ioro ue e s a or Qui p q m , apruob o mis espe ran zas ; en no a ue e to oco qui , dig q s y l ,

pues que do con sola ol a lma .

n e cac is as a e asserte a e e cee n rar in Lo e I d li y , I h v d bov , x di gly e p , and such a conversation as that carried on between the Countess and the escudero D ran in las F lores do don Juan act u go ( II , scene r n c he narrates a c arse nec te xviii ) , du i g whi h o a do , would

a e to be c rta e on the sta e of t a . It m a be e a ne h v u il d g od y y xpl i d , h e er in e the fact t at t r t E r s c et of ow v , vi w Of h h oughou u ope o i y the Renascence indulged in topics of conversation not counte n anced today because we have bec ome more reserved and also

e na1 e and ess nat ra . On the t er an roa r l ss v l u l o h h d , b d humo and farcical play intend ed for the masses are fairly common in h the comedies and even in t e tragedies . L a N ocho toledana n Offers an excellent specimen . F lore cio and his servant are

t n to esca e r an inn er a ne r n seto at empti g p f om ov ighbo i g hou p , in or er to et a a r the o ce m t e a ne in d g w y f om p li ,who h y im gi pursuit ; the scene must have delighted the populace .

l n i ( Vis ta do Tej ados : F ore c o y B eltran.) gH asto h ec ho m al ?

N O tengo hue so san o. 5Ad6ndo e stam os ? gP uedO yo sab ello ? gH ay mapas do te ja dos en el mundo ? 5H ay c a rta que seii alo rumbo O line a do chimen eas ui do cab allete s ? gH ay Tolom eo ui ot ro algun cosmogra fo que trat e do a zot e as ?

F lorencia. E sta casa

mo parece mesOn . 94 DRAMATIC ART OF L OP E DE VE GA

B eltran. Y ol sin duda ; porque lo s on las d esta ac e ra t odas d s o do la Concepc ion al Carm en .

F lorencio. Creo

ue es a o q p l mar aque sto O ga lline ro. B eltran. Yo pien so que en algfin t eja do dostos h ay alguna colme na .

F lorencia. n o do a e a Y b j s, n o do alev os z an anos a a si g O visp s,

ue la cara las e rna l s n q , pi s y a ma os m e tie nen h e chas c riba .

B eltrdn. E n las na ric es me ha a o un a v is On nu cot a o d d p pi z , ue me ha ec o e e an e l q h h l f t e , viv o ci e lo. 5s1 e sta rem os m ej or c on las gallina s ? Da a al a o or e e nt ra a a ena l s di bl ; p qu b p s,

c an o c e rro con o e l s e ii or a o u d mig g ll , c re en o ue ro ar e o a na y d q b l quis lgu ,

y m e ha saca do un ojo c on ol pic o. gE stOy muy suci o ?

E stas c omo nu e stie rc ol . gQué e s a que llo prime ro don d e e nt ram os ? U na oc a on e he aca o p ilg , d d s d

u r tal cantidad do pulgas q e e st oy mu e to.

E scapa r do a qu el pe rro fue milagro .

YO a lo eno no tan ent ro o . , m s, fui v u s 5Mordi6t e ? Traigo m e nos libra y me dia

do carn e d e sta izqui e rd a pantorrilla .

Mord e rt e pe rro e s soda sob re s oda . N O quiso re spet ar a l pa rent e sc o ;

ue e rro so a n e a re c o a o. q p y , u qu p z hid lg zCruel n och e por Di os ! S i yo c reye ra al bu en hum or que t e ngo esc a rm enta ra

do onam ora rm e .

Am or gqué c ulpa ti en e ?

T son en o Am oros on ole do muy bu s,

s n do dia e ro no do n oc e si o , p h ; e anto a la r o que hay cu e sta s sp s s y d ill s , l a o a as e rro a h omb re s de di bl , visp , p s , pulg s ,

te a o a ne ro a uac e . j d s , g lli s y lg il s

r n e s n ! L adrone s ! Voc es . ( De ntro .) L a d o s o g

E t o e s uen o. B eltrdn. s b

0 h e a tal ! la c a a s o a orot a . F lorencio. 3 , p si s lb

ntr D ue s e a rca e ta e s o e rro. Una Voz . ( De o .) am e aq buz , su l p

96 DRAMATIC ART OF L OP E DE VE GA

gsin c om e rle b ob os ?

A or a lo o un l D g c ho poc o do sa . am e la segun da . Ya tiene s las dos aparto ; gqué ha ras agora ?

Corrar el higo . Dame la t orcora.

B r eb e y bu e n p ove ch o ; pe ro mira que e s fu e rte . Mas f e rte e ra S an sOn lo v en io el a or B i n n u , y c m . z e h aya qui e t o criO!

E l o ec a or la ent ana e é do tan ta re en n e g hig h s p v , d spu s s p v ci o s ?

P l i r u e s gé h ab a do ent ar aca? N O s o ve ra en e so gozo.

i

Tu m e a ra a Ge ra r a ue a a co e . g d s , d , q h bl s y m s

E se niiio m e a a a u c o e a a . l b , q e m y m m

Ot ro refran cito . xQué colorada e sta 1a mad re ! P a rec o m a ii l dro o y a na riz zan ah oria . n m r i Cua d o ya e acu e d o do mi N ufio Rod r gu e z a la me sa . ( Qué docia él do c osa s ! { Que grac ia s ! { Que c ue ntos ! Dél

a ren las orac on e ue . E ra nu en to no o en p di i s q sé b di , hiz su vida ma l a un gato ; que c uan d o lo saca ron a la v e r

iien z a fué or s e r t an o re do en ue n n c a o g p h mb bi , q u quis

d e ci r qui e n h abia toma do los plat os de l canon igo . Ah ora pare c e que lo v e o por e sa calle Mayor ; xqué c ara lle vab a

on a qu e l pollin o ! N O dij e ran sino que ib a a c asarse . Y

c o o tenia tan' n a ar a a raciab ale c o e l es e n m él li d b b , g mu h d

fad o c on que pi cab a a qu e lla b estia le rd a . Ya lo d ocia y a

que n o salie ra s in ac icat es .

Teodoro . Ge ra r a n o e a mas ue c e e at n o en ot ra arte d , b b s ; q di s d s i s , y p l i P pe n saran que e ra ve rdad o que d c es . 5 ara qué llora s ?

P orqu e fué c ru e lda d lle va rle a gale ras .

Ya lo e n mien d a .

Dios man d a que s o digan las ve rdad es .

N o on dano do] prOjim O. ué ano e s c ont ar a a an a Te o ora ui re re car la gQ d sus l b z s, d , f s m e m ori a de l bi e n que s o ha pe rdid o ?

A la men os re fre sc ar lo bi e n que so ha b ebido.

L r e r v e z ue m e a o on a e a n ifi e ria del e studint e a p im a q h ll qu ll ,

fué n eu a en a E ra n ern o e chOn os a otable p c i ci . i vi , y mi y

a nu arro do a a en la c a a c en o c on a e a él j gu m , di i d qu ll “ bon da d do que él s o prec iaba much o A 10 3 b ellac os ” m ojallos .

N a ert e Dorot ea la c on c on del n o ? g o dvi s , , di i vi

F iale tus se c ret os ; que ésa e s la p rime ra do sus faltas .

h n e c o tan e to a la on ra c o o a orrec o do 10 i fam vi i , Opu s h m b id la t e mplanza !

an no en tra t ant o e c ret o a en . Cu t o vi , s s s s l

Des o ue lo a ron or r do los e so e a la ca e a . d q pis , p hui pi s, sub b z P ara m e ace ofi a tia ? 5 qué h s s s, DRAMATIC ART' OE L OPE DE VE GA 9 7

Gerardo . ara mo 10 re n ta n ec a ? CuantO v a ue me e anto 5P qué p gu s, i g q l v , pu es no me ention dos ?

H a caido un mosquit o. N O ha ais e o ue so e a re n l e Ce a ue y mi d q d scal b ; o o saqu s, li , q son los r u e te or o o l s a m s del a ro ol espi it s d s lic , c m o t o o i ;

vin o los engend ra y a nadie lo parec ie ron sus hij os feos .

c n o ore n a u enor n lo re al sol. Y ua d di s vi o t s , o mi s

ue era ue no e ra ol a no ha d ir a l e r a . Q qui , q qui , s o a f i

P e a res o Mar a c a rt eron or e r s p t , i , u p m dia lib a.

N ca o mas la ta a ue n o es aca do lana . O b z , q s L a leche do 10 8 viej os es ol vin o : no sé si la dic e Cice rbn 0 ol

Obispo do Mondonedo. xAy mi buen N ufl o Rodrigue z !

A la t oma vuelvo. E n eu re ro n o to to o uan o onia co a a ue vida pa o m squi , d c t v l b , q

r un n n L ro e ra l ua or e c r a a e a a be dic io . lam ab a g s a ag , p qu i b ranas ; una do las cosas con que me v encio para que no la e e e cuan o me case can fué dec r e ue a ian do b bi s , d él , i m q h b n n l m ti m n e ue desdo ca tar o o ostO agO ; y p so o ta to mi do, q

en n s D o en o no la he ro ado. P e a to ce s, ea i s b dit , p b u s y , ar lo ue me e a con su a a en sab re a r dosto p a q qu d , yud bi s li

peligro.

M ra u so duormo tia. i q o , V iénome ol mal que me suelo ven ir ; que despuos do ha rto mo

sue lo dormir.

G G i : it i Q

Gerardo . C an dan r los aladaros can son ue no unare . Da e u do po , as , q l s m

sin que lo voan .

Celia . N ue ve vocos has bebido.

E c eros do H ornan Da a n e o e a o do una anta. s ud z , u v d b j m

N O la hab ras moneste r e sta noche .

N O tien e mas frio n adi e que la ropa que trao. M ra Gerar a ue o b ars m al ue Celia la ne ra so i , d , q t , y q y g

o tan r n n s r u a a Doro ica n o to la ordOna . s ie do, y co e t mig t , p C n l u r e los na e ué aran los ra e ? ua do e g a dian ju ga a ip s, gq h f il s

uit le e e un n e ra . Q a sas ac it as, g r l e o o una B ien pue de ; que una hora hab a que estoy con o hu s d ,

pidien d o una consolacion .

Teodoro . A a e a e a e n na nu oco o a ra ea a Ge rar a . lz st m sa, y d l , i , p d s g j d

G n r n do se uer n 61 ent rare . raj ea a Gui ea : ovo ta a mi c po, si o N O so hallara en todo mi linaje pe rsona que haya c omido ce en a fui a a t o or no v er ol a a an dul ; mi vid b u ism , p m z p l s n r n s an o v o or las ca e me v o arr y o alme d o e , cu d y p ll s , y i l n n o d l s onfitoria s e n m ando a as tab er as y huye d o a c , y

n r ue o e c a c o do naran a lo ro vi e d o un homb e q c m s s j , mi si l r z bn ti ene los ojos azulos . 5P uos pasas ? maldito soa o c o a

que las paso ui al 50 1 ui a la lejia .

elia . An i e no e ta a ra firm ar. C do aca, t a ; qu s p 98 DRAMATIC ART OF L OP E DE VE GA

S i ne re a uvi re oca c as a a ra la c ot a . com o t ie O j s , t o b , a mu h ll m pi

Con buonas orac ion es so alza la m e sa .

’ N o uit e los a nte e a r rac a e oché la b e ndicic m. q m l s ; d é g i s , pu s

Di ; voam os .

o b a e o c o o do Do n Do n sea ene d to Qu d b m s mid , mi us mi i b i , y a m o n unc a faltotur a ora die amus ol icos y a v bis , y g

s antific etur.

Dorotea . N O so lo e no a r ue t e ne rac a o c ono co c as pu de g q i g i , y y z mu h

pre sumidos do c ie nc ias que saben me nos latin . — Gera rda . De spués do c om e r sie mpre te ngo yo mis devoc ione s . L lévam e

al ora or o Ce a . t i , li

’

Ti e or es l a . N O t o c a r ue ta nto ue o a c o a, m j a cam g s , q p s s mu h .

L a uerta a a e ta on ol u c o no o a na a. p pos d , pu s q i i p s d

To a te con l a . P or ca tia . p s a sill a ,

ue o e ue so ha a o ! L a a c on t e nto norante . { Q g lp q d d lév l i , ig

ué iont no lo e n e ? Vans e. gQ t o, si ti ( )

I must add a brief word on monologue and n arrative . The

’ or er i s a co on e ce or eat re Of L o e s r a and f m mm d vi f u p fo mul , I " h7 l occasion to speak of it in the notes appended to la D ama boba I n s far s the solil u was nten e s e o re e he . o a pg y i d d ol ly t v al t inner self of the person speaking it must be logically character

m licit . T ese a t es how M p y h qu li i , e er are eas arre art c a s eec w e th s cc ss of v , ily m d by ifi i l p h , hil e u e the play whose keyn ote is rapidity of action may be j eopardized if anything hampers its forward motion . I t must b e said to

’ Lope s credit that he recognized the soundness of this principle far re t an an of his s ccessors and t at ip onolo es mo h did y u , h h l n gp , while not always free from the artifice of conceptismo and cm

r n a e ge erally well timed and in keeping with the plot . The conc usion c ses tse on the rea er o e er is t at l whi h impo i lf up d , h w v , h the soliloquy is artistically far more satisfactory in serious scenes and in tragedy than in comedy for the reason stated in my notes to la D ama boba na e t at th or er n r a conta ns re , m ly , h e f m o m lly i mo

- ents of re ect on and se ana s s . P re c e accor mom fl i lf ly i u om dy , d

’ in to L o s or a is ase as trio to s ow on 1 m u g pe f mul , b d , I , p e

Th c oet c or s se in the ono o e are the sonnet e hief p i f m u d m l gu , the losa se L o e t reat ar et and e t the g , u d by p wi h g v i y fl xibili y ,

r nd intill the octava and the roma nce . As far edondilla a qu a,

1 00 DRAMATIC ART OF L OPE DE VE GA

The narrat e ser es ar s r ses m n t e t of iv v v iou pu po , a o g h m hat

a n the a ence ac a nte t the st r of the n rr t r m ki g udi qu i d wi h hi o y a a o ,

or Of some one of the characters Of the play ; it is a device to

c nnect ast e ents t the resent and it ser es in enera o p v wi h p , v g l

n n n n to make k ow what has happe ed behi d the stage . While the narrative was naturally intended for those persons not yet

ac a nte t its c ntent t ere are cases in c it r e rs s qu i d wi h o , h whi h eh a e

what the audience already kn ows . This constitutes an inartistic

n er in so far as it is a in rance to the act n and a es blu d , h d io m k

’ the c a n . L e s s ccess rs reta ne the narrat e but publi y w op u o i d iv , increased the defects which in the great master were still in

offensi ve . They introduced a greater number of narratives in a single play and not in frequently made a single one several

n re verses in en t t ere c ntr t n effect hu d d l g h , h by o ibu i g ually to the artificial elements which caused the final decadence of the

com edia as a work of art . CHARACTERS AND CUS TOMS

’ The a r c of L e s r a so ntr cate en t its f b i op fo mul , i i ly wov wi h

i e e e ents anc and rea t cann t e at an m x d l m of f y li y , o be ad qu ely

alyzed and discussed in all of its d etails in a short space : of

t at am a are . B ut th ser s st ent m b con h I w e iou ud ay e able, by

t n ne a r carr e on in a s at et c s r t o aster the i l l bo i d ymp h i pi i , t m

’ see n e mi gly ov rwhelming material Of Lope s creation . H is work

is n ot characterized by a specific mann er or method . The great

m r is r was a t in the r s an n ent e a creat i p ov o ool g a p of i v iv , ive impul se over which the conscious reasonin g processes had little

c ntr . techn e s c as it is ea s the im o ol W e iqu , u h , l ve pression of having been acquired by a hit- or-miss process ; it m m od1 fied we ma resu e not in the st y p m , mid of

a creat e m o but a ter the a t r had seen his r as a iv od , f u ho wo k

whole upon the stage and viewed it obj ectively for the first time . I t must have been in those moments of quiescent reflection that L ope reached out beyond the limits Of his artistic formula to

th at of actual human life ; to those moments we undoubtedly

w at c ntin a r a en n Of the sc e his art the mas o e th o u l b o d i g op of ,

terl n eat n of ar s n t es m en and en and y deli io v iou livi g yp Of wom , the abiding results embodied in vivid pictures of contemporary

n r customs . This particular phase of his creatio eveals the height

to which his dramatic genius could attain .

’ On e Of Lope s most endur ing inspirations was the type

m an or an cast in a her c H is c nce t n of wom oi mould1 o p io nd rt s en has een a e for t er la wrl hts a vi uou wom b mod l o h p y g , and the history of the stage Offers no loftier scen es than those

ar e cte the ra c ra e the ear ess se - sacrifice in which e d pi d mo l ou g , f l lf ,

e r eart the n s er n e t n th pu ity of h , u w vi g d vo io

l E s tr lla de S evilla doii a Mar a la E strella ( a e ) , i (

r doiia S ol la Corona m orecida D r tea ta o) , ( ) , o o

l to E ena la Llave de la hon ra ra cl me or Al P a ) , l ( ) , Elvi ( j

' Cas a P eribaiiez cl Com endad or do Ocaiia cl R ey ) , ild ( y ) , DRAMATIC AR T OF L OPE DE VE GA

i fl fl fi v a and t ers . It is rt n te a s w é i yi i g fl fl ) : o h wo hy of o l o t at the s n n n h li t co tai s wome of humble as well as exalted station .

A sat s act r resentat n of all t ese c aracters eser i f o y p io h h , who d ve to be etter n wn to the rea er cann t n er en r b k o d , o be u d tak he e ; their rare delineation has already been pointed out by occasional

’ writers whose sincere admiration had been aroused by Lope s

plays Of good women . It will suffice to add that they rank am _ _ g his reatest creat ns t at the n s a s r t a n t and g io , h u u u l pi i u l dig i y n b t t ese er nes m a be e t t r t the en t1 r t o ili y of h h oi y f l h oughou e , “ plo enn n ll c e nt n obli g a those who om i o co tact with them .

A n his r nent t es Of men the rst ace is due t mo g p omi yp , fi pl o those sterling Old characters who incarnate the solid qualities of ru e easant s c t n r an a t to n er te ugg d p impli i y, ho o , oy l y i h i d d l “ stan r of l i who as en e es of s a and nn at n da ds ving, , mi h m i ov io , embody the uncorrupted ancient Span ish virtues . There is no more inspiring reading in all Span ish literature than the senti

en s e - n e c aracters and the act t a t e m t of th se high mi d d h , f h t h y constantly found a response in the public is a high tribute to

- the people Of the Peninsula . An admirable example Of this type i T l e in los Tellos de M noses a r st c the o n s ello e vi jo, « , u i of m u

ns Leon LO e aces inthe t e of Ordoiio t tai of , whom p pl im I wi h the apparent intention of makin g the contrast between the m an ners and morals Of his own day and those Of an idealized old

S pain very clear to his audience . The following passage gives

’ h r s c n ce t n of Te his nat e n t in a nutshell t e autho o p io llo, iv dig i y

’ an d high person al character ; it is also an example of Lope s rare gift of presenting the choicest spirit of H orace modified by the qualities of Luis do Lean .

n r o Tello c l viej o. ICuan bien ave tu ad pue de llamarse el homb re que con e scuro n omb re n ou ca a on ra o vive e s , h d

o a a at en ta do s f mili , a lo que mas lo agrada y lo contenta ! S us desoos -n o buscan

o los re e las c orte s d y s , adon de tantas leyes 1 r era can a ley p im Ofus ,

1 04 DRAMATIC ART OF L OP E DE VE GA

el osmaltado alardo

do t anta ar o e a s b l d s, locos pavon e s do sus ve rde s rue da s ; c o o en e o o y, m ll s Oj s, r ta n tre o a f u s e sus h j s, anca alidas ro as bl s , p , j , del e rano e o o v d sp j s, y en sus rama s siia v e s n c a c ione s cult as compon e r las ave s . C an o la n oc e a a u d h b j ,

al clarO sol s at re e y o v , c ena m e a a r a b re v gu d e, do la salud ventaja ;

‘ ue a n e n eno sueri q , u qu co m s o,

mas alenta do so levanta el duefio. De t odo lo que digo lo do rac a al c e o y g i s i l , ue ert a el e o q f iliz su l , t an lib e ral con migo ; porque quien n o agra d ec e

l e a al c e o ui aun r m ore ce . a d ud i l , vivi

I n J an L a ra or cl Villano en su rincan we a e an t r u b d , , h v o he

e am e of the easant s n e- n e se - suflici nt a to x pl p , i gl mi d d , lf e , loy l c rc and state but e in his a rr nc c rt and r hu h , fix d bho e e of ou cou

t ers . LO e has ace the scene in F rance but in s te of t s i p pl d , pi hi

he n t customs depicted are all those of Spai . Juan L abrador

es to di t o t see n the n not eca se of an s a n hop e wi h u i g ki g, b u y di d i

for the atter but eca se his est an d the con sc sn ess l b u of mod y , iou

r of the abyss which sepa ates monarch and vassal . The kin g m ay T b e served without gazin g upon him . his the latter finds out

and s s n se he is ts the easant in his retreat . , di gui i g him lf, v i p

’ There he is profoundly impresse d by his host s splen did virtues

h n and convin ced Of his loyalty to t e crow . The play offers a striking contrast between the point Of view of the two m en with h the advantage frankly on t e side Of the m an of humble station . Some of the scen es which unfold before the spectator resemble

enre a nt n s so care r e out are t e in t e r eta s . g p i i g , fully wo k d h y h i d il The best ones depict first the hospitality Of the peasant Juan

r or the r t ne Of his a e his a ts e n n te L ab ad , ou i d ily lif ; h bi b i g mi u ly d rawn ; the author then presents in amusin g fashion the Old DRAMATIC ART OF L OP E DE VE GA 1 05

’ an s en rce s t to th n who tr es to vie t his est m fo d vi i e ki g, i wi h gu n n in ge erosity a d courtesy . These are among the finest thin gs in all the an s com edia and rn s n s r r s n e s Sp i h , fu i h ma y u p i i g it m for a study of the manners and customs of the S panish people .

Onl the c e scene can be ted ere and as it is ss y hi f quo h , impo ible

n r n i to give o ly a part without mar i g t I shall reprint it entire .

J an La ra r is ent ertain n the n h ta s for a u b do i g ki g, whom e ke mere c ourtier from P aris .

( E l R ey y Juan L abrador.)

o a osa a os r e o. T m d sill , u g

S ontaos v os ; que tiempo hay luego. ( Que cort e san o do fama ! on s u en e o S tao ; q e mi casa st y, y no m e habéis do man dar ; si ue os an o s ntar yo q m d o ,

que en ella e sta silla as day . a ert ue a s do ace r Y dv id q h béi h , en ra en ca a ostais mi t s mi s ,

lo que os m an dare. Most rais

nu hidalgo proce de r .

Juan. Hidalgo no ; que me procio do villano en mi rincon ; pe ro en ol sora raz On

que n o me tongais por n e cio.

’ S i a ari a al 11 n dia P s v is g , en a o os do a a ra bu mig , y p l b que el alma y la pue rt a os ab ra n r en a mia o amo y haci d ,

por veros tan liberal . 3A Paris ! Pues gqué docis ? gN O i réis t al v oz a Paris a v or la casa real ?

Mal mi gusto persu adis . ( YO a Paris ! gN O pue de sor ?

‘ Do nin tin o o or D os . g m d , p i S a s he v or v s i all o do a o ,

en mi vida os pi enso v e r. Pues j qué os enfa da do alla? N O h ab e r salido do aqui dosd l dia en u naci o o q e ,

y que aqui mi h aci en da e sta. 1 06 DRAMATIC ART OF L OP E DE VE GA

Dos c ama ten o una on s g , casa, y otra en la igle sia : ést as son on vida y muert o ol rincOn

donde un a y ot ra s o pasa .

’ S e i m e so on tra a g , vues vid

d ebéis do habe r visto al R ey .

ua n. N adio ha ua r a o eu le J g d d y , ui es de algun o Obe dec ida c omo del que e stais mi ran do ;

pero en mi vida lo vi . Pues yo sé que por aqui

pasa mil vec es ca zan do.

Jua n. Todas e sa s m e he e scon dido por no v e r el mas h on rado

1 r en o do 0 8 homb e s c uidad ,

que nun ca lo cub re Olvido. Yo t engo en e st e rin con n o so qué do rey ta mbién ;

mas due rm o y c omo mas bien .

Pi enso que t enéis raz On . S o mas r c o lo r ero y i , p im , porque do tie mpo lo soy ; ue o e r e t q sol si qui o s oy,

y acompafiado si quiero. S o re do o nta y y mi v lu d , n me l c an n e c o o a o up go i s, y ser muy ric o do oci'ds

es suma fe lic idad .

Rey. (Ap .) x0 h filOsofO villan o !

much o mas t o en v idio agora .

Y m e n t l r ra O e l va o a a au o ,

me to on e rano si da gus , v , a l e a v o y a misa a igl si y, don de me la dic e el cu ra ;

n e n m e la r c ra y au qu o p o u ,

r o n a lo do c ie ta lim s y , con que comen a que l dia

los pobre s de st e lugar .

V uélv omo luego a alm orzar. gQué almorz ais ?

‘ E s nirieria.

D rre z nill a a o os t o os s d s , l un i hOn y aun en m odi o a g p e ,

y t al v e z viene nu c apOn . S i ha o a e anta o y hij s y l v d s , t rat o do mi grange ria hasta las on ce ; d e spués

1 08 DRAMATIC ART OF L OP E DE VE GA

corro y m ato on one ca mpinas

un ar do re ece p lieb s, y a v s dos pordicos : ot ras voy nu ri n ue ro e to a O e q diest s y,

y t raigo famosos pocos . C no oco ' an i vos o p , y s a o s d re d onar p co o a o c , conque m e voy a acost ar

dan do mil grac ias a Dios . E n vidia os puodo tone r con un a vida tan alta ; m as solo os h allo una falta

on ol sentido dol vor. L os oj os 1 no han do mi rar ? gN O so hic ieron para eso ?

uan. ue n o los n e o os confieso J Q i g , ,

c osa que les pue da dar. gQué importa ? gCual hermosu ra puodo a una c ort o iguala rse l gE n qué m apa pu e de halla rs e mas varieda d do pintura ? Re t e nen los an a e y i im l s , y Ob odocon al loan ; las a e or e es ra on v s, p qu z ,

a las aguilas caudales . L s en n re a abejas ti e y , ol cor e ro a a o y d sus v s ll s , los ninos rey do 10 8 gallos ; que n o t on er rey ui ley

os do alarb es inhumanos .

ua n. N a e co o a lo a ora J di m y d , ui dosdo eu casa ahora b osa sus pie s y sus manos

con mayor v on eraciOn .

S in e r n e sor v lo, o pu do

que se pue da ochar do v or.

Juan. YO soy rey do mi rin con ; poro si ol Roy m e pidie ra e to o e ta ca a s s hij s y s s , h aced cuenta que so pasa

adon d e el Roy e stuvie ra . P uob e l R unta r o oy mi vol d , y vora que ti en e en mi ; que bi en 8 6 yo que naci

para sorvirle .

E n e r a d v d , ne e t v e e si c sidad u i s , DRAMATIC ART OF L OP E DE VE GA 1 09

‘ sprost aréislo algtin dinoro ?

uan. C an o ten o a n e r ero J u t g , u qu p im t ros mil afrontas mo hici ese ; que del S ofior sob e rano s o l ue ton o e tod o q em s, porque a n ue st ro Roy dob om os

la defensa do so mano.

El nos guarda y ti ene en paz . Pue s 1 por que dais on n o v or a quien noble os puodo hace r ?

ua n. N O sa do eu en ca a J y bi p z, ui pienso ya que en mi vida pue de h aber felicida d

como es e sta soleda d .

’ S cattered through Lope s comedias may be foun d other ad

ra e e a es ta en r a n the c n e t s mi bl x mpl , k f om mo g ommo pgqpl , of hi

fin sense n r and a t Of res ect for rs na tra ts . e of ho o loy l y , p high pe o l i

I n las F lores de don Juan the C ntess secret in e t ou , ly lov wi h don J an who t r is the s l of n r a ses erse u , , hough poo ou ho o , mu h lf at his expense by lettin g him buy for her articles Of value far

n n above his means . B ut she takes the mercha t Laure cio aside

nd te n th tr t the s t at n ffers erse to a a , lli g him e u h of i u io , O h lf p y for everythin g and to give him a diamond as surety .

Laurencia con unas a eles atados . ( , p p )

Laurencio . A i n n qu vie e todo, y buo o,

si ha ven ido do Milan .

Candensa . Cid.

Laurencio. Decid .

Candesa . ( Ap . a Laurencio.) A don Juan ue e a do v r uon z a llono q st o g , no pidais na da ; que yo

soy m ej or que h abéis pen sa do.

P or probarlo me he burla do. gsab éis do piodras ? P ue s gno ? Guardad aquesto diamante ;

l n r que yo os en viaré e di e o.

L aurencio. N i vuestra diamante quiero ui ot ra pren da sem ejant e ; que mas estimo se rvir a nu homb re como don Juan quo cuanto vale Milan s i a e r y volvéis p di , 1 1 0 DRAMATIC AR T OF L OP E DE VE GA

la lo he do fi ar casa , los hij os y la muj e r ; que la virtud ha do se r

rique za on cualqui e r lugar. H a c o a do mas e t a , g y s s im que v e r e ste c aba lle ro

ust a r c on e l ac e ro j , O , en e l orn eo en la e r a ? t , sg im en los a t s tare Y c o mili s,

c an o en la a a so v en u d pl z , gh ay c osa que no h aga bi e n ?

Grac ias tien e singula re s . Mal he h e ch o en a lab alle ;

que e s Ofic o do te rc e ro.

I n previous chapters other rare types created by Lope have

een t c ed on . A n t e are narc s and n o e en b ou h up mo g h m mo h bl m ,

’ t o and ase se e neat n n o es Lo e s c nce t n bo h g od b , who d li io i v lv p o p io of righteousness among men and justice for society ; soldiers who combin e valor and boastin g and intr oduce features of comedy ; the nabob who retu rns to Madrid to become the cyn osure of all e es and t erea ter the ct ne -see n s in ers or y , h f vi im of mo y ki g w dl

co rtesans the n a ant rtra e t cease ess , ar et u ; you g g ll po y d wi h l v i y , endowed with many virtues well summed up in the followin g lines which refer to one of the characters of cl Molino

e s uh re an e n ec h omb t bi h h o, que algun as vec e s sospe c h o

que os pe rsona prin c ipal .

B en ro ro ran c ort e s a u st , g i ,

gran music o do vihuela . P e ; ue s dan zar ! c om o en e scu la . i Todo pa ra en vidia m a .

T r l rra un a e a i a a b a l gu ,

ue n o h seii l ue n o orre q ay a q b ,

un o ua c orre y si alg a y g ,

parec e viento 1a yegua . T en e e r a co o uh t oro i fu z m , l e re a co o ca ra ig z m b , y grac ia que no hay palab ra

que no pare zc a do oro.

1 1 2 DRAMATIC AR T OF L OP E DE VE GA

c st s c c ntr e the re at ns et een men and men or u om whi h o oll d l io b w ,

men and en c be a ra str te . LO e w wom , ould dmi bly illu a d p as too

reat a rea st to let the acts Of e esca and we m a g li f lif pe him , y thus sunder the more artificial features of his creation from the genuine . The reader will find his own effort to appreciate the real Lope amply repaid ; he will fin d in him that rarest of rare c nat ns th ns re et and the nc nsc s c r n c er ombi io , e i pi d po u o iou h o i l of his times . DRAMATIC ART OF L OP E DE VE GA

’ TWO E XAMPL ES OF L OPE S COME DIA : A TRAGEDY AN D A COMEDY

I t is evident to any open -min ded critic that so large a number of good plays as Lope has written might easily make some readers pre fer this play or that which others would set aside for a very different choice ; it is also a vain task in so short a space to give

n sts of re ren h r n t r r lo g li my p fe ces with t e easo s he efo . B ut if " we keep in view the chief elements of Lope 1 formula it is pos sible to pick out a number of plays which contain them in thei r _ _ most perfect form ; that these may betray the defects of his

creat n i io as well as h s great qualities is to b e expected . To

strate t e ere let m e se ect one tra ed and one c m e illu h m h , l g y o dy , —i h ‘ n—a nt F ue e Ovejuna and el Ausente en el Lugar .

’ N O better example of Lope s courage in attacking overwhelm

in t e es can be n t an F uent ve una It is th st r g h m fou d h e O j . e hi o y\

on the art its overlor c m ndad or of one the reat p of dh a o e of g -Q Q x H m .

military orders . F rom the moment the curtain rises we are ” under the spell Of the sinister authority which domin at

e a to the er end a cr e r t e and t whol pl y v y , ud , p imi iv migh y

r ta and r e e in but in ee n t the ect c b u l p ll g, wholly k pi g wi h Obj whi h t L Ope had set himself . This was none other than o depict a

r t c t r s e a nai e t erant unculti p imi ive ul u e a exemplifi d by v , ol ,

v te e in c n ct it the n st ce an ass n and / a d p ople o fli w h i ju i , p io

n r x base impulses of a powerful individual . Lop eve e

resse s in r a er or er str es . The re a n t e e p d it elf b o d bigg ok p v ili g h m ,

t t t a es r t reac es so m c art er its ean n is ha migh m k igh , h u h f h , m i g made so much deeper than is evident from the character drawing

f t nd r t at the rea er ma e ce t ere o the bru ish come ado , h d y d du h i from a veritable political philosophy . The whole play s a plea v n nd i s in divid l for ert for the h n o t a t ua s k lib y , fig ti g _ c mmu i y c oupled with a fierce arraignment of inherited privileges used

n h es t for selfish and wicked ends . Tech ically t e play mov wi h DRAMA TIC ART OF L OP E DE VE GA

e tra r nar ra t ro scene to scene at t es too ast x o di y pidi y f m , im f

h n n f r to let the 8 pm t e full mea i g o wo d or action .

N e ert e ess a certa n ac s oot ness c m a b e te v h l , i l k Of m h whi h y impu d

h n to the play is in keepin g with t e impulses which domi ate it . H ere we behold a sin gle bein g who has in cessantly wronged a

o e c n t and it is the c n t as a o e c wh l ommu i y , ommu i y wh l whi h

n e f n takes ven gea ce on the fiend . Thus the villag o F ue te Ove

n i h r f h Th a t s ju a s t e chief pe senage o t e play . e qu li ie which stand out in this tragedy are the contrast between the terror

n r n scen es en the com endados o h n - _ t e i spi i g wh . sim didit Of the ct res c resent the e as e y e p y pi u whi h p peopl , th y li , the variety Of poetic speech with which the author h as painte d

’ all the passions of m en and women . As an example of L Ope s gen ius in givin g express1 on towidely differin g elements of so c1 ety colored by a n ote Of p rimitive culture this play is unsur

r r n f h r r n n passed . W e have the te se utte a ces o t e ove bea i g com e v dador th nat ra an d s e s eec of the a e o e , e u l impl p h vill g f lk , hom ly

l fl wit an d a e all a ar element insea ed ublic amuSe , , bov , popul m p ments in the delineation Of which Lope has few peers . At n o t e are we er tte to s a e Off the er of the onste r im p mi d h k pow m ,

r hi r e s n r we are n ever free f om s pu suit . Rep atedly a plea i g ustic scene is nterr te his entrance and the s a an n i up d by , h dow h gi g over the commun ity again darkens the whole picture .

F ew f L resent so an n c aracters act a plays o ope p m y livi g h , u l types Of the Span ish people who have thus been preserved for

r f he e r a s t t e r r e us . The alcalde and egid or o t a ly d y wi h h i ugg d

nest and ran ness a e a an d r st c t es es ho y f k , vill g m id u i you h , b id

ar o s t er easant t es are e cte on the sa e can as t v i u o h p yp , d pi d m v wi h

n t r r n the gr im representative Of deS potic obili y . F o the e ca b e no t t at th comendador far ro e n a m ore n a doub h e , f m b i g i dividu l , r r s nts th r e e c ass c the sane and e crat c ep e e e p ivil g d l , whi h d mo i

e e f n e n e er t r ass l te the er p opl o Spai hav v ho oughly imi a d , ov

e r n r who in the r s of L O e es not e n to ta e b a i g lo d , wo d p , do d ig k his x h t Off t all who cons ers the er c asses ere as t s a o , id low l m ly ool

e f r and r en to his own ends . A play with such a th me o c ime ev ge

e scenes of n ara e e o ence s c as is bound to hav some u p ll l d vi l , u h

1 1 6 DRAMATIC ART OF L OPE DE VE GA

res rce n ess on the art of the act rs is a arent e r here ou ful p o , pp ve yw , and the play in the hands of a good company must have de lighted the audience and justified the current opinion that to

tr h n r at act t e public there was n o inve to like the inimitable Lope .

The a has all his re nant a t es of ac e erse sim pl y p domi qu li i f il v ,

licit a e an d to a ar e e tent ree r e c p y of di logu , , m k d x , f dom f om po ti

er a e . T ere is no reat t e rce e n the nc ents v bi g h g mo iv fo b hi d i id , and the comin g and goin g Of the characters are not based on

reas n as ma be e ecte in a a of re anc and wit . o , y xp d pl y pu f y

The e e ent of a ance s is resent the n er and his l m b l al o p , you g lov

dama e n ffset the ser ant Este an who is attac e to b i g O by v b , h d

’ the lady s servant ; incidents and ideas now an d then run in

a rs tra t na n e st c eat res are n ot ac n s c as con p i , di io l ov li i f u l ki g, u h

’ coa ont ece t n and th e . B ut the a t r s in ent n lm , d p io , e lik u ho v io

es t s c s ness e en stere t e e e ents are han mov wi h u h mooth , v o yp d l m dled t s c a t t c the tra ts of s r r se in nc ent wi h u h ligh ou h , i u p i i id

nd s ar l n a are so a s s rea er the e a p k i g di logue l vi hly p d ov whol , the erse is so a ra e t r t t at a t -findin is dis v dmi bl h oughou , h f ul g

r t r t rn . r c a it all ma see n ow but to a med a eve y u Supe fi i l y m ,

’ the public of Lope s day it was for the hundredth time a source

of gratitude for two hours delightfully spent . F ew comedias

retain such vitality after so great a lapse of time . ’ I n both of these plays we thus find Lope s great qualities as well as the defects of his artistic formula. B ut many others could be selected to demonstrate with equal clearness how fro quently and successfully he appr oached the formula of human

en r see in the ast ran e Of life . The reader may th fai ly how v g his poetic creation Lop e carried his audien ces from utteran ces

s n t an d a et c re resent the ass of the merest amu eme g i y , whi h p p

in ases e to the ee and en ne ce of tra e and g ph of lif , d p g ui voi g dy

pain which must always endure . LA DAMA B OB A 1 1 7

LA DAMA B OBA

The n a enta ea of our a t at e a es the s e fu d m l id pl y , h lov m k impl

m n e c e er 1 8 an one av1 n een est ced O i d d v , O , g b b voi by vid,

I - as have had occasion to state before . The far reaching infl u ence of the L atin poet carried this conception Of the passion of

e er all arts E r e ere it un hi ers e lov ov p of u op , wh fo d ghly div ifi d

expression in fiction and drama. The earliest narratives of in

terest to us eca se t e e t s er of e er the , b u h y mbody hi pow lov ov

r e or nt t re n m a be n a n the ta an no lle ud u u o d mi d , y fou d mo g I li ve ,

whence it spread into amorous literature of other countries . The principal c onception is so flexible and so easily used in scores of different plots or stories that the presence of the idea in any literary work by n o means always implies ind ebtedness

to other material . This is markedly so in the case Of L Ope and

of the a of la Dama boba w c rests on a er ea er ea pl y hi h v y m g id ,

n a e t at the n a s r ma b r e l e . m ly , h mi d of illy gi l y e imp ov d by ov This could well have been considered a classic commonplace in ’ the a t r s da but he a l e it in his own ec ar wa u ho y , mp ifi d p uli y ,

c onceivin g a complete plot to serve as a frame . The comedia of la Dama bob

’ main idea is Cald eron s w D e una causa dos efectos . H ere we have the contrast of t o

s ns of th one is en to learn n and ser s n t o , whom e giv i g iou livi g wi h

a t c e antr e the t er is t- ea e and rre ou h of p d y , whil o h ligh h d d i

s ns e H ere e e cte as c nta n n t n tsel all the po ibl . lov , d pi d o i i g wi hi i f

sc ences a s r s a c re teac n and enn n the n er r i , l o wo k u , hi g obli g i f io

aracter . As is the cas t F nea of L o e the re enerate ch e wi h i p , g

F a r c n sses his trans r at n rate a n to l e d ique o fe fo m io g fully , p yi g ov the followin g tribute 1 1 8 LA DAMA B OBA

Do a a n en o or g l , i g i y val

‘ amor es duefio ; pue s fue ra c e rta ue n en o no u e r i , q i g i h bi a,

gala y valor s in amor. E l homb re que con mayor

e rfe iOn r s p cc luc i de oa, y on 8 610 salir s o emplea mas a an ue ol o A o o g l q mism p l , a or lo ace e es sOlo m h , pu s

porque su dama lo v oa . E l que mas an sia ha tonido do mi rarse sefialado por su ingen io y celebrado do c ortesan o e n en o t did , la principal causa ha sido

a or ara ue r ends. m , p q p et en una y otra contienda do n en o or ar o o o i g i , p v i s m d s , e r e a a o en r o o v s pl udid t e t d s ,

porque su dama lo entien da .

E l ue mas ana or o o q v gl i s , corona o do t or d vic ias, en las hum an as historias

o su no re a o o hiz mb f m s , a mor es ol pod eroso a ecto ue a e lo a f , q llas ll ma , no ca 8 0 10 Opinion y fama

las ue lo ran a en e q ilust v li t , e lo ace o n e pu s h s lame t ,

porque lo e sc uch e su dama . Y si co o n n ho o o a , m u ca amad a ora ui h e n o h sta ah , e t id a a ui a an he o d m , g l sid , ui en en o ui n o t did , ate ta d ; pe ro ya que e n am orad o sigo la imposible e strella do l e r o ra mas o a h m su b lla , los medias he do busca r ; que con nadi e quiero e star

mas airoso que con ella .

I t is more than likely that Calderon had la Dama boba in min d

on concel ve 1 8 a D e una causa dos e ec to for in w e pl y f s, sp1 e o e vast ifference in the two stories the fundamental contrast between two brothers (in Lope we have two sisters ) and

1 20 LA DAMA B OB A

e- ea n in so far as he a es e to F n ea and a so lea s doubl d li g m k lov i , l d N ise to believe that he is still courting her . H e challenges him

to a e c e er is s se ent a e r r on du l , whi h , how v , ub qu ly void d by thei ec

ciliation and the arrival of Octavio . The gradual improvement ’ of F in ea s min d is also shown ; she acquires some independence

of t t wit and res rce u ness and a e all sh e e hough , ou f l , , bov , e b com s

’ c nsc s of the n ence of La renc a s s t . I n the sec n act o iou i flu u i ui o d ,

e er she is st a bob nac a nte t th es f how v , ill a, u qu i d wi h e wil o love

r h n o t e da gers of her ignorant state . As a consequence we have

s e a s n scenes et en her and her l er who n s i om mu i g b w ov , fi d t necessary to explain to her every step taken in the course of his

oo n . The at er for his art is e th reat n t w i g f h , p , fill d wi g a xie y

en he earns r her own s the n w c rts l st h r wh l f om lip of e ou hip , o e

n r folly and ig o ance mislead her . Liseo and L auren cio have in

h n e r n n r t e mea tim ag eed to help o e a othe in their respective suits .

’ B ut N ise is not at all inclined to listen to Lisco s unexpected

a ances e La renc is re s ccess a n r ce dv , whil u io mo u ful , h vi g e ived

’ F n c r e f rr in h r e f i a s p omis o ma iage t e p es nce o various witnesses .

’ I n the third act F inea s regeneration is almost c omplete ; she

’ n h f comme ds t e power o love as does F adrique in Calderon s play .

Liseo a n een re ffe N s and n n s c ar , h vi g b bu d by i e fi di g u h m ked

r e ent in F nea eter n es to ret rn to the atter and imp ov m i , d mi u l ,

thus live up to his contract with the father . This places Lau

rencio se s t has met t en sit n on the ar , who ui wi h viol t oppo io p t

’ of the r s a in a ffic t s t at n and he and F nea gi l f mily , di ul i u io , i devise a trick to deceive Liseo into believing that she is still as

simple as ever . I n this effort F in ea succeeds by playin g the

in her ne t nterv e t L se and the atter c ete fool x i i w wi h i o , , l ompl ly

n e a a n ans to woo N se ose nte ence is re hoodwi k d , g i pl i , wh i llig p f l crable at a l costs to the follies of F inea . At this juncture the father decides to refuse Laurencio further admittance into the

se ere n F nea and her ser ant C ara c ncea the l er hou , wh upo i v l o l ov

and his servant P edrOin the attic . There the four are discov

re n n a fin e s rea and Octa see n t at rt er e d e joyi g p d, vio, i g h fu h

’ s t n to F nca s n n t La renc is se ess es his Oppo i io i u io wi h u io u l , giv L consent ; N ise also yields to the suit of iseo . IN TROD UCTION 1 2 1

The c se is ess a r t t an s a ecause L O e r n his lo l b up h u u l , b p b i gs

a n ea the c re of F n nd h r h m i id , u i ea a e victory over t e others as

e as erse to a ca nc s Th c w ll h lf, logi l co lu ion . e fa t that the lovers all chan ge their allegiance at least once is n ot surprisin g in a

a e en ent as a a e c ess on a ser es es nd pl y d p d , g m of h , i of mov a

c nter r ou moves which a e born of rapid decisions and impulses . “

M0 a . Wv d lic l n in e a e u at o the criada boba who is c re p , u d by

e as 1 8 her stress c ear a eatr a na n . I n lov , mi , l ly th ic l combi tio

a t n to the contrast et een the two s sters a c e er c ddi io b w i , l v tou h 1 8 add ed in the differentiation of the characters of L aurencio and

T r r 1 l l seo. he o me d S p ays a frankness almost brazen in his

re erence for one er ts e the atter re ers intelli p f m y ov wi , whil l p f

ence to ea t . Therefom ch rsa es his or na c o ce g w l h fo k igi l h i ,

L a ren c a an on n N se for F nea and L se turn n r u io b d i g i i , i o i g f om

F nea who w as c ntracte to his re at es to N se . T er i , o d him by l iv , i h e is no reason for shakin g the head over this code of ethics which f emphasiz es the superior attraction o a larger dowry . Apart from the fact that it reflects the cold and calculatin g attitude -ou

h art of c rta n n m en the or er the c ntrast of the t e p e i you g w ld ov , o two youn g gall ants afford ed L ope an occasion for satirizin g the

ways of human society .

The s ces an a s n cr t c s of et c a s play al o voi mu i g i i i m po i f d , of

e c and r c l es at our ern s an desi stilted sp e h , idi u wh mod l g would g

- T s i t a n ate as high brow affectation . hi s deligh fully ccomplished in such scenes as that in which the servant Celia brin gs the blue

N of H eliodorus and the atter re ar s stocking ise a copy , l m k

E s Heliodoro

griego poeta divino . and the prosaic servant asks gP oeta ? Pue s pa reciOm o

prosa . and N ise characteristically answers E s que hay poe sia

on prosa . and Celia replyin g on behalf of common sense says

N O lo sabia . 1 22 LA DAMA B OB A

I nasmuch as the power of love may make the simpleton wise

and c e er it is not aston s n to find the rac e earn n l v , i hi g mi l of l i g

t t st a e . N ot n F nea but her se r ant C ara wi hou udy dd d o ly i , v l

re er to the c ass cs and t ere e to the tra t n of the f l i , h by liv up di io stage language an d demonstrate to the most exactin g of critics

r i th at the refo m of their wits s complete .

T ere are nterest n ar e e ents a e to the t h i i g popul l m dd d plo , m om W e la l m infer that the latter reflected a featu re in the education of youn g women of good

a es who t ess ns in t ese arts r r ess na t ac ers . f mili , ook l o h f om p of io l e h

W e a e t er e ence for t s and m a c ns er it n ta h v o h vid hi , y o id a imi t on of ract ces at c rt and in ar stocrat c a es r e i p i ou i i f mili , whe

n n r n er n sin ging and da ci g we e a commo div sio .

F n a it be ffi c t to find a a in c t r i lly , would di ul pl y , whi h he e are greater opportun ities for talented actors . I t is evident t r t t at L e had in n s ec c a ers res a h oughou h op mi d p ifi pl y , p um bly t r r hose whom he himself affixed to the list of d amatis p e sona e .

The title- rOle above all others demands a nicety of interpretation an d refinement of action which would make the actress strike a happy mean between exaggerated imbecility and unwarranted intelligence .

My n otes to the play are intended especially for the average

st ent of L e ose nat e an a e is n ot an s . am ud op , wh iv l gu g Sp i h I aware that so extensive a commentary as I have added is Open to cr t c s and am no ess certa n t at as n as am er i i i m , I l i h lo g I p mitted to a r at t ese c o ce tas s res ts m a conta n l bo h h i k , my ul y i

t n r i some grave misjudgmen s . I this pa ticular case t was not my intention to overwhelm a simple comedy by floods of use less erudition . It was my desire n ot only to illustrate various

o nts of the a but to n ate an s c t re the p i pl y , illumi Sp i h ul u of

n n r s n n r r Golden Age by quoti g i te e ti g co tempo a y evidence . E very detail of the play which tells us something of Span ish

f r n r life as it Once was is worthy o ca eful co side ation . I have tried to take the point Of view of the average person who may be inter osted in Lope de V ega and the S pan ish drama as much as that

1 24 LA DAMA B OB A

TH E AU TOGRAP H

The autograph manuscript of the Dama boba has been pro serv in n n ed a u usually good condition . There are only a few

insi n can t erasures a e L e h msel and t ese c ncern g ifi m d by op i f, h o

erses c the a t r cr sse out and t en rewr te in a v whi h u ho o d , h o

sli fferen ghtly di t form . I have included them in the text in

’ parenthesis because they throw some light on Lope s mann er of

composition . The excellent state of p reservation of this manu

scr t as e as the few i nses to ct t n en in ar ip , w ll l ce a ( of e app ded l ge

nu ers to the ast a es an scr ts n cate t at t s mb l p g of m u ip ) , i di h hi origin al was carefully kept by its own ers from the very begin

nin g. W e kn ow that the play was written for the actress JerOnima de B r s h m m e u go , u h h A ad t e autograph in her possession . ll that Lope says ( in a “ etter to the Du e of ssa ate ? 1 61 7 is n nca V . Ex . t l k Se , d ) u ubo

lo dama boba r e ésta es de Jeron a de B r s o la , po qu im u go , y y ” r i or una c a firmandola d n re c m a imp im p opi , o mi omb , whi h y

be nter rete to ean t at since the a e on e to the actress i p d m h pl y b l g d , Lope (whether he still had the autogr aph or not ) could n ot send

it e t er to the D e or to the r nter . B e all t s as it m a i h uk p i hi y , suffice it to add that the original fin ally got into the famous Osun a Library and is now a p recious possession of the B iblioteca

N ac na at Ma r vitrina 21 no. 5 . The n er has een io l d id , , old umb b

discarded . I n the Catalogo de las piezas do teatro que so can servan en el dep ar tamento de manuscritos de la Biblioteca

N a ion l c e A . P az Me a Ma r it is n o. c a , ompil d by y li ( d id ,

A comparison of the autograph with the first printed edition makes it hard to believe that L Ope examined with any great care ’

h c w s en to the r nter . H e sa s as we a e t e copy whi h a giv p i y , h v

seen t at he s ne it and so a es se res ns e for , h ig d , m k him lf po ibl

r en n the form in which the play has hithe to be k own . H ow many omissions and discrepancies there are in the early edi tions IN TROD UCTION 1 25

m e n r ay b see f om the appended list Of variants (p . I am

’ inclin ed to believe that a fairly acceptable prompter s copy was an e to L e to si n and t at he ance t it er ast h d d op g , h gl d a v y h ily

r n befo e se din g it to the printer . The chief passages omitted are precisely such as might have been cut by the manager before

the parts were distributed among the company ; but to this loss must be added not only the changes for the worse in occasional

rases c s re c not a e een c nten nc th ph , whi h u ly ould h v b ou a ed by e

a t r but a s a ar e n er of t ra ca err rs so om u ho , l o l g umb ypog phi l o , c

n h n A mo in t e pri ted com edias . great many stage directions had

to be a e as L e es not n cate all e ts and entranc s dd d op do i di xi e ,

and the ern s n of eac act nt scenes was to mod divi io h i o him , of

c rse an nnecess ar ev ce a t it is a e f one to us . ou , u y d i l hough h lp ul

Genera but not a a s an entrance or e t is n cate lly , lw y , y xi i di d by a cross salga and entre are used interchangeably for en

trances and éntres d s idas or va as for ts . , e e p e y e exi I have ventured to add a minimum of stage directions in order to make these exits and entrances clearer than they are in

the original ; in every case the addition is enclosed in brackets .

An s er s etter s a e or r has een e t in aren y up fluou l , yll bl , wo d b l f p

h rr t es s Or n cate in the n es but t s cc ence is er rare . h i i di d ot , i o u v y

a e c rse e t nt c e the an scre anc es in I h v , of ou , l f u ou h d m y di p i

s e n s c as n teres interes re an re casa cassa p lli g, u h y , ; homb , b ; , ;

a a an hablauan er rare dixo and an ot rs . h bl b , ; dijo (v y ) ; m y he

The r na t ne e e ce t ons ts all nct at n . o igi l , wi h gligibl x p i , omi pu u io This necessitated the capitalization of the first word of every ’ s entence and r t me ace to ace t L e s ar trar use , b ough f f wi h op bi y

of ca tals in enera a eat re c has een e s nce pi g l , f u whi h b modifi d , i

i see e a s r to reta n ca ta etters in the e a r t m d b u d i pi l l middl of wo d ,

r r er na es t a s a etter and s c r s as Ra o p op m wi h m ll l , u h wo d yo ,

Planeta t a ca ta . T ese en ena n ann the a er , wi h pi l h ph om o ly oy v

e r r and te the sc ar n t n t at he es not a rea ag eade , ll hol o hi g h do l dy

kn ow of seventeenth century manuscripts . The very few ao

n f he r nal c e r s of the t r s n ar re ce ts O t o igi , hi fly fo m hi d i gul p

eri e a e een reta ne . ere er the na e the ers n t t , h v b i d Wh v m of p o

speaking is indicated by only a letter or two; I have written it 1 2 6 LA DAMA B OB A

in a re at ns in the te t are e cee n rare n d ha full ; bb vi io x x di gly , a ve

een r tten out t e e race such or s as u or for e b w i ; h y mb f m q , q qu ,

a nro for nues tra almat for almatoria and the e . I n s rt ; p p , lik ho ,

’ I have tried to present a careful edition of Lope s text which will give a faithful idea of his manuscript an d mann er of com

s n and et not r ten Off an one a o t to e n a st po i g, y f igh y b u b gi udy

f r r n r e r o this g eat d amatist . O ly two othe m thods of eproduction

re a ne : e t er a c ete ern zat on of the s e n ch m i d i h ompl mod i i p lli g, whi would spoil my main purpose— to present an edition of one of

’ L e s aut ra s or a t r a c re r nt c op og ph ; pho og phi p i , whi h would

e I n h reach only a few interested On s . t e latter case the study of

’ L s r t not b rt ere as am an s ope a t migh e fu h d I xiou it should b e . There exists also in the B iblioteca N acional a manuscript copy of the Dama boba in a h an d of the first third of the seven

teenth century ; it has many characteristics of the first pr inted

e t ns and en t set n se era ears a o was t at di io , my judgm , dow v l y g , h

it is an n m rtan t c of a sta e ers on but nearer the u i po opy g v i ,

t h h n r n T i r au ograph t an t e know ve sio s . his s bo n e out by the fact that it is apparently a copy made by Luis Ramirez do Are

an o acc r n to t Cr sto a arez de F er a an d ll who , o di g bo h i b l Su igu o

V cente Es ne had the re tat n e n a e to re r ce i pi l , pu io of b i g bl p odu

a play which he had heard but three times in the theatre ; amon g the pl ays he is reported to have thus reproduced was the Dama

boba . Co are Rennert : The S anish S ta e . 1 76 . S c a mp p g , p u h copy is scarcely calculated to throw light on an autograph manu

scr t e en we n ee e it c is rt n ate n ot the case . ip , v if d d , whi h fo u ly

I t t ere re see e r r ta e to s the re at on et een , h fo , m d mo e p ofi bl how l i b w

’ the two ers ns rect conn ecte t L e s n a e that is v io di ly d wi h op m , ,

th rst r nte r c he s n e for ress and the a t e fi p i d fo m whi h ig d p , u o

ra t an the ar ants Of a an scr t of ess ortan ce g ph , h v i m u ip l imp

th an either of these .

P r nt co es in enera scarce do ore t an a er r i ed pi , g l , ly m h v y poo

re r ct n of a reat a nt n t t at is t e ma p odu io g p i i g migh do , h , h y y

’ ser e the r n a is st to e an ea the a t r s crea v , if o igi l lo , giv id of u ho

t n B ut s nc we a e the r n a in t s case the c es io . i e h v o igi l hi , opi

s and nsat s act r t a . n ee the n ess n eem pale u i f o y wi h l I d d , o ly l o ,

1 28 LA DAMA B OB A

The e t ns n n to me ma t ere re be c ns er in he di io k ow y , h fo , o id ed t following order :

o. Doze c ome dias do L ope do V ega saca d as do sus origin ale s por el

o. D r l D d S N o e na ar e mism i igid as a . uque o e ssa . v p t ,

A11 0 1 6 1 7. Con r e o. E n Ma r . Cf . L a B arre ra N uova p ivil gi d id ( ,

bio ra ia o . cit. . g f , p , p

. The a e o e re r n e B ar e on 1 6 1 8 . I ro e o e f s m v lum p i t d at c l a, t imp v s s m

t o ra ca e rror c an e the n ct at on he re an d the re yp g phi l s, h g s pu u i

together with half a dozen single words .

g . A Ma drid suelta of the e ight eenth c en tury with the title la B oba

discreta e on he r n r on . , b as d t p i t e d ve si s ’ ’ h. H art z enb us h s e i on of L o o s medi in iblioteca do autoros c d ti p Co as , B ‘ — es ariolos I 29 7 31 6 . As e r 1 on 1 s a e e o ll it s p , , this v s cc ssibl t a , imperfe ction s c an b e studie d by the rea der with out any com

m ent . Reprinte d from e or f. i . A reprin t by F ran c isco José Ore llana in his tea tro s electo antigua y

moderno nacional extran oro. B arc e ona 1 8 66 8 o y j ( l , v ls . — t in 2 ol of vol . 2 . 759 78 6 Re r nte ro ( p . I v s .) . I , , pp . p i d f m

H art z enb usch with very little chan ge . The play entitle d la B oba discrota by Canizares has n othing

in c ommon with our play . A very un satisfactory t ranslati on of the play into F ren ch un de r the title : L a petite N iais e c an b e ’ foun d in the following v olume : L es Chefs d oeuvre du Thea tre

E s a nol anci on et moderno traduction do lément R achel l. p g ; C , vo I

P ar . 5a. ( is, p IN TROD UCTION 1 29

V AR AN S OF TH E F IRS T ED T ON OF MADRI D I T I I , 1 61 7

The e t n of B arce na 1 61 8 re r n te t s ers n t di io lo , , p i d hi v io wi h

er few scre anc es e en s e t r c err rs and v y di p i , m ding om ypog aphi al o t punc uation . The differences worthy of note are marked ( B ) . The disagreements between the autograph manuscript and the

rst e t n 1 61 7 as ste e c ear r e t at LO s nt fi di io , , li d b low , l ly p ov h pe e to the press a very defective actin g version . The chan ges and c ts c ere a e are of an ar trar c aract r a in no u whi h w m d bi y h e h v g,

t een ast a te e t er r n re earsa or e the doub , b h ily dop d i h du i g h l , whil play was being acted . As it is humanly impossible to note every

ns n cant ar ant a e tr e to t se f to s c as ma i ig ifi v i , I h v i d limi my l u h y have some importance . All differences in spelling have been noted but are not given to avoid useless repetition ; they can be ll strate th f w n e a es : in uencl on 1 nuenzion i u d by e ollo i g x mpl , ; nacen naz en ezas ie as cenc a en a a ual , ; pi , p c ; li i , lic ci igu l , yg ;

norancias in orancias rouisiones robissiones oficios Offiz ios yg , ; p , p ; , ; c sa cossa fé fee enr ece enrri ueze traes trab es creer o , ; , ; iqu , q ; , ; , creher n re nonbre nObr entranbas entra as te a o ; omb , , e ; , b ; j d , texado a as e as e en deuen a ra a ra Octauio ; j m , x m ; d b , ; h b , u ; ,

Otabio. Words which m ay indicate a popular pr onunciation

a e een e . E m es are : disci ulo di i ulo ob ec h v b add d xa pl p , c p ; j

c n Ob ecion ar e a e . st e as z e a n t at ere io , j ; d l , d ll I mu mph i ag i , h wh we ssess the a t ra t es difi erences in s el n of the po u og ph , h e p li g

first edition have no scientific value. Misprints such as numeto

for n ero fin as for fin as and the e a e een o tte . um , g j , lik h v b mi d

The numbers in dicate the verses of the manuscript version . 1 30 LA DAMA B OB A

e D d V e r Com dia famosa de la ama boba de Lope o ga Ca pio . H ablan en ella las personas siguientes

L auren c io P e dro Dua rdo V n estudiante F eniso F in e a L iseo N ise Misen o Ce lia Octauio Clara L ope V n mae stro do danga r Turin Otro de escriuir

S alon L eo r n 1 20 . v n ro o is , y Tu i y bl i on criada ( s ) ( B ) do ca mino 1 24 . de d scurso y do ra z 2 — 2 1 . bu ena s posadas 1 5 1 8 . omitte d

1 0 . Cort e do Ca t a 1 29 . c ont ar , s ill

1 1 do An a a S o il a 1 30 . c as ana . d luzi , y u l n n 1 40 h z 1 3 . v n os do 10 8 ot ros c ue ta . a e

' ( B ) 1 50 . boba 1 4 1 5 . o cargos 5 . dot e s

1 7 . c osas alim e n ta ( B ) 1 55 . e ra m lo 1 9 . Tu rin c ontin ue s : do i a 1 58 . 9 x ll ge ne s c on la fe 1 6 . pu e de s de a o 1 71 V s e el ante 20 . adquirida s ( ) a Estudi 1 2 u ar o ? 22 . a que st a ocasion 7 . omits gQ e h em s P n n u llo 23 . las tie n e la de uoc ion o t e Turi a c a a — 24 1 74 . Ten a en a ec o . do E spaiia p ci ci h h 1 7 r r 26 . e spe rar 6 . p op ia

1 8 5- 272 o tt e 27 . a que guise ( B ) . mi d n o 273 V a n e a en N i e a a qua t ( ) s , y s l s , d m , nt e n t e a of r Ce a c r a a a s i s d luzi y li , i d 2 n ya 78 . tie e 2 l 40 . la ( B ) 79 . as 2 2 u e 5 2. m a y hOb re 8 . Es q e ay po sia 28 4 c ans m 54 . y de sposa do . e e 28 8 o ent e n e r 58 . t ranspa re n t e s . todo s d e xa d 294 e t r a 6 1 . e ssa . his o i l 296 e r 64 . acuc ar galea . mu st a 29 7 r 66 . con t ros puntos . po 2 73 . t amb ie n 99 . ocult a

o d zir u es hermo a 300 . o c ra s un on in en os 75 . Oyg e q e s y bs u , g i raro B 78 . n ad a s o s ( ) 303 c ra 8 0 . m as e stima . obs u s — 305 . ob oc ion 8 1 8 4 . omitte d j n 307 S alon un ae tro do eer ( 8 9 ) S ale vn e studia te de ( ) m s l , camino y F in ea 308 a 9 1 . Y omitt e d . e st

1 32 LA DAMA B OB A

6 1 9 . given to F en iso Cla : Tu pa dre 6 20 N A Dio a ordaos . ise s, c

621 . Aneys ( B ) V ase L auren zio

627 D ar. 629 F en . V a e e ro . u , s P d 635 V an e Duardo F e n iso a e er o ca ar ( ) s , y , H m qu id s qu e d a L aure n zio Tole dano o S euillano 645 ta rda on tros 649 S al P e ro e cr a do do la caxa ( ) e d , u i do L au ren cio ropolido 655 diuertir mi m ouimiento e ste fues e 657 n n t ue e ro e a a C ara . u ca ; omi s q p dim , mig l

658 . que e n un lugar polido la r 659 . firmo suelo siempre estar do opilla 2 l D o u 66 . y ta en las doze esta ig q e 665 n e a o tie nesle a ? . d est e pu esto e v m s , y a n n retrata n 6 70 . P orque la Sac F i ea u e u n la an 674 . sefiala a n aype do m ga n 68 1 . a pier a y ue e] r 68 4 . pre ci osa ( B ) q Pe d o 93- 700 S alon Octauio e o 6 . omitt e d vi j , y

706 . la e mpres a N ise su hija

707. prouar tu osadia que estaua alli

709 . yY es ? S ale Celia

71 0 . n eci a una posta 71 1 ha Mira hij a que ha s de esta r 722 n e o S alon L eo T r n do . ci is , y u i

725 . que con oro n o so camin o i 729 . Yo t engo do enam orar lic on ( B ) the copy ( 741 ) Omits [ S algan ] F inea y b e fore m e is blu rre d Clara qua] do las dos es mi os 742 H a relo si e st a posa ? ( 745) S alon F i nea y Clara ya no me v e

745 . B uena 1a

753 . Y si agora que salis E sta

759 . fam osa s abraco a vu e st ra

' 763 . t engan hablo do

768 . limpio y sano discreta soys

78 4 . que en mi vida no he que gran d o rido B omits a

78 8 . E sperad bobo

794 . a redro vaya pudi eras auer — 79 7 8 04 . Omitt e d Oct. Aun quo hone sta

8 06 . cu erpo truxisto 8 0 7. passa el que calor toneys

8 1 6 . de xar y c omo v enis 1 - 2 8 7 8 0 . Omitt e d e sta 2 8 9 . quere r a ssi N i. Calla he rm ana . IN TRODUCTION 1 33

ec e es n a co a 1 001 . an o esp i , li d s Qu d n n x 1 01 2 c n al en co ra S ale Celia co u a ca a, y . y o t c so so b

agua 1 01 7 . osso. pue s vemos

Col. Aqui esta el agua 1 01 8 . e xp eriencia n otoria

corne d. 1 021 . E s verda d l El agua sola pronoe a 1 030 . as pa labras so rompan

omits direction B ob a 1 031 . rompan so letra s 0 2 Aguarda d 1 3 . cobra

tu to 1 035 . dizen que vn hombre eno llenado j ad o 03 Ay padre mas de sdi chado 1 7 . si lo pon en — E ntrad a dentro vosotras 1 038 1 039 . tran spose d

a preveni rlo la cama 1 038 . en ol su image n

L a mia pien so 1 039 . que repre sentoeu sombra

Octab : Tu n o v os 1 040 . Te mpla

que aun no e stan he chas 1 043 . c ristal del

n r ntr . Fin. 0 e t a ade o Que 1 44 . lib erta d pregona

me laz e 1 045. tu ra p y ,

N i. V amos h ermana . F in . 1 046 . E s ve rda d

A D l 1 05 1 r ios , O a . . t ocar — V an e N e F n ea 1 053 1 056 . o t e s is , y i mi t d

V a e Octauio e a n 1 060 . oras s , y qu d h L eo ur n 1 06 1 t n a is , y T i dis i t s el cie lo L is : n o so ( 1 063 ) Omits : Fin del prim ero mi s desdicha s : ay Turin acto do 1a Dama boba . mas espantosa

Ac'ro S EGU N DO DE L A DAMA BOBA

Omits : P ersonas del S egun d o Acto

1 063 S alon L a re n c o Dua rdo 1 1 61 . ent ra e a so ec o ( ) u i , , mi s ll lips

y F oniso. 1 1 6 7 . ve rd e velo subtil h l 1 063 . so a 1 1 68 . a a legre ribera 1 1 065 . venc e 1 69 . plac ent era

‘ 1 092 . del admi rarse 1 1 70 . cantando los Ruyseiiores

1 094 . pue da 1 1 71 . y va n crecien do las fiores

0 1 1 72 . r n 1 95 . Todo es m ost a d o — 3 1 099 1 1 22 . Omitt e d 1 1 7 . vuestra sa lud y sembrando 1 1 1 1 23 . y a que a F in ea 75 . rian ( B )

1 1 25 . lo 1 1 76 . dioron

1 1 28 . te n dra 1 1 78 . vue st ros cristale s

1 1 33 . sab en amar 1 1 79 . aguas

- n D 1 1 8 1 1 1 35 6 . Ord e r : L au. F e . u. . para pode r c elebra ros

4 r l rauios 1 1 8 4 . n r 1 1 3 . pa ra ha ze ta e s ag c o que p oc ura alegraros

1 1 44 . y d esprec ios . 1 1 8 7 . alm as 1 1 1 47 . F en . an d Du. spe ak 1 8 8 . las que

1 1 49 S alon N e Ce a . 1 1 8 9 . e f et os hare ( ) is , y li ys l r 1 1 60 . F ue S ol que as alumb o 1 1 90 . Omitt e d 1 34 L A DAMA B OB A

9 1 n r e v to c on tanta 1 365 V a e L a renc o a e nu 1 1 . i se t d : is ( ) s u i , y s l

a e r a ae t ro do dan a r dan l g i m s c , d li ion F ne m 1 1 93 . luz de stoe oj os o c a i a : e 1 5 en e r e e o a ol a an ar e a 1 9 . f mo ll gu pi c d c , y ll

1 20 1 . m ouimie ntos s o que da

1 207 . vinim os omits no

r 1 208 . con la que most ays aqui ya salga Tr 1 2 1 0 . ya que ae d

1 2 23 . D e sse a cascabele s confiesso ( 1 231 ) V a nse Duardo y F e niso omits m e m 1 236 . falso as yo n o n 1 243 . mi mu e rt o c roist o o e nt rey s mas a qui

n r i i n n 1 245 . con ge til at e u m e to o

1 249 . pob re y e lla rica baylar

1 250 . tu i c ret o e a Ton e d s eii r d s , ll , o a

1 26 1 — 1 26 e r 5 . omitt d aspe e za

1 272 . e s s u re e n te me n an e re c c i , y m s dumb

ua nte V a e ol Ma e st ro g s , y s al e

Afte r 1 276 . inse rte d : ay Clara

L a re nc a ue e n a o e r ne m o. u i , q bu p g p sig do fé a mor ta n con P or e o en o , y ss v g sta nte ? YO e nfe rme de por e ssa

tr te a ue son en e re n c a mis is z s , q bi dif i

t e rr e a e or re c o t a ibl s m l s, s ill p e alo tu o tuue e n aii os a a r g s y s g , ssi p a

m e n t ra ra e . P e ro aun ma s mu e n i s , f ud s y , y bi

e n ro eron P e e n l e s pu s ta du s fu di , us a topa m v que m e diste diama nte s . e os rin l n 1 2 77 . 10 has visto g o es don 1 28 1 . dich o re quie b ros de r n 1 28 2 . a F in e a . omits m e Cla a c o tinue s : m as bie n s 1 290 . m as que t o o pod ra le e r

L r D 1 293 . yo a la bob a ib o ios S 1 294 . la ale Oc t auio

1 295 . D e que t o que xas omitte d

1 2 6 n e c o ui e l lee r ui e l d n r 9 i , a qa — 4 A 1 30 1 1 30 . omitt e d qu e l 30 — 1 325 m f b e l 1 9 . o itte d ; o . above u ue lu ego afte r 1 276 t od os h omb re s

1 3 2 1 . Aora doxa m e L a ren c o . n o di a s , u i g y 2 ( 1 3 6 ) S ale L ise o solo . diga ( s )

1 335 . ruegala P ue s tom e por su vid a

1 3 3 9 V a ns e N e Ce l a . Ca rt a . E t o ( ) is , y i s y muy agra 1 340 n m . E spa to e d e c id o a la m erc e d que 1 34 1 e s s os re . rigo s m e h a ze s aun qu e he pa s 352 n la en 1 . c o s l guas sa d o t od a e st a n oc h e ( 1 355 ) V a s e L iseo c ontemplan d o tu h e rm o

1 35 7. m le sin a si p dud sura . Rasgue le

1 36 LA DAMA B OBA

6 ue n 1 907. S i D ar D 1 7 5 . O q bie , u do. ua : Y N ise n L aurenc o N se do ( 1 779 ) Va se i , y i bella ? las ano 1 909 V an e L aurenc o Duardo m s ( ) s i , y ,

1 7 4 ro r a o unta e a F n e a1 n O a 8 . p p i v l d qu d i a, o ct .s

adre ene nio N e . 1 78 6 . mi p vi , y is

( 1 78 8 ) S ale Octauio 1 91 1 . ossas 1 91 9 n 1 793 . yo agora . Y co se r negro no n a tal ues 1 920 r 1 796 . Ay ig ra ci , p . o a

dim e bestia 1 921 . S essa. fu e o 1 798 . al prin c ipi o e h ch 1 922 . honra

aquel abraco 1 923 . V in o a casarse rec o do 1 799 . alto e1 braco de h 1 927. llama al

L auren cio 1 932. rifi irme . ( B ) N ise a da ue o n 1 8 02 . luego desab rae q d Quie 1 9 agora 34 . sab ed 1 942 1 803 . piensa . y ya estoy

1 944 . ue n n m n 1 8 06 . so llama q ta ta pe a e daua

S i u n o v os 1 948 . tu no vos ue e ta casa da 1 8 09 . , t q s s 1 94 m 1 8 1 2 . del que 9 . omits e

n o a or c erto 1 950 . Oct . L o ra s r fia 1 8 1 3 . t oma d y , p i cu e t a

creo 1 951 . N O ent re a qui L aurenci o. 1 8 1 8 —1 8 1 9 omitt e d N i : E s yorro er ana e ta ? 1 952 ue l L la n ii n 1 8 20 . don d e tu h m s . q e , y iseo e ga a

( 1 8 25 ) V ase Octauio 1 953 . y aquesta traea han tornado

m 1 955 . O e con e o o 1 8 28 . Omits e , pu s ss y callo 1 ( 1 8 31 ) S ale L au rencio 956 . con essa n os t apas

1 8 34 . e scusase 1 957 . V on alla dontro t f u ste 1 9 8 - 1 9 1 8 38 . Porqu e o y 5 95 . omitte d — 4 i e 1 96 1 V a n e O aui 1 84 1 1 8 4 . om tt d ( ) s ct o, y F inea .

4 B o t 10 1 963 . e] L eo or v e r 1 8 6 . ( ) mi s , y is , p r 1 9 4 1 8 47 . dino n omb e 6 . aquesta 1 1 8 51 . y assi podro ( 966 ) S ale Liseo 8 0 10

r e e aue r. 1 9 4 1 8 56 . Otro m ej o pu d 7 . rude za

9 S n Duardo F en iso 1 975 . n en o ( 1 8 5 ) alo , , y i g i 1 9 Pe dro. 77. da rte

60 Dua . ol. 1 979 . a or N e no ent r 1 8 . y mi m , is , m i a s n n en o 1 - 1 8 73. Yo voy aq ui co mi i g i 98 0 1 98 3 . omitt ed 1 9 L 1 8 78 . casart e 8 4 . iseo c ontinue s escu — 1 8 8 3 1 8 8 8 . omitte d chamo. N i. Que incon

1 8 95 . Duardo F eniso e ro stanc ia , , P d do 1 8 96 . F ine a c ontinu e s : yo y 1 98 8 . De sta aqui 1a palab ra ( 1 991 ) S ale L aurenzio

F n : o a etc . 1 991 . n L 1 8 98 . e c s , e sta co iseo

S i 1 9 3 do n n r n 1 8 99 . Tod os . 9 . e te d e si duda n ue ta 1 1 900 . H az cue ta q ya es s 995 . sospecho que ya me ha sana visto 1 1 906 . Dua : P ues casas ( 997) omits stage direction IN TROD UCTION 1 37

- 22 1 998 . H an me dicho que 20 1 9 20 . omitte d 2 2 L 1 999 . yo no lo creo 0 3 . iseo aquest a e s di screta 2 l 2008 . que do manera mo t rat a 032 . E s la mayor a ab anca

201 1 . dostos fauores Omits : l un 20 1 3 . N o pued o monos F in de seg d a acto do

( 201 3 ) V ase N ise la Dam a boba .

Ac'ro Tm cns o DE LA DAMA BOBA

Omits : L os que hablan en ol t erc ero acto

S l F ne s on ro e o. 22 1 3 S ale nu cr a o los a e i a ola c ot v stid ( ) i d , y ( Directi on s like this indicate th at musicos

‘ v ni n w e are d ealing with stage copy .) 221 3 . ya los musicos e a

2036 . ac ente o lecion 2221 Cant an los musicos b a id , e ( ) , y y 20 1 o on l n N e F nea lo ue 5 . mits a is , y i q

2058 . En el lugar en que e stoy quisieron ; this direc

2062 . e stoy tion in dicate s that the

- 2063 2072 . Omitte d printe d copy was in de ( 20 73 ) S ale Clara pendent of the auto 2 - 077 208 0 . omitte d graphu

20 1 r - 8 . At ibuyen 222 1 231 8 . omitte d 209 1 S a on Octauio M eno 2320 D ( ) l , y is . a ios

2 1 09 l - . a 2321 . e st e agrania 2 1 21 Z m Za r n r o . a oos ; moros ( B ) 2322 . Tratemos nuest a co cie t 2 1 25- 2 1 28 n 21 2 - 21 32 ( ) a d ( 9 ) 2324 . YO os tengo

transposed 2325 . omits os 2 1 r 30 . Y do He r e ra 2326 . mis dichas

2 1 31 . c ancione ol ere r no 232 V anse to os ue an L seo s, P g i ( 7 ) d , q d i , 2 l 2 1 3 . e picaro do Guzman y Tu rin 2 1 49 S a on N is e Li eo T r n 2 2 T n T S enor ue ( ) l , s , y u i 3 7 . uri ? ur. , q

2 1 54 . que ya F inea 2338 . e ss a discrecion

- - 2 1 57 21 68 . omitt e d 2339 2342 . omitte d

- 2 1 75 21 84 . replace d by : N is . 2343 . y no ha

Ponor fren o a la muger 2347 . discreta

os pone r limito al mar. ( 2356 ) V ase L iseo E strafias u eras son 2365 S alon L a renc o e ro q im ; ( ) u i , y P d

que am or como es aci 2366 . ol fin n ra dente tienose donde so 238 2 . E l no as pret e de ag siont no n e e ra n ar e, do d fu i

ra zon 2384 . cumplirse ?

21 8 7 . falta 238 7 . omits ol

2 1 8 8 . en la ( 2394 ) V ase Tu rin 2 re u 1 8 9 . hizo 2395 . L o mism o que p s mi r r a 2 1 92 . curso n atu ral 2398 . so vi ene a most a qui

2201 S e nu r 2400 ret a la o nta ( ) al c iado . disc , v lu d

2206 . L iseo 2401 . h abilida d LA DAMA B OB A

24 ( 05 ) S ale F inea 2590 . Porque 26 1 - 1 2 n L 2406 . nue ua 0 . give t o iseo

24 1 3 en e r 26 1 3 V an e L e o T . mi m mo ia ( ) s is , y

n L r n 241 6 . cubierto sale au e c io ; y 4 2 20 . y si a otra parte dro.

2425 . tu 26 1 3 . F in . Que t o parec e ? 4 Mu e n 2 26 . y tu imagen bella mi ra y bi 2 1 4 2434 . c onsej os 6 . que has da do 261 a 2442 . t ra e rle al cuello 7 . omits

- 2 22 n e 2443 2446 . omitted 6 . a u spej o 2 i rm 2455 . Mi ra lo que ha re sultad o 26 9 . dosp ea e

2459 . L eo to e ro e n 2630 S a on N e Ce a is qui bi , ( ) l is y li 24 2633 n n s 6 1 . plegue . e ga a

2465 . parte s 2638 . ol alm a

24 - 2 26 1 - 26 4 69 470 . omitte d 5 5 . omitte d

248 2655 F in. A e 9 . la ti e rra dond e nae en . y c i los 2 2490 . andarla 657. v oymo. N is . L os 24 4 — ro rt 9 . ya ya con ze los po a 2 2498 . Ya estoy atonto 658 . L au. Que quie re s ? 2660 l u n 2505 . a s u regalo . as q e trato s o 2 251 0 . a sus de sse os 663 . Que rrasto c asa r ansi 2 4- 2 25 1 1 . esso si pensaran 66 667 . omitt e d 0 25 1 2 i o ar n 668 . leuantando . h j v o , y

25 1 6 . seiiora 2669 . y de aque ste 2 0 h m 251 9 . Aqui me qui ero 67 . echar e la c ulpa a 26 2 u 2520 . Ya llega 7 . Omits a mi . Q e b io 2 2 26 72 V L a ren 5 1 . E n grandes ( ) ase u c io 2 22 2676 V se e r 5 . a un no lo siento ( ) a P d o

2523 E s condense L a renc o 2677 . a e o ( ) u i , y qu ll

e ro a en L e o 268 3 . ena P d , s l is , bu 2691 - 2694 tt e Turin . . Omi d 2 23 Y 2 5 . O lo dexo c onc e rta do 700 . Col. Que e s ost o ? N

2524 . Al fin tont a s o b ue lue

2528 . ha querido 270 7. qui e res 2 533 . m e ha dicho 2708 . con quien o1 alm a v

254 1 . n n e 271 9 S a on Oc ta uio Mi lu a u ua ( ) l ,

2542 . A tal c r Tur Duardo F e niso y lo u a ? . , y 2 43 5 . give n t o Lise o 2723 . N O me direy s 1a ocas i 2544—2 4 2 5 7 . omitt ed 725. de l sab er 2 4 5 8 . Cre o 2730 . pie nso que tu la

2 - 560. given t o Turi n 2 731 2734 . Omitte d

256 1 - 2 568 . omitt e d 2 739 . e xp resam ente 2 2 58 . lo vemos 2744 . Com o ? ha t raga ( 258 3 . c on alas pe ro el en fin 2747 . mas facil 258 4 . es e spi ritu. F in . Yo os 2748 . E n paz tu casa t en d cre o 2749 S alon L a renc o ( ) u i , y P 2 58 5 . An dan 2749 . en est rem o

LA DAMA B OB A

F en . Y yo que en esta oca 31 1 2 . given t o F on iso

sion aya perdido ol sen 31 1 3 . Lis . S ie mpre

tido. 31 1 5 . Duar . Do esso os podreys

Oct . ue a e ra cuer a en 31 1 8 S alon L aurenc o con la Q y d ( ) i , t on ostaua oco do e a a esnu a F n ea di y l sp d d d , y i

a. a sus e P dro voll spaldas, e y

Mis . ue a Du C ara Oc uio e r Q l stima . a . l , y ta d t a s

N ise bella con Liseo viene do todos .

a i 31 23 . Dua T n oos O uio : qu . e , ca es

3027 S alon L eo ur n N e . L a ren c o ? ( ) is , T i , y is u i

- 3027 30 72 . cut to the following : 3 1 27. Traydora

N ise : E s doblar la v olun 31 36 . soga

- 4 ta d do mi aficion . Lis . 3 1 43 31 6 . Omitte d

Te a a ora e a N e 3 1 55 . Ya mpl g , b ll is ,

tus e en e ue se v a 31 56 . o t N e tamb ien d sd s , q mi s y ; is 1 8 l am or por la posta a la 3 5 . . o quiero lo adora 31 9 n Du casa del agrauio. 5 . give to .

( 3072 ) S ale Ce lia 31 60 . gozen los que 6 1

- — 3072 3075 . omitte d 3 1 66 31 69 . Omitt e d ; insert e d n T 3076 . Col. S e ora ? N is . que ay ? ur. Y la Clara soca rron a

Cel. una cosa. que lle uaua los ga zapos ?

‘ 3077 . causar e spanto Cla . Mandome lo mi seriora .

3078 . Di lo que es Tur. O qual los engu

308 1 . dos con ej os llirian .

308 4 . caminauan 3 1 73 . N i . y tuya Ce lia

- 308 6 . given to Tu rin 3 1 74 3 1 77 . omitte d

- 308 7 3090 . omitt e d 3 1 78 . mi bota sora

3093 . c orri 3 1 79 . solos que dam os

31 04 . given t o N ise 31 8 0 . da dm e

‘ 3 1 07 . S efior tu furia los dos 3 1 8 1 . give n to F en .

3 1 08 . lo vere mos 31 8 2 . perdonan

31 09 . injuria do ( 31 1 0 ) V ase Octauio F in do la Com edia do la Dama

3 1 1 0 . given to Dua rdo B oba . IN TROD UCTION 1 41

LA V E RS I F I CACI ON

' Aoro I. Re don dillas to 1 8 4 Octava s verse s 1 8 5 to f Re don dillas versos 273 to i1? Roman ce ( en i -O ) ve rse s 41 3 to 492 Re don dillas ve rse s 493 to 524 S on eto versos 525 to 538 Re don dillas verse s 539 to 634 S onoto versos 635 to 648 Re don dillas ve rses 649 to 8 8 8 Romance ( on o - a ) ve rsos 8 8 9 to 1 06 9 3 ' Acro I I .

Re dondillas verse s 1 063 to 1 1 54 Quintillas verses 1 1 55 t o 1 2 1 4 Re don dillas ve rse s 1 21 5 to 1 230 Romance ( on a -e ) versos 1 23 1 t o 1 364 Redon dillas verse s 1 365 t o 1 48 4 E n doc a silab os su e ltos y algunas pareados ac on sonantados verse s 1 48 5 to 1 540 Re d on dillas 1 541 to 1 58 0 P a re a o a onsonan ad s r o e t d s, c t o y ve s s su ltos, odos en decasilab os 1 58 1 to 1 66 7 Red on dillas 1 668 to 1 78 7

P a re a o acon sona ntados r o ue to to o d s, y ve s s s l s, d s endecasilab os 1 78 8 to 1 8 24

Redon dillas ve rse s 1 8 25 to 1 8 60 Roman c e ( on a - a ) verses 1 8 61 to 2032

' Ac ro I I I . Quintillas Red on dillas “ B a ilo y cantar con e stribillo Re dondillas Roman ce ( en e -o ) Redon dillas Romance ( en e -e ) ve rsos Redon dillas Romance ( on o -a ) ve rse s 1 42 L A DAMA B OB A

I t is a great loss to the history of S panish music an d of the danc e that in the grea t maj ority of c a se s th ese canta ros a re omitt e d in the printed

e r on of the comedias . E en whe re t e a re re e r e the are so v si s v h y p s v d , y c r mu h cu ta ile d th at we got n o clea r id ea of th e ir c omple t e form . L ope has r tt en a a r e n e r of t e e c o o on an d et how t w i l g umb h s mp siti s , y pi ifully sm a ll is our re c ord of the m ! The following sch e me m ay b e of assistanc e in n studyi g the i r st ructure . This on e man ife stly has fiv e m ain divi sion s a rate n sep d by a si gle ve rse with re fra in .

- I . a 20 e r e t o t re ra n the e e n on e n a on ant in a a ( ) v s s wi h u f i , v es b i g ss ;

t e a re of n e a e n t ro fi v e t o e t a e . h y u qu l l g h , f m igh syll bl s This on or a n of re e or r ac e it o t re ra n divisi f ms ki d p lud p ef w h u f i , ’ an d m a e a e ee n n ot r or he s y w ll h v b su g by b h gi ls, by t mu i e au an d e r a t ou an c an e n i s, p h ps wi h t d c e a comp im t . ( b ) ve rso sue lt o c on e stribill o ( 224 1

- 1 1 . a 1 4 e r e the odd on e of e t e ein a on nt in e ( ) v s s, s igh syllabl s b g ss a o ; the eve n on e is the refrain ( es tribillo ) I f this dan c e had the c a ract e r of a muda nza w e m a im a 1 n e the r anc n or h , y g gi ls d i g n n in t rn an d t on m a a e een n on e si gi g u , his divisi y h v b su g by of t e a ll the c an an d o en the e ct at or o n n in h m , musi i s v sp s j i i g

the re frain . ( b ) ve rso sue lt o c on e st ribillo ( 2257

- 1 1 1 . a 20 e r e the odd on e of e t a e e n a on ant in a O ( ) v s s, s igh syll bl s b i g ss ; the e ve n v e rse is the re frain ; danc e d and sung pre sumably by

on e of the a te r the re o n n in h re ra n . d ugh s , st j i i g t e f i ( b ) ve rso su e lto c on e st ribillo ( 22 79 a 1 2 e r o t o t re ra n the e e n on e e n as onant in a -a ( ) v s s wi h u f i , v s b i g s , and thus corresponding to di vision I ; presumably again sung

by b oth gi rls . ( b ) verso sue lt o c on e stribill o ( 2293

~ V . a 22 e r e the odd on e of e t a e e n a on ant in o o ( ) v s s, s igh syll bl s b i g ss ; the e e n e r e the re ra n an c e an d n ot r v v s is f i ; d d su g by b h gi ls , the re st join ing in the re frain . ( b ) ve rso suelt o c on e st ribill o ( 24 1 7

A spec ial study in th e se ca ntaros with th e i r d a nc e s would b e of the n l ’ greatest i nte rest . A similar composition ca b e found in V é e z do Guevara s P r n P n la S errano do la Vera ( c f . the e diti on of rofe sso Me en d e z idal a d ’ S ofiora de Me nen e P idal Ma ri . 1 51 an d in the a e oe t d z ( d d , p ) s m p s

Rosa do Alexa ndria I I fol . 1 8 9 . , , v L os L abrad ore s c antan

E ta n ouia so lleua la fl or s , que las ot ra s n o

COpla . L no Tie rrena upi y , para en vuo son s u a a e e a g l y b ll z , para e n vuo son el sol la e t re a y s ll , para en vno son

etc ” etc . The popular ch aract e r of th e se songs an d d an c e s is so p ron oun c e d th at

e S a c ar e e n a te r t re at a e of tim e . As in t he th y h ave a pec i l h m , v f his g l ps ’ c a s e of L o e s on t rad t ona co las or er e e re a or e th e m p s gs , i i l p , v s s, w bs b d by

f f r e a e . 231 3 ( o . o x mpl , vs

1 44 ACTO PRIMERO

r Tu in . Aun si supieses

la caus a. gQual es ? Dos messes

do guind as y do mentiras .

Lise . a T r n so ntan o Como qui , u i , ju

e l rte do e a d a Co y S bill ,

An z Cast a dalu ia y ill ,

vn r s re untan os a ot o p g ,

vn s o l s Yndias c entan o d a u , y otros con discursos largos

o r issiones car s d p ob y go ,

cossas que el vulgo alimentan .

‘ N o t aste las modidas l 1, om

V na dozena tome .

‘ gY ymagenes !

Con la fee

ue son de E s ana a t as q p dmi id , por milagrosas en todo quanto en qualquiera ocasion les pide la deb ocion

y el nonbre .

Liseo. P es dose u , modo

lleg [u] en las postas y vamos . gN o has de comer ? Aguard ar

a ue so se es ensar q gui , p que a media n oche llegamos ;

vn des ossado T r n y p , u i , ha do llegar quan do pueda

luzir .

Turin . Mui atras so queda

con el repuesto Marin ;

pero yo traygo que comas .

‘ Liseo. gQue trahes l

Ya lo veras . LA DAMA B OB A 1 45

Guarda.

N ecio estas .

‘ 5Desto pesadumbre tomas l Pues para dezir lo que es Ay a quien posa do oyr

su nonbre ; basta decir

e qu tu lo sabras despues .

Liseo. E ntretienese la hanbre

consaber que ha de comer . Pues sabete que he de ser ( P resto !

tozino fianb re .

Liseo. Pues 5a quien puede pessar

do o r nonbre tan al y hid go,

T r n ? m h s do dar al u i Si e a go,

ue c ssa m e es dar gq o e pu d , que tenga ygual a esse nombre ?

Esto y vua hermosa caxa .

Dame do queso vna raxa ;

que nunca el dulce es mui oubre .

‘ Turin . E sas liz iones no son

do galan ui despossado. Aun agora no he llegadol Las damas de Corte son todas vn fino cristal

trasparentes y diuinas .

Lise . T r n las mas cr sta nas o u i , i li

n comora .

Turin . E s natural ;

r est er s F n ea pe o a h mo a i ,

con en a cassarte vas qui ,

cam era .

no mas

d z car ana xalea. e a u , m y ACTO P RI ME RO

P asarase vua seman a Ab con dos puntos en ol ayre

z de a ucar .

n Ge til donayre .

‘ zQue piensas dar a su herman a l

A N se su er an a e a i , h m b ll , vna rosa de diamantes que asi ten gan los amantes

tales firmezas con ella . Y vna cadena tanbien i que conp te con la rossa .

D z n i h i e que es tanb en ermossa .

es sa areze en po p bi ,

credito a la fama .

De su herman a poco se ; pero basta que me de

e m s s s m lo qu a o e tima y a a . gB ello golpe do dinero !

S on quarenta mil ducados . gB rabO dote ! Si contados

los llego a ver como espero .

r Tu in. De vn macho con guarn izion es verdes y estribos do palo

se apea vn hidalgo . L iseo .

si la merienda me pon es .

l L andr d amino [S a ga ] e a, o c

L ea ndr a . H ues ed a ra ue c er ? p , gh b q om

Liseo. oa s senor en e a . S y , , bi ll g do l L eandra. Y vos en a misma hallado . M Liseo. 5A adrid ?

L ndr . Dexele a er ea a y , cansado do no salir

1 48 ACTO PRIME RO

y am icnso que ohi tratar

que la oaas an .

‘ [ a Turin ] gN o escuchas l V erdad es que no habra muchas que la pued an ygualar

n i e el r quissimo dote . Mas gay do aquel desdichado que espera vua bestia al lad o ! Pues mas do algun marquesote a codicia del dinero pretende la boberia

esta a a a orfia d d m , y p

hacen su calle terrero .

Liseo. [ a Turin ] YO lleb o lindo concierto ;

a gentiles vistas voy .

[ a Liseo] Disimula .

Tal est oy ,

que apen as a hablar acierto . [a Turin ]

E n fin sefior N ise es e a , , g b ll

‘ y discreta l

L eandra. E s celebrada

or vnica desseada p , y por las partes que ay en ella

de gente mui principal . gTan necia es esa F inea ?

Mucho sentis que lo sea . Contenplo de sangro ygual

dos cosas tan desiguales ; mas geom o on date 10 son ? Que hermanas fuera razon

que los tubieran yguales .

r vn rm an L ea ndra. Oygo deci que he o do su padre la dexo

esta hazienda. porque vio LA DAMA B OB A 1 49

que sin ella fuera en vano cassarla con honbre ygual

a su n e na ent obl cimi o, supliendo el entendimiento

con el oro.

Liseo. El hiz o m al.

L eandra. Antes bien ; porque con esto tan discreta vendra a ser

como N ise . gH as do comer ?

P n e u zes rest o m lo q e di p o,

aunque ya puedo escusallo.

' Man da s seiior tr c ssa ? g y , , o a o

S oruiros . [E ntreso L eandra] 1 Que lin da esposa !

ue are os ? 1, Q h m Ponte a caballo ;

r que ya no quiero come .

N to flixas es no es ec . o a , pu ho

u m ha do atar s s ec Q e e m , o p ho,

si es ne ia r a m er . e , y p opi ug

Turin. C tu no as si omo dig , gquien to puede cautibar ?

e m ha do atar Lis o. e m , 4 que es basilisco en mi ?

N o sen r . , o

Tanbien aduierte

° siendo tan entendida

ise me ara la a , d vid ,

ella me diere la muerte.

E ntrenso sal an t bio vie o Mi n , y g O a , j , y se o

Esta fuo la intencion que tuno F abio .

P arcze que os quexais . B ien mal enplea

mi er an tanta az en a no fue s h m o h i d , abio ACTO PRIME RO

en es ue F a o ue no sa sea . bi q bi , y q bio

Miseno. en dexaros az en a os z a rabio Si h i d hi o g ,

vos propio lo juzgad .

Otabio. Dexo a F nea i ,

t do sin le tan ran renta ulo p , g ,

a todos hasta agora nos sustenta . l l Miseno. Dexo a a la que mas o parezia

de sus sobrinas .

Otabio. V os andais discret o ;

ues a en ere o su bob eria qui h d ,

exo su hazien da p ara el mismo effeto.

Mis eno. De N se la diuina allardia i g ,

las a tas es eranzas ol con eto l p , y e

os deben do toner apasionado . gQuien duda que lo soys mas inclin ado ?

Otabio. Mis as son entranbas mas os ur hij yo j o , que me en fadan y cansan cada vua

or su ca n an mas r c ro p mi o, qu do p o u

r n lin i n most ar amor y y c ac o a alguna .

ser F nea sin le es caso r Si i p du o , ya lo suplen los bienes do F ortuna

n as ue lo dio n at ra eza y algu q u l ,

r z sien pre mas libe al de la belle a . P ero ver tan discreta y arr ogante “ a N ss m as me re art r za 2 1 0 i e pud y m i i , y que de bien hablada y elegante

ol vulgaz o la aprueba y soleniza . m e cassara agora— y no te espante

n n ue a n o la a tor za a Opi io , q lgu u i

dos estremos o a ac era , b b O b hill ,

~ zi la bob a eleccion sin duda hi era .

o N di a s tal or D os ue estan s etas Misen . O g y , p i ; q uj

n a no acertar en ada .

n fi Otabio. E so es e ga o

que yo no trato aqui de las discretas ; n solo a las bachilleras d esenga o .

1 52 ACTO PRIME RO

Otabio. V ua a sin c os a arentes [ ] h llo yo , mu h p , y es el buscar vn oubre en todo estad o

ue lo a ta m as con m as c a . lo q f l , uid do

E so no entiendo bien .

E stadme atento . N ingun b oubre n acido a pensar viene

ue lo a ta M sen enten ent q f l i o dimi o ,

y con esto no busca lo que tiene .

V ue el oro lo a ta el sus tent e q f l y o,

y pionsa que buscalle lo conuiene ;

es c ser la a ta el oro ent en a pu omo f l i d ,

e a l enten ent sca az en a . d x e dimi o , y bu h i d

i ni n z i Miseno. zP edad del cielo que ng1m a do so quexe do faltarle entendimiento !

Otabio. P es a c s ue n nca lo han orc u mu ho , q u hido,

les a ta son sus ras ar ent . f l , y Ob gum o

N ise es aquesta . Quitamo el sentido

su desbanecimiento.

n Miseno. Vn casamie to

os traygo yo. l Otabio. Casemos a ; que temo

alguna necedad do tanto estremo .

'1‘ E ntr ns t bio Mis n s l an N i elia [ o o O a y e o, y a g ] se y C ,

criada

5Diote el libro ?

tal ue a Y , q Oblig

a no abrille ui tocallo.

‘ P es or ue l u , gp q

li F or no nsucialle Ce a . e ,

si quieres que te 10 digs ; en candid o pergamino

vienen muchas fl ores do oro.

B en lo r z E d r i mo o o lio o o ,

griego poeta diuino. L A DAMA B OB A 1 53

oli C a . 5P oeta ? Pues parez iome

r p osa . Tanbien ay poessia

on prosa . l Ce ia . N O 10 sabia ;

re cl r n cansome . mi p i cipio, y E s que no so da a entender con el artificio griego

asta el nt r e h qui o lib o, y lu go todo se viene a saber

n r qua to p ecede a los quatro .

‘ Celia . E n fin es et en r sa , g po a p o l Y do vna historia amorosa

n dig a do aplauso y teatro .

A dos r sas erentes y p o dif ,

poetica y historial :

la st r a sa ea hi o i l , li y l l , cuenta verd ades patentes

con frasi y terminos claros ;

la et ca es er sa po i h mo ,

ar a c ta en osa v i , ul , lic ci

esc ra aun a n en s rar s y u , i g io o tiene mil exornaeiones

y r etoricas figuras .

Celia . gPues de cosas tan escuras

‘ juzgan tantos l

N O lo nes po ,

Ce a e uefia Ob ec ion li , p q j c ; per o asi corre el engafio

del mundo .

F inea dama con vno s cartillas , , ,

no maestro. y Rufi ,

' i e ol fi F inea . N n todo a o

saldre con essa lizion .

Tu hermana con su maestro . [a N iso] 1 54 ACTO P RI MERO

gConoze las letras ya ?

E n l r n os p i cipios esta .

P a en a 0 no e ras es r ci ci , l t mu t o . gQue es esta ?

Letra sora .

‘ gLetra l 5Pues es otra cosa ? i N O sino ol alba ! ( Que hermosa bestia ! [ ap arte ]

F inea . B en en si a a i , bi ; , y , y

el a a e de ser lb d be ,

n qua do andaua entre las coles . n Rufi o. E sta es ca : 10 8 espanoles n o la solemos poner

n n en uestra le gua xam as . Usanla mucho alemanes

n y fl am e cos .

F inea . xQue galan es van todos estos detras !

E stas son letras tanbien .

‘ T nt s l g, a a ay

B eyntitres son .

A ra a a de li ion [O] b y c , l que yo o d ire mui bien . gQue es esta ?

‘ 5Aquesta l N O so.

‘ esta l Y z,

N o se que responda . Y i esta ? i Qual ? gE sta redonda

‘ letra l

L e a orte u go z, c

Ass ass ! ( i , i

B est a or D os so llam aua i , p i ,

1 56 ACTO PRIMERO

5Como ?

H ame engafiado. n Rufi o. gYO engafiado ?

Dila presto .

F inea . E stana aprendiendo aqui la letra bestia y La prim

F inea .

ac vn o uete de a S o e q p lo ,

al ca vua e a a y bo m di bol ,

idiome la an s a p m o ol , mira que lindo regalo

a enas m e la t y p omo,

an as ! la a as enta qu do zc bol i ,

ue ca c enta q pi omo pimi ,

y la mano me quebrO.

an el di i ulo nora Qu do e p yg , tiene el maestro licen cia

do castigar . { Linda ciencia !

A n e me ese sefiora u qu di , ,

estr a r ant t ene vu o p d e qu o i , h i no e do darle otra l zion .

Celia . F uesse: [E n tros o Rufino]

N O tienes razon ;

sufrir y aprender conuien e .

F inea P es las etras ue a estan . u l q lli , gyo no las aprendo bien ?

V n an ze ven e go qu do di ,

y voy quando dize van .

ue ero N se el aestr gQ qui , i , m o, quebrandom e la cabeza

‘ n n in bon l w co b a , b ,

es eza Celia . Ella pi

do rey . [ aparte] Quiere el padre nuestro L A DAMA B OB A 1 57

que aprendamos .

F inea . Ya yo so

el P adre N uestro .

N O digo,

s n el n estra ol cast i o u , y igo

rt r por d a e memo ia fue .

F inea . Pon ame vn lo en cl e g y d do,

y no aquel palo en la palma.

Colia . Mas ue so to sa e el a a q l lm , si la sabe

F inea . Muert a quedo .

O Ce a ! no so 10 as i li dig ,

y veras que to dare .

’I‘ l lar criad a [S a ga ] C a,

T e c nt a la fee . a F inea op o igo, [ ]

Ya Ce a las dos a as , li , mig

so han juntado . A nadie quier

mas en todas las criadas .

Clara . Da e a r as tan en a as ( m lb ici , bi d d , como el sueeso requiere ! Pues zde que son ? Ya parI O

t r m nuestra ga a la o a .

iertO erta ? gC , ci

E sta matiana . 5P ar1 o en el tej ado ?

Pues adonde ? E n el aposento ; que cierta se echo do ber

su entendimiento .

E er F inea . s mug

n otable .

n momen a Clara. E scucha v t . Salia por donde suelo 1 58 ACTO PRIMERO

el sol a an r c , mui g l y i o,

con la l rea del r e ib y ,

colorado y amarillo ; andanan los carretones quitandole ol romadiz o

que da la noche a Madrid . Aunque no se quien me dixo que era la calle Mayor

el s a mas ant old do iguo , pues nunca el mayor do F landes

p resento tantos seruizios .

P re onauan a a ar ente g gu di , — agua viznieta del vino

lo honbre rnest len s s ca o das,

todos naranj as y gritos .

Dormian las rentas ran es g d ,

des rt uan los offizios pe a , toeanan los boticarios

s s lmir zes a ine u a e p , quando la gata do cassa comenzo con mil suspiros

d zir A a a e : ( y , ay , ay , y ,

u er ar r ar ! q e qui o p i , m ido

Le n ose zi uimocho ba t O q , y fue corriendo a dezirlo

sus ar entes e s a p i y d udo ,

u e en d ser r sc s q e d b o mo i o , porque el lenguage que hablaban

n t do mon az illos e iplo ,

i eri nz ntrellos s no es g go a e ,

no s s afiol ui at n . e e p , l i o

V n vua ata n a i o g bi d ,

n n n e r esti co bla co y g o v do, — sospecho que era su aguela

r a con uesta de O ico go d , y p c

i e arrastra onrra y s lo qu ,

ACTO PRIME RO

ras ue arezen nifios di q p , y daras a la parida

el ar en l p abi de os hijos .

F inea . N 0 me pudieras co cossa para el gusto mio do mayor contentamient

Camina .

Tr i n as t cami o .

[E ntr ons o F inea y Clara ]

5Ay locura semej ante ?

Y C ara es a tanbien ? 1, l bob

P or esso la quiero bien .

La semej anza es bastante ; aunque yo pienso que Clara

es m as bellaca que boba . n Con esto la enga a y roba .

’1‘ l n D ar o F enisa L aur nzi ll r [S a ga ] u d , , e o, caba o os

Duardo. Aqui como estrella clara

a su hermosura nos guia .

F enisa Y aun es del sol su luz pura .

L aurencio. 30 reyn a do la hermosura !

Duardo. 1 0 N ise ! i F enisa. 30 sefiora m a !

N iso. Caballeros

E s v z L aurencio. ta e ,

r estr n enio a ar po vu o y g g ll do , de vn soneto de Duardo

z os hemos de hazer jue .

A ue sa do F nea 5 mi , q y i herman a y sangro ?

A vos s a Laure ncio. ol ,

“ s s a es aiiola que oy Sibil p ,

n c ana ni er trea o um , i ,

os or en a las Grac as a v , p qui y i LA DAMA B B A O 1 61.

son atr las M sas ez qu o y u di ,

es justo hazeros juez .

noranzias si s r c Si yg , de g a ias

truxerades a z ar ju g ,

era justa la eleccion .

F enisa. V estra rara discrezi n u o ,

n osible do ala ar y p b ,

fue justamente elogida ;

o d sofiora a E ar . y , , du do

B a a ol s net a a ar a y o o ; y gu d ,

n au que de yndigna corrida .

Duardo. La calidad elementar resiste

a r ue a la irt e este as ra mi mo q v ud c l pi ,

en las entes an e cas s ra y m g li o mi ,

donde la ydea del calor consiste . N 0 ya como elemento el fuego viste

ol alma cuyo buelo al sol admira ;

ue do nferiores n s so ret ra q y mu do i ,

adonde el serafin ardiendo asiste .

N o puede elementar fuego abrasarme .

La rt e est a ue viuifica vi ud c l i l q ,

enuidia ol verme a la suprema alearme ;

ue n e l e an e c me a ca q do d e fu go g li o pli ,

l como ra rta er t car e pod mo l pod o m ,

‘ que eterno y sin contradiceion inplica l

N i vna palabra entendi .

rd . P es en arte so e era Dua o u p l y , que mas de alguna dixera — por arroganzia Yo si.

La nten ion 0 el ar ent y e , gum o , es pintar a quien ya llega

r del a r ue c e a lib e mo , q i g

n l z del enten ent co u dimi o, a la alta contenplaeion

o e r a r sin fin d aqu l pu o mo ,

donde es fuego al serafin . 1 62 ACTO PRIME RO

Argumento y yntenzion

queda entendido .

L aurencio. j P rOfundos conceptos ! l Mucho a esconden .

Tres e s ue c rres n en fu go q o po d ,

er sa N ise a tres n s h mo , mu do ,

dan fund amento a los otros .

B ien los podoys declarar . Calidad elementar

es el calor en nosotros ; la celestial es virtud

ue ca enta ue recrea q li y q , y la angelica es la ydea

del calor . Con ynquietud

escucho lo que no entiendo .

Duardo. El elemento en nosotr os

es fuego . gEnten deys vosotros ? El puro sol que estays viendo

en cl e e o es ci lo fu g , y fuego el entendimiento

serafico ; pero siento

que asi difieren los tros ;

u el ue e e entar se a a q e q l m ll m ,

abrasa quando se aplica ;

ol ce est viuifica l e ,

y el sob receleste ama .

N sc rras or tu a O di u , p vid ;

vete a escuelas .

Duar o D n e estas d . o d ,

lo son .

Ya n o esc c o mas u h ,

do no entenderte corrida . Eser ine facil

1 64 ACTO PRIME RO

gQue es eso ?

Con las Obras respondiste .

E ssas respond en mexor ;

ue n sin ras r q o ay Ob amo .

Amor en Obras consiste .

La renc mio a D s e a. u io , io qu d

Duardo F eniso a s . y , dio

Duardo. tanta vontura vos Y a ,

como hermosura os conceda . [ ontronso gQue os ha dicho del soneto

‘ N isse l

Que es mui estremado .

H abreys los dos murmurado ;

que hazeys versos en efoto .

L aurencio. Ya no es monester hazellos

para saber murmurallos ;

ue so atreb o a ensurallos q c ,

quien no se atrebo a entendellos .

F enisa. Los dos tenemos que haz er ;

licencia nos podoys dar .

Duardo. Las leyes do no estorbar

queremos obedezer .

Malicia es osa .

N 0 es ta

La diuina N ise s estra e vu ,

r ‘ en s lo muestr O , po lo m o ,

L a rencio. P era tener ual. u udi , a yg

D s id n d lo La r n io o p a so, y que o so u e c . 635“ L aurencio. H er s s s sin a ensa ent mo o oy , dud , p mi o,

a n e nest tan en con ser er s y u qu ho o bi , h mo o,

si es ca a del en ser robechoso lid d bi p ,

vna parte do tros que os falta siento.

N ise con vn diuino enten ent , dimi o,

' os en rriqueze de vn amor dichoso ; LA DAMA B OB A 1 65

‘ mas s s de duerio re es f rz oy pob , y o oso,

que en la necessidad falte ol contento .

el oro es lanc ontr del e cans Si b o y c o d s o,

el escans del sto o os r t y d o gu , y p ome o,

que tarda el nauegar con viento manso .

Pensa ent m s d s et mi o, udemo o uj o ;

si v n tras vos n r m cans oy ecio , y e y e o,

an ven a s tras ser s s r . qu do g y mi, ey di c eto

nt o d L uren i E ro P edro, lacay o a z o

e P edro. i Que necio andaua en buscart fuera do aqueste lugar !

L aurencio. B ien me pudieras hallar

con el alma on otra parte . Luego gestas sin ella aqui ? H a podido vn pensamiento reducir su mobimiento

s ra de . de de mi , fue mi gN o has visto que la saeta del relox en vn lugar

firme s e re s e o estar i mp u l ,

n n n sta eta au que u ca e qui ,

t l voz est en la vua y a a , y luego en las dos esta ?

P es as i a a a u s mi lm y , sin hazer mudanza algun a

n me ves de la cassa e que , dosdo N isse que ha querido

l s z s h s a a do e e a ubido,

r que es numero do ynte es . ( Pues como es essa mudanza ?

l saeta so Como a y , que desde la vua voy

nz por lo que ol circulo alca a.

’ S erialaua a N ise .

P edro. 1 66 ACTO PRIME RO

' Pues ya seri alo en F inea .

‘ gE sso quieres que te crea l

P or ue no si a ca sa ? g q , y u

N ise es vna s a er sa ol h mo , F inea las doze son

r m endizi n o a do as b o ,

mas descansada y copiosa . E n las doze el Ofizial

escansa bastale ser d , y ora entonzes de comer

n tan precissa y atural . Quiero decir que F in ea

ora do s stent es u o , cuyo descanso ya ves

quanto cl b oubre lo dessea.

Den e es las oze a mi m pu d ,

ue so re con er q y pob , mug ,

ue an o de c er q d dom om , es la mexor para 9M N se es ora n fortunada i y , donde mi planeta ayrado do sestil y de quadrado

n me mira con fre te armada.

F ne es ora c sa i a di ho , donde Jupiter benigno

me ran de tr n esta mi do i o ,

con aspecto y faz hermosa .

D me enten er ue n en oy a d , q po i do

n F nea mis c a s o i uid do , a quarenta mil ducados

las manos voy preuiniendo.

E sta P e r es e o , d o, d d y

he de ser enp ressa mia .

‘ ra ro ar tu ossadia P edro. P a ap b ,

e n vna Sospecha estoy .

1 68 Acr o PRIME RO

L aurencio. Desa anera m ,

s r egu o va mi dessea.

'1‘ [S algan ] F inea y Clara

Ellas vienen ; disimula .

Si puede ser en mi mano . o i Que ha do poder vn cristian o enamorar vna mula ! Lin da cara y talle tie ( Asi fuera el alma ! Agora

c n zc er sa sefiora o o o , h mo , que no solamente vien e el sol de las orientales

artes es do estros s p , pu vu ojo

sa e con ra os m as r os l y oj ,

z y lu es piramidales .

P er si an sa s o , qu do li ,

tan ran o erz a trahe s g d fu y , al mediodia gque hareys ?

F inea C er c vo . om , omo no piramides ni sino cosas pro

Laurencio. E sas estre as er osas ll h m , esos nocturnos luzeros

m n n r e tie e fue a de mi .

F inea . vos anda s con estre as Si y ll , aque mucho que Os traygan ellas

arrom adizado ansi ?

y dormid con tocador

n n Laure ncio. gN O e te deys que os ten go

r n est lin io an ? pu o, o o, p y ll o gQue es amor ?

‘ 5Amor l Desseo.

‘ LDe que ? LA DAMA B OB A 1 69

De vna cossa ermosa . ( E s oro ? ( es diamante ? ( es destas que mui lindas veo ?

L aurencio N s n do la er s ra . o, i o h mo u

do vn a mu or c vos g omo ,

ue c la r ona D s q , omo o d io ,

para buen fin so procura ;

sta u vos la tone s y e , q e y ,

engendra dessea en mi.

F inea . Y yo ( que he do hazer a si se que vos me queroy

L aurencio. Quererme . gN o habeys oydo

‘ con amor se paga l

F inea . N O so o c se a a y omo h g ,

r e n nca o he er po qu u y qu ido,

ui n la cart lo vi e illa ,

ni me 10 enseiio mi madre . eguntarelo a mi padre

E s eraos ue no es ans . p , q i ( Pues como ? Destos mis ojos

saldran vn os ra s s yo vivo ,

c es r t s visiuos omo pi i u ,

do san ro de e r s g y fu go ojo ,

que se entraran por los vuestros .

F inea. N sen r arriedro a a O, o ; b y

cossa en que espiritus aya .

L ur n i S n los s r t s n estras a e c o. o e pi i u u ,

ue nt s so han do en en er q ju o c d ,

ca an vn y ns dulce fuego,

con ue se er o ol s s e q pi d o i go, hasta que so viene a ver

el h a n la osi ion a e p c ,

que es el fin del cassamiento ; que con este santo yn tento

stos los a res son ju mo , 1 70 ACTO PRIMERO

porque ol alma que yo tengo

r a vuest a pocho se passa .

‘ gTanto pasa quien so cassa l

Con el co os en , mo digo, v go

tan ert or estra a r mu o p vu mo ,

que aquesta ocasion busque . [ a

gQue es amor ? que no lo se .

‘ Amor l c ra ror . g lo u , fu 5Pues loca tengo do estar ?

E s vna ce c ra dul lo u , por quien la mayor cordura

suelen los hombres trocar .

Clara . YO ue am a hiziere lo q mi ,

eso hare .

P edro. en a es a r Ci ci mo , que el mas rudo labrador

a poc os cursos 1a adquiere .

E n c enzan a erer om do qu , enferma la voluntad

de vn a dulce en fermedad .

Clara . N 0 me la an es tener m d , que no he tenido en mi vida

sino solos sab afiones .

F inea .

L aurencio. Tu eras de v , mi como has de que que es luz del en

amor .

F inea . LO del cassamiento

m o quadra .

Y me inporta a mi.

P u s llebaram su cassa a e e a , y tendram e alla tanbien ?

sefiora. Si , Y geso es bien ?

Y mui justo en quien se cassa .

1 7 2 ACTO PRIMERO

YO como en fin no supiesse

esta de cassar ue sea q ,

t e cl ne r del ar om g o m ido ,

ue no t ene mas de cara q i ,

cuera r a m as ara y opill ; , Cl , ( que ynporta que sea pulido

este ar en es m ido , o qui , si todo ol cuerpo no passa

‘ de la pretin a l Que en casa

ninguno sin piernas ves . ’I‘ Clara . F ar ez ue t enes razon . di , q i ( Tienesle ay ? V esle aqui . S aco on retrata ( B uena cara y cuerpo !

M el n as no passa d jubo . l C ara . Luego este no podra andar .

A los t s ue t ene ! g y , Oji o q i S efior con N ise

ene 1, Si vi

a casarte ?

F inea . N o ay cassar que este que se va do aqu1

t ene ernas t ene traz . i pi , i a

Clara . mas ue con err caza Y , q p o ;

que ol moz o me muerde a mi .

'1‘ E n tro Otabio con N ise

t O abio. P or la calle de Toledo

dizen que en tro por la posta . gPues como no llega ya ?

Otabio. Algo por dicha acomoda . TenblenOo estoy do F infi u

A sta sefior la nobia . qui e , ,

H a no sa es ? ij , ( b

N o sabe ;

que esa es su desdicha toda . LA DAMA B OB A 1 73

t O abio. Ya esta en Madrid tu marido .

S ienpre tu memoria es poca : gno me lo diste en vn naype ?

Otabio. Esa es la fi ura s a g ol ,

que estaua en ol retratado ;

que lo vino viene agora .

Celia entro

Colia . A esta el sen r Lisseo qui o ,

apeado de vnas pastas .

Otabio. M ra F nea ue estos i , i , q

r ente sefiora . mui p ud , y mui

Llegad sillas y almohad as .

ai n Liss o T rin ri do [S go ] e , u y c a s

Liseo. E sta licencia se toma

qui en viene a ser hij o vuestra.

Y quien viene a darnos onrra .

A ra sefior e e go , d cidm

‘ ( quien es de las dos mi esposa !

: n 10 v l Yo 1, o o B ien merezco

los brazos . ( Luego no inporta ?

B ien lo puedes abrazar . Clara ( Senora ? Aun agora

biene con piernas y pies . E sto ( es burla O xerigonza ? El verle de medio arriba

me daba mayor congoxa .

‘ A r z b a ad vuestra curiada .

N o fue la a a en aiiosa f m g , h l que ab aua en vuestra hermosura .

tr S oy mui vues a servidora . ACTO PRIME RO

L u es l enten ent Liseo. o q e o dimi o,

r a toda E spaiia albo ota . La diuina N ise os llaman ;

s screta c er sa oys di omo h mo ,

re y hermosa con mucho est mo .

n P es c r e ra a esotra F i ea . 3 u omo equi b , si viene a ser mi marido ? gN o es mas n ecio ?

Ca a ca . Olobia. ll , lo

ntaos os or a . S e , hij , p mi vid Turin

z.Senor ?

Lind a tonta.

‘ (zComo venis del camino l

Con los desseos en oj a ;

r que sienp re lo hazen mas la go .

r F inea . E se macho de la n o ia

udiera s a er o p y h b p dido,

que anda como vna persona .

Ca a er ana . ll , h m Callad vo

A n e er sa rt sa u qu h mo y vi uo ,

F n e e es i ea d st humor .

T r n traxiste las as ? u i , g joy

N O ha lle gado nuestra gente . xQue do olvidos so perdon an en vn camin o a criados ! zJoyas traheys ? Y lo sobra

de las as ol r n joy p i cipio , l 950 ‘ tanto el jo se o acomoda . [ap arte ]

r l Otabio. Calor t aheys . gQuereys a ga ?

‘ gQue os afl ixe l gQue os congoxa ?

r Agua quisiera pedi .

H araos m al el agua sola .

Traygan vua caxa .

1 76 ACTO PRIMERO

V on conm igo . 5Alla dontro

Adios . i Ola ! Las del mar de mi desdicha

me anegen entre sus ondas . [ap arte ]

Otabio. YO tanbien me , hijo , voy ,

ara rebenir las c sas p p o , que para que os desposeys

con mas aplauso me tocan .

Dios os guarde .

Liseo. N O so ya que manera dispon ga

desbentura . iAy de mi ! [ ap arte]

'1‘ Todos so c an ; quodon Lis eo y Turin .

gQuieres quitarte las botas ?

N T r n s n la a . O, u i , i o vid gAy boba tan espanto

r Tu in . L astima me consideran do que ponga en vn cuerpo tan hermoso

cl cielo vn alma tan loca.

Liseo. Aunque estubiera cassado por poder en causa propia

me pudiera descassar .

L le es an n t r a a y ll a y o o i , pues con certando muger

con sent me es san ido , d po

con vua est a del can o b i p ,

con vua v1 11 ana tosca. Luego gn o to cassar i Mal aya la haziend a toda

u con t l ens n se a ere q e a p io dqui , que con tal censo so toma !

D as u a uesta er em q e q mug , L A DAMA B OB A 1 77

si en es er osa za bi h m y mo ,

ue e e ar r d gq pu d p i e mi ,

s n ti res e nes nz as ? i o g , l o y o

Turin. E so es engaiio ; que vemos

° por esperiencias y historias

s o adres sa s mil hijo d p bio ,

que de necios los desonrran .

Liseo. V erdad es que Ciceron

t a Marc T en R a ubo o ulio om ,

u ra vn ca a vn ca . q e e b llo , mello

r Tu in . De la misma suerte consta que do necios padres suelo

salir vua fenis sola .

Liseo. T r n or 10 enera u i , p g l ,

es conse uenzia rz sa y q fo o ,

lo semejante so engen dra.

O la a a ra so ron a y p l b p , rasganse cartas y firmas ; que ningun tesoro conpra

la rta . Aun si era libe d , fu

N ise

30 que bien te reportas !

D z n u si a vn h nb re a rado i e q e o y ,

u c er c so arr a q e ol i o oj ,

lo usiessen vn es e p p jo, en mirando en el la sonbra

u re resenta su cara q e p ,

so tienpla y desapasiona. ” Ass tu c tu st i , omo gu o

r t en su er an a er sa mi as e h m h mo ,

— e l st s cara del a a q u e gu o e lm , pues su libertad so nonbra

p luego tenplaste la tuya .

L B en z es r e e a s a iseo. i di , po qu ll ol

l n do su a re e e ojo p d ,

ue c ves me al r ta q , omo , bo o ,

m e e tar T r n . e pu d qui , u i 1 78 ACTO PRIMERO

( Que no ay que trata r de esotra ? ( Pues he do dexar la vida

or la ert te er p mu e m osa, y por la noche enlutada

cl sol ue los e s ra q ci lo do ,

or los as ides las a es p p v ,

or las es inas las r sas p p o , y por vn demonio vn an gel ?

Turin . Digo que raz on te sobra :

que no esta el gusto en el oro ; que son cl oro y las oras

mui dibersas .

' I/ise Desdo a i o. qu l

renunzio la dama boba . F in del p rime ro ac to de la Da ma boba

1 8 0 ACTO S E GUN DO

F enisa. N O so tend ra por menor

dar alma a su rudo pocho .

L aurencio. A r sefiores ha s mo , , ido

a e n en r n qu l i g io p ofu do,

u lla an a a del n q e m lm mu do, y es ol dotor que ha tenido

la os tro a de las en d ci cias, porque solo con amor fi aprendo

sus diuinas diforenzia

Assi lo sintio Platon

est Ar st te es o i o l dijo,

ue c del e es q omo ci lo hijo, 1 090 0 es todo contenplazion .

desseado sa er ( El b ,

u s l honbre n at ra q e e a u l , onsona con fuerza ygual)

D nazio l a rarse ella e dmi , y do admirarse naz io el filosophar que dio luz con que pudo fundarse

tod a ciencia artificial . Y a amor se ha do agradezer que el desseo de saber

es al homb re n atural .

Am0 r con fuerza suaue

i l honbr el sa er sent r d o a e b i ,

e es ara viuir dio l y p ,

t c nesta ra e . poli i o, ho y g u Amor republicas hiz o ; que la concordia naz1 o

de r con ue a ser l amo , q bolu o

iz lo que la guerra des o.

r i en las a es Amo d o l gua a v ,

i i l rr d r t s v st O a tie a o f u o ,

ra s en t s y como p do xu o , LA DAMA B OB A 1 8 1

ronpio el mar con fuertes naues .

' Am 0 r enseiio a escriuir

a tos es con etos l y dulc c ,

como do su causa efi etos ; amor ensoiio a vestir

al mas r al mas r sera udo, g o ; de la eleganzia fue amor

cl aestr el nbentor m o, y

fue de los versos primero ;

la us ca so lo de e m i b ,

la nt ra es uien y pi u pu , gq

dexar de sa er en a b bi , como sus efi etos pruebe ?

N O d d ue a F nea udo o q i ,

c a c enz a a ar omo ell omi o m ,

l c r de enseiiar a dcx amo ,

por ymposible que sea .

an i F enisa. s , y su padre lleba yntento por dicha en ol cassamiento

que ame y sepa .

D uardo. Y yo do

nf mand res c s y a o amo lo o ,

on lin io en sacar p v go a , que poc os deben do amar

e n lugar que saben pocos . 1Linda malicia

E stremada .

Dificil cosa es saber .

Si ; pero facil creb er

que sabe el que poc o O nad a .

i n n en F e niso. i Que d uino e te dimi to tiene N ise !

C elestial .

s en ne el mal ( Como, i do cio , ha tenido atreuimiento ACTO. S E GUN DO

ara hazerle estos a rabios p g , de tal yngenio desprecios ?

L r P au encio. orque de sufrir a necios

suelen en fermar los sabios .

n Ella vie e . Y can razon

se alegra quanto la mira .

[S algan ] N ise y Celia M l ucho a historia me admira . [ a Celia ]

Celia . A res ens ue son mo pi o q ,

n n fu dados en el di ero . N unca fundo su balor

s re ner s a r ob di o mo ,

l r que busca e alma prime o .

Duardo. S efiora a uestra sa , v lud oy quantas cosas os ven

dan a e re ara en l g p bi ,

y tienen vida y quietud ; que como vuestra virtud

ra el sol ue se l diO e q a ,

entras cl m al lo ec s mi lip o ,

tanbien lo estuuieron ell as ; que hasta ver vuestras estrellas

fortuna el tiempo corrio . Mas como la primave ra

sa con es do m arfil le pi , y ol vario velo sutil tiende en la verde ribera ;

rre el a a lison era co gu g , y estan rifiendo las fl ores

l re sobre tomar as colo s .

As vos sa s tr can si li , o do

r te t e senbrando el t is i mpo, y

n n s de a as a res . e ca po lm , mo ' e r en estas entes 1 1 75 F enisa. Ya s i fu ,

1 8 4 ACTO S E GUN DO

s tener e de a olo l bi ,

no vos ue s s a a mia , q oy lm ;

o si ue so c er str . y , q y u po vue o P ienso que de oposicion

me days los tros parabien .

L aurencio. es en es lo s s or en Y bi , pu oy p qui

n vino los que vuestros son .

Diuertios or a , p mi vid , cortandome algunas fl ores

los dos es con sus c res , pu olo

la diforenzia os conuida

este ar n r e er d j di , po qu qui o

r habla a L aurenzio vn poco .

Duardo. en ama s re 0 es c Qui y uf , lo o ,

n O ecio .

Tal premio espero . N ' o son vanos mis recelos .

Ella lo quiero. YO hare

vn ra et de fee mill e ,

er e r p o s mb ado do celos .

[E ntronso F enis a y Duardo]

L aurencio. Ya se han do. P Odr y g e yo,

N se con mis raz s arte i , b o d parabien de tu salud ?

Desbia fin ido a , g , f cil ,

' lison ero en aiiador g , g ,

c nc nstante a e lo o , i o , mud bl

b u re ue en vn mes do a sen a o b , q u ci , — que bien morozo llamarse ausenzia la enferm edad

ol pensamiento mudaste .

P er m al dix en vn mes o o , porque puedes disculparte

n crehist ert co que e mi mu o, LA DAMA B OB A 1 8 5

si erto ensa e y mi mu p st , con gracioso sentimiento

a aste el a r ue sa es p g mo q b ,

el tuyo en F inea.

L aurencio. gQue diz es ? P ero bien hazes

tu eres re tu scret pob , di o,

ella rica y ygnorante ;

scaste lo ue no t enes bu q i ,

y la que tienes dexaste .

Discrezion t enes en i , y mi la que celeb rauas antes

dexas con mucha razon ; que dos yngenios yguales

no conozen superior .

or c a m a inaste Y gp di h , y g que q uisiera yo cl ynperio que a los honbres debe darse ?

oro ue no ten as q i , citaste

do a F inea .

E scucha . gQue he do escucharte ? aQuien te ha dicho que yo he sido en vn mes tan inconstante ? gP arezete poc o vn mes ?

YO te sc no a es di ulpo, h bl ; que la luna esta en el cielo

in ntereses rta es s i mo l ,

n vn m es aun a enos y e , y lgo m ,

n e esta creziente y mengua t .

T n la t erra do Ma r u e i , y d id , donde ay tantos vendab ales

r n los honbr s do ynte esses e e ,

no fue milagro mudarte .

D e a lo ue has st . ilo, C li , q vi o 1 8 6 ACTO S E GUN DO

Celia . Ya La renz no t es an es , u io, e p t ,

de ue N se sefiora q i , mi ,

desta manera te trate . YO so que has dicho a F inea

requiebros .

Laurencio u m l an s . i Q e e eb te ,

e a a es test n s ! C li , t l imo io

Celia . Tu sabes que son verdades ; y no solo tu a mi duefio

n ratamen te a aste y g p g ,

er tu P e r cl ue t ene p o d o , q i

d tus secret s las llabes e o ,

ama a Clara tiernamente . gQuieres que mas to d eclare ?

L aurencio. Tus e s han s o e a c lo id , C li ,

y quieres que y o los pag [u] e .

P r C ara a e a a ? 5 ed o a l , qu ll bob

La renz si lo enseiiaste u io, , apor que te afrentas do aquello en que do ciego no caes ? Astrologo me parezes ;

u si n re do a en os a es q e e p g m l ,

in re arar en los s s s p uyo ,

largos pronosticos h azen . j Que bien enpleas tu ingenio ! “ D N s confieso ol ta e e i e ll , mas no es solo ol esterior n el que Obliga a los que sabe . i O quien os oyera juntos !

ar en romanzes Debeys de habl , porque vn discreta y vn necio (hablando son -sonantes al fin ? tendreys corresp ondenzia )

no pueden ser consonantes .

A La renc o ue en a ( y , u i , q bu p go do fee y amor tan notable !

ACTO S E GUN DO

Lis eo. YO me espanto que te trate

con estos rigores N isse .

L aurencio. P es Liss o n o t es antes u , e , e p que es defeto en los discretos ’ l l ta vez e no ser afables . 5Tienes que hazer ?

Poc o o nada . Pues bamonos esta tarde

p or el Prado arriba .

L aurencio. V amos

n e r do d quie a que tu mandes .

Liseo. Detras do los Recoletos

quiero hablarte .

L aurencio. Si el hablarme

no es con las en as ue zen l gu q di ,

sin con en as ue azen o l gu q h ,

n e me es ant ue sea au qu p o q ,

dexare cauallo y paj es .

B ien puedes . [E ntroso]

YO voy tras ti. 1 Que celoso y que arrogante !

F n a s a sin a i e e bob , y , dud ,

do a er e c nta naze h b l o do, ,

mis amores y papeles . Ya para consejo es tarde ; que deudas y desafios

los honrrados sa en a que l ,

r m as so atan para t a p dil , n y no es bien que so dilate . [ Vayase ]

'1‘ Rubrica do L op e do Vega

u aestro do danzar F inea. [S algan ] o M , y gTan presto so cansa ?

Y no quiero danzar mas .

n anz a a c u as Maestro. Como o d o p , i has e enfadado do s . LA DAMA B OB A 1 8 9

Finea . P or poco diera de Ocicos

saltando ; enfadada vengo . gS oy yo urraca que andar por cassa dando salticos ?

Vn as tr c ntra aso p o, o o o p ,

fl oretas tra fl oreta , o 1 Que locura !

M tr aos o. ( Que ynperfeta

c ssa on vn er s ass o , h mo o v o poner la naturaleza licor do vn alma tan ruda ! Con que yo salgo do dud a

no es alma la belleza . [ ap arte ] Maestro

1.Senora mia ?

Tra m fi ana vn t nboril e a a . l E ss s nstru ent e e i m o vil ,

aunque de mucha alegria .

F inea . Que soy mas afiz ionada

al casca e os confiesso. b l ,

E s mui do caballos esso .

H aze vos ue me a ra a d lo q g d , que no es mucha rustiqueza

l r ll l c t ahe os en os pies . H arto poor pienso que es

trahellos en la cabeza .

Maostro. Quiero seguirle ol humor . [ap arte ]

YO hare lo que me m andays .

Yd danzando quan do os bays .

YO os a ra ezc el a r g d o f bo , pero llebare tras mi

mucha gente .

F in V n aste er ea . p l o,

vn sas r vn a atero t e , y c p glleban la gente tras si ? ACTO S E GUN DO

tr Maes o. N O : pero tan poc o ellos por la calle hazienda van

sus Officios .

F i nea . N O odran g p , si quieren ?

Ma estro. P odran hazellos

(y yo no quiero danzar .

P n r ues o ent eys aqui .

Maestro. N o ar h e,

ni en mi vida bolvere . )

y yo no quiero danzar .

n r Pues no e t eys aqui .

N O hare .

N i er an ar en vn i qui o d p e ,

ni dar bueltas n i saltar .

Ma estro. N i yo ensefiar las que suefian

dis

F inea . N O ynporta ; que los maridos

son los que mexor ensefian . gH an visto la mentecata ?

ue es entecata an ? gQ m , vill o

en ra toned la an . S o , m o Es vua dama que trata con grauedad y rigor l i a quien a s rbe .

E e 1, so s ? Puesto que bo elhe despues

con mas blandura y amor . gEs eso cierto ? aPues no ?

YO os r a n e n nca n r ata ju o, u qu u i g , que no ay mayor mentecata

en todo cl mundo que yo.

h e Maestro. E1 cre er es cort sia

a s u so c rtes . dio , q e y mui o

1 92 ACTO S E GUN DO

F ine a . Aprendo ya ; me ensefia amor quiza li i n d c o os e cuidados .

Clara . B oluiendo al c ent La renz u o, u io m di e o vn papel para ti.

Pussem e a ar . A de yl i y mi, quanto proboca el silenzio !

Met en el co el a e i po p p l ,

c laua al c n y omo y a dil,

es la est a tan s t y op u il ,

r ndi l l ap e ose e copo en e . Cabezas ay disculpad as

an er en sin co in s qu do du m g e ,

s en s c rozines y u o omo ,

que vienen con cabezadas .

A enas el c ar p opo dio ,

an esta en ol de es qu do , pu pi ,

m e c a s e a lo vos . h mu qu , y

Y cl a e ? 1, p p l

L re uedO ib q ,

como el santo de P axares . Sobraron estos renglones en que hallaras mas razones

e en c ez lad re qu mi ab a a a s . [ gYno se podran leer ?

Toma y lee . Y O so poco . Dios libre do vn fuego loco

l t l r a es opa de a muge .

E ntroOtabio

i Y ens u me cans en nsefiarla Otab o. O pi o q e o e , porque es querer labrar con bidro vn porfido ;

l nz r ni ol eer ren er e e ui e da a l ap d pu d ,

aunque esta men os ruda que solia . LA DAMA B OB A 1 93

F inea . a re entecat ener s p d m o y g o o, n seas venido ! gComo mentecato ? Aqui el maestro do danz ar me dixo

ue era o entecata en e o q y m , y oj m ; mas el me respondio que este vocablo

si nificaua vn a m er ue rifie g ug q ,

e buelbe con a r n ta e y lu go mo o bl ,

' c enes tu riiiendo a ra omo vi go ,

has do strarme a r en re e rat mo mo b b o,

quiso tanbien llamarte mentecato .

Otabio. P es a no creha s a to as entes u hij , y d g ,

ni digais esse nonbre ; que no es justa.

F ine N o 10 are mas . Mas a sen r a re a. h dig , o p d , asabe leer ? gPues esso me p reguntas ?

T me or a s a este lea. o p vid uy , y gEste papel ?

a re . Si , p d

O e F nea; y , i

L ea a nsi

A ra ezc c la merzed ue m has c a n t a g d o mu ho q e e ho, u que od esta n c e la he assa con oco s s e ensan o en tu her o h p do p o i go , p d mosura .

F inea. gN O ay mas ? t O abio. N O ay m as ; que esta mui justamente

quemado lo demas . gQuien to lo ha dado ?

F inea La renz a e scret ca a er . u io, qu l di o b ll o

de la aca e a do er ana N ise d mi mi h m , i que dize que me uiero con estremo . q m

Otabio. De su I gnoranzia mi desdicha temo .

' Esto truxo a mi casa oTsen discreta

N se cl a an ol s co ol eta i , g l , mu i , po ,

el n el ue so re a do r s li do, q p ci olo o o,

f

l afe t ado el oc ol s . a arto e y , l o, y Ocio o [ p ] ACTO S E GUN D O

H ate assa m as con este acas ? g p do , o

F inea . er en la esca era al r r , l , p ime paso i me d o vn abraz o .

tabi O o. 1 E n buenos pas os and a i pobre honor por vna y otra vanda !

La screta con ne s en con etos di cio c , l y a boba en amores con discretos .

A esta n o a llebarla or cast y p igo,

mas ue ra enten er su es y , q lo pod d poso . [ apar te ]

H a sa e ue est mui adO ij , b d q y ea . O h e N x z Enen O as de e s a ra ar . t de s a b g y , hij ? -

F inea . erta ue me osa y ci q p , i aunque me parez o mui bien entonzes .

r Olobia. Solo vuest a marido ha do ser digno

d z esos abra os .

E ntro Turin

E n tu busca vengo. gDe que es la prisa tanta ? De que al canpo

' van a matarse mi seiior Lisseo

La renz ese a ar es te y u io , hid lgo m qu o ,

n n que desbaneze a N ise co so etos .

l i . ue n orta ue los a res sean scretos O ob a zQ y p q p d di , si les falta a los hij os la Obedienzia ? Liseo h abra entendido la inp rudencia

est L a renz atreuidillo c d e u io y lo o , y que sirbe a su esposo — 3Caso estraiio ! gP or dond e fueron ?

T rin V an si no me en an u . , g o, A hacia los Recoletos gustin os .

ue estr fios esat nos ! Otabio. Pues ven tras mi . 3Q a d i

Vayanso Ota bio y Turin

n Clara . P areze que se ha e oj ado

tu padre .

ACTO S E GUN DO

Clara . N o ves ue amo r e amauas 1, q po qu , y Oluidare porque Oluidas ?

F inea . H art me essa do a a e o p m ll ,

’ er a ver ari en p o mi d o v go, aun que sospech o que tengo

do Oluidarme do Oluidalle .

'1‘ V n ntr L aya so, y o on isseo y L aurenzio.

L aurencio. Antes Lisseo do sacar la es a a , , p d ,

quie r o saber la causa que os Obliga .

Pues bien sera que la razon os diga .

Lisseo si son e os do F nea , c l i ,

entras no se ue estra s osa sea mi q vu e p ,

en e reten er es r er bi pu do p d , pu fui p im o .

Liseo. Disimula s a fee do ca a er y , b ll o ; pues tan lexos llebays el pensamiento

do amar vn a muger tan inorante .

L aurencias Antes de que la quiera no as espante ;

ue so tan re c en nazido q y pob omo bi ,

y quiero sustentarme con el dote .

ue a ans no os a rote Y q lo dig i , lbo ,

es ue vos atan cl casa ent pu q , dil do mi o,

haneys dado mas fuerzas a mi yntento ;

r e an e an a as y po qu , qu do ll g Oblig d

a esn arse en can a las es a as d ud p p d , se han de tratar verdades llanamente

que es honbre vil quien en el canpo miente . (Y) gluego no quereys bien a N ise ? " A N ise 1 600

no e n e ar ue no la so yo pu do g q qui , mas su dote seran diez mil ducados

de arenta a ez a bo s van tre nta y qu di , y y , y . ' i l Y pase do los d ez a os quarenta .

en ess ans c de has 10 cre Liseo. Si do o i , omo o, estad seguro que xam as Lisseo as quite la esperanz a de F inea ; LA DAMA B OB A 1 97

ue a n e no es la entura do la fea q u qu v ,

sera de la norante la ent ra yg v u ,

ue asi D os me la de ue no la er q i , q qui o,

pues dosdo que la V I por N ise muero . gP or N ise ?

or D os . Si , p i

P s estra s N se ue vu e i ,

con la ant e a ue o la iso y igu d d q y qu , f yo os doy sus esperanzas y ab ores .

Mis desseos as da mis a res y , y mo ,

mis ans as mis serenos mis desbelos i , , ,

mis ers s mis sos ec as mis e s . v o , p h , y c lo

E ntra con sta rumfl a dalde e d e , y piqu ;

que no h ara mucho en que de vos se pique . 1 620 ' L i o. A n con cartas tr a as e e se u que ipul d ju g [u] ,

a et la merzed sen r L a renz c o , o u io ,

ue so r c con rare st . q yo y i o, y p mi gu o

N ise es screta no ero el oro di , yo qui ;

az en a ten su e ez a a oro. h i d go , b ll d 1 625 L a ure ncio. H aze s en ue o ue so tan re y mui bi , q y , q y pob ,

el oro solicito que m e sobre ;

ue a n e de enten en t es F nea q u qu dimi o lo i ,

yo quiero que en mi casa alh aj a sea . gN o estan las escrituras de vna renta

en vn ca n de vn escr tor o r n en xo i i , y i d

aquello que so come todo el afio ; n o esta vua casa principal tan firm e

c de e ra al fin es a r o omo pi d , , y o y l d ill , y re nta mil ducados a su duefio ?

P es o are c enta ue es F nea vna cassa u y h u q i ,

' vn scr t ra vn ens vua iia a e i u , c o, y vi ,

ii y serame vna renta con vasqui a .

D m as ue si m e ero a me asta e , q qui , mi b ;

en i e e que n o ay mayor yng o qu s r casta .

Y os do a a r a do a aros tant Liseo. O y p l b yud o ,

r re que ven ga a ser tan vuest a como c o. ACTO S E GUN DO

L aurencio. o con N se are or D s Lisseo Y y i h , p io , ,

lo que vereys . Li seo. Pues dem onos las manos

do a os no fin idos cortesanos mig , g , “ s n c si fueramos do Gre a 1 645 i o omo ci ,

n n ado de ta to el amistad so p recia . Y O sore vuestro Pilados .

YO Orestes .

'1‘ E ntro Otabio y Turin

gS on estos ?

Ellos son . gY esto es pendenzia ?

Conozieron do lexos tu pressenzia . Caballeros

S eii or soa s en en o. , y bi v id gQue hazeys aqui ? Como Laurenzio ha sido tan gran do amigo mio desde el dia

u ne a estra cassa a la mia q e vi vu , O ,

venimonos a ver ol cau s os po ol ,

n tratan do uestras cossas ygualm ente . ii Otabio. Desa amistad me huelgo estra amente .

A n e a vn ar n de vn ran o a qui vi j di g d migo, l l y me ho gare do que bo b ays conmigo .

’ n S era p ara los dos merzed otable . i 1 660 ' V amos aconpafiaros y seru ros .

T r n r ue raz n me has en ana ? u i , apo q o g do

P r e e en de a er s a o qu d b h b di imul do,

r e en fin las m as de las endenzias y po qu , , p

r or a rar ue a no ser est mue en p m du ; q o,

no hubiera mundo ya .

P es tan res 1 66 5 Otabio. u di , g p to

so pudo remediar ?

ue mas r e e Turin . gQ m dio

r fiir ue estar la a en odi ? do no e , q vid m o

ACTO S E GUN D O

L au renzio.

Dizes mui bien ;

n o bolberas a quexarte .

los os usso en ti Si oj p ,

quitelos luego . Que sea

e r como tu qui es . F inea

dexame a Laurenz io a mi ;

marido tienes .

F i nea . YO creo ' l que n o riiiam os as dos .

Quedate con DiOs .

Adios .

s N is ntr L ur n i . Vaya o e, y e e a e z o

que confussion me veo ! 5Ay mugor m as desdichada ? Todos dan en perseguirnfl

L ren io . De ent en vn nt firme a u c t e pu o ,

F rt na e z a rada o u v lo y y , que y a parcze que quieres

ayud ar mi pretension . ; O que gallarda ocasion ! [ ap arte ]

E res tu en ? g , mi bi

n N O es eres F i ea . p ,

L a renz o er e xamas . u i , v m i Todos m e rinon p or t . Pues aque te han dicho de mi ?

Esso agora lo sabras . gDonde esta mi pensamiento ?

L re nc io . Tu ensa ento ? a u z, p mi

La ure nc ln . E n ti

e si e tuuiera en porqu s mi ,

yo estuuiera m as contento LA DAMA B OB A 20 1

gV esle tu ?

YO n xamas o, .

Mi er ana m dixo a h m e qui, que no has do passarmo a mi

por el pensamiento mas .

P or ss a a to desbia e o ll ,

y no me passes por el.

L auren io. P ensa ue o est en el c i q y oy , i y hecharme fuera querr a . [ aparte]

F inea. Tras st ze ue en e o di , q mi

pusiste los oj os .

L aurencio. Dize

verdad ; no lo contradize

cl alma que viue en ti.

F inea. me has do quitar luego

que me pusiste . si on amor consiste ?

los tes to r e qui , u go,

enz do a li o qui ,

tengo en mis ojos .

N o mas : cessen los enoj os . gN O estan en mis ojos ?

Si .

es linpia y quita los tuyos ; l no han do estar en os mios .

‘ e graciosos desbarios !

los suyos .

i z linp o con el lien o .

astelos

gN O lo vos ?

La renzi no se los dos u o, ; n que a sentir pe as comienzo .

brabamente se ha enoj ado

del abrazo que me has d ado .

L aurencio. Mas gque ay otro desbario ? [ ap arte] ACTO S E GUN DO

i T F nea. anbien me lo has do quitar .

N O ha de refiirm e por esto .

L aurencio. gComo ha de ser ? F inea. Siendo presto . gN O sabes desabrazar ?

L aurencio. raz erec a e El b o d ho lc ,

— t enes raz n a me ac er o i o , y u d

a ra al are cl z er y go c i qui do, l y o abraz o desaré . gE stoy ya desabrazada ? gN O lo ves ?

N ise entre

Y yo tanbien .

F inea. H uel ome N se tan en g , i , bi ,

que ya no m e diras nada ; ya Laurencio no me passa

por cl pensamiento a mi ;

a los s lo bolui y ojo ,

pues que contigo se cassa .

E n cl enz los llebo li o ,

y ya me ha desabrazado. T L aurencio. u sabras lo que ha passado

con harta risa . Aqui no hamos los dos al j ardin ;

‘ que tengo bien que riIiamos .

i i r m L aurencio. Donde tu qu s e es b a os .

Vayanso L aure nzio y N ise

F inea. lo lleb a en fin .

gQue es esto que me da pena de que se baya con el ?

E stoy por yrm e tras el. ( Que es estO que me enagena de mi propia libertad ?

204 ACTO S E GUN DO

ue si a r la ens efiase a rende r a . a a rte q mo , p i [ p ] 1 3 1 5 “ { Con que so quita el mal de celosia ?

on d namorars si rabio C ese e , ay ag ,

que es el remedio mas prudente y sabio ;

ue mientras a a r ha do abe r elos q y mo h c , l pe ns ion que dioron a este bien os cielos . ( Adonde N ise esta ? l F inea . Junto a a fuente .

Con Laurenz io so fue .

Otabio. zCansada cosa ! Aprenda normals a hablar su prosa ;

dexesse do sonetos y canz iones .

l r z n Alla voy a rronpe rles as a o es .

Vayos o

l n F inea . ( Por quien en e mu do passa esto que passa por mi ? gQue vi denantes ? gQue vi que assi m e onciondo y me abraso ? C elos dize el padre mio

B r enferm eda que son . i aba

E ntro L aurenzio

u t r a Laurencio. H uyendo s au o id d

r mo desbio do enoj a lo , aunque en parte lo agradezco que estorbasse los en ojos

e n l s do N isse . Aqui sta os ojo

r z art a cuyos rayos m e of e co . [ ap e ] Senora

or no a arte . F inea. E stoy p h bl

C te ste con N se ? 1, omo fui i

f i r e o so. Laurencio. N o m e u po qu y qui

r ue ? F inea . Pues apo q

no arte . Laurencio. PM no e j LA DAMA B OB A 205

‘ F inea . P esam e si no te veo , y en viondote ya querria

ue te fuesses a r a q , y po fi

anda el temor y cl desseo. " Yb estoy c elosa de ti ;

ue a se ue son e s q y lo q c lo , que su duro nonbre j ay cielos ! i me d xo mi padre aqui .

i o r me d o l emedio .

Desenam orarme

r e re sose arme po qu pod g , quitando cl amor de en medi Pues gesso como ha de ser ? El que m e puso el amor

l r r me o quita a m exo .

V n remedio suelo haber .

a ? 1, Qu l L os que vienen aqui

al remedio ayudaran .

' 1‘ E ntron P edro D rdo F ni , ua y e sa

P edro. F inea y L aurenz io estan

juntos .

Y cl fuera de si. Soays los tres vien benidos a la ocasion m as gallarda

f r que se m e pudo o reze . Y pues de los dos ol alma 1 365 a sola N ise discreta ynclina las esperanzas oyd lo que con F inea

para mi remedio passa .

r E n sta cassa areze Dua do. e p , “ se n or los a res an as 1 8 70 gu p y d ,

que te ha d ado echizos Circe . 206 ACTO S E GUN DO

N unca sales desta cassa .

L aurencio. Yo vo con ensa nt y mi p mie o , hazienda vna rica traza

para hazer oro do alquimia.

r P ed o. La salud y el tiempo gastas .

cansarte es t cansa , pu odo

do pretender ynposibles .

Laurencio. Came m

P edro. E1 nonbre basta.

para no callar xam as ;

que nunca los necios callan .

L aurencio. Aguardadme mientras hablo

a F inea.

P arte .

H bl u a a a,

F nea er sa a los tres i h mo , ,

para el remedio que aguardas .

F inea . Quitame presto ol amor

que con sus celos me mata .

L aurencio. delante dostos como me das la palabra

d s r s sa r e e mi e po y muge ,

todos los celos se acaban .

( Eso no mas ? Yo lo hare .

Pues tu misma a los tros llama.

F eniso Duardo P e r , , d o Senora YO doy palabra do ser esposa y muger

de Laurenzio .

D uardo. xCosa estrana !

La ure ncio. gS oys testigos desto ?

Si .

z en n La ure ncio. Pues ha cu ta que estas sa a del amor y de los celos

que tanta pena to daban .

ACTO S E GUN DO

F inea . Ya n o es tiempo

do refiirme .

Otabio. en te a a ? 1, Qui h bl

en te riiie ? 1, Qui

F inea . N ise y tu . Pues sepan que agora acaba de quitarme el amor todo

L a renz c la a a . u io, omo p lm

i r Ay alguna bober a . [ apa te] Dixome que se quitan a el amor con que lo diese

de su er la a a ra mug p l b , y delante de testigos

se la he a est sana d do , y oy l del am or y de os celos .

i c r r Otab o. E sto es osa teme a ia

E sta N ise ha de tar e , , qui m

la vida . gP alabra dabas de mugor a nin gun onb re ? gN o sabes que estas cassada ?

F inea . P ara quitarme cl amor aque ynporta ? N O entre en mi casa

Laurenz io m as .

E s err r o ,

porque Laurenzio la engana ; que el y Liseo lo dizen

' ii rl no m as de para ense a a .

Desa manera yo callo . 30 ! pues con esso nos tapa la boca

V ente conmigo .

A n e 1, do d Donde to aguarda

vn notario . LA DAMA B OB A 209

B amos .

Otabio. V en .

( Que d escanso de mis can as ! [aparte]

'1‘ [ Vayanso Olobia y F inea ]

N iso solo

H ame contado Laurenzio que han tomado aquesta traza

Lisseo el ara ver y , p

si a e a r ez a a ran qu ll ud l b ,

y no me parcze m al .

Lisseo entro

Liseo. gH ate contado mis an sias

La renz screta N ise ? u io, di gQue m e dizes ? gS ueii as o hablas ? P alabra me (11 0 Laurenzio

de a ar mis es eranzas yud p ,

n vie do que las pongo en ti. Pienso que de hablar to cansas

con tu es ossa o ue se enbota p , q en la dureza que labras

el c c de tu st u hillo gu o ,

ara b olber a a ar a y p h bl l ,

n n quieres darle v filo e mi .

e n l e tr Liseo. V erd ad s so as qu ata

c nt a r no r as . o igo mi mo , bu l zE stas loc o ?

Liseo. Quien pensaua

cassarse con en lo era qui ,

do pensarlo ha dado causa ;

n yo he mudad o pensamie to .

ue n e e a ue nconstanzia i Q c d d , q y ,

ue oc ra err r tra zion q l u , o , y

a re a er an a ! a mi p d , y mi h m

Yd en en ora Lisseo. bu , ACTO S E GUN DO

Liseo. 5Desa manera m e pagas tan desatin ado amor ?

P es si s esat n asta. u e d i o, b

E ntro L aurenzio

Laurencio. H ablando estan los dos solos .

L se so ec ara Si i o d l , N ise ha de saber tanbien

que mis lisonj as la engafian . h Creo que m e a visto ya. [ aparte] i O gloria de mi esperanza !

N ise dizo coma que habla con Lisseo

Liseo. Yo estra r a sefiora ? g vu glo i , Aunque dizen que me tratas

con tra zion n o lo cre y , yo o ;

que no lo consiente el alma .

Liseo. Tra zion N se ? en mi a g y , i Si vid

ostrare a r a tu er ana m mo h m ,

r m e mate vn ayo del cielo .

Laurencio. E s conmigo con quien habla

N ise res e L s , y p um i eo

que lo requiebra y r egala . [ apar te]

uierome tar de a Q qui qui ,

‘ que con tal fuerza m e engaiia

a r u re c ras . mo , q e di lo u

Lis eo. N O as a s O N se a ar a ! b y , i i g ll d que despues de los fabores quedara sin vida el alma Dexadme passar

ostanas a mis espaldas ?

Laurencio. Agora entre . i Lis eo. Luego a t

t hablaua te re ueb raua e , y q , aunque me miraua a mi

aquella discreta yngrata .

ACTO TERCE RO

TE RCE RO ACTO DE LA DAMA B OB A

Rnbrica do L op e do Vega

LOS QU E HAB LAN E N E L TERCE RO ACTO

R nbrica do L op e do V ega

ACTO TERCERO

F inea sola

F inea Am or diuina inuenzion [ ] g , do conseruar la belleza

d o n estra nat ra eza u u l ,

o acc ente o eleccion ! id ,

E strafios effetos son

los ue de tu en a n azen q ci ci ,

ues las t n e as desazen p i i bl ,

es azen a ar los s pu h h bl mudo , pues los ingen ios m as rudos

r sabios y disc etos hazen . N O ha dos m esses que vinia LA DAMA B OB A 21 3

a las e as tan ual (hrni yg , que aun el alma razional

parcze que no tenia.

on l ani a s ntia C o m l e ,

y crezia con la planta ; diuina y santa

en mi ,

ra s yo vi ,

anta.

Tu desataste y ronpiste

tu fuiste el diuino genI O

‘ no me enseiiaste m e diste

l e nuebo ser en que estoy .

Mil ra as a r to da g ci , mo , y ,

es me ensefiaste tan en pu bi , gue dizen quantos m e ven

que tan diferente soy . A pura ymaginazion

de la erza de vn dessea fu , en los palacios me veo

de la diuina razon . ( Tanto 1a contenplazion de vn bien pudo lebantarme !

Y e s del r onrr me a pu de g ado ar ,

an o a L a renz i a r d dom u o , mo , con quien pudiste mexor

enamorada ensefiarme .

'1‘ [S alga ] Clara

Clara. E n grando co [ n ] uersacion

estan de tu entendimiento .

F i nea . H uelgome que este contenta

mi pad re en esta ocasion . H ablando esta con Miserfi l ACTO TE RCE RO

de c ees eser nes omo l , i

y danz as ; dize que v iues

alma en cuerpo ageno . amor

milagro .

r r ns r F inea . E n ot as a as co ag o

mis t s C ara mexor . bo o , l ,

r i h s l m a str Q au enz o a ido e e g. i Como P edro lo fue m o. De verlos hablar me rio

e milagr o nuestro .

r n erz t ene ol ' a r G a fu a i mo , 2090 0 catredatico diuino.

[S algan ] Miseno y Otauio

ol n Miseno. Yo pienso que es cami o

x r do su remedio m e o . (X ya es habeys e a , pu ll g do a ver con entendimiento

a F nea ue es c ntent i , q o o nunca do vos esp eradg a N ise podeys cassar

con este mozo gallardo .

V en e D ard Otabio. os solam t a u o

n r pudierades abo a . Mozuelo m e parezia

d stos u s desban ezen e q e e , a quien agora enloquezen

la arroganzia y la poesia . N o son gracias de marido

sonetos ; N ise es tentada de academica endiosad a

r i que a cas a 10 8 ha t ah do. gQuien lo mete a vua muger

n P tr rca Gar as co e a y cil o, siendo su V irgilio y Taso

2 1 6 ACTO TERCERO

vn don Quixote muger

que de que reyr al mundo . E ntron Lisseo y N ise [y Turin ]

Lis eo. Tratasm e con tal os on d d , que pienso que he do apelar adonde sepan tratar l mis ob igaziones bien .

P es aduierte N s e a u , i e b ll ,

que F inea ya es sagrado ;

‘ que vn am or tan desdeiiado

puede hallar remedio en ella. Tu dosd on que ym agm e

ue era ser m en r q pudi o ,

croze al ass de a r p o mi mo , f medra al lado de mi ee . Y on corto entendimiento

ha e a a tal anza ll g do mud , que puede dar esperanza i a m loco pensamiento .

s N se trata o en , i , m bi , o de F inea el fabor

sera sa a en ue am r l , q mi o

apele de tu d osdon .

ol hazerme fieros

era en c ns era fu bi o id do,

quan do yo te hubiera amado .

Liseo. L os nobles y caballeros

c o se han do est ar omo y im ,

no lo yndign a de querer . El amor se ha de toner

adonde se puede hallar ;

ue c no es eleccion q omo ,

s n s vn acci ente i o olo d ,

tien ese n e se s ento do d i ,

no donde fuera razon .

El a r no es ca a mo lid d , LA DAMA B OB A 2 1

sin o estrellas que conciertan las voluntades que aciertan

a ser vna voluntad .

Liseo. E ss sefiora no es st o, , ju o,

y no lo digo con zelos ; que pongays culpa a los cielos

de la baxeza del gusto .

A la ue se aze m al q h , “ no es bien dezir : fue mi estrella .

no on c a en e a Yo p go ulp ll ,

ni en el curse e est a c l i l , porque Laurenzio es vn hombre tan hidalgo y caballero que puede honrrar

Quiero

que reberencieys su nombre .

A no estar tan cerca Otabio

30 Liseo ! 30 mi senor ! 3Que se ha de toner amor

or erza nota e a rabio ! a arte p fu , bl g [ p ]

E ntro Celia

l r do nz r Celia . E maest o da a i a las dos llama a l zion .

en n . Otabio. El viene a bu a ocasio B aya vn criado a llamar

los musicos r e vea , po qu Misseno a lo que ha llegado

F inea .

A r en ana Liseo. mo , g do ,

oy bolbereys a F inea ;

u c as ezes a r q e mu h v mo ,

f en l ben za dis razado a gan , h aze vna justa mudanza 2 1 8 ACTO TE RCE RO

t desde vn dosdon a vn fabor . [ apar e ]

li m i l n Ce a . L os us cos y e ve iam.

'1‘ E ntr on los musicas

Mui bien venidos soays . “ O ensa entos ven a s 22 1 5 y , p mi , g y

los agrauios que os hazian . [ap arte ]

Otabio. N ise y F in ea n N ise . Se or

Ota bio B a a a or a mia [ . ] y qui , p vid ,

el r i bayle del ot o d a . “ nz r r 222 0 Liseo. Todo es muda as amo . [ap a te ]

Ot bio Mis eno Lise so sion t n o a , , y o e ; l s

m si nton l u cas ca , y as dos

boylon a nsi :

[I ]

Amor ans do or , c ad o c

ta nta n t r n l y o os e as damas,

ue ar des nuda obre y q p y p , ninguno fa bor lo daua

sos l Yn i p as o a as d as,

endi l lxa a v a e a u , q ue mas quiero doblones l q ue oidas y a mas .

Tra to en las Yndias Am or

n o n o s odas ola ndas o j yas , , y ,

si no on sor sutil terz era

r do villotes y do ca tas .

B olbio do las Yndias

con oro y p la ta ; q ue el Am or bie n vestido

ri ndo las dam as .

P asseo la Corte Am or

co n mil cade nas y va ndas .

2 20 ACTO TERCERO

no do dinero d m n s , y o a o ,

Viono do P anama

onfadoso y mal cri ada;

Viono do P anama

os Amor llama Yndian , se o,

Viene do P anama " os ha oton tel n 2275 c p cas la o,

Viene do P anama

on criollo disfrazado.

Viene do P anama

gD o do viene, do do viene ?

Viene do P anama

[I V ]

[ O que bien p areze Amor con las cadenas y galas !

so cl r n m r que lo da e a o a,

p orque es cifra do las gracias .

in don ll s vi N as, zo a , y ojas

b s r o van a u ca l a su cosa,

mos n or tun u moscas y p as q e ,

on viendo que ay miel do p lata .

r al l ha u r r S ob o qu o do q e e ,

br n do viuos celos so a as o , y al rededor do su puer ta

vnos tros otras lo canton

u llani as moral [ D exo las a e c , Que ya me las uaroaro

[V ]

E l Amor so ha buolto godo 2295 s Que ya me las varoaro

l r os cuello corta p uiias a g , , Que ya me las var car e LA DAMA B OB A 221

sotanilla li a o r , y g d o o, Que ya me las varoaro

sonbror o a t r , y (z pa o omo, Que ya me las varcare

man o an cha alz n n t g , c o a gos o. Que ya me las varoaro

E l habla mu h c o, y do p oco, Que ya me las varcar e

os vie o diz u mo j , y o q e es zo, Que ya me las varoaro

es cobardo y motamoros . Que ya me la s uaroaro

Ya so doscubrio los ojos . Quo ya me las var car e

A r l r l [ mo oco, y amo oco! Que ya me la s varoare

Y or s r tr [ o p c o , y nos p a o a! Que ya me las varcare

D ecc s ol ni m r ’ [ a la au lo cas , o o .

r Que ya me las varca e .

Miseno. Ga ar a ente or ert ! 3 ll d m , p ci o

Dad ra as al e Otauio g ci ci lo , ,

que os satisfizo ol agrauio.

Otabio. H agamos este concierto

do Duardo con F inea.

H as o ten ue a ar s . ij , y go q h bl o

YO naci para agradaros .

en a u c a crea ? 3, Qui y q e mi di h

'I‘ ntr n to o uod n alli Li E e so d s, y q o sseo y Turin

e T r n Oy , u i

ue me eres 3, Q qui ? Quierote comunicar

vn nuebo gusto . ACTO TE RCERO

T n uri . Si es dar

s re tu a r arezeres ob mo p ,

n r busca v let ado de amor . h Yo e mudado parezer . A ser dexar do querer

a N se era ol mexor . i , fu

El mismo ; porque F inea

m e ha do ven gar de su agrabio.

Turi n. N o te ten o or tan sa g p bio , i que tal d screzion te crea .

L n r r r iseo. De uebo quie o t ata

mi cassamiento ; alla voy .

D r z r e tu p a e e estoy .

m e tengo do vengar . n ca ha de ser ol ( de ) casarse

do vn dosdon ; ' caso bien 2345

vengarse .

P or e es a ar a F nea qu g ll d i ,

r e el seso c r y po qu ob o, — pues de N ise no se yo que tan enten dida sea

r sera bien cassa te luego .

i en Lis eo. M sseno ha v ido aqui ;

n n r algo trata co t a mi .

ue lo res en te r e . Q mi bi , u go

N o ay m as ; a pedirla voy .

[ Vayos o Liss eo]

T rin. El e o tus assos e u ci l p gui , y del error to desbie

en que yo p or C elia estoy . 3Que en amore amor vn onb re

como yo ! Amor desatina .

ue vn a n n a do cozin a 3Q i f , para blasson de su nonb re

224 ACTO TERCERO

del n sa er al sa er o b b ,

y con saber lo obligo . gMandays otra cosa ?

L aurencio. N O.

Pues adios . [ vayaso Turin ]

L aurencio. 3Que puedo hazer ?

A P e r ! L O ue te 3 y d o q mi , y tenia sospechado del yngenio que ha mostrado

F inea so cunple aqui . Como la ha visto Lisseo

tan screta la afi ion di , c

ha puesto en la discrezion .

P edro. Y en el oro algun dessea.

Cansole la boberia ;

la discrezion lo animO.

E ntro F ineo

F inea . C ar La renz me 3 l a, u io , dio nuebas do tanta alegria !

L e a re c c u go a mi p d d x ,

a n e a m e 10 ca ara y u que ll ll ,

o ten en me auisara y go qui , que es ol alma que te veo

or mil r s cr sta es p vid o y i l ,

r on era ue vas po d de qui q , porque en mis ojos estas

con memorias inmortales . Todo este grando lugar tiene colgado do espej os

mi r nt s are s amo , ju o y p jo ,

p ara poderte mirar .

lbo ol r str a veo Si bue o o lli ,

n si a estotra arte tu ymage ; p ,

tanbien ; y ansi viene a darte n ombre de sol mi desseo ; LA DAMA B OB A 225

que en quantas espej os mira

entes de ra ata y fu pu pl ,

su ell rostr retrata b o o ,

y su luz dinins espira . L aur encio. 3Ay F inea ! 3A Dios pluguiera que nunca tu entendimiento

e ara c h e a ll g , omo a ll g do, a la mudanza que veo !

N e m t se r cio e ubo gu o ,

s s ec s screta y o p ho o di , porque yo no te queria

para pedirte consejo . 3Que libro esperana yo de tus man os ? 3E n que pleyto

hauias xamas do hazerme

yn formacion en derecho ?

Yn ente te eria oc qu , " porque vn a muger cordoro 2440

s ss n de su ar e tu o m ido ,

que puede traherla al pocho . Todas habeys lo que basta ;

ara cassa a a en s p d , lo m o ,

no m er n zia en ol n ay ug e mu do,

porque el n o hablar no es deffeto.

H e. la a en la ro a abl d ma x ,

escriua a concetos , dig

' en el c c e en ol estra o o h , d ,

de a r de en an s de el s mo , g o , c o ; pero la casad a sepa

do su a a ol ern f mili gobi o , porque el m as discreta hablar

n o es sanoto como el silenzio . rMira el dano que me vino

d r ns r ars tu n en e t a fo m e i g io ,

es va e rte a de mi ! pu a p di , 3 y para su muger Lissefl ACTO TE RCE RO

Ya e a a N se tu er ana d x i , h m ;

el se cassa so erto. , yo y mu 3N unca plega a Dios hablaras !

F inea . De ue m e c as La renz ? 3 q ulp , u io A pura ym aginacion del alto merecimiento de tus pren das aprendi

t z el que u di es que tengo .

P or a arte s o a ar h bl up h bl ,

venzida de tus requiebros ;

or eer en tus a e es p l p p l ,

libros diffi ciles leo ;

para responderte osorino . ( NO he ten ido otro maestro

ue a r a r m e ha ensona . q mo , mo do

Tu eres la cien cia que aprendo . 3De que te quexas do mji L r n D i e m x au e cio. e m d sdicha e que o.

P er es a sa es tant o , pu y b o ,

a e sefior a vn re e . d m , , m dio

l e E rem dio es facil ,

C o ? 3, om

or e r n en o Si , p qu mi udo i g i ,

ue t s ab orrezian q odo ,

se ha trans or a o en scret f m d di o ,

L seo m e ero en i qui bi , con b olber a ser tan necio

co r er lo t e mo p im o ub , m e aborrezera Lissecfl 3Pues sabras fingirte boba ?

S i ue c o t e ; q lo fui mu h i mpo , y el lugar don de se n aze

saben andarle los ciegos .

De as est las m u eres m d o , g naturaleza tenemos

tan r n ta ara fin ir p o p g ,

ACTO TERCERO

Liseo. Aqui

esta mi primero duefio. [ ap arte ]

N sabe sefiora mia g O ys, , como ha tratado Misseno

cassar a Duardo N sse y i , y como yo tanbien quiero que se hagan nuestras bodas con las suyas ?

F inea. N o lo creo ;

' ue N ise ha c a q di ho mi , que esta cassada en secreto

con vos . 5Conmigo N o se ,

si ora os vos Oliberos . d , o 3Quien sois vos ? 3Ay tal mudanza ?

i zi gQu en de s ? que no m e acuerdo .

si anza os arcze Y mud p , geom o no veys que en el cielo cada m es ay nueb as lunas ?

Lis eo. 3V algame el cielo ! 3Que es esto ? 3Si lo buelbe el mal passad o ?

F inea . Pues decidme : si tenemos

na nueba ca a mes lu d ,

adon de estan ? ue se han ec g 3, q ho las viej as de tantos anos ? 3Daysos por venzida ?

Liseo. Temo

que era locura su mal. [ ap arte ]

r F inea . Gua danlas para remien dos

de las que salen menguad as .

V eys ay que soys vn nez io .

Lis eo en ra m c m e a r . S o , u ho dmi o de que ayer tan alto yngenio

mostrassedes . L A DAMA B OB A 229

F inea . P es senor u , ,

agora ha llegado al vuestro ; que la mayor discrezion

es acomodarse al tiempo .

Eso dixo el mayor sabio.

Y esto escucha el m ayor n ecio. [ oscondido]

Quitado m e habeys el gusto .

N o he toca o a vos or ert d , p ci o ;

o mirad que se habra cayd .

e Liseo. 3Lin da ventura ten mos !

P e a Otabio a F nea idol i , y quando a dezirlo ven go

cl cassamiento trata do ,

hallo que a su ser se ha buelto. [aparte ]

B olbed sefiora en vos , mi , , con sideran do que os quiero

por mi duefio p ara sienpre .

P or duefia m axadero ? 3 mi , 3Assi tratays vn esclauo que cs da el alma ? gComo es esso ?

Que as day el alma. 2575' 3Que es alma ?

3Alma ? El gouierno del cuerpo . 3Como es vn alma ?

en ra S o , como filosopho puedo

difinirla n o ntar a . , pi l

F in 258 0“ ea . 3N o es alma la que en el pesso lo pintan a son Mig [u] el ?

Lis eo. Tanbien a vn angel pon emos

a as c er o en fin l y u p , y , ,

es vn espiritu bello . 3H ablan las almas ? Las almas

ran or los nstr ent s Ob p i um o , ACTO TE RCE RO

por los sentidos y partes

n de que se orga iz a ol cuerpo . 3Longaniza come ol alma ? 3E n que to cansas ? N o puedo

ensar s no ue es c ra . p , i q lo u

z Turin . Poeas ve es do los n e cios

’ so azen los c s seiior . h lo o ,

P es do en ? 3, u qui

De los discretos ; porque do diuersas causas

nazon effetos diuersas .

n Lis eo. 3Ay Turi ! B uelbom e a N ise .

Mas ero ol enten ent qui dimi o,

l o n que tod a a v lu tad .

enora es desseo S , pu mi ,

u er do aros el a a q e a d lm ,

no o ton er en effeto pud ( ) , D quedad con ios .

F inea . S oy medrosa

de las a as r e te lm , po qu mo que de tres que an dan pintadas

puede ser la del ynfierno. La noche de los diffuntos no saco de puro miedo l la cabeza de a ropa .

' E es oca so re ne Turin . lla l b cio ,

rn izi n que es la poor gua o .

r a re er . Lis eo. Deci lo a su p d qui o

Lis eo Turi n sal on L aurenzio P dr Vayanso [ y , y g ] y e o

r L aurencio. 3Puedo sali ? 3Que te dize ?

o h s o el m exor re e o La ure nci . Q ue a id m di

que pudiera ym aginarse .

r s nt en estre F inro . S i : pe o ie o mo

ACTO TE RCERO

ii n 2 650 cu ado ta re galado .

ne F i a . 3Ay Dios ! 3S i ll egase dia en que viesse mi espe ranz a su posesion !

La ure ncio. LQue no alcanza vna amorosa porfia ?

Tu he rmana escuchando. 3Ay cielos !

B uelbome a boba .

Eso ynporta .

Es erate re rta p , po

los passos . gV endras con zelos ?

C elos son para sospechas ;

trayciones son las ve rdades .

L a ure ncio. ue rest te ers ades 3Q p o p u , y de e nganos te aprobechas ! 3Que rras buscar ocasion

ara e rer a L se p qu i o , a quien ya tan c erca veo de tu boda y posesion ?

B en azes N se azes en . i h , i , h bi

Leban am vn test n t e imo io, porque deste matrimonio

a mi la culpa m e den .

si t u r s cassar Y e q ie e , m V dexa e a mi . [ ayaso]

ex B ien me d as .

V en uexarme te uexas . go a q , y q 5Aun no m e dexas hablar ?

sen r P edro. Tiene raz on mi o :

casate acaba a . uo aso , y y [ y ] 3Que es aquesto ? Que so va

r n el s u r P e d o co mi mo h mo , L A DAMA B OB A 233

y aqui vien e bien que P edro

es tan ruin como su amo.

z Ya lo aborre co y dosamo . 3Que bien con las quexas medro ! P ero fue linda yn benzion

anticiparse a refiir .

Celia . ol P e r en lo vio r Y d o , 3, qui y tan vellaco y socarron ?

tu ue s an W , q di imul do estas la tra ion ue has ec yc q h ho ,

en do en aiios el oc ll o g p ho ,

on ue m stas brassan do c q e e a , pues como sirena fuiste

o ez e er m dio p , m dio mug , pues do animal a saber

ara an en ste p mi d o v i , gpiensas que lo has do gozar ?

F in ea . Tu me has a ez a 3, d do p mi ,

ui s rena ui i , yo fui xamas contigo a la m ar ?

An a N se ue estas oca . d , i ; q l

ue es sto ? 3, Q e

~ Celia . A tonta se b o o . lba A vna cosa te resuelbe

tant ol r r m e rob oca o fu o p ,

que el alma to he do sacar . gTienes cuenta do perdon ?

Ton o a de tu tra ion g l yc ,

pero no do perdonar .

El a a ensas tar e 3, lm pi qui m en quien el alma tenia ?

Da e l a a ue s a m o lm q oli ,

tra dora er ana an ar e . y h m , im m

M c e es de sa er u ho d b b ,

pues del alma m e desalmas .

F inea . en sus almas ; ACTO TE RCE RO

r s r alme io debo de e . r r s Tod a soy hu tos y obo . Montes ay don de no ay gente

y o m e yro a meter serpiente .

Que ya no es tiempo de bobos .

Dame el alma .

[E ntre n] Ota bio con F e nisa y Duardo

3Que es aquesto ?

Almas m e piden a mi . 3S oy yo purgatorio ?

Si .

Pues procura salir presto . gNO sabremos la ocasion de vuestro enojo ?

r r F i nea . Que e

N se a erza de sa er ( i , fu b , pedir lo que n o es razon

a as s renas oz os lm , i , y p

z di e que m e ha dad o a mi .

H ase buclto a a ? 3, bob J S i

T n n ze u pie so que la e b obe s .

Ella m e ha dado ocasion ;

que m e quita lo que es mio .

Otabio. S e ha buelto a su desb ario. M uerto soy .

D esdichas son .

N O e an ue a estaua 3, d ci q y con mucho seso ?

A e Otabio. 3 y d mi !

r r r YO quie o habla cla o.

Todo tu dafio se acaua

c on an ar resueltam ente m d ,

— es co o a re odras pu m p d p ,

ACTO TE RCE RO

que vos no los hareys tales .

Ya no habeys do entrar aqui .

Con este ac a e d con D s. h qu , y io

Laurencio. Es st c vos mui ju o, omo i m e d eys a m esposa a mi . Que vos hazeys vuestra gusto

en estra cassa es en vu , y bi que en la mia yo tanbien

haga lo que fuere justo . 3Que muger os tengo yo ?

F inea . 3E stays loco ?

a tros test os del si y ig ,

que ha mas de vn m es que me dio .

en son ? 3, Qui

Duardo F eniso , ,

y P edro .

Es est er a ? 3, o v d d

a de su nta Ell volu d ,

Otabio darsele s . , qui o

Assi es verdad . N o bastana

que mi sefior lo dixesse . l Otabio. Que como sinp e lo diese a vn hombre que la engafiaua

no ha do alor . Di F nea b , i , 3no e res simple ?

Quando quiero .

Y an no ? 3, qu do

ue es era ? 3, Q p

n sin l no sea Mas qua do p e ,

con Lisseo esta cassada.

A la justicia m e voy . L A DAMA B OB A 237

Vayas o Ota bio

V en e a tras ol ue esto , C li , ; q y

celosa y desesperada .

y N ise y Celia

L aurencio. or D s tras el los dos Yd , p io , ;

n m o e suced a vn disgusto .

P r e r o vu st a amistad es justo .

Mal ec ha s o or D os . ho id , p i gYa hablays como despossado de N ise ?

rd P D ua o. iensalo ser .

y Duardo y F enisa

L aurencio. Todo se ha hechado a perder .

N i e r l n s mi amo o ha co tado .

re e e e a er m dio pu d h b , verte no puedo entrar ?

F eni . a alir .

Laurencio. D n e he do estar ? 3, o d

F inea Yo no te sa re escon er ? . 3, b d

L aurencio. gDonde

F in ea . E n casa ay vn desb an

famoso para esconderte .

Clara entro

Clara

Mi seiiora

Aduierte

que mis desdichas estan

n ret en tu man o . Co sec o

lleb a a L aurenzio al desb an . gY a P edro ?

Tanbien .

camine . ACTO TE RCE RO

L r au e ncio. Yo te prometo

que voy tenblando. gDe que ?

C ara en e and la ora l , ll g o

“B de mu uir a tu sefiora 28 25 q , di l que a gun susten to n os de .

r Cla a . Otro comera peor

que tu .

P edro. YO al desb an ? so at ? 3, g y g o

Va a nso L aurenzio P edro lar y , , y C a

F i nea . P or u do n osible trat 3, q e y p o este mi publico amor ? E n llegandose a saber

vua nta no a cosa volu d , y mas triste y escandalosa

r pa a vna on rrada muger .

L O ue t en e de secret q i o ,

eso tien e amor de gusto .

Otabio entro

Otabio. H arelo a n e era st , u qu fu ju o

n r n n ff rt po e mi e oj o e e eto. [ ap a e ] gV ien es ya d esen oj ado ?

P r l 1 n o os que m e 0 ha podido .

P erdon mil vez es te pido .

Y L a renz ? 3, u io Aqui ha jurado

n o entrar en la corte mas .

3Adonde se fue ?

A Toledo .

B ien hiz o . N o tengas miedo

l M r x m que bue ba a ad id a as .

ta bio. H a es sin le n a ste O ij , pu p ci ,

ACTO TE RCE RO

Tus disgustos he sabido .

S oy pad re . Remedio pued es

n po er en aquestas cosas .

Otabi o. Ya lo he est con ue e en pu o, q d x

l l n ie mi cassa os que a y qu tan . Pues gde que man era ?

Enosse T Laurenzio a oledo ya . 3Que bien has hecho !

Y tu orc es 3, h viuir aqui sin casarte ? P orque el mismo in conuiniente

so sig [u] e de que aqui estos .

O aze Lisseo dos esses y h , , m

que me trab es en palabras .

Liseo. 3B ien mi termin o agradez es !

V en a cassar con F nea go i ,

rza de mis ar entes fo do p i ,

in l y hallo vua s p e muger .

ue la e ra Otabio eres ? gQ qui , , qui

z Otabio. Tienes ra on ; acabose .

P ero es lin ia er osa t ene p , h m , y i tanto doblon que podria

r m r doblar ol ma mol as fue te . gQuerias quarenta mil ducados con vua fenis ? gE s coxa o manca F inea ?

E s e a ? an lo fuesse g ci g Y qu do , gay falta en naturalez a que con oro no se afeyte ? N i Dame a se . N o ha dos oras que Miseno la prom ote

n r i a Duardo en omb e m o.

es a o c ara ente Y pu h bl l m , L A DAMA B OB A 241

hasta m afi ana a estas oras

to da ara ue lo enses y p q pi ,

r e do no te cassar po qu , para que en tu vida entres por las puertas de mi cassa

ue tan en a a a t enes q f d d i ,

h z n a cue ta que eres poeta.

Vayase Otabio

aQ ue te dize ?

ue te a restes Q p ,

y con F inea te casses ; porque si b eynte m erez es

r e s ras vn a o a po qu uf b b ,

te afiaden los otros b eynte .

to dexas de cassar Si , to b an de decir mas de siete “ 3Miren 1a bobada L iseo. V amos ; que mi temor se resuelbe

o n o s d o s ca sar a bobas .

Turi n. Que se cassa me pareze a bobas quien sin dineros

n n c t e t e ta ta os a s me e . R ubrica do L op e do Vega

a nso n tro F i n r V ya , y e n ea y Cla a

H r en n asta ago a bi os va . N O ayas miedo que se entienda . 30 quanto a mi amada prenda deben mis sentidos ya !

Clara . 3Con 1a humildad que se pone

en el desban ! N F inea . o te espantes ;

ue es r a cassa de a antes q p opi m , 2 42 ACTO TE RCE RO

aun que L aurenz io perdono.

Cla ra . 3Y quien n o viue en desb an de quantas oy han nacido ! l F inea . A gun humilde que ha sido

de los que en lo b axo estan .

l r n l l r C o o . E e d esb an viuc o homb e que se tiene por m as sabio

que Platon .

n F i ea . H azele agrabio ; f i que ue d uino su n ombre .

r Clo a . E n ol desb an ol que anima

a grandezas su desprecio ; en ol desb an m as de vn necio

r r que po disc eto so estima .

F i ne a . 3Quieres que te diga yo c omo es falta natural do necios n o pensar mal de si mismos ? 3 Como n o ?

La confianza secreta

tanto ol sentido les roba

ue an era o a q , qu do y mui bob ,

m r r e tube po mui disc eta . Y como es tan semej ante el saber con la humildad

a ue ten a a y q go h bilid d ,

n n r n me te go por i o a te .

r l Cla a . E n o desb an viuc bien

vn atador cr na m imi l , cuya muerto natural

n n n c s la ven . i gu o , O po o

E n el desb an de o s mil m do ,

s et a es ra as y uj o mil d g ci , aquel que diz iendo gracias

r n t os es desg aciado co od .

E n l desb an vna a a o d m ,

ACTO TERCE RO

c m e 10 hab e s an a omo y m d do,

que este ys solo . t i O ab o. E spera vn poco ;

que to he cassada.

Clara . 3Que nonbres casamiento donde ay honbres ? Luego ateneysme por loco ?

N O a re m as a , p d ; y aqui

honb res vo m e al desban . , y y

Aqui por tu bien estan .

V engo a que os sirbays de mi .

Jes s sefior ! N O sabe s 3 u , g y lo que mi pad re ha mandado ?

’ Miseno. Oye ; que hemos conzertado

que os caseys .

F n i ea . Grac N o ha de haber hij a

como yo : voym e al desba

Pues no es F eniso galan .

Al desban sefior ar ente , p i

Vaya [ n ] se F inea [y Clara ]

r D ua do. zComo vos lo habeys mandado que de los honbres se esconda ?

Otabio. N o se or D os ue os r es n a. , p i , q po d

Con e a esto en a o ll y oj d ,

0 con mi contraria estrella . i Misono. Ya viene L sseo aqui .

Determinaos .

Ota bio. YO or p mi , 3que puedo dez ir sin ella ?

E ntr on Liss eo N ise Turin [ ] , y

Y u m e arto de ti a q e p , solo quiero que con ozcas

lo que pierdo por quererte . LA DAMA B OB A

Conozco que tu persona

orozo ser est a a m im d , y como mi pad re agora

en a en en u seas mio v g bi q e , yo me doy por tuya toda que en los agrauios de amor

l nz es a ven ga a gloriosa .

Liseo. A N sse n nc t ieran 3 y i , u a e v

mis s es ste s Ojo , pu fui ola

de a r n endio n mi m yo y c e , que fue Elena para Troya !

V ne a cassar con tu er ana i h m ,

en viondote N isse er sa y , h mo ,

rta sa te te mi libe d l as , l de alma preciosa joya. N unca mas el bro pudo

con su erza er sa fu pod o , que ha d erribado montaiias

de c st res enerosas o umb g , humillar mis pensamientos a la baxeza que doran

los res an res ue a ezes pl do , q v

cie gan tan altas personas .

N se duelete de i , mi ,

ya que me voy .

Turin. Tien l a r p a go a,

e N se tus es enes : b lla i , d d que so va amor por la posta

a la cassa del agrania.

T r n las a r as s as u i , l g im ol do vn hombre han sido en el mundo

n veneno para osotras . N o han muerto tantas mugeres

' de e orr onzoiia fu go , y o , y p , o

como de lagrimas vuestros . ACTO TE RCE RO

T r n u i . Pues mira vn honb re que llora . gE res tu barbara tigre ?

E ros antera ? E ros nza ? 3, p g o gE res duende ? gE res lechuza ?

E ros r e ? E res an r a ? 3, Ci c g p do g

ual d uestas c sas eres gQ e aq o , que n o estoy bien en historias ? gN O basta dezir que estoy rendid a

E ntro Celia

Colia . E sc c a sefiora . u h , gE ros Celia ?

Colia .

gQue quieres ? Que ya tod os se albor otan

do verte venir turbada .

H a ue es est ? ij , gq o V ua cosa

n que 0 8 ha do po er cuidado . uid d ? 3, C a O YO vi que agora llebaua Clara vn tabaque

c n dos er zes dos n as o p di , lo j ,

dos aza os an t a as g p , p , o ll ,

c c sa er ta . u hillo , l o y bo

e a ue al desb an S guil , y vi q

caminaba .

e oca Otabio. C lia l ,

para la boba seria .

n ue c en las o as ! F enisa. 3Que bie q om b b

H o en rse al desb an a dad y , porque oy lo dixe a la tonta

ue ara ue no la en anou q , p q g ,

n en vien do vn ombre so esco da .

ACT0 TE RCE RO

S alga con la esp ada des nuda Otabio siguiendo

Laur nzio F in a l r P edr a e , e , C a a y o

Otabio. Mil vidas he do quitar

a quien cl onor m e r oba .

L aurencio Detene la es a a Otabio . d p d , ;

o so ue est con es sa . y y , q oy mi po 3E s Laurenz io ? l N O lo veys ?

ien er ser r 3Qu pudi a ago a,

s n La renz o nfamia ? i o u i , mi y

P es a re de u so en a? u , p d , 3 q e oj 30 ynfame ! 3N O m e dixiste que el duefio de mi desonrra estaua en Toledo ?

F inea P adre . , si aqueste desban so nombra

T e r a lo dixe . ol do, ve d d

A t esta er no n orta l o , p o y p ; que mas lo estaua cl Alcazar

la ente d e a y pu e S gobi , y hubo juanelos que a el

subieron agua sin sogas . El 3no me mando esconder ?

Pues suya es la culpa tod a.

en vn desban mal afi ! 3Sola , o

Ya sabe que soy medrosa.

tabio. Cortarele a e a en ua O qu ll l g ,

rasgarele aquella boc a.

E ste es casso sin remedio . gY la Clara socarrona

"I que llebaba los gazapos ? 3 1 45

me sefi r Clara . Mando lo mi o a.

tabio vos s s scret O , oy di o ; ya sabeys que tanto monta

cortar como desatar .

n e Olo bia. 3Que] me aco s jays que escoj a ? LA DAMA B OB A 249

Desatar .

en r F eniso S o ,

si la unta es ra vol d Ob ,

re iuid la vo nta c lu d,

vos Duardo l r a y , , a p opi ;

ue F nea se ha cassa q i do ,

N se en fin s c n rm a y i , , o o fo

con Lisseo ue me h ic , q a d ho

que la quiero y que la adora.

F enisa. fue sen r su ent ra Si , o , v u , paciencia ; que cl premio gozan

de sus justas esperanzas .

Laurencio. Todo corre viento en popa .

Dare a F inea la mano .

Dads la a n niosa . e , bob y ge

Y yo a N ise .

n V os tan bie . B ien merezco esta vitoria ;

es l he a enten ent pu o d do dimi o, si ella me da la memoria

do quarenta mil ducados .

P edro. P e r no es en ue c a Y d o, 3, bi q om algun guess o como perro de la messa destas bodas ?

Clara es tuya .

o ua Y y , g ci

n l s u naz en ran do de a o q e llo , y rien a los que mueren ?

e a ue fue tu deb ota C li , q ,

sor tu es sa T r n . a po , u i

Mi ta sora mi nobia . bo , y

V os y yo solo faltamos .

Dad aca osa man o hermosa .

Al s nad la e Duardo. e o p did , si nuestras faltas perdona ; 250 . ACT0 TE RCE RO

que aqui para los discretos

da fin la Comedia boba .

L oodo sea ol sa ntisimo sac rame nto

Amen

E n Mad rid do A ril , 28 b , do 1 6 1 3 L op e do Vega Carpio ( rubrica )

Additions in connection with the license to act

V ea esta c e ia el secretar T as Graz an Dantisc o ist om d io hom i , y v a , me la tra a . En Ma r a 26 de otub re d 1 6 r st i ig d id , e ( e illeg b le near the edge of the page ) .

Esta c e a nt tu a a L a Dama boba so ra re resentar om di i i l d pod p , ’ rese rvand a la ista lo ue era de la ect ra so Ofl reciere lo o v q fu l u , y

is en los cantaros entre eses a es . E n Ma r a 27 m mo y m y b yl d id ,

do 8bre 1 61 3 .

r c i Thomas G a an Dantisco .

Dasso lizencia para que se pueda re presentar esta comedia con

l n r . En Ma r a 30 do otub re do 1 61 3 . forme a a ce su a d id ,

P odesse re p resentar esta comedia intitulada la Dama boba c on

s nest s enos ? no date rest e i e entremes y baile ho o [y bu ] ( , ill g bl ) .

252 N OTES

so ve en sus Coment e . The re eren e is o : bras as, tc f c t O

do Garcilo sso d la V a an n t ion s vi e o eg , c a o ac o ( Se ll ,

Cf. a so F ernando d H rrora ontroversio sabr e l o o , c

sus onotacion t vill s c ll . 7 ser . os, e c . ( Se a, e pe ia y p ,

1 v l 2 f he Bi li , o . o t b ofilos andaluces .

ossadas : cf also la N ocho toledana x1 1 p . , , I ,

n A o A re l in ( cl Capita cob do y ol lfe z Carri lo, do com o

desp ués cl k nosp ed . )

’ Alferez . Buena posada .

Capitan. Y quieta

’ Alferez . Mafiana lo estara mas .

e re en ac s the en n of an act or a sc n Lop f qu tly pl e Op i g , e e ,

r or inn . f ol B b del lo io iv . in a hostel y C . o a co g , II ,

i h H z nb ch or buenos ros etos w m a r 2 . ch nc os : art e us , p p , e y p e

m c an e t is r to cuartos . su o, h g d h wo d

n e 4 . Yllescas : The place of this sce e was onc a popular h al f ” et een Ma r and T e o and is fro way house b w d id ol d ,

n ne in an s a s Cf. L e l quently me tio d Sp i h pl y . op , o

nt en l lu ar 1 1 Auso e e g , , i “ M s or D s ue a n e est a , p io , q u qu v ido

d no te voa ya o cami , y a mi con esta librea

lo fl andesco c a lu ido , que no creo que de Illescas ” r has do pasa . I n the play E n tro bobos anda cl juogo by F rancisco de

' rr a the second act ens in ol moson do Roj as Zo ill , Op

I lloscas .

s in Tosor o do lo len ua castellana sa s Covarrubia ( g ) y , “ under I llescas De esta V illa hizo donacion el Rey

cerca de los afios do c ent setenta DonAlonso , mil y i o y

n es a de T e ue se n re y sois a la Sa ta Igl i ol do , q gu pa ce

r de la C r na Rea ara u los n ania buclto a se o o l , p q e Sa tos ' e lcan assen de n estr en r itori patronos d lla a c u o S o v a, y LA DAMA B OB A 253

prospero sucesso do la guerra que preten dia hazer a los

fe Moros . Oy dia ( Covarrubias wrote this only a w years previous to the date of our play ) esta ilustrada

sta V a con l ant ar casa do rac n do vua e ill e S u io, y o io

a en de la V r en Ma re de D s ue comunmente Im g i g , y d io , q

z llaman nuest ra Senor de Illescas . P ascual Mado ( in

’ n r - i i - i t ri o d E s ana Diccio ario geog afico estad st co h s o c o p , “ Ma r 1 847 . 421 sa s : E n el sant ar o de d id , , IX , p ) y u i N uestra S efiora de la Caridad so venera la imagen de N uestra Senora ( que es una de las que S an Ildefonso tenia en eu oratorio) y fué construido a espensas del

pueblo por los afios do 1 600 ; fué trazado por Domen ico

Tooto O uli n or El Grec en ademas z c p , co ocido p o , qui hi o para 61 dos escelentes cuadros que aun so conservan en sus altares colaterales la fama de los milagros de esta imagen ha fijado en alto grado la devociOn de los

fieles ; nuestras monarcas han hecho muchos

regalos a esta Senora .

A t o t has ost its r er r s er t it l h ugh his village l fo m p o p i y ,

deserves a visit today .

uindas : cf. er antes : P orsilos i ismundo g C v y S g , III , xxi ;

- t n chevill B n ll . 1 94 : edi io S o i a, II , p

— Don stes vos seiiora a MarulO a 3, de vi , dix mi

o An rea ? F ue en Ma r 0 en a a anca ? hij d 3 d id , S l m — N O fue sino en Illescas dixo Ysabela cogiendo

uindas la mafian do S an J an al t e ue a g a u , i mpo q lbo

reaua mas si va a dezir er a ue es a r ue o la ; , v d d , q mil g o q y

s e re lo veo s e re lo ten en cl a a . diga, i mp , y i mp go lm — — Aun bien— replicaMarulo que osté mi hijo cogiendo

n as no es ul an dose ue es m as r d los gui d , y p g , q p opio e ” e n es . Cf also C arr as un er ui d studia t . ov ubi , d g n as .

’ mentiras travelers yarns the reader will recall the

an s sa n do luen as mas luen as m ntir r Sp i h yi g , g , g o as ; the e are many scenes or episodes in S panish drama and

ct n in c we find tra e ers r n n fi io , whi h v l of every a k a d N OTE S

stat n e c an n t e r e er ences t n io x h gi g h i xp i , bo h true a d

otherwise . Inns would b e especially suitable for such

scenes . modidas : S e a a assimismo la c nta ue se corta a ll m i , q igu l

ala a t ra de la a en Oestat a de al un ant en ue l u im g u g S o, q

se s e o esta ar su fi ura las etras de su n re con u l mp g , y l omb ” r r iO — r plata a o o. Usase p o devoc n . Diccion a io do Au

toridodes . B art é de V a a E stafia in cl P ole olom ill lb y ,

’ rino rioso r nte in he iodad do Bibli los g cu , p i d t S oc ofi

E s aiiolos Ma r 1 8 8 6 te s us how s r s er e p , d id , ll piou pilg im w “ wont to buy these modidas : Despues do haber cum

lidO can lo ue es de esenc a en la ele rinacion p q i p g , y

haber tomado modidas do a enes ue a dan cl im g q lli , i i P elegrino se desp d O de aquellos padres etc . This

' re ers to N uestra S onora d l P cna do F rancia cos f o a , a

dovotisima . 28 0 . , I , p

Yma ones : Alons o mozo do m chas omos cf . el Doct r g , u ( o

JorOnimO de Alcala Yafiez y Rivera : El Donado habla

dor c a . 5 te ls us L e ué can n o e uefia , I , h p ) l l g p q

esa re a escas sin r o a es n de ro p dumb Ill , y i m m o pu devoto me fui derecho a visitar el sagrado santuario

de tanta est a con cha raz n tan a osa en to a im , y mu o f m d

Cast a de la sa rado ima en de la Ma re de D s ill , g g d io ,

n r S e o a nuestra . Adoré en aquel suntuoso templo de

la Car a a la E eratr z de los c e s cons eré sus id d mp i i lo , id

r ezas s té su ran os s ta re e do tantas iqu , vi i g di o ho pi l , m dio

pobres necesitados del favor humana ; y habiéndome

enc en a al en r a su n a r enc a sa i a om d do S o y divi p ovid i , l ” buscar un pedaz o do pan . p as tas : Los cauallos que de publico estan en los camin os

cosarios ara c rrer en e s ca n ar con restez p o llo , y mi p a

Dixeronse ostas or estar e estas re p p xpu , y p l venid as para qua quier hora y tiempo . Los cosarios

que las corren se llaman correos : los que guian con ellas — P ostillones . Covarrubias .

256 N OTES

f C . Cervantes : cl Ruflan dichoso : Comedias ; edition

- S chevill B n lla . 35 vs . 27 th entre és o i , II , p , ; e m la “ Guarda cuidadosa : Dilo una destas caxas de carn e

do e ri ran etc . th ntr é l m mb llo, muy g do e e em s, c

Vizcaino n ido c s ea s una caxa d c n fi g , whi h p k of o o ” ser a. I n erse 954 e the r ma be n v v , b low, wo d y fou d

again .

r 53 . liziones : he e means principles Covarrubias under “ l or has o r : lo ue comunmente s lo en o l to a q o , y

sc e as si nifica ater a l cion lo s o la e u l g m i ; oc , mi m , y ” doctrina del maestr o .

— 56 8 . las damas diuinas “ Yo no imagina que estan

esa s erte las res d u muj e ,

s n t as cr sta nas i o od i li ,

como vn vidro trasparentes .

— L e : ol Porro del hortelano op , I , xii “ The ea t at en are ra as r tt e as lass id h wom f il , b i l g

is common to all the writers of the Golden Age . I n his N ovola del curioso imp ertinente Cervantes states Quiero dez irte vn os versos que se me han venido a

l e r a ue los en vua c e a erna ue a m mo i , q Ohi om di mod , q me parece que hazen al p roposito de lo que vamos

tratan do. Aconsejaua vn prudente viej o a otro padre / do vua nze a ue la reco iesso ar asse ence do ll , q g , gu d y l i rasse . Y entre otras raz ones o d xo estas : “ — E s do vidrio la muger

r n s ha do r ne r pe o o e p o ,

i se e 0 no e rar s pued qu b ,

porque todo podria ser . Y es mas facil ol quebrarse ; y no es cordura ponerse a peligro do romperse

r lo que no puede solda se . etc . — D n uixote fol . 1 89 o Q , I , xxxiii , . LA DAMA B OB A 257

xolco : Ja ea a l 0 l c r del e r ll de l , v le e cumo, e li o m mb i o , o

tra c sa do ue so aze conserua la a trauan o o q h , qu l , y

c n e an de ue e a trans arente ale tant o g l modo, q qu d p , y v o

com c sa elada de cl n re Toscan a or o o , omb o gi llo , p — yelO. Covarrubias . “ YO so hacer

r ca c nser alo i o va y j a,

con que darte do comer .

- L e : ervir a enor discreta . op S S , III , xxv can dos puntos on cl ayre : The printed versions all read

con tros p untos on cl airo. I have found no passage to

strate t s us e of untos . M earne c ea e P ro illu hi p y l d oll gu ,

fossor F . 0 . Reed suggests that the phrase m ay be taken

’ from the card- player s termin ology and mean : she will

et a n a e ee and re t at is t se era g lo g whol w k ( mo , h , wi h v l

ints to s are on s ar or . with two stitches loose. po p ) ug ; ,

ostribos do p olo : H ay tres diferencias do os tribos . De modio celemin 0 media luna do hierro que usan los

a er s son ar l erra los e res r e v qu o ; p a a gu m jo , po qu

' guardan mas el pie L a segunda es do p olo de la

s a ec ra t dos cerra s . La tercera mas mi m h hu , o do , y

a ana es de los ar nos de err de la ec ra g l m i , hi o, h hu ” ordinaria ( from Tapia y S alcedO ° E xorcicios do la

Ginota te b Le uina in his Glosario do voc s do ) quo d y g , o

Armori Ma r . 466 . a ( d id , p

ri n a en r r a o ue se c a al o odia me e d igo v le l q omi m di ,

ue er oca c s es eran c er do r os t a la q a p o a, p do om p op i o

n assi s ixo er en a as er an a antes ce a : y e d m i d qu i m idi , O

s eren a r e so a a des ues de a er tra a qua i m d , po qu d u p u b ” a an a so erec a . C arru as j do , qu do y m i ( ov bi )

E s Madrid vna talega do piezas : Even Sancho Panza thought the comparison of human be in gs with chess

pieces a trifle Old. 258 N OTE S

B raua com aracion — dixo S anchO a n e no tan p , u qu

n e a ue o no la a a o do c as diuersas ezes u u , q y y y mu h y v ,

c a e a del e del axedrez ue entras ra omo qu ll ju go , q mi du

el e ca a ie a t ene su art c ar oficio en aca ju go , d p c i p i ul , y

b andose el e t as se ezc an ntan ara an ju go, od m l , ju y b j , y

dan con e as en vna sa ue es c dar con la a ll bol , q omo vid

en la sepultura .

— Ca a dia anc o a don te te vas d , S h dix Quixo ” ziendo enos s e m as screta. m impl , y di — on uixote ca . 1 2 . D Q , II , p , f Lope had used the comparison before

‘ B uen o ven go desta voz

con la mascara fingida ; bien parece que esta vida

es un juego de aj ed rez . 3Oh como es mudable y vana !

échase en esta de ver Y , que una pieza blanca ayer ” puede ser negra m afian a. — los L ocos do Valencia . , II , xiv

t f 1 42 . a gen tiles vis as voy : or this use of vistas compare the following passages

Alejandro. luego quiero

pedir licencia para verla .

Antilia. E n todo

tendremos el cuidado necessario .

Ale andro en estas stas ten o ena estrel a j . Si vi g bu l , squién casOcon muger tan rica y bella ?

— L e : las F lores do D on Juan vii op , III , .

P es seran las vistas a r trace u hoy , y mo ” ue se c nc a es os ene al st . q o luy , pu vi ju o — L e : uien amo no ha a eros . op Q g fi , I , vi

T s or e on s to a stere t e s c a ca ar hi w d b l g o yp d o i l vo bul y , “ ” with the special mean ing of first formal interview ;

260 N OTE S

1 8 5. Lope does not indicate any scenes in his manuscript . W e

are now in Ma r in h se of Octa res a d id t e hou vio , p um bly i h n t e chief living r oom of the house .

21 0 . mas me udro art r za : o ar sa e : P udrem e p y m i i a p pul u g ,

s re t a ar tan c nt n a as e a en en uas do ob odo, h ll o i u bl f mi l g

enes a enas e en ser cauallos ant m as ca a qui p pu d , qu o u ” r i llo os . Chr stOual Suarez de F igueroa : cl P assagoro

Ma r 1 61 7 re r n te in 1 91 4 in he ser es i li ( d id , p i d t i B b a

los es anolos cf . . 277 a s 8 1 . P or D s senor fi p ; p , l o io ,

n estra amo — re lic6 anc — ue vuessa erce s e u , p S ho, q m d A quexa de bien pocas cosas . 3 que diablos so p udro do que yo m e sirua do mi hazien da — Don uixote . 1 63r . Q , II , xlii , f

1 — I 2 6 40 . n connection with this whole p assage the modern

’ reader must take into account that in Lope s day m en were in clined to concede to women only a very retired

and n tr s e ace et er at e or in s c et . u ob u iv pl , wh h hom o i y

They must b e virtuous above all ; intelligence was of “ r secondary importance . Mi en los padres las obliga

ciones ue t enen ten las oc as n es c ns eren de si q i , qui io , o id

lo ue r ran de los tros ean c ant e or q mu mu o , y v u o m j

ser a ue sus mu eres er anas as a ren esen i q g , h m e hij p di

' c s nt s de a a no c os t nos do tarra mu ho pu o guj , y mu h o gui

bien obernar no mucho bailar ue d no sa er la g y , q o b s

mu eres an ar or los r nc nes de sus casas nace ir g d p i o , — a acer anzas a as a enas . Guzman do Al arache h mud l g f ,

arte 2a r ca . 2 . p , lib o p “ P e e nu re s t ar su re utac1 on n etras u d homb i u p e l ,

en ar as en ern en rt . Per la er en m , g obi o y vi ud o muj sola la virtud pued e fund ar su honor ; porque ui ellas

son m onester ara etras ni ara ar las ar as ni sa r p l , p jug m li

con e as al ene ni ara erno u ase do r e ll migo , p gobi q e p

en ar nas ant as a sus cr at ras dar n m d u m ill i u , y u as LA DAMA B OB A 261

S O illas a los at s de casa si mas acen s terse p g o ; y h , e me ” en la ri di iO — ju s cc n de sus maridos y dueii os . Gaspar

L cas H a : Did-lo o d l ntr t mionto u id lgo g s o ap acib e o o oni ,

ca . 3 . III, p “ P r de la er es Oir e ecer al ar en opio mug y ob d m ido ,

cuya potestad so halla ; mas ha de ser tratan dola ui como

a ca e a ui co a es s n c la arte a do b c mo pi , i o omo a p y l do

n e fue r a a ue fue de vn o o cer do d fo m d , q m dio, y m dio ” “ n l or n ca o a c aco (p . S n mas perfeta her

s ra es la ver uenza est ue la r ra mas mo u g , pu o q co po l

s er r en oc es ac do t e o 0 ar breue en up io , p o p io i mp , p

f rm e edad so pierdo. Afirm a san Geronimo serle al hombre c oncedido por diuersas vias don particular

ara a r r nra a a n re : a vnos con etras p dqui i ho , f m y omb l ,

a tr s con ar as a c os con erentes artes mas o o m , mu h dif ; a la muger solamente se concedio hazerse en el mundo ” etern a con la ver uen a nesta casta . . 271 g c , ho y (p )

E l P assa oro o . cit. T ese c n ace eac n s g , p h ommo pl t hi g repeat the gist of what m ay be found in many a con

te rar ser n and in t e r ast ana s s o ac to mpo y mo , h i l ly i g b k

the doctrines of the great church fathers themselves .

231 . onsofiar : th M . nsen r e S , a a .

254 . Otabio : the MS . has Ma for th s a ta , e u u l O .

que lo falta [ a ] Miseno : a is Often mechan ically omitted

en an t er e en era a rece es or l wh o h vow l (g lly ) , p d fo lows ;

cf . Cer antes n o a r a s a dar e r es ui v m d ug mo m mo ial , ” fi - acompa ar magnates . la Gitanillo (first edition ) “ dexo s a los dos a s ue esc c a l a i n mudo migo q u h do a u a , ” especialmente Avendano — la ilustr o F r ogona “ rst e t n el no sa b oluile a es erar b olui (fi di io ) ; lio, p , o — a no sa r boluiose ac star . D on uixote ca li , y o Q , II , p .

1 7 f 63r . YO m e Obligo con ella cercenar vn copo do

- n a . L azarillo do Torm os . la , III 2 62 N OTE S

E liodoro : Lope frequently refers to the romance of Thea

onos and Charikloa . I n his la N ocho do S an J n g ua , Don Juan says “ N o cuenta cosas tan varias

do Clariquea H eliodoro ; las de Teagenes passan

en aiios er las , p o mias ” en vua noche . — II I . 89r e , f . ( d .

Cf. also L o ue ha do s r do Cosario a cosar io q o , I , xiv ; ,

and his er e re n ol : las F ortunas d o III , i , v y m dioc ov a

Diana near th nn n l rot 1 1 1 . On ( e begi i g) ; a Do ea, , i

H eliodorus cf. S chevill : Th uestion o H eliodorus , e Q f ,

in S tudios in ervantes r nte in Modern P hil C , II , p i d

olo I V 4 A r 1 907 a s L e do V e a : N ovolas gy, , , p il, l o op g

- - e t J . D . F tz ra and Le r A . F tz Gera d di ed by i Ge ld o a i l ,

in manis h rs h n n V . 4 and Ro c e F o c u ge , XXXI p

n ote .

E s que no so do a entender can ol ar tificio griega hasta cl quinto libra : H eliodorus introduces the reader

in medias res . We first learn of the adventures of h ero

and ero ne in E t and else ere but not nt the h i gyp , wh , u il fifth book do we learn how the lovers fell into the situa

tion with which the first book opens . On the a rtificio

rie a cf the an n m o s trans at n H eliodorus g g , . o y u l io of , printed at Antwerp in 1 554 : H is toria othiopica do

H liodor o rt n of the r e of c . 4 o , a po io p ologu whi h ( p )

l n r n he N ise repeats . An exce le t wo k o t subj ect is D er

ri his h Roman und seine Vorliiu or ed . 2 Le g ec c e f ( , ip

zi Er n R e . g, by wi ohd

digna do ap lauso y teatro : plays b ased on this story wer e

r ten P rez M nta an and Calderé n bu i w it by é o lb , , t ts

nd a ent re was s te to the theme of love a dv u ill ui d stage .

2 64 N OTE S

337 . The an scr t has n nterr at n nt t s or an m u ip a i og io poi ; hi , y

’ nct at n is er rare in L e s a t r anu pu u io , v y op u og aph m

scripts .

360 . The printed versions have : dilo; as the original plainly

has dila the la nat ra re ers to causa 359 . , u lly f

370 . os : e e in r c n the a se of s e r s sa s C Qu v do , idi uli g bu om wo d y “ 3H ay cosa tan mortal como zas ? Mas han muerto do

zas que de otra enferm eded ; no se cuenta pendencia que ” no an : e a zas zas ca O e ? dig Y ll g , y y , y y lu go — Cuonto do Cuentos e cat n o . cit. . 402 . (d di io ) , p , p

pieza do Roy : S e llama comunmente ol truhan o bufOn

ass al ue es sa an a a ac e a se ce ue es eza i q b dij p l i g , di q pi ” do — Diccion ario do Autoridades c c tes Rey . , whi h i “ — Quevedo 3Que traes dixo ol entremetido . Re

s on diO — E stos dos — én son — Un a a r p 3, Qui h bl do y

u s n er an : son iezas do r e or eso los n li o j o y v o p y, y p

tr l n estra — V iolos L c er con asc dixo — aigo a u u if o , y 3Y como si son piezas do reyes ! Mas aunque rey diablo y ”— a archidiablo no st esta ente . el E n tr e di blo y , gu o d g

m ctido la duoiia ol so lan in Obras . cit . . y y p , , Op , I , p

L e ses th rase to ean b or s et n 378 . op u e ph m oba, impl o ;

cf . :

“ La tristeza que Oprime tanta belleza nos ha obligado a sacar

éste del Colegio V iejo ; ” z que es pie a de Rey .

ol B obo del Cole io . g , II , xvi

f T rs de M n a : P or l S atano ol Torno 1 C . also i o oli c y , , iv . I n la Gitanillo of Cervantes we read : yo daré traz a

s s Ma estades te ea or e eres eza do re es . que u g v n, p qu pi y L A DAMA B OB A 2 65

395. so to sale el alma : an vn ran s s ir l sa Y, d do g u p o, se o lio — el al a P orsilos S i ismunda o . cit. ca . 1 0 . m y g , p I , p , vol

75 . I , p .

on todas las criad os : on for entro is not uncommon in ’ “ L e s da E n estas laticas en tras se e antes op y p , y o m j , ” l — llegaron a lugar a la hora que anochecia . Don

uixote 1 ca . 5 . 1 6 . e c entat rs com Q , , p , f v Som omm o “ plete the phrase by inserting ocupados en estas pla

i n ticas which s unwarra ted .

405 . amo : er r L e has an accent in his an scr t p wh eve op m u ip , I

have left it ; usually at the end of a verse .

con la libr ea del rey

colorada ama illa : Cesare F ernan ez D r in his ad y r o d u o ,

ira r Dis uisiciones no ut cas Ma r 1 8 76 m ble wo k, q i ( d id , , I ,

p . speaking of the marriage of F erdinand and Isabella ( 1 469 ) adds so habian fundido las diversas nacion alidades do la P en insula en dos agrupaciones

d esignadas con los n ombres do Castilla y Aragan : al

re n rse en una s a al a tar nu s c n fu di ol , dop imbolo omu ,

r n l logico era que se toma a os elementos principales .

Ahora bien : Castilla blas onaba castillo do oro on comp o — do gulos o rojo y Aragén cuatro barras O hablando — con mas propied ad heraldiea cuatro palos o bas tonos

do ul s n com o do oro est es i ént c s col res de g o o p , o , d i o o , manera que sin abdicacion p or ninguna do las partes se ofrecia por si misma la combinacion del rojo y ama rillo u oro para continuar siendo los colores nacio

n ales . Dij e que las libreas de particulares y los traj es uniformes de los servidores del E stado estan inti

mam n e re ac n d s con los ' esc s res ect s e t l io a o udo p ivo , y

caen bajo el dominio de la H eraldica. Los trajes militares del reinado del Emperador consistieron en

on c zas rra ro os ac c a s do amarillo. E n jub , al y go j u hill do

t e d F e e yistié 1a infanteri d am ri llo con i mpo o lip II a o a , 2 66 N OTE S

r A i cuchillos ojos . s esta presentada en la pintura de S an Quintin de la Sala de batallas del Escorial

F e e IV su rimio las ca zas ac c a as sustitu én lip p l u hill d , y

as con re iiescos e as ca z as de ana c er do dol g g y m di l l , u po

bOn con f lde rer fi l r l ju a tas y somb o do e t o a a walona . El jubén y gregiiescos eran amarillos y las medias calzas

r o as se un un nt r ue see en L r el en e j , g a pi u a q po o ca g ral ” Musso.

41 7 . carr etones carret n diminutiuo de carreta este lo o ,

lleua vua s a est a si es carret n o carretoncillo d ol b i , y o , o

re lo lleua vua ers na a o l he s r r pob , p o ; y y y o vi to ti a do ”— dos erros de vuo. C arr as . p , y ov ubi

cl romadizo

que da la noche a Madrid “ D . Juan . C n zc a e r ance en l z . o o o qu l om , y qui o hi o

T llo El ti l n ’ e . p aco es lecho con romadico.

D n e . Jua . S renos do Madrid cansan catarro .

L e : L a N ocho do S an Juan 1 1 1 . 83V op , , f .

la calle Mayor : The noted playwright Ruiz de AlarcOn has

an entertaining passage on this street :

L eonor . Ca e Ma r ! Tan ran e s 3 ll yo 3, g do que iguala a su nombre y fama ?

r Cla a . Diréte por qué se llama

la calle Mayor .

Di pues .

F o es ol re a r ilip y m yo ,

Ma r su c rte en e a d id o , y ll la mayor y la mas bella

ca e la ca e Ma r . ll , ll yo Luego ha sido justa ley la calle Mayor llamar a la mayor del lugar

que aposenta al mayor rey .

e L eonor . B ien probast tu intenciOn .

2 68 N OTE S

c ran en ata r y ob do pl u o o,

a a en c rtos si es ue a a p g ua , q p g . — P or cl S atano ol Torno . y , I , vi

’ S ee a s in L e s cl Acoro do Madrid 1 th l o op , , xiii , e

~ Speech of B eltran . If the witticisms and descriptions dealing with t hi s famous street were to be gleaned from the dramatist s

a ne a c re ens e st r the nd lo , omp h iv hi o y of life a activitie s

the calle Ma or and e en the ent re ca it of y , v of i p al could

e r n f n r n b w itte . C . also Meso e o Roma os : E l antiguo

Madrid Ma r . 76ff . 1 1 6ff . R c r ( d id , p , ; i a do S e

ulveda : Madrid vie o Ma r 1 8 8 7 . 1 9 ff p j ( d id , pp 3 .

tantas seruizios : n to the sence se ers re se Owi g ab of w , fu

and ar a rt ater and rse ere re ent g b ge, di y w wo w f qu ly

t r n nt the streets and not n at n t . The h ow i o , o ly igh

law re re e er t at arn n a ua va b e qui d , how v , h a w i g g u shouted before anything was thrown out . The n

suspecting passer-by could then scurry into the nearest

doorway until the shower was over . References to this incredible habit are common enough in the writers of

’ “ L e s da . n bellacOn z de coc na ue e a op y U , mo o i ( q d bi

d estar re an fisose a una entan a ochOm e or e f g do) p v , y p

u ran ailOn de a ua r en c an o la cima n g p g hi vi do , y u d

t e a c estas es ac o : A ua va arda os uv u , dijo muy d p i g , gu

deba o. C encé a r tar an ces ue m e a an j om g i , d do vo q h bi — ° rt . Guzman do Al oracho arte 1 a r 3 mue o f , p , lib o

cap . 3 . 3Que sin dezir a] que passa

u v las esta cassa ag a a, d derramen vn orinal

an ora : oi D octor Carlino ra en G g , II ( f gm t ) .

f l Cas a do los Celos Cer antes a r C . a , by v , popula song (Act II )

' Derra astes ol a a 1a n na m gu , i , ’ y no dixistes : [ Agua va . ” La justicia os prendera . LA DAMA B OB A 2 69

I n la Guarda cuidad osa of Cer antes the sacr stan v , i as s the s er in at wa Cr st na the se a has k oldi wh y i i , hou m id , rece e his an a rs and the atter re es iv d m y f vo , l pli “ Con derramar sobre mi las lavazas cuando ja

na ol a a de re ar c an r e a esto es ca a bo , y gu f g u do f i g ; y d dia r e t s los ias est en esta ca e a eu , po qu odo d oy ll y ” ’ l puerta . S ee also the dialogue in Lope s ol Vil ano en

’ ’ su Rincon not n e t at in the entromes , II , vii , u lik h of

Cervantes . As regards the particular meaning of servicio in our “ a c are Una za de re ar a as las nce pl y omp mo f g , d d o de la n oc e saca ol serv c o de sus a s a la ca e h , i i mo ll , y

or tarse de r s vaciéle a la erta de un ec n p qui uido , pu v i o que hacia y vendia esteras de esparto y de paj a ( Oficio

ue comunm ente s a entre disci ulos del A c ran q o h lla p l o ) , y como por ol mal olor viniese a noticia del hombre el

esacat de la za sa o en a c en o d o mo , li muy oj do , di i d

O e aca re na n nca tr ec es en t erra de cr s 3 b ll f go , u o o h i i — — tianos ! Dijo la moza z P or eso lo vacié ya a vuestra — erta . Gas ar L cas H a : Dialo os 1 ca . 4 . pu p u id lgo g , , p Tonia por costumbre ol viejo burlOn de levantarse

cas ca a n c e al ser c ol en B art ue i d o h vi io ; y of dido olo, q

no n ra a esta c st re de eu e la n c e ig o b o umb vi jo, o h

s u ente c an lo saca a a la cal e ara lim ialle ig i , u do b l p p ,

antes de ac starse ol c ra en l ar de lim ialle c o u , ug p , omo ” s a lo s t a la re n ez es a ta a etc . I bid oli , pu o od do d m l d , .,

1 1 ca . 4 . , p “ Ab riO un moz o la ventan a do arriba con un candil encendido en la man o y un tocador en la cabeza entre

s c r t c en : N O ha sa a er an a a u io y o o, di i do y po d h m o ; v y

con D s en s es ue lo coronara or nec nu io , y m o golp ; q p io — l orinal de sois dias . Tirso de Mo in a : las Tres maridos

bur lados 2a r a . , bu l

e e in his Vida del B uscan ses the r it Qu v do , u wo d w h “ the double meaning found in the play : 3Que estima b an— dijo [ el soldado] muy enoj ado— Si he estado yo 270 N OTES

' se s mos s reten n una an era tras e nte aIios i e p die do b d , v i

de ser ic del re c o lo cen estas er as ! v io y , om di h id

Pr nt n F an s or l hazafia del Mel a egu e v . m . o l de p a l do,

y vera lo que dizen . El sold ado llama al hues ped y lo encomendo sus p apeles con las caj as de lata

que los traia. H izose hOra do levantar ; [ol sol

a i o l z a r sa tra éronla l és e d do] p di u muy p i ; j , y e hu p d

el en t ri al s a Olvidaronsele los a e es . E1 vol o o old do, y p p l

re A ferez hundia la cas a r t s en ue pob l a g i o , pidi do q

se lo diese los serv1 cIOs . El huésped se turbo; y como

tod s deciamos ue se los ese fué c rr en tra o q di , o i do, y jo — tres ac nes c en H e a i ara ca a un o ol s . b i , di i do qu p d uyo 3Quieren mas servicios — entendiendo que n os habian

dado came ras . Aqui fué ella ; que se levanta el soldado

con la es a a tras el és e en eamisa ran u p d hu p d , , ju do q e lo habia de matar porque hacia burla dél ( que se h abia

a a en la N a a S an ntin tras tra én e h ll do v l , Qui y o ) , y dol ” r o servicios en luga d los p apeles que lo habia d ado.

ca . 1 0 . I , p

rdi nt agua a e e, agua viznieta del vino : so called by LOpe because it was f “ ifi distilled rom wine . E s la que por art cio se saca ” del in de sus heces del tr de tras c sas . v o , , igo, y o o

Diccionario do Autoridades .

los honbr e arnestolend s : I n ol A er o M r s c a c o d ad id, B el tran says

F ranceses ue re onal s , q p g

aguardiente y letiiario.

F or the n se and re e r carn a t e nte at in oi v l y of iv l im , hi d

nes 425- 8 see Gas ar L cas H al o : Dialo os es e li , p u id g g , p cially the romanc e recited by Castaneda in the last

c a ter e nn n : h p , b gi i g “ Martes era ue no nes , q lu ,

martes do Carnestolendas etc .

2 72 N OTE S

de buena gan a los sastres ” a pelear con los moros . — i n hablar iv . cl P remio del b e , III ,

es n es canza s nu rea s s rin Cuando los pa ol al mo l , omo p

s a n nos a te nos 10 ace creer 1a resunciOn . cipo , y u que f l , h p

’ i re n é s a nu m al tra illo én es res n er s S p gu t i p qui , po d o

h or lo en s ue esc en e de los s ue su a p m o , q d i d godo , y q

r uer lo t en e arrinc na s en ro del co ta s te i o do , i do p pio

mundo loco levantar a los bajos y baj ar a los altos ; pero

n asi sea n o ara a t rcer su raz ni se que au que , d o b o

st ara en en s ue el mas rec a r ra antes e im m o q p i do , y mo i

d a re ue nerse a nu o cio si se nen a e h mb , q po fi ; y po

a ren er a un a es con tal dosaire ue 0 no tra a an o p d lg , q , b j ,

si 10 acen es tan mal ue a enas so a ara un uen h , , q p h ll b

o cial en t a E s afiai — L na L azarillo do Tormos fl od p u , ,

cap . 7 . It would b e worth while to identify this Luna . H is tale is an interesting patchwork of phrases an d

episodes taken from other authors . I am inclined to believe that the name Juan de Luna is not a nom d o p lume ; that he was merely a teacher of Spanish and in

terpreter in Paris and London . After readin g carefully

his three books : Dialogos familiares ( in Sp anish an d

F renc P ar s 1 61 9 his Arte breve i Com ondiosa ar h , i , ) p p a

a r nder l er oscr ouir ronunciar habl r l l n p e a e , , p y a a e gua

os oiiola L n n nd his L azarillo do Torm os p ( o do , a

Par s one is resse c e his ack of ( i , imp d hi fly by l

r na t and his c e erness in tt n t et er ate o igi li y , l v pu i g og h m

rial gathered from other writers .

tocauan los boticarios

sus almirezes a pino : the apothecaries clanged their brass H “ mortars . The phrase is used of bells empinar la ” ca na afierla a n es leuantarla en a t mpa , o t pi o , l o .

arr s n r ina. Cov ubia , u de p

P agés : Gran Diccionorio do la L engua Castollana

quotes Quevedo under almirez without exact reference : LA DAMA B OB A 273

El clamor del que muere empieza en cl almirez del ” boticari o acabase en las campanas de la iglesia .

Y ué ust me a erc e 3, q g o p ib

un rez l er almi a mol , y un lacayo al patear ?

' — Alarc6n : N o ha mal ue ar bion no ven o y q p g , ’ B n a e ce n e t on . I , xiv ( o ill s x lle t di i , p

Oziquimocho : The names of these cats recall those of . ’ L e s tom ui s e c are : Za a uilda op Ga aq a, om of whi h p q ,

Marrama uiz Manlero Micifuf Bufalia Garra Gar q , , , , f,

fiii anto Micilda Za irOn Tra a anzas Golosillo L a e , , p , g p , , m

at s and t ers . pl o , o h hablaban : the imperfect with b instead of u - auan ) is

’ rare in Lope s manuscripts .

on ti lo: las atas m aullando en t o cl ataz en p [ g ] ipl , y g o — a . la Gatoma uia silva 2 . b jo q ,

eri onza : ar on er s vn c ert len ua e art g g j g , gibb i h ; i o g g .p i cular de que vsan los ciegos con que se entien den entre

si. LO es t enen los tanos tambien r an m mo i gi , y fo m

en a los rufianes los a r n es ue a an Ger an a . l gu , y l d o q ll m m i

Dixose eri on a as re i on a r e en t e s g g c , qu i g g g c , po qu i mpo

ssa os era tan ere r na la en a r e a ue aun pa d p g i l gu g i g , q

do los r f ssa n acu ta es la entendian pocos que p o e ua f l d , y assi dezian hablan griego ol que no so dexaua entende r

— T r n c dis etc . Covarrubias . he wo d has bee mu h

ss but the o r ess the an s e c ra er cu ed , p o gu of Sp i h l xi og ph can be replaced only by the equally unsatisfactory

“ ‘ ” ’ f rr modern conclusion Of uncertain origin ( c . Mu ay s

E n lish Dictionar n er ar on a s erse 91 8 . N ow g y, u d j g ) l o v

“ la que arrastra honra : hase do entender que las ropas

r z antes ue lle auan al sue ant a ente las o ag , y q g lo igu m ,

n l Re es ersona es ra es or traia os y , y p j muy g u ; y p vestido honroso se da a los clerigos que no pueden 2 74 N OTE S

traer es e n v tido qu o llegue por lo menos al tovillo.

C arr as . C rreas : Vocabulario do Re r nes et ov ubi o f a , c ., “ has the rase lo ue rrastra nra rr tr nl ph , q a ho , y a as aba e ” las tripas ( p .

N o se a ue lo ue arrastra nra s n al c ntrar a dig q q ho ; i o o i , que lo que honra arrastra y trae a muchas mas arras ” tre s ue s las . Gre c an ol Critican art 3 r i do q il i , , p e a, c is ’ Ce ador s e t n Ma r 229 vi ( j di io , d id , II , p . . “ es ar c la st ria Si l go omo hi o ,

arrastrarapor el suelo ;

pero lo que arrastra honra .

L e : S an tia o ol Verde op g , III , vii .

pias : haca remendada ; vienen de las Islas S etemptrio

‘ n ales para seruicio de los Reyes y grand es seIiores . E1

nombre es de la tierra y lengu a do donde vienen .

C arr as . C are F renc ie and cheval ie and ov ubi omp h p , p ,

E nglish pied and piebald .

orr or nso cinco a cinco : C rrer ol ans re z ue c ga s o g o, go ijo q

az or carnestolendas atandole en vua s a on se h e p , og

medio de la calle ; los que passan corriendo procuran

arranc r e ol esc ez co esta en trauado suel a a l p u o , y mo bi e

— r h vezes arrancarlos el de la silla . Covar ubias . T e

r t r n f h n scr was corr er lanzas c fi s eadi g o t e ma u ipt , whi h

L c rrecte r t n ansos er anzas . The r nte ope o d , w i i g g ov l p i d

versions all have canas .

il ritr The s E r thrae one the t e e S ib a e oa : ibyl of y , of w lv — c e c t es n a As a n r . C cer : D o Divina hi f i i of Io i , i mi o i o

tion M B rutum 1 8 s ea s of her . o ad , I , , p k

' ‘ N s noc C r st ra 3 O o co ido [ h i o , ] mi d ,

las s as e tas a ibil , po

i in ue del escriuen d u as , q heroycos y altos poemas ? Mirad lo que dizen del

l ca la er trea a libi y i ,

l d C as la de Ara a etc . a e um , bi

2 76 N OTE S

E so de argiiir es buen o ” para escuelas .

— L e : la E sclava do su al n i op g a , I , .

entr en esc e as r tan los rr n s Si o u l , g i go o e

A uar a ol err — S iluos coc s 3 y , g d p o y co , ” urr r e y sos o mejo qu de enojones .

— D e Ximénez do nc s : Juan Latino 1 1 n ear i go E i o , ,

beginnin g .

- 579 . P laton uso cortinas : t at is the neo at n s s r p h , pl o i t e i joice n this Obscurity .

L a cla ridad

a todos os agradable : Although Lope himself indulged at times in concep tismo and culteranism o he always c d

vocat d c arn ss i i e le e of style n h s criticisms . H e makes

a st nct n et een culto affecte and culto c t re di i io b w , d , , ul u d

in h t e best sense . I n the latter sense Garcilaso was “ culto : A e eta es c t ue c t a de s er e s qu l po ul o, q ul iv u t u

e a ue n o e a c sa as era ui esc ra co o u po m , q d j o p u , m n

a ra r un ca ue eso es c t ra aun e e s l b do mpo ; q ul u , qu llo — ran ue lo t an or rn a ent . la D or otea IV . di q om p o m o , , ii ” S ee so his D sc rs en r sa s re la n e a oes a al i u o p o ob u v p i ,

in Obras sueltos do L o e do Ve a Ma r I V p g ( d id , ,

p . 459 .

n he n 593 . N o traygas con tigo [ a ] quien : o t mecha ical omission

e re or a ter a e cf . erse 259 . of a b fo f vow l , v

N ise stumbles and alls : T s sta e tr c c er ts f hi g i k , whi h p mi

the er to ass st the un r to r se or to to c lov i yo g gi l i , u h her hand without arousin g suspicion or Offending cur

r n e ette is one of se era co n e ces ot e t tiqu , v l mmo d vi , b h f of the theatre and the novel . C . Lope : la Discrota

en mor da 1 : F en sa ets her an erc e a a a , , iv ( i l h dk hi f f ll , so that Lucindo m ay hand it to her and address her )

cr Madrid 1 : B o sa al s and Lisardo cl Ac a do , , ii ( li f l L A DAMA B OB A 277

helps her to rise ) Tirso do Molina has the following

scene

D ona Ma dalena . o . Un a r g ( p ) f vo ,

me manda amor que lo dé .

Tro i d r ( p oza, y o la mano a Mi ono )

3V algame Dios ! Tropecé ;

que siempre tropieza amor . l i E chap n se m e torcio.

Mirono. ( ap . ) 3Cielos ! shay ventura igual ?

H izose acas al un mal 3, o g

Vuexcelencia l Doiia Magda ena . Creo que no.

r n n l Mi o o. ( ap . ) 3Que la ma o a tomé ! — el Vor onzoso on P alacio . g , II , xvi

’ Cf a s P ar cl S otano cl Torno and Alarcé n l o y , II , i ;

— Jac nt L crec a é sa e con antos cae Jac nta i o, u i I b l , m ; i , y llega Don Garcia y dale la mano — la Verdad sos

echoso 1 p , , iv .

“ N o sé si con c a tro ezO del c a n acudile los uid do p h pi ,

razos a ert s recibl la en e s alcanzandole a t car b bi o , y llo , o i ” nu poc o de su rostro con ol m o.

Guzman do Al arache 1 1 . f , , iii , iv

H ermoso sa s sin dudo ensamiento : T s a str e to y , p hi po oph “ ” t t is ce n c n in L e and is a hough ex edi gly ommo op , a dramatic device with the form and character of a mono

c r ro n r logue . The latter is seldom satisfa to y f m a a tistic

nt of e eca se an s c e la comedia poi vi w , b u Sp i h om dy (

r nt c a is ntr ns ca one c nstant p opiame e di h ) , i i i lly of o

n nd r ar t n so t at n ues e er actio a fo w d mo io ; h mo olog , how v

r t e m a be ass e an art c a c aracter . I n b ief h y y , um ifi i l h tragedy the monologue is more apprOpriate on account of the moments of pause an d deliberation which occur “ ” in every tragic plot . Apostrophes to a thought may “ n in l Viuda valoncia na : B en an en be fou d a u imo, p 2 78 N OTE S

— sa ent do te er a est . los L o mi o, m id d v ido II , i ; oc s d o “ — Vale ncia : V éte es ac ensa ent mio. I d p io, p mi o , xiii ; “ cl B oba del Cole io : D6nde m e lle as ensa e nt o g 3 v , p mi — “ loco ? III iii ; cl P orro del hortela no : N uevo p en — sa ent m IO es an ec o en el ent . l mi o , d v id vi o II , iv ; a “ Moza do can taro : N ec ensa ent ue en a l io p mi o mio , q t — oc ra a é s a . I el Cas ti o sin en an l u h b i d do , xii ; g v g za “ ” Dé a e ensa ent no mas n o mas e r a . j m , p mi o ; , , m mo i

and an t er a s . E en in r s ct on L I , i ; m y o h pl y v p o e fi i Op e

n r s t i t oduce his p oetic stage device : Cf. the roma nce in

cl P er e rino e n su atria r 3 in O ras s e tas V g p , lib o , b u l , ,

p . 208

C ar e ensa ent ob d p mi o ,

es t as tus r essas pu od p om , burlandose del alma l el viento se as lleva .

” S imilar apostrophes to pensamiento

r foun d in othe dramatists .

[las doco] que es num oro do y nteres : Don Luis Zapata has

a c a te r in his Miscelanea ca e Gran eza d l h p , ll d d e

’ ” nII mero oce . It is e ost Of the o e a ea d , lik m v lum , h p of

s r t es but c nta ns te s ar nterest . ab u di i , o i i m of popul i

A n the scores of e a es in c doce is se he mo g x mpl whi h u d ,

t s Doce los a s s ce P ares de F ranc a ce ci e , f mo o do i ; do

m oses tiene el ano ; doce horas da en E spana ol

re n o da mas de oce an s se e e casar un a loj , y d o pu d

er do ce e e testar . D ce s acen or s us muj , do pu d o hijo h p dias a nu hombre hidalgo doce son los Consej os principales que gobiernan nuestra machina doce leguas hay de Madrid a Toledo una docen a de

r n r acotes es el castigo o di a io de un muchacho .y doc e gallinas y un gallo dicen que comen tanto como n u

’ M moria l his torico es a iiol Ma r . Cf . o caballo p ( d id , — XI . 76ff . Laurenc a s vs . 68 1 4 , p io dd ( )

N OTE S

zQué planeta riguroso mira en aspecto contrario ” la casa de mi fortuna ?

— V oez do G e ara : L a bli a i on a las mu eres l u v O g c g , I I I ,

f . 258 in S egundo parte do com edias os cogido s

M r 1 652 ( ad id , )

N o vos que el sol del dinero t va dol yngenio adolan o? etc . : Ever since the days of th e

Arc r est Of H ta se tt nes e nn n M ch o hp i i , who wi y li b gi i g u ” fas ol ner et c es do a ar are read t h di o, mu ho m , wi

eas re t a an s r ters a e a tr te to do n pl u od y , Sp i h w i h v p id ibu ’ t Dinero in original ways . Quevedo s lo rilla :

P odoroso caballero

es don Din ero

is e n n and Cer antes has on se era ccas n s w ll k ow , v v l o io ,

s c a in D on uixote r tten the re at e er ts e pe i lly Q , w i of l iv m i

ert an d r c es A e an t his e ra of pov y i h ; l m , wi h lov of mo l

z n s ea s of t e at en t as for e a e in 1 a i i g, p k h m l g h , x mpl , ,

arte r ca . 1 Of his Guzm an do Al arac ho b e p , lib o p , f , “ nn n : P ara los a a res no ha r c nec n i gi i g dul do , y i o io , ” pobre discreto . B ut LOpe always presents an Old sub

ect in new and n ta e anner c are fo r j a i imi bl m ; omp , example

B eltran . 5A quI en posa que lo den ?

’ D e t11 en ol n a 1 en ? im ; mu do , 3. qu gN O hay nadie ?

E scfichame .

El médico esta mirando

cuando cl de a ocho lo encaj as ; ol letrado cuan do baj as

l an al arr afo an a m o p , d do ; el juez cuando lo toca la parte del d enunciado ; L A DAMA B OB A 28 1

ol procurador no ha dado

paso hasta que el plus lo toca ;

ol ue escr e s at en e q ib , olo i d

cuando sacas el doblOn ; cualquiera negociaciOn

de solo el din ero pende .

E l ue ene a ser tu a q vi migo,

si n nc lo has a n a u a d do ad , culpa tu amistad honrada

y dej a do andar contigo .

El ue se ne a rar q po mi , no esta mirando aquel rato

si es fl ux s n ol arat , i o b o

r h agua da que lo as do dar .

uien ha ec al un acer l Q h ho g pl , que no espere el galardOn ?

— la N ocho toledana

[ Asi fuera cl alma ! P edro is far more particular th an his

aster and his re er nce nte enc to m r m , p f e of i llig e o e

’ prettiness reminds one Of AlarcOn s verses “ es a la er sa Si bob h mo ,

‘ es de teIiidO papel

una en rm a a fl or bi fo d ,

ue de e s sta a ra a q l jo vi g d , y cerca no vale nada

porque lo falta el olor . — Mudarse or me orarse . p j , I , v

l salis : The word in the MS . looks like sa es but the o m ay

be an undotted i as elsewhere now and then .

769 . gAmor ? D osseo do vna cossa ormosa : A discussion of love along the same lines as here may be found in

’ L s F uente Ove una 1 see a s la D orotea 1 1 . ope j , , iv ; l o , , iv

The n e and eas of neO- at n s es ec a as la guag id pl o i m , p i lly

in L e n H e re Dialo os do Amor are fro voiced o b o , g , 28 2 N OTE S

’ quently r epeated by the poets Of Lope s day ; they a r e

re ec in r l fl ted p actically a l types of poetic creation . Y a declarO Platon que cl n ombre del amor es vniver sal a

ual uiera dessea dc ual uier cosa ue sea do a q q , q q q y qu l

quiera que dessee ; p ero que en especial se dize solamen t e

desseo de cosa er sa . O . cit. . 377 A a n : E l h mo ( p , p g i

a or an do en r nc a ente a a os e s m hum o , qui p i ip lm h bl m ,

r r a ente desseo do c sa er osa c ce P aton p op i m o h m , omo di l ;

comunm ente es desseo de c sa en a c ze Ar s y o bu , omo di i ” l T n er r n tote es . ( p . he i t p etatio of the p aga n

e t es C V enus A o etc . Of eat en th s d i i , upid , , poll , , h h my , as found in Leon H ebreo is repeated in the poets Of the

r r e e e H e r S iglo do O o. Ce vant s copi s L on b eo extens ively

in his Ga latea I V the e n t on e as un doseo d , , d fi i i Of lov , o

r belleza r ecurrin g seve al times . Cf . the edition S chevill

- B on a o . cit. I n troducciOn . 21 F tz a r ce Ke l ill , p , , p i m u i l y

l r t i M r H istoria do lo ite a ura es a iola a . p ( d id , p

1 30 ; and especially the great work of Menéndez y

P e a : H is toria do las ideas ostéticas en E s a na 1 1 l yo p , ,

° M r 1 0 ff vol 1 a . 8 . . ( d id , p

— es iritus visiuos : LO ue t ene facultud de ver Dic c . p q i ,

d Aut. n er visivo t a c tat on r o F ra os o o , u d , wi h i i f m g “ iru ia niversal ca . 37 P or est s van l os C g U , I , p , o

s rit isivos a los os en tran las es ec es O sem e e pi us v Oj , y p i , ” janzas de las cosas .

eon H e reo o . cit. . 361 sa s : del res lan do L b , p , p , y p

ciente entendimiento diuin o fue produzida la luz visiuo

l r r dia de la creac on en el arto dia fu e en e p ime i , y qu

ca a al sol a la n a a las estre as . apli d , y lu y ll

r r : A or e o ar and ant ate r of 794 . a ried o baya m p pul iqu d fo m

f men zOse a recer a atanas de O cae r orrodro; c . : Co Of S , j

l r as e ase a él ol est ante — Arried r o as alfo j , ll g udi y dijo

s atan cata la cr z — e e : Vida d e l vaya , S , u , Qu v do

s an 1 . B u c , , iv

N OTE S

830 . es luz del entendimiento amor : one of the concep tos Ofte n

n in the re s erse of the se enteent centur fou d ligiou v v h y ,

r r n but efe ri g to cl amor diuina. It is foun d in simila r

forms in Leon H ebreo .

8 39 . deso nacistes . gYo ? The ign oran ce Of F inea may be c om

’ ’ pared with that Of Agnes in Moliere s : L écolo dos

in femmes ; there are similar ideas both plays .

e itor ia : a ste : en r cenc a lo r er ue ten o p p w S o li i do, p im o q g

do tar este su l r ha de ser el t t ue lo ne qui d ib o i ulo q po , — llamandol P e t r a . P re unt61e ue or u r es e pi o i g q p q e, y — pondiOle z porque la pepitoria lleva pies y cabez a ; — pero este su libro ui lleva pies ui cabeza . Gaspar “ L H : D lo os o . cit. ca . 4 La ucas idalgo ia g , p , lib . p ;

ii r s n l s en za a to a ac a e t r a se o a u veci a a de m u b d , y h i p pi o i ” d o s sus em r s c nt ras . la Gitanillo . e t do mi b o y oyu u , p

25 e t n Ro r ez Marin in Clasicos castellanos , di io of d igu ,

V f s V oez d G e ara : ol Dia blo a u la XX II ; c . al o l o u v c j e ,

th t n S r . B n a o . cit. . 1 5 and 21 3 . e edi io of o ill , p , pp

sac a do vna carta c u nayp ecito : Octavio hands F in ea a

ct r of L se rawn on the ac of a a n car . pi u e i o , d b k pl yi g d

’ ss in L e s P eribaiioz cl Com en According to a pa age op , y

’ M r ii cf . B n a s e t n a dador do Oca a ( o ill di io , d id , a painter draws his first sketch of a portrait on a play

c r nai e t r n it a ter ar s on a ar er in g a d ( p ) , h owi g f w d l g canvas :

A r rte en . Pintor . se vi v go

l n c res ? Comendador . 5Traes e aipe y olo

n ra . Pin tor . Colores y aipe t igo

r P es con n ta e secret Comendado . u , o bl o,

e s tres a ra ras de aqu lla l b do ,

e r la de en e m e r t ata m dio, luego que en cualquier lugar

tomen con espacio asiento . L A DAMA B OB A 28 5

t Pin or . Que seré dificultoso temo pero yo me atrevo

e z a qu se pare ca mucho .

omen or P r C da d . ues advie te lo que q uiero .

so arece en el na e Si p ip , deste retrato pequeno quiero que hagas uno grando

c n m o as espacio en un lienzo .

Pin tor . uieresle nter 3, Q e o ? n Come dador . N o tanto ;

asta ue de o c er b q m dio u po,

mas con las s as atenas mi m p , ” sartas ca sa s uelo , mi y ay .

— I 1 1 , xx .

I n a er am s n scene cl Ausonte en cl lu ar v y u i g ( g , III , iv ) Carlos pretends to tear up the letters and pictures of

E s to e her e e t at all er e li a mak b li ve h is ov b tween them .

Un r t nate he has n t n to tear in his c ts fo u ly o hi g up po ke , so he turns to his servant

Carlos . 33Tienes un papel ahi t n F in giré que los rompi . ( op . a E s eba . ) t E s eban . Buena industria .

e Carlos . Amor m e adviert .

E steban . Si a darte otra cosa vengo

tan ena no has do eno arte . bu , j

N O haré .

Pues escucha aparte .

Diez O doco naipes tengo . gN aipes ?

S on ara enca ar p j ,

r si necesidad so Of ece .

r Carlos . Muest a .

t r E steban . Las ima pa ece .

E r e es ar an Carlos . stot os pu d gu d

E lis E sa b o to e r ta ( a a ) li , y d jo o , hoy rompo 2 8 3 N OTE S

E s teban . a . a sn amo . era ser ( p ) y pudi ,

si fuera mala muj er ;

y rompes algun a sota .

’ Carlos then tears up several playin g car ds un der Elisa s

n an d e arts . The atter ro t es atc e s wi dow , d p l p mp ly d p h

Mar na an d her ser ant P a a to examin e the r a qui , v ul , f g

ents e she re a n s at the n o . m , whil m i wi d w P l ol t i au a . gRasg os odos aqu Carlos cu an do so partio?

S i.

N aipes solo hallo yo.

‘ Co o l z, m

N aipes . gN aipos ?

M ra n o sea ol retrato i ,

o n que sté on aipe .

r n Ma qui a . Lo que vos . L a sota do bastos es .

Ju o er o dio arat . g , p di y b o M l P aula . ira que o revés sora

r Marquina . P or aca n o hay ot a cosa .

Cf . a s la D orotea I V V . l o , I , v ; i ; , v

The three picture cards of the S panish dock are : a

cro n e re re a re on rse ac caba llo w d figu ( y ) , figu ho b k ( ) ,

e a ent to our een and the n a e a stan n quiv l qu , k v , di g

’ n i figure ( sota ) . Appare tly L seo s pictur e recalled the

atter b ein the a e of a o n m an but on as far l , g im g y u g , ly

as the a st and t ere re differen in r the s a w i , , h fo , g f om u u l “ sota in ha n n o e s . Cf . the rase : ue es s ta vi g l g ph q o , y

estr a los ies in T rso do Mo na : L a Villa na d e mu p , i li “ ” la S a ra scar los ies a un a s ta in A arcon g , I , i ; bu p o l

Las P aredes o e n . T s m a b e an t er reas n for y , II , i hi y o h o

’ Fi noa s surpr ise on seein g her prospective husban d on “ l n car but t t o s for she e c a s : a p ayi g d , wi hou l g , x l im que ” no tien mas do cara cuera ro a vs . e , y pill ( On mm N OTE S

en tar as do c rc or defuera im o ho , y p el grave adorno de una y otra silla — Lo z la atom uia s a 5. pe G aq , ilv

S e entro admitl o una silla con ue lo c n ar n . y , q o vid o S entése la dama en un estrado que habia do raz onables

co in s n una sa a c a rn era do n s uadama g e e l , uyo do o u o g ”— c es al tar c an los i ese su duofio. Lifian il , qui u do p di y “ V r : uia avisos de F oras teros n e a os e dugo G y , ov l y

carmiento quinto .

Ca a lo res ondio ue e r re osaria en el estra mil p , q m jo p do ,

ue en la s a ass lo r ose entrasse a r r on e q ill , y i og do mi — D on uixote ca . . 1 92r . Q , I , p xxxiii , f “ Cf. also the Carta do dote otorgada por Miguel de

Cer an tes a D na Cata na do a azar V z e an su v o li S l o m di o, ” er the st c nta n n a n the s a se mug , li o i i g , mo g u u l hou hold

o s una almoad a de estrado d verduras in P e cer go d , e ; lli , t D ocumen os p . 207 of his Introduction to Don

uixote M r Q ( ad id , Among the bienes dotales y p ronio caudal of Isabel

do Cervantes are mentioned : quatro almohadas do os “ tra do terc e ne r and tra alomb ra de os do, iop lo g o, o

trado . Péroz P astor : Documen tos cervantinos

Ma r . 1 49 . ( d id , p

xeri onza : in a t n to the s n cat n en rs 443 g ddi io ig ifi io giv , ve e ,

als eans a tr c or ece t a e a st n o m ho x , i k , d i ful g m , my ifyi g

or ridiculous occurrence . Compare “ S otanitos do Ma r d id , j erigonzas encubrid

con las trampas do una calle .

T rs do M na : P or el S étano el Torno i o oli y , III , xi .

The Die . de Aut. c tes E s n e : Mar cos de Obre on i pi l g ,

ac ol tan eri onzas s re ol ac d h ia gi o mil g g ob m ho, o manera que tenia ya muchos golos os que lo quorian ” c rar ca . 1 6 Co ador : Tesoro : S ilban tes omp , I , p ; j , I ,

no. 30 . 1 02 t n s the r B as e r n . , p hi k wo d of qu o igi L A DAMA B OB A 28 9

’ f A t hablaua en : c . hablando on ol duque do lba e c. — L0 o : Al sar del arro o . p pa y , II , i

habla en los royes a tiento .

— uar r uardar e G da y g s , II ,

Ans stuuimos ast la n c e a an on c sas i o h a o h , h bl do o

mo preguntaua . — Lazarillo d Torm s . e e , III

Cf . a s H ansson who sa s of t s rase ramatica l o , y , hi ph , G “ histérica de la lengua castellana : pertenece al len ” guaj e antiguo ( p .

‘ tanto cl o se lo aco d : o the ca l f eteers to the r j mo a j , l o mul i

easts to r e t e on and so re a ro riat for b u g h m , mo pp p e

the s F nea t an o as e e s . The Die . do Aut. illy i h j y , j w l “ cites Quevedo : Asimismo declaramos que no dé a

n n na er nin un a so ena do e arse con i gu mug joya g , p qu d ” ol o c est a. I n P rematica del tiem o Obras j omo b i p , ,

o it . 440 cf . a s Jacara no. 7 . 1 05 p . c ., I , p ; l o , III , p “ Llegamos a la ciudad

con sus arres y mis joes .

N o haya miedo que me aturda.

Con un a con un arre p lo y ,

un o ue to estri o s e y j , q eg , u lo

dar con un hombre on ol suelo . — T rs do M na : la Villana de Vallecas . i o oli , I , xiii

‘ T s sa e rase cc rs in D on uixote ca . 1 0 hi m ph o u Q , II , p ,

f . 35r .

H araos mal el agua sola .

Tra an vna caxa : of . a e verse 50. I n la D orotea yg bov , , II , “ a s ar ea is e resse : N o bobais ue os ara iii , imil id xp d q h

mal sin c er a . Trae una ca a Ce a ra si ha om lgo j , li , o mi quedado algun bizcocho do los que m e envi6 mi con ” fosor .

z l n r r r 959 . on menudo so di e e vie t e del ca ne o con manos y — ca eza. C arr as . Ot er an als and ir s b ov ubi h im , b d , how 290 N OTE S

h n n d s arts as e er ere a s se . T e e tra s a c v , w l o u d il u h p were in cluded in the preparation were first carefully

as e and acc r n to so e escr t n s even w h d , o di g m d ip io ,

n M r scrubbed with soap ( e nxabonar ) . I n F ra cisco a

tinez Montiiio : Arte de Gozina Ma r m a , [ d id , y b e foun d the following recipe for vna emp anada do “ m n do d auos . 21 8 V and 21 9r T aras vn e u s e p , f om

en do an ue son los a on es ol oscue o m udo p o , q l , y p c , y

los es la o e a e o desollaras los oscue os pi , y m ll j ; lu g p c ,

aras vn re en con hi adillos do 10 8 s s auos y h ll o g mi mo p ,

0 do aues r en vn oc do tozino ce a los , f i do p o , y boll , y

hi adillos echales vn oc o do eruabuona e o g , y p y , y lu g

ec a atr hueuos cr os rebueluelo s re la re h qu o ud , y ob lumb ,

asta ue este en sec e o sacalo al ta er icalo h q bi o ; lu g bl o , y p

en oe a o vn o t do an ra a o echale muy bi , y h l p qui o p ll d , y

dos hueuos cr s sa on a 10 con t as es ec as udo , y g [ ] od p i y

a r do on sal con este re en o henchiras la g io lim , y ; y ll

rc a del oscue o e o to aras los a nes mo ill p c ; lu g m lo , y

e ar s has on a a cortar os has las ntas p l lo gu , y l pu , y

n r r r m cuezanse ass e ter s c ta as ol escuo o. o o i o , y o p c p dio , y cuezaso todo junto con la mollej a y los pies y la mor cilla con vn poco do agua y sal y tozin o y despues

do c z o sacar o has ue so enfrio aras vna asa o id l q , y h m

e co do e an a a n esa em analo con e a dulc mo mp d I gl , y p ll

oc an o vnas on as do tozino debaxo sa onarlo (y ) , h d l j , y c

has do sal es ec as ec a tras n as do toz ino [ ] , y p i , y h o lo j

enc a c erra tu e an a a cuezaso aduierte im , y i mp d , y ; y , que para cada empan ada son m on ester dos menudos con sus dos morcillas do los poscuecos y si n o hun ier e

auos so e e az er do ansos a n e n o son tan p , pu d h g , u qu

enos si er e en dia do carn e odras az er l bu , y fu , p h o h i l M ’ rellen o con carn o en lugar do los igad l os . artinez s

o a es a s n readin but not reco en it bo k m k mu i g g, I do mm d

to people with weak stomachs .

I n he B i lioteca e la mu er r a or la Con t b d j , di igid p

‘ desa do P ardo B azan : la Coci na espa iiola an tig ua

292 N OTE S

Cicero-n tubo a Marco Tulio : The in feriority of the younger

C cer en c are t his str s at er he i o , wh omp d wi h illu iou f h , came a tradition started perhaps by a few chance utter

ances . T s eneca the r et r cian sa s of him hu S , h o i , y “ S uasoriae 7 1 3 t at he was n ox a ( , , ) h homo qui ihil p ” tern n en a t raeter urban itatem . M r en o i g io h bui p y f i d ,

D r . T. P etersson ca e attent n to The Corr es , ll d my io

ondenc o Cicero T rre and P rser L n on p e f by y ll u ( o d , 1 897 which has a detailed introductory article on

Marc s C cer the n er V . lviif . A ar u i o You g , , p popul

essa on the son ma be n in F . F . A tt S ociet y y fou d bbo , y

and P olitics in Ancient Rome N ew r . ( Yo k , p

1 91 fi?.

1 031 . ras anse ca rtas : so the an scr t see s to me to roa g m u ip m d ,

a t the resent s nct e c Lo e u d l hough p ubju iv , whi h p wo l

r te ras ou cf . r s lle u e m a w i g ( fo m like g [ ] , ay h ve l b een intend ed . a and e are occasional y h ard to dis i i h t ngu s .

t 1 032 . niuyun tesoro conp ra la liber ad : a sentiment frequently

’ “ expressed in Lope s day . Cf . the Latin phrase n on ” bene pro toto libertas venditur auro ; and S chev ill

Ovid and the R enascence in S ain o . cit. . 208 . The p , p , p

’ ’ lin e also recalls L ope s beautiful ca ncion beginn in g

0 erta rec sa 3 lib d p io ,

no c ara a al oro omp d , ui al bien mayor do la espaciosa tierra Compare also

O erta ran tes ro i lib d , g o ,

r e no ha ena r s n po qu y bu p i io , ” aunque fuese en grillos do oro !

— la N ina de P lata , II , ii .

’ A t s e undo : a r in Octa s house er a s h c o g oom vio , p h p t e same as

t ne i n r the in act first ; we mus imagi t ea garden . L A DAMA B OB A

’ 1 082 . [ amor ] es el dotor : this recalls the titles of Tirso s cl

’ ’ Amor médico and M ere s l Amour mé ecin . The ea , oli d id

goes back to Ovid .

1 083 . catreda : on trans osici on a c n ar en en n p , ommo popul ph om o ,

cf . H ansson o . cit. . 67 c are : , p , p omp “ Cas tillo. N os han est soiior de arr a abaxo pu o, , ib

como nuouos .

' Du ue. P or ue l q 1, q

Latino. P orque me he opuesto

a tillo. vn a c treda an a vn a a C s a a , y m d lo b d jo,

V illanuoua ue a a a est s rr nes , q p g o go o

a so s m arauedis ca a ar a o i d g g j , ” chico con grando. — D e enez d E nc s : Juan L tino . 44r . i go Xim o i o a , II , f

P laton Aristoteles : Leon H e re in his Di alo os b o g ,

o it. ss s the n ns f P nd Ar s t e p . c , discu e Opi io o lato a i to l

on e at en t . 378 ff . lov l g h , p

1 090 . The th ree versos followin g 1 090 are eliminated in the manu

scr t and acc r n to the ink LO e se . ip , , o di g , by p him lf

— l 099tf . P ract ca all the eas of t s s eec t at o e ta t i lly id hi p h , h l v ugh

men the arts to e in c n t es to a e a s , how liv ommu i i , m k l w ,

create re cs in s rt t at t s t e rce publi , ho , h hi mo iv fo would

’ ' be F inoa s best teac er — t ose eas are ta en rom h , h id k f

’ O s Ars ama toria and the R emedia amoris o e vid , m difi d

by neo- platonic philosophy which mad e love a very

comprehensive influence hard to define . I t covers a

e ran e t e rces e n a e or es re wid g of mo iv fo , b i g lov d i of

e er n a es re ssess n a es re ea t a v y ki d , d i of po io , d i of b u y ,

desire of action and the like .

1 063 1 321 . The a e act and es ec all t n di logu of II , i ii , p i y be wee

th n men nd N se is a e a e e you g a i , good x mpl of concep

t r i tis mo an d cul e a nismo n a mild form . I n as much as 294 N OTE S

Lope intended these scenes to be a good -natured satir e on the affectations of society and its false notions o f

etr and c t re the c n ersat n is n t r n po y ul u , o v io a u ally o t

c ear and the ca ar ntent nall a s r or cult l , vo bul y i io y b u d , o .

t 1 1 64 . for una cl tiemp o corrio : fortuna in the sense of storm i h s common in t e writers of the Ren ascen ce . Saliend o

con ran ros er a a cas e as corr ron rt n g p p id d , po l gu ie fo u a . — cl D onado hablador . cit . ca . 8 . , op , I , p

1 1 71 . las color es : masculine or feminin e Cervantes uses both

about equally .

The t re s eec es t at Duardo vs . 1 1 55 F en iso h e p h , h of , , of ,

vs 1 1 75 and of La ren c vs . 1 1 95 of e a en th . , u io, , qu l l g ,

r resen n a ance in a o e rat er com ep t a ki d of b l di l gu , h

’ x m on in Lope s d ramatic art . The most artificial e

e m a b un in la N oche toledana — ampl y e fo d , III , xi xv ,

in c th ar s o ers a ear on the scene on e whi h e v iou l v pp , “ ” a ter the t er eac rec t n a sonn et to N t f o h , h i i g igh ,

th ast two o ers s tt n a sonn et et een them b e l l v pli i g b w , y

r t n ers eac t the e ce t on of the ast eci i g a v e h , wi h x p i l

erse of c eac has a or . E en Ca eron c v , whi h h w d v ld ould

have gone no further in artificial dialogue . I n thes e

s ec es the three n men are a n cultos pe h , you g pl i ly , L aurencio being a trifle more metaphysical and dar k

’ f h n r n n L than the others . C . t e I t oductio o ope s art

a so . 46 . l , p

donde ay tan tos venda bales

n l honbres de ynteresses e os , no fue milagro mudarte “ gMudose aquel venda bal ? gV uelvos a buscar tu igual

’ o to burlas y entretienes ?

— r r l hort l o Lope : cl P e o de e an xvii .

296 N OTE S

a los amigos

rueba la cama la carzel : Correas Vocabulario . 321 p y , , p ,

’ has : Carcolos ca nos acen a s and Ale an y mi , h migo , m ,

Guzmdn de Al arache 2a arte r . ca . 7 a so f , , p , lib p , l

“ ” ’ ca s 1 r r d ll a ca cel p ueba o amigos . Compare L ope s

a : la P rueba de los ami os rst r nt in 1 8 73 pl y g , fi p i ed .

p or regalos tuyos tube

m tc n h er e er udanzas e . : Amo g t e gifts which lov s gav w e

e e s ner all n s cost c t s aiios and j w l , fi y of ki d , ly lo h ( p ) ,

e en se rn s n s . Cf . la Viuda vale nciana v hou fu i hi g , III ,

la N ocho toledana and an ot er scenes in ii ; , I , xiii m y h

’ ’ L e s a s . Lo e s women o er see ore ron op pl y p , h wev , m m p e

to receive than those of othe r playwrights ; as a matte r

act en re n e ent and c t re were sat s of f , wom of fi m ul u i

fi h m r ff r f r n f ed with t e o e o e o p ese ts . C . D e cosario a

’ cosario and A arcon s : la V erdad sos echosa , I , vi , l p ,

ere Jac nta sa s to her a rer I , v , wh i y dmi

erran estr s ensa ent s Y vu o p mi o ,

ca a er on res r b ll o, p umi que puedo yo rocobir

'l r en m as que os of ecimi tos .

’ rl n r Cf . also Miss B ou a d s edition of las P a odos oye n

N ew or . 1 73 . ( Y k , p

el P rado : ean n ere the sa e as in erse 1 349 lo m i g h m v , s

Recoletos : The P rado viejo consisted of three parts

P r e Ato h P r de S a n oronimo nd r ado d c a, ad o J , a P ad o

T n dc R ecoletos . he last named sectio was a popula r spot on account of some of its parks and gardens t o

h n r r i n which t e people we t fo rec eat o . Como con

raste do tan stentos a arat r ano on o do t o o p o p of , m dio

o a e as ans nes do anim acién do acer otr t das qu ll m io y pl , o austero convento elevaba alli también al cielo sus

re osas torres era ol do a res Au ustinas Recole tos ligi ; p d g ,

n on d na E ras a do G z an r nc s fu daci o do uf i u m , p i e a do L A DAMA B OB A 297

Asculi ar esa do Terrano a n 1 595 M r , m qu v , o . esone o

R an s : cl Anti uo Mad rid o it 22 om o g , p . c ., p . 6 .

I have indicated the rubrica wherever it is found in the

an scr t as it ma be oss e t at s c arts of m u ip , y p ibl h u h p the play as are included b etween two rubricas (when

t ese c e at the end a scen e or an act ere r tten h om of ) , w w i

in one sess n t t nterr t n . io , wi hou i up io

Vn maestro de danzar : E spin ol would not have approved of the way in which Octavio was educating his

a ters s nce he saw all t e r s t rs re d ugh , i t y of h i vi i o f ely

and even had a dancin g teacher . H e says : Quanto poor hacen los pad res que dan a sus hij as maestros do

anzar tanor cantar o a ar si han do a tar un d , o , , b yl , f l punto do su presencia ! Y aun es menos dano que no

lo sepan ; que si han do ser casadas . bastales dar gusto

a sus ar s cr ar sus s bernar su casa . m ido , i hijo y go Y

si han de ser n as a rondanlo en el naster ue mo j , p mo io ; q la razon do estar algunas disgustadas quiza es por

a er a ten era c n cac nes do e c nes h b y ido fu omu i io d vo io ,

ue or nestas ue sean son do res mu eres q p ho q , homb y g ”— suj etos al comun orden do naturaleza . Marcos de

’ Obre on a te l a escans g , p r , d o

Cf . also note to verse 21 66 .

1 379 . Con que yo salgo de duda

e n lm l belle : Leon H e re i n acc r ance t qu o es a a a za b o, o d wi h

his s states t at rea ea t es in the so philo ophy , h l b u y li ul , “ or s r t . To t s no t Lo e re ers . Tambion pi i hi , doub , p f to mostre que las mayores hermosuras consisten en las

r del n a ue son m as eleuadas ue el c er pa tes a im , q q u po , ” l o Amor o . cit. . 422 . etc . Dia og s de , p , p

1 382 . trae maitana on tanboril.

E sse es instrumento vil : Of this instrument Covarrubias “ ” says atambores pequefios para fiestas y regozijos .

’ Cf. also Lope s song : N OTE S

i Oh qué bien que baila Gil

n los zos do B ara as co mo j , la chacona a las sonaj as y ol villano al tamboril

Al ar del rro o . pas a y , I , xii

Que s oy muy afizionada

l as bel os con esso. a c ca , fi que no es mucha rustiqueza

cl trahellos en los pies . H ar to p eor pienso que es

trahellos en la cabeza : Compare : Los dancantes en las fiestas y regozijos so ponen sartalos do cascabeles en los

arretes do las ernas los mueuon al son del instru j pi , y

l r l mento . L as azemi as suelen lleua sarta os do

casca e es ass ara ue sean sent as c ar b l , i p q id , omo p a

an ar as . Al ue t ene c u zio es liuiano im l q i po o j y , y

habladorcillo doz imos ser vn casca e or ser ac y , b l , p v io y ” l r — r r hueco en e habla . Cova ubias .

1 t r 399 . capa ero : the manusc ipt cap atero.

4 r 1 40 . Three ve ses following 1 404 are eliminated .

n 1 41 9 . P ues to que : equivale t to aunque .

1 449 illa : T ar asa 6 as a do a na c sa a e tant . as om , ill lgu o , v l o — c o cas on ac a e . C arr as n er asa . om o i , y h qu ov ubi . u d

1 f w ers s en r 455 . At this point of the dialogue a e v e have be e ased h and are very difiicult to d ecipher . T ey are p resumably verses which Lope eliminated and then rewrote as they

are in the text .

1 468 . r nder : ant for ronder C er Diccionario ap e p ; u vo I , p .

’ 562 tes : L e so a rendio c a na e comen z ) ci u go p mu ho bi , é ”— r er l rua . on uis ta de ltramar a a d a C q U ,

300 N OTE S

P ero es labrar en un j aspe ” con un vidrio una figura . — Lo e : l E b t de Celauro . p os m us es , I , xvi

’ Th r idro is r n in L s t e cf. n te e fo m v ve y commo ope im ; o ,

verse 56 .

la academia de mi hermana N ise : here used merely t o indicate the literary gatherings of the cultos and con “ t r cep istas of whom N ise was the central figu e . Usur pan este nombre otras qualesquier E scuelas do Artos

era es cenc as ue t enen al un es en r en c o lib l , o i i , q i g pl do , uy sentido son quasi innumerables las que pudieran r efe

rirse en E spana . P ero la formalidad do Academia la

t ene s la ue es ere ida or ol P r n c e 0 on rtud i olo q g p i ip , vi ”— do su priuilegio. Christ6bal Suarez F igueroa : P laz a

niversal o . cit. e t n 28 3 . On these er U , p ( di io p . lit

r m s f b l w n e r 21 26 . a aca e e c . e o t e s y d i , o v e

linda : Dozir el ar n n a s ta ente es a r v o li do b olu m , ll m a le

afeminado Covarrubias . Tambion enfiaquece oir

a s e rsos cantar m al m lo v , , y al que era ayer vuestro igual

hoy mandar y hoy presumir .

E nfia uece una s ta q vi i ,

si no 0 8 da mucho contento ;

un n e en do ento obl ll o vi ,

que a nadie el sombrero quita ;

nu li'ndo t alfefii uo , odo q ,

ec er con tes h ho muj bigo , y unos ciertos marquesotes

que os hablan por alambique .

— Lo e : cl B obo del Cole io i p g , I , ii . L A DAMA B OB A

r Ge ardo . Luego spréciaste do linda ?

Lucin o De n d . g li do ? Donaire tienes . ” P réciome do hombre .

— la Discreta enamorada . , I , ii

Cf . a s the assa e in la Viuda valenciana be l o p g , I , iv ,

nn n t the nes gi i g wi h li , 3N o sino venga un mancebo

r dostos do aho a do alcorza etc .

’ There is also a new edition of Moreto s el Lindo don

Die o Ma r t a o ntro ct on g ( d id , wi h g od i du i by N arciso Alonso Cortes .

1 58 1 1f . This scene m ay be supposed to tak e place behind the l Reco etos in some secluded spot .

' 1 6 r 00 . a ve se of twelve syllables .

ventura de la fea

Re na es ue tan c osa i , pu q di h

te ara ol c e ce es osa h i lo,dul p , que te diga quien to vea — L a ventura do la fea

pasése a Casilda hermosa .

— Lo o : P eribdnez cl Comendador d Ocaiia . p y e , I , i

Cf. a s Cer antes : cl Vizcai no n ido E ntr em eses l o v fi g ,

B n a cd . Ma r 1 91 6 . 90 91 an d n te 1 59 . Ao ( o ill , d id , ) pp , o

c r n to la B arrera an d ot ers L e a so rote a o di g h , op l w

a ent t e la V entura de la ea but not n e n te pl y i l d f , hi g d fi i

n i n h seems to be k own about t . O a comedia with t e title

la Von turo de la ea of . an e ce ent art c e P r essor f , x ll i l by of

B c anan in Modern L an ua e N otes 1 905 . 39 . u h g g , XX , , p

1 6 n 1 8 . E trad con esta rumfla Runfia : la multitud do un

s o énero o es ec e do cosas uc estan una on os mi m g , p i q p — do otra . Dic . de out. As a playing term it appears to

’ ean a an or a sce ane s n er car s m h d , mi ll ou umb of d 302 N OTE S

3Desprecio extrafio ! Pues aunque un rey me tripula

m e escarta en a y d oj do, yo sé que para su runfia

m s r n e qui ie a algu vasallo .

— Lo e : la N ifia de P lata xxn p , II , .

r Rod igo. Cuéntanm e mil perfecciones .

Liseo. Cémo lo e en a tar g pu d f l , si entra al juego do casar ” con tal rumfl a do doblones ? — Lo e : S a ntia o cl V erde . p g , II , i

’ “ I n Juan H idalgo s Voca bula rio de Germania rumfia i “ ” s given the mean ing of muchedumbre . “ dalde pique : Dar pique : E n el juego do los Cientos es

contar sesenta en lugar do treinta : que sucede quan d o ”— ol contrar o no ha conta na a . Dic . de aut. n e r i do d , u d

dar . Cf . a s i ue . 28 1 col . 2 . A ter ro the l o p q , f , m f m “ a e of et an d a e ere eans a the g m piqu , ppli d h m pl y ” nn n car s eat her at the ame . wi i g d , b g

1 61 9 . ue no hara mucho e n ue de vos se i ue carse q q p q pi ,

an ot er car ter . E ncen erse resent rse er e r h d m d , i y p d ”— l en ol ue er o l n . a paci cia q pi d a a gu juego Dic . de Au t . Compare

El u ers s ero acer q e v o qui h ,

ena c a en an ar y bu di h g ,

no enso ue ha de o er pi q p d ,

or icarse orfiar p p y p ,

ner n i gan ar ui compo . — : l F lor s de Don Jua n . Lope as e , II , vi

N o m e a rontan tus raz nes f o ,

pues has perdido en el juego ; que siempre un picado tiene ” licencia para hacer fieros .

— Cervantes : la Guarda cuidadosa .

304 N OTE S

Gr ecia ado nde ta nto el amistad se recia : F r en s i s , p i d h p

are famous in Greek legen d ; we need only mention Orestes and Pylades (verso Damon and Pythias

Phintias Ac es and P atroc s tat V r ( ) , hill lu , imi ed by i gil

in Aen eas and Achates . And there are many frien d i ships n medieval literature copied after classic models . “ E n Grec a en a e a e a i , qu ll d d , ten iase la amistad

' por excelente blasé n ; pero en la nuestra lo son ” la mentira y falsedad . — L e : las F lor es de D on Juan . op , III , xxi

Vamos [ a ] aconp afiaros y seruiros : on the mechan ica l

o ss on of . ers 259 . mi i of a, v e

’ 1 s n re rn r i h 668 . With this ce e we tu to a oom n Octavio s ouse .

1 677 . la anacardina : L a confeccl on que se hace do ol Anacard o ” r t l r — pa a facilitar y habili ar a memo ia . Dic . de aut .

Pues gno lo ves que son sus hijos ? Compare “ B elarda . 5S on hijos de amor los celos ? ” n n Jaci nto . S us hij os dice que so . — L e : cl verdadero Am ante I . op , I Cf . a so la Corona m erecida I . l , , vi

r r f Tim n l B n A tiniendo : a popula fo m ; o . o eda : c ue vis o “ ” ort nto Revue H is ani ue S chevill edi y P acue s, p q (

t on V c ent i . 42 and c ento 45 . i ) , XXI , u o lvii , p u lxii ,

V erso 1 8 1 3 has twelve syllables ; it m ay be corrected by

writin g : que bien se .

l si for elos not in the ct nar es and res a ce o a ; c , di io i , p um bly

n e as a bobada F nea . F or a un on the r inte d d of i p wo d ,

of . Lope “ A do ! Lis ena . ( ap . ) 3 y mi

L na s B eltran . ( ap . ) ise e ;

r delante ponerme quie o . L A DAMA B OB A 305

P énese B eltran delante n i n n l , fi g e do que o a conoce .

. nés u en fin so ar er ? I , 3q e y b b o

ue en fin so ar ero n és ? gQ y b b , I

Dé a e asar es ia . j m p , d v

r z Un ab a o me has do dar .

Dé a e B e tran rar j m , l , mi i colos por tu celos a .

Dé a e es mo con ces . j m , pu o

B tr i el an . gCelos a yo ? gY qué tal ?

De éban o do P ortugal .

— M N oche toledana , II

1 8 1 6 . n r r n dese amo a se : the ma uscript has desanamorars e .

se un or los a res andas I r or los a res es an ar g p y p y , d

e anta do ensa ent azer en c a ara l v do p mi o , o h dilig i p

a na cosa con ran resteza c o los u or arte de lgu g p , om q e p

n ro anc a zen ir do vn ar a otr en oc s ac ig m i , di lug o p o e p io — de t e o. C arr as n er a re . i mp ov ubi , u d y “ Ortufio. si so esc a d uid ,

r ent aras como primero.

Come ndador . B eno a fe do ca a ero ! 1 u , b ll P ero gel villanejo cuida ?

Ortufio. C a and a or los aires . uid , y p

— L e : F uente Ove una op j , II , v Yo no soy bruxo para gustar do andar por los ayres

— sa s anc o P anza D on uixote ca . 41 . 1 53r . y S h Q , II , p , f

Cf . a s the note in P orsilos S i ismunda o . cit. l o y g , p , I , 1 p . 33 .

Jua n L ati no : P ractically all that tradition hand ed down about this illustrious negro was gathered in the ex

tremely interesting play Jua n La tino . by Diego Ximenez

do E nc so and r nte in the S e unda art de comedias i , p i d g p e

csco idas de las m e ores de E s a fia Ma r a g j p ( d id ,

e n he en n volume I h ave b fore me . I t Op i g scene Dr .

Carlobal a c er an c es his s ster dofia Ana for , l gym , hid i 306 N OTE S

her an fl irtations for the ert sh e m y , lib y with which

r t h r n r r t ea s e ume ous suito s . S he replies in a spir ite d

wa t at the oct r has for tten t at he is her rot e r y h d o go h b h ,

’ not her s an and t at on S t . J n s E v sh r hu b d , h oh e e p o

e t en h n pos s o joy t e masks a d gaieties . H er brothe r

t reatens to arr her off e ate r n h m y imm di ly , whe eupo sh e says gYo casarmo con hombre que no sea

e m ar ues condo ? Yo casa a ? duqu , q o 1, d

Dofia An a Carlob al a en es 5 , qui d ea

seruir l n este ar Gr na e mu do, y f j a da ?

While dofia Ana is discussing her suitors with he r serv

ant s ts are ear t n e s c and son an d , hou h d , wi h mi gl d mu i g ,

f h r fl a crowd o revellers passes t e house . They a e chie y

st ents and a n t e is n J an Lat no at ud , mo g h m you g u ( i )

tached as s a to the ers n Of the t D . Gonza o l ve p o you hful l , h k son of the duque de S osa . I n t e confusion Juan pic s

’ Ana s r on c had a en r the n ow th e up ibb whi h f ll f om wi d ,

n cat n e n accor n to certa n s erst t ons con i di io b i g, di g i up i i

’ nect d t S t . Jo n s E ve t at Ana arr th e e wi h h , h will m y

n e r lad J an . g o , u I n the next scene we deal with the uninterestin g

s t the sc ntent the Mor scos and t e r re orm ubplo , di o of i h i f ,

ll of c e er er ts the ntr ct n ater of a whi h how v , p mi i odu io l

A r D . Juan do ust ia . ’ W e then have a typical students scene in whic h Juan goes through the usual torments of these episodes ( gargajeanle todos ) and excites particular envy b e

’ cause he wears d ona Ana s r ibbon . Then follows the session of an Academy at the

’ D s o se in c J an ns the a lause all uke h u , whi h u wi pp of by a very learned disquisition on the invention of print

in and the or n r tin . J an is t erea ter en g, igi of w i g u h f

Dr arlob al t at his e cat on ma b e er trusted to . C , h du i y p

o t nd his r se l e . f o ed , a p omi fulfi l d

308 N OTES

Y como lo llamO por eminente

la ant a Ro a a su A r an ol Gr e o igu m d i o, i g ,

’ 1 n E s n m e ll a oble pa a amO el Latin o .

t ese eta s are tr e the e us new acts in If h d il u , y giv f

’ n r Jua s ca eer . W e also learn that dotia Ana had a

rot er who was licenciado and alcalde of Grana a b h d ,

e Dr . Carlobal the c er an is ca e n a r whil , l gym , ll d fu d do ” e n i er i n do la c lebrad a V v s dad do Osu a . Whether D .

J an Te ez GirOn o rt C nt U refia and n e r u ll , f u h ou of , fou d of the University of Osuna called Carlobal to

some important position I am un able to ascertain . I n the midst of great pomp an d ceremony Juan is

na a e Doctor the as t act e t n cons era e fi lly m d , l d vo i g id bl

e i space to the usual vejamen . Th latter s p ron oun ced

the c e wit of the a Cast o who re ates ar o s by hi f pl y , ill , l v i u

anec otes concern n J an c aracter z n as d i g u , h i i g him fol lows un dia n aturaleza

tuuo c ertas combidadas i ,

D osas do a e s c nt rn os i qu llo o o ,

que de camino passanou .

E ra a a o tr ste S b d , y , muy i

do no o er re a ar as p d g l l ,

so s a azer vn en o pu o h m ud ,

r y aun dizen que e a do baca . Tom6 vna lar ga morcilla

la nat ra eza sa a u l bi , y comencO a ech ar en ella

etras en as escioncias ar as l , l gu , v i ,

nominatiuos er n os , g u di ,

en fin t a la ra at ca , od g m i ,

l te a las artes a ologi , y ;

per o echO pimienta harta ;

ue al cozer esta rc a q mo ill ,

salio como vn a gualdrapa .

Minerua sa do erra , dio gu , L A DAMA B OB A 309

viendo que es rey do las armas

ol c ar D do os l o uque S a,

embi s la su cas b e a a, donde ha los afios que vois

u sta al or c a a q e e hum o olg d , sin que la do libertad ;

que aun ay morcillas esclauas .

' V er a es ue ol soiior D e d d q uqu ,

sa en do J an las rac as bi do u g i ,

lo dio est ue fuo azer udio , q h

do vn cuerno vna aguila brana .

J an Lat n now maestro catedratico doctor nd u i o, , , , a

liberto atta ns his na and c n r in th n f , i fi l hief ho o e ha d o

dofia Ana.

These statements do not agree with most of those made by B ermfidez do P odraza in his Antigiiedad y

excelencias de Granada and te C e encin odi , quo d by l m (

t n of D on uixote not 1 0 to re nar erso I n io Q , e p limi y v ) .

’ fact no two writers agree on the details of Juan L atino s

e c seem to a e been an e n c e lif , whi h h v h d d dow hi fly by

h i r word of mouth . On e of t e most nte esting facts in

the life J an Lat n and one c re ates more of u i o, whi h l him

nt ate to Lo e is the c nnect n et een th ir re i im ly p , o io b w e

s ectivo atr ns D G nza F ernan ez do Ord p p o . . o lo d C oba,

t r duk e of essa and ran s n of cl Gran a itdn hi d S , g d o C p

was the owner of the negro scholar ; while D . Luis

F ernan ez do COrdoba Car na Ara On s t duk d do y g , ix h e

of S essa ran s n of dofia B eatr z do COrdoba F e , g d o i y igu

’ roa nieta del Gran Ca itdn was L e s atr n and , p , op p o

intimate frien d . I cannot disentangle the confusion which seems to

' ’ e st re ar n doiia Ana s r t er an d at er a t xi g di g b o h f h , l hough the assert n of ' P odraza t at the atter was lice nc iado io , h l , y Gobernador del estado del duque de S esa lends som e au i ’ thor ty to Lope s statement that he was a veinticuatro.

' nc s we saw es doiia Ana two brothers one of E i o , , giv . , 31 0 N OTE S

is Lice nciado an d alcalde . P e cer in his e t on whom lli , di i

of D on uixote Ma r 1 78 7 233 states r e t a t Q , d id , , p . , b i fly h

J an Lat n e in Grana a in 1 573 e T c n r an d u i o di d d , whil i k o “ others guard edly say after 1 573 . N icholas Anton io

f n n may b e responsible or this u certai ty . H e say s

Jacot in S anctae Annao aroeciali ecc es a Granaten s i p l i ,

uti fort rae so la idis t t s e se in ea rb e p p i ulu , qu m ip u

a ons oxcri sit : Dol Maestr J an Lat n Cate rat c o g p o u i o, d i

do Grana a dofia Ana do Carloval su er er e d , y mug y h

deros . MDLXXIII ; ( followed by six hexameter vers es )

’ Cf. a s Ga ar s E nsa o de una B iblioteca es aiiola l o ll do y p ,

i M ri no. 2627 and Ro r ez a n : Luis B arahona d e III , ; d gu

S oto Ma r d . 35 and an art c e in el I m ( d i , p , i l

arcial do Ma r 1 91 6 N e er 1 9th c a s p ( d id ) , , ov mb , whi h dd

practically nothing to previous information . Line 1 92 7

al for ol ?

' quieres darle vn filo en mi : Compare the phrases n o

e aran los Zoilos los Cinicos los Aretinos los B ornias d j , , y

de rse u lo en su t er sin ar ar res et a da n fi vi up io, gu d p o ”— “ na . C rvantos : N ov tas dedicatoria and en te die e e , ; g

do la a a do ta e arca con en e ra h mp , y mi ll y m , qui pudi ”— darme tros O cuatro filos cuando quisiera . Guzmdn

Al arache 2a arte r ca . 2 . de f , p , lib o p

Act I I I : The scene remains the same .

m or o accidente o eleccion : of . e erse 21 77 e re [ a ] , b low , v , wh the sam e idea fits better into the mouth of a culta like

lik ne B N ise than a regenerate boba e F i a . oth word s

in r are without the usual cedilla the manusc ipt . I n

t t s e s eec of. a e on the connection wi h hi whol p h , bov ,

’ n nc of O s ars ama toria . I n its ast ana s s i flue e vid l ly i , what F inea says is a fusion of Ovid and LeOn H ebre o l conceived in moderate culto sty e .

f rse 1 083 . 2090 . catreda tico : o . ve

s se ere 3 s a es . 2099 . Duardo : a el wh , yll bl

3 1 2 N OTE S

’ 1 r nt r 2 1 9 . Rimas de L op e de V ega : Of Lope s Rimas p i ed be fo e

1 61 3 N se c a e ssesse : la H ermosura d e , i ould h v po d

An elica con otras diversas rimas Ma r 1 602 the g , ( d id , )

e e c nta ns e unda P arte de las Rimas . sam volum o i S g , f

242 and Tercera P arte de las Rimas . 342 . T is , , f h volume was several times reprinted between 1 602 a nd

1 61 3 . Cf . a s a ar : E nsa o I V nos . 421 4 42 1 5 l o G ll do y , , , ;

’ L e s Rimas S ac ras ere not r nte nt 1 61 4 a n d op w p i d u il ,

his Rimas humanas y divinas not until 1 634 . On L op e

- do V e a cf . F tz a r ce Ke o . cit. . 436 . g , i m u i lly , p , p

- Galatea de Cervantes : Cf . the e t n S chevill B n a o . di io o ill , p

cit. I n cl P r emio del bien ha blar Lo e ent ns , I , x , p m io

Cer antes and a a n in la Viuda valencia na I xv to v , g i , , ,

et er t the Galatea in the rst case es eci a for g h wi h ; fi p lly ,

- the sa e the r e . Cf . a s F tzm a r ce Ke o . cit . k of im l o i u i lly , p ,

p . 38 3 .

9 1 2 1 . cl Camoes de Lisboa : Luiz de CamOos ( 1 524

a s P rt uese oet se reat e c Os L usia d f mou o ug p , who g pi a s

was rst r nte in L s n 1 572 . Cf. T eo B r fi p i d i bo , h philo a ga

Camé es e oca e vida O rt , p ( po o ,

21 22 L o P as tore B l n : P as tor s d el n r . s s de e e e e B e , P osas y ve rs os

divinos do L e do V e a Car Ma r op g pio ( d id , O n

t s of . Renert Li e o L o e de V e a . 2006 hi book , f f p g , p .

— 21 23 . Com edias de don Guillen de Castro : ( 1 569 1 631 ) n o

’ volume of Castrp s plays in print as early as 1 61 3 ( th e date of la Dama boba ) is kn own as far as I can asce r

ta n the rst e t ns his a s ein P rimera r i , fi di io of pl y b g p a te

V a enc a S e unda arta V a enc a B u ( l i , g p ( l i , t

t s assa e of L o e st not be ta en ser s hi p g p mu k iou ly , as

es for e a e the e t r of L as Mocedades de l Ci do , x mpl , di o d 0 “ in Cldsicos cas tella nos Ma r . n te . I ( d id , p o n the first place the word Guillen was convenient as a rim e

word ; in the second place it is not unlikely that Lop e L A DAMA B OB A 3 1 3

’ N ise ) possessed some manuscript copies of Castro s

a s c a a n his state ent . On pl y , whi h would mply expl i m

- Castr cf . F tz a r ce Koll o . cit. . 253 and 383 o, i m u i y , p , pp ;

Co ador o . cit. IV . 1 846 . j , p , , p

21 24 . Liras de Ochoa : no liras an Oc a are n n to me by y ho k ow , i h and t is futile to theorize as to is id entity . La B arrera has a note on one Ochoa praised by Cervantes in his

Via e del P arnaso ca . 2 vs . ere he is ca e l j , p , wh ll d o ” Licenciado Juan do Ochoa ( cf. Obras completas de

Cervantes Ma r R a ene ra ‘ 36 ( d id , iv d y , XII , p . 3 . La B arrera inclin es to the belief that the poet men

tion ed Cer antes is the a r t J an do Oc a by v pl yw igh u ho ,

of whom the B iblioteca N acional possesses a comedia : cl

n i f i t Ve cedor venc do; o . h s Ca alogo del teatro antiguo

’ es aii l 28 5 th a is no. 3428 in P az M a s p o , p . ; e pl y y eli

Catalogue .

1 2 L V l 1 7 —1 2 5 . uis V elez : Luis é ez do Guevara ( 5 8 644 ) a famous

dramatic poet and friend of Lope do V ega . ( Cf. the the admirable introduction prefix ed by P r ofessor B onilla

to his cr t ca e t n el Diablo o elo i i l di io of C ju , op . P rofessor and S ofiora do Men endez F idal have printed

’ an edition of V élez de Guevara s play la S errana de la

V era Ma r B t Lo e and Cer antes s ea ( d id , o h p v p k

’ t ra se . Cf . L a Barrera s Catdlo o of him wi h high p i g ,

. 463 and his n te . 38 9 in the a rea m en p , o , XII , p , l dy

tioned Obras completas of Cervantes ; F itzmaurice

K ll o . cit. . 438 Co ador o . cit. . 21 56 . o y , p , p ; j , p , p

e n la Academia del duque de P as trana t th 1 . This duque de P as rana ( e third of the title ) is don Ruy GOmez do Silva y Mendoza ( 1 58 5—1 626 ) Of his personal appearance E spinol says (Marcos de ’ “ Obre on arte escans : Acuérdom de ver g , p II , d o xi ) e

sa r a un Du uo do P astrana una mafiana c esta li q omo ,

a ca a con un somblante mas do an e ue de o re b llo , g l q h mb , 3 1 4 N OTE S

e e a en la s a ue arecia centa r a l v do ill , q p u o , h ciendo mil

allardias ena ran g , y mo do a cuantas personas lo mira

” ‘ ban H is r . e p aised by Cervantes in his Viaje del

P ar naso ca . near the end bu the , p viii , , t tribute is of

that perfunctory kind paid to a Maecenas by a poor poet

ue la a a en la er a ana y q f m , v d d uf , contaba que agradO con su presencia

y con su cortesia sobre humana ; que fué nuevo Alej andro en la excelencia

del dar ; que satisfizo a todo cuanto ” puede mostrar real magnificencia .

B ut t s te s us n t n the Duk e as a terar t hi ll o hi g of li y ligh , although we are led to believe by the mere fact that

Cer antes ra ses t at he c u a rec ate th v p i him , h o ld pp i e A gifts and writings of others . H e was mbassador in

P ar s nd Rome n er P and P IV hi i a u d hilip III , hilip ; s contemporaries also state that he was especially fon d

the s rts and e c te a rat n as a torero. of po , x i d dmi io

n e 2 . The academy me tioned by Lop was doub tle ss

the Aca e a S e a e rst ca e E l P ar nas o en d mi lv g , fi ll d , Op e d

in F e r ar 1 61 2 in the se D . F ranc sc do S v b u y , , hou of i o il a ,

a r t er of the D e P astrana the atter e n b o h uk of , l b i g A presumably its most illustrious p atron . ccordin g t o th e

Licenciate P e ro S t do R as D esen a no de Am o r d o o oj ( g ,

Ma r 1 623 . 1 8 1 assistieron en esta aca e a l d id , , f ) d mi os

res n en os do E s afia ue al resento esta an m ayo i g i p , q p b on ” W m s n t e r Mad rid . e ay a sume that amo g h m we e L Op e .

V lez do e ara and er a s Es no and Cer a n é Gu v , p h p pi l v t e s .

Cf. L a B arrera : N ueva bio ra a de L o e de V e a g fi p g ,

pp . 1 83 and 571 .

3 . n t ese aca e es c were atterne af O h d mi , whi h p d t e r

n r t t es on c see an s A H istor Italia p o o yp ( whi h S dy , y of

l holarshi . 8 1 arez F er a Classica S c p , II , p ) Su igu o sa y s “ in hi laza universal Ma r . 63 : s P ( d id , f E n

31 6 N OTE S

as ac a a o re n as s dol h i b j , y do dill duplicada ; que me ha parecido compostura muy acomodada para conceptos

de ar a dis osicion un s net en s ete en as l g p ; y o o i l gu , ” “ n que o m e costO poc o trabajo . And again Ansi

ue ra ser r esta ra de Arte P oetica es ol e q pod vi ob , pu qu

uisiere acer s net con re ato terc a on re eticion q h o o m i do, p ,

de tra s erte do las ue so ract can o canc n o o u q p i ; io , o

tr c a er én er do es a a la a ara bus o o u lqui g o po i , qui h ll , l ” candola por a tabla .

An t er L is G nza Omez do L e s o h uque o lo G uqu , who e absurd rhymed tale of chivalry Libro p rim ero de los

amosos heehos del rinci e Celidon de I beria A ca a f p p ( l l , 1 583 ) m ay also have appealed to the taste of a romantic

r N se . Cf. note . 335 L a Galatea o . c it. gi l like i , II , p of , p

Lo e had to use the n a e for the sa e the r e en ce p m k of im , h

the uncertain identity .

n d r i 1 64 — 1 6 21 28 . cartas de don Jua e A gu jo : ( 5 23 ) amon g the poetic forms used by Arguijo are epistolas which

m ay be the cartas to which Lope refers . Cf . F itzmaurice

Ke o . cit. . 374 and Co ador o . cit. . 1 41 6 . lly , p , p , j , p , p

P r ifi e z 1 21 29 . cien sonetos de Linan : ed o do L an d Ria a ( d . 60 7 )

f l l tea o . cit. . 31 9 Co ador o . cit. C . a Ga a , p , II , p ; j , p , III ,

’ s s s t a N p . 1 366 . I n as much a Octavio tell u h t is o s “ ” c n a ne r s a eles escritos varios library o t i d lib illo , p p y , we m ay infer that such poetry as had not been prin te d

our a 1 61 3 was ssesse h r at the date of pl y , , po d by e

r T s er ( or Lope ) in manusc ipt . his wa a v y comm on

ffa rs at t s t e en an r s e r state of a i hi im , wh m y wo k w e W known only through manuscript copies . e have n o reason for doubtin g that Lope possessed many of them

i r r T s a to Oc a L s V élez in h s lib a y . hi would pply ho , ui ,

r Lifian and oss Castr the a e m en A guijo, p ibly o , of bov

tioned list . L A DAMA B OB A

H errera cl diuino : ( 1 534 cf . Adolphe Coster

F ernando de H errera cl Divino P ar s 1 908 and ( ) , ( i , ) ,

ibid . Al unas obras d F ernando d H errera P ar s , g e e ( i

L a Galatea o . cit. . 327 F tzm a r ce , p , II , p ; i u i

Ke o . cit. . 1 75 and 400 Co ador o . cit. lly , p , pp ; j , p , III ,

p . 896 .

’ el libro del P ere rino : L e s oi P ere rino n su P atria g op g e ,

rst r nte at e a 1 604 cf. a ar I V no. fi p i d S vill , ( G ll do , ,

It is an art c a stor of a ent re e ant c ifi i l y dv u , p d i ,

and arre ress ns and bad taste . More er m d by dig io ov ,

’ L e s r se st e is nc ne to b e e cre and op p o yl i li d m dio , dull

culto.

r T n 21 32 . el Pica o de Aleman : he well knovs rogue story by

Mate A e an 1 547 Guzman de Al arache was o l m ( f ,

r nte in two arts the rst at Ma r 1 599 the p i d p , fi d id , ,

- second at L s on 1 604 . Cf . F tz a r ce Koll o . cit. i b , i m u i y , p ,

230 and 370 Co ador o . cit. IV . 1 306 . pp . ; j , p , , p

21 67 sala sa as so a an vnas ie as ran es do P a ac n . l ll m p c g d l io, e

' lo baxo del donde se ntan los Con se eros do su Ma es , ju j g ” e tad a despachar los n egocios d justicia y gobierno .

Covarrubias .

n 21 77 8 . Cf. the beginning of act III ; eleccion a d accidente are

without the usual cedilla .

21 82 . estrellas que conciertan las voluntades : According to culto

etr o e is cons ere a sease and the n ence of po y l v id d di , i flu

‘ ” the stars brin gs on f el accidente do una en fermedad ; ” as s c acc ente is re ent n in c ntrast u h , id f qu ly fou d o “ ” t eleccion o albedrio. wi h ,

N o digo yo que fuerzan las estrellas ;

que inclinan digo ; pero tfl no quieres

por tu eleccién ni por que inclinan ollas .

A r ué so ha do acer do las eres mo gq h muj , 3 1 8 N OTE S

que ui vivir con ollas ui sin ollas pueden nuestros pesaros y placeres ? — L opo : S onnet 278 ( Obras no dramdtica s

in B ibli t d t o eca e au ores esp anoles ) .

P er si las estre las dafio infl en o l uy ,

con las do tus o s naci er y jo y mu o, ” acém o las venceré sin albedrio ?

— L nn 1 ope : So et 68 .

E n tanto que este aplique

re e s a su a r o a su acc ente m dio mo id ,

Don Ar as su a r n st e i , y vid p o o iqu , por otra parte quiero yo quo intento ol interés curar a esta sefiora

d l r z u en l n o a du e a q e o pocho sie to.

— Lo e : L a N ifia de P la ta v p , II , iii .

El amor que lo he cobrado en este p oco de tiempo q ue

lo h sto es de s erte ue m e erza a ue atro e e e vi u , q fu q p ll

con t a en o do ser o la r a a on a odo , y h bi d y og d , v g a

rogarle : fuerzas son do estrellas y oculta inclinaciOn ; que no so puede alcanzar la causa do adonde proc e de ” l e — tan gran mudanza como a qu vengo a ver . el D o

nad o hablador o . cit. ca . 5 near the end . f , p , I , p , C .

a so L e z Al P asar d el arro o uie n a m n l op y , I , ii ; Q a o

ha a eros la Noche de S an Juan . 7 7 V g fi , I , vii ; , II , f ;

el Caballero d Olm edo . e , I , iii

221 5 ensamie ntos : cf . a o e erse 635 . . p b v , v

Todo es mudanzas amor : I n as much as Octavio say s “ ” ’ a a l a e del tro dia Liseo s rase c nta n v y o b il o , ph o i s a

Th re i pun on the step of a dance . e chief inte st n th is

ance for us es in its r n nce ar c ara c t r d , li p o ou d popul h e .

W e m reca t at in D on uixote Cu ay ll h Q , II , xx , pid o

a r dances a mudanza on c ccas n we e r [ mo ] , whi h o io , ho v ,

’ it is r a ance as is a s the case in Moreto a fo m l d , l o s e l

’

n on cl osdon . The e ean n D esdé c d , II doubl m i g O f

320 N OTE S

2247 . cadenita de oro al cuello : no young gallant was satisfie d

to t t a c a n and er fre ent he c d go wi hou h i , v y qu ly , if oul

not a6 ord one Of he wore a false one do al uimia gold , ( q )

los brazos cl griguiesco : los griguiescos so llamaron

asi do rex re is la ana del ana si no es u e g g g y l g do , q

v n er n do rec a son a t escansa a n e las i i o G i ; h bi o d do , u qu ”— ca zas son e res ara las ar as . la D orotea IV l m jo p m , ,

of . a s the ne t two notes . The s n ar as ere iii ; l o x i gul , h ,

r f L is less common than the plu al ; o . os Comendadore s

’ de Cordoba , III ; P ara la segunda vez

ten un ri iiesco valon go g g ,

n que es lo bajo do un capo . “ also Covarrubias under cahon por otro nombre cal

” ‘ on 0 re uosco and Cer antes : cl Gallardo E s ariol c g g ; v p ,

- chevill B on a ed . . 68 vs . 1 6 . S ill , I , p , I assume that in saying that Amor wore the grigui

esco on his ar s L e is r c n the t and m , op idi uli g wid h full n ess of the sleeves which might well have resembled tha t

garment . I n verse 2303 we are again told that Amo r wore la manga ancha ( perhaps with the double meanin g “ that Love may be and cl calzon ou

osto c atter ar ent was c se tt n e the g whi h l g m lo fi i g, whil

re iie scos ere loose b rooches e ten n en rst g g w , x di g , wh fi

ntro ce to the an e ater r the to the e i du d , kl , l f om hip middl

of the thigh . The latter style was worn especially by

so ers a es etc . r n t s er er o the rst ldi , p g , , du i g hi v y p i d , fi

n r third of the seventeenth ce tu y .

’ L ope s ridicule of wide sleeves recalls a passage in

Visita de los chistes ere we a e an a s Quevedo , , wh h v mu ing description of the costume of don Diego de N oche who had found a pair of sleeves big enough to wear as “ re iies os : Mu an st a te a ana las carne s g g c y go o , muy j v ,

d en a en nu con a con nas an as or re o v do , d l , u m g p g giiescos y una osclavina por capa so llegé a mi L A DAMA B OB A

un re za tc . Obras o . cit. . 345 Cf . bo do e ( , p , I , p )

a s L na : Lazarillo de Tormes ca . 1 : los l o , , II , p [ . u est os n i tenian r nc ui fin : entre las ca z as v id ] p i ipio, l

y sayo n o habia diferencia ; puso las piernas en las

an as las calzas or r a sin ar las e as m g , y p opill , Olvid m di ” n A T r que parecian mangas do escriba o . nd i so do

M na in his Ci arrales de Toledo V ct r a Ar esto oli , g ( i o S id m

ed . Ma r 1 91 3 . 1 01 has the n assa e , d id, , p ) followi g p g “ a sO n e a l tra e de los n e s do mati antes C u ov d d o g u vo g c ,

' porque las coronas do la ingrata ninfa no coiiian sus

s enes co so acostumb rava s n sus c nt ras . P i mo , i o i u udo

sor or a ar los esta ac ta ue tan mal so dan p ll m a d f ul d , q

a enten er or a a ras ac eres do estOm o. d p p l b , b hill ag Y

a n e c r sa ente est s a ian a ol uso u qu u io m v ido , h v mud do

asta en el o de su a orn or e traian los h mod d o , p qu

ba uoros do te a abotonados or las es a as las r setas q l p p ld , o

' d l s s l s s rvian do c e s uiios los ufios o a liga e e u llo y p , y p

e s do as las an as do re iiescos los re y cu llo lig , m g g g y g

uoscos d an as a imitacion do su oe a . g o m g , p m

2251 . las ligas con rap azejos vieron que venia con vnas medias

do so a encarn a a con li as do ta etan anc ra d d , g f bl o , y

ac e os de oro al ofar los re uoscos eran er es do p j y j , g g v d , ”— te a do oro. Don uixote ca . 49 . 1 8 6V . l Q , II , p , f

cap atos al uso nuebo : ( capatos in the manuscript ) “ Lleuaua la es a a s re ol mro en e a est -vn p d ob O b , y ll pu o

t 6 omboltorio al arecer do sus est s ue al bul o, , p , v ido , q

r r douian d s r los cal on es o re uoscos pa ece o e c g g , y

herroruolo a n a ca sa r e tra a esta vua , y lgu mi , po qu i pu

r d terc e o con a n as s res do raso opilla o iop l lgu vi lumb , y

l c s d ra las e as eran do so a los a a ami a o fue ; m di d , y c

”— a to r a vso do C rte . D on uixote p s quad ados o Q , II ,

ca . 24 . 93r Acc r n to s e r ters the r n p , f . o di g om w i , o igi

t s c sto is ttr te to the Duk e L er a of hi u m a ibu d of m , who 2 1 su6 ered much from bunions ; cf. also vs . 30 . 322 N OTE S

I i di6icul o describ an sh 2255 . sotanilla a lo turquesco : t s t t e Sp i

garments patterned after foreign models . I n this p ar

ti ul r as can n ent n T r s or M r sh c a c e, I o ly m io u ki h oo i

apparel which resembled a short cassock . Diego d o

H in his To o ra hia e H istoria General de Ar e l aedo, p g p g “ V a 1 61 2 sa s of the men of A ers E l ( all dolid , ) y lgi vestir do todos estos os primeramente vna camisa y

r uellos do lien o an aze r vn sa d o ca ag c , y qu do h f io , yo

afio do co r ue les da or ab axo do la r a com o p lo q p odill ,

sota na e uena a ue a an Gonela o Goleila mas e n p q , q ll m , ,

veran o no la traen ; y en su lugar ponen muchos otr a

ca sa do lien o e a a ar a anc a mu mi c d lg d , l g , y muy h , y y ” anca a u e s a an Adorra fol . 8 col . bl , q e llo ll m ( ,

I n c a ter 26 Del est do t s los t rc s do Ar e h p ( v ido odo u o g l , “ . 20r . col . 1 he sa s nc a d sto ala f , , y E im o j c o

traen do r nar vua ro a ue a an ta etan ue s o di io p q ll m f , q e

a anera do sotana do c er habierta or e ante m l igo, p d l , y

con t n es en ol oc la a do la s a aner bo o p ho, qu l mi m m a

t ene las an as c rtas asta los co s es ar a asta i m g o h do , y l g h

e a erna a ezes mas o a lo on s assa s e r e m di pi , y v , m o p i mp ” do la r a es te en de al un c r etc . A ain odill , mbi g olo , g “ speaking of women 0 (lo que muchas vsan ) traen

s re la ca sa de te a tra do soda do cen o ta e ob mi l o , dal f

tan e a o do al un c r ue les e a asta muy d lg d , g olo , q ll g h

los pies ; y si haze gran frio traen dobaxo vn sayo d o

afio o de c c as c traen los ar s a ue a an p , ol h , omo m ido , q ll m ” onila tr s ole la fol . 27 col . A arm ent g , y o o g y ( , g

rn the Moors in a n and a te t s wo by Sp i , dop d wi h light

cat n th C r st ans for s ec c ccas ns n o modifi io by e h i i p ifi o io , “ ” ta the st or ara c r was the marlota . I t bly jou , p lu i ,

’ w s n o se tt n sa o or an s r c an d a a ki d of l o ly fi i g y , m f o k,

’ ’ Dozy in his Dictionnaire detaille des noms des véte

men ts chez les Arabes A ster a . 41 2 ( m d m , p ,

n n r r i i f speaks of it at le gth . I Spanish lite atu e t s r o

ent ent ne t et er t the ca ellar a s qu ly m io d og h wi h p , hort

ant e orn an n r the s ers . Cf. D z m l w h gi g f om hould o y ,

324 N OTE S

- B anc ar Do o . 71 6 . Man c st s of h l h d moug , pp y o ume t e

’ Spanish people in Lope s day were patterned aft e r

re n e s and as e ence of t s e the ow fo ig mod l , vid hi vogu foll

“ ' ing passage may be cited : N uestra E sp aii a de ca da

dia usa n e s tra es no astan ra maticas r o u vo j , b do p g y p

s nes ara re e ar tan n era es st s sacan o vi io p m di um bl gu o , d

ca a un o n e traza n e o do vistir no mas do d u va , u vo m do ,

c lo asO or la ca eza tan o t os c omo p p b , imi dol od omo a

er a er resta ra r do las a as d a r c r v d d o u do g l , y o m yo u io

sidad a er a en ol n . Usa ol ta ano ol , y p did mu do i li ,

rancés ol a enc el n és cl t rc el n do d f , fl m o, i gl , u o , i dio, s o

ue t r n c su n c on do un s a r q uvo p i ipio a i , a mi m fo ma do

est sin a er a ol un o ni ol tr ol t r an te v ido, h b mud do o o u b ,

s cl es afiol es ar a e n o ha en cam le On y olo p v i bl , bi do a que asi mude do colores como él de traj es y di ver sas ” — ec ras . cl D onado hablador o . cit ca . 6 . h hu , p II , p

2 1 r 26 . Co to cuello y p unos largos : a narrow or simple collar l without the usual ru6 s ( lechuguillas ) . The small c o lar was more characteristic of the beginn ing of the

reign of Philip II ; about 1 562 the elabor ate c ollars

kn own as marquesotas became popular ; accordin g t o

R r Mén dez de a Catalo o r eal e nealé ico od igo Silv , g g g

de E s a fia Ma r t s nstr s t was ntr o p ( d id , hi mo o i y i duced into Spain by an Italian marquis who su6 e red from scrofula and concealed his disease by means of the

r marquesota . AlarcOn tells a simila tale about a young

a ant L a Verdad sos echoso an nterest n g ll , p , I , iii , i i g

scene in c the a t r a es an a s n ea for , whi h u ho m k mu i g pl

l n 1 2 n 6 r the valonci la angos ta . I 6 3 a o o t was made t o

ntro ce a valona llana t t rna entat on or i du , wi hou o m i

c r but the res t was n the ntro ct n of a new olo , ul o ly i du io

e the olilla . vogu , g The p unos largos were also worn by fops an d “ i n n i i dandies . Todas m s a sias co s st an acerca de m i

rnat atauio : no desfl orado ol a ato al vso o h o o y c p , p c o L A DAMA B OB A 325

ca e randes uii os c e con c os n y b llo, g p , u llo mu h a chos y ” az sas as e as sin ener do fl a uez ul, pompo lig , m di g o q a.

el P assa ro Aliuio . 71 . I n L th ge , II , p ope e young

' n n r galla ts freque tly wea punos a lo veneciano : of .

la Viuda valenciana . , I , iv

uant d anb r ado ad : fu un ent o re en g e e a b o é g il h mb , bi

a erez a o al uso do a ra c e az a a ert d d ho , u llo ul do y bi o,

ca z a entera do ra s rer o con as es a a l ob , omb plum , p d

ra a ferreruelo a orra en e a ua nt e de ambar do d , f do f lp , g , y al cuello una vuelta do cadena do oro do moderado ” — es . cl D onad o habl or o cit. ca . 4 . Com p o ad , p . , I , p

pare also : “ F enisa . Estos son guantes : bien pued es

tomar estos cuatro pares .

Lucind o. aS on do ambar ?

F enisa . Si . N O repares .

— Lo e : cl Anzuelo de F enisa . p , I , x

F or an an ec te t rn n on uan tes mu olorosos of do , u i g g y , .

Tim oneda cl B uen Aviso o . cit. cuento liv a so the , , p , ; l

’ otat on erse 2245 S eii or B on a s e t tt e qu i , v ill d ligh ful li l

M r o u e D e Critica cervantina a 1 91 7 . v l m , ( d id , p

tells us of the perfuming of gloves at length .

2267 . gran jugador del vocablo jugar del vocablo : usar del

con rac a en ersos sent s : ue fre iiontom ente g i , div ido q q ” — n f es decir equivocos . Dic . de aut. F or o e o these “ ” puns cf . Lope “ l F lora . Ana so lama .

r Conde . A nadie perdon a ago a .

M r elo. Ju O ol C n o sefior a c g o d , mi , i I ” del vocablo . zTr ste caso

— uien ama no ha a eros . Q g fi , I , x L os pobres hacen retablo

do sus duelos y pesar ;

no ha ner ue ar y di o q jug , ” y juégase del vocablo . — ' los Comendad ores e C rdoba . d o , III 326 N OTE S

'

2275. chap eton cas tella na : the name given to a Span iard re

t rnin fr the n es nd enera in ert u g om I di , a , g lly , pov y ;

the epithet was used in Mexico accordin g to the Die . de “ aut. n d was a ent to our reen rn f , a equiv l g ho . C .

Lope ; ( Tristan chides his master for bein g so easily duped ) i Qué chapetOn estas on estas Indias

— el Anzuelo de F enis a, II , viii .

- I n th P assa ero o . cit. . 268 the r h h e g , p , p , wo d as t e ’ “ ” ean n of elon a a - ea e man res m i g p , b ld h d d , p umably because chapeton means one who has been fl eeced in

the n es . Cf . a so cl Diablo eo uelo o . cit. . 1 38 I di l j , p , p ,

and l D orotea o . cit. a , p , II , iv

2293 . D l llani r [ exa as aue cas, mo e ! — que yo me las varcare The same refrain m ay b e found

’ in a cantar in cl Villano en s u Rineon . I t is , III , ii much more appr opriately used there as the scene takes

ace in n olive r e nd the err - a n is com pl a g ov , a m y m ki g

no t th tas of at er n th es . M re er bi d wi h e k g h i g e Oliv o ov , the refrain man ifestly is a part of the romance there

s n c cann t be sa of the cantar in la Dama u g, whi h o id

boba . The surmise is jus tified that havin g met with

’ great applause in cl Villa no en su Rineon (wr itten bo

e n 1 604 and 1 61 8 res a a t th danc w e , p um bly bou e e i with its refrain was reintroduced n la D ama boba.

n r l r n i 2295. cl Amor se ha buelto godo : para e carece a p esu c on

do al un an lo re nta s si deciendo de la cast g v o, p g u mo , a ”— “ do los godos . Covarrubias . Quiso hacerme do los

os m arentandome con la n eza do a ell god , o p obl qu a

c — uzmdn de Al arache l a arto r iuda G f , p , lib o

a . 1 cf. a s 2a arte ro ca . 5 L na : Laz c p ; l o, p , lib p ; u a

rillo d Tormes ca . 3 L e : cl Anzuelo de F enisa I I e , p ; op , , “ xvii ; N O dira uno : soy virtuoso o soy bueno ; sino

l s odos o so do tal o de tal na e desc n soy de o g , y li j , e

328 N OTE S

2323 . de Duardo eon F i nea : Lope means N ise : in the heat Of writing he occasion ally confuses the n ames of his cha r

actors . T s in the ast act of l N ina de P l t h hu , l a a a, t e

na es of D r tea and Te ra are e c an e h h m o o odo x h g d , w ic

creates confusion for the reader .

2345. ue nunca se caso bien q . quien se casso p or vengarse : Compare “ que nunca p or la venganza

son buenos los casamientos . — Lo e : uien ma no ha a eros . p Q a g fi , III , i

h n r 2394 . P ues adios : given to L aurencio in t e ma usc ipt .

4 i r i h mn s r 2 09. au sa e n t e a u c ipt .

2440 . vna muger eordera

es tusson de su marido : a e a e of conce tis m o good x mpl p ,

and characteristic of the language of L aurencio . The

r r nc is t to the G en F eece an d to the r e r efe e e bo h old l , O d

’ el T s n the ea t at a ee an is an n r nd d u e id , h m k wom ho o a ornament (like the Order of the Golden F leece ) is c om

’ mon in Lope s time .

r 9 2449 . cl estrado : cf. ve se 07 .

el il r ren e t he r e r 2454 . no es saneto como s enzio : efe c o t p ov b al

en ca ar a an sanot anc cf . C rreas bu ll ll m o O S ho o ,

’

V l rio . 35 for a n art c e on the sa n . ocabu a , p lo g i l yi g

in h n scri 2526 . due no : dueno t e ma u pt .

n r n e i a r : la H istoria 2536 . Oliberos : hero of a Old oma c of ch v l y

r as tilla Art de los nobles eaualleros, Oliue os de C y us

d l ar e B r s 1 499 re r nte P r essor B n a g b ( u go , ) p i d by of o i

i de Autores lla in vol . XI of the N ueva B ibl oteca esp a

- r e Ke o . cit. . 41 6 . fi oles . Cf . F itzm au ic lly , p , p L A DAMA B OB A 329

2557 . que la mayor discrezion

es ac omodarse al tiempo. — E so dixo cl mayor sabio: According to the Diccionario “ de Autoridades the rase ac arse al t e mas , ph omod i mpo

” ’ es prudenz ia que baxeza is found in Diego Gracian s

’ trans at n of Pl tarc s Moralia and the re erence is l io u h , f

presumably to the following volume : Morales de P lu

tarcho traduzidos de l n ua Gri a n t ll n , e g eg e Cas e a a .

P or ol ecretar D e Gracian cr a de su Ma esta . S io i go , i do g d

V a do nueuo afiadida la arta arte ue n nca ha qu p , q u

r l sido imp essa . L os titu os que en estos Morales so con

en r n n l n n tien so ve a e a pla a siguie te . ( Real escudo . )

Con P riuilegio. E n Salamanca. En Casa do Alexan fi dro do Can oua. A o MDXXI . I have before me an

e t n of 1 548 t n t ree arts in di io wi h o ly h p , which I have

not found the passage quoted .

’ 25 2 nn 7 . duena : F inea thinks that Liseo has called her a due a .

H ow n ar t ese c aracters ere est na e u popul h h w , how qu io bl

the re tat n c t e re is a e e i ent pu io whi h h y bo , m d v d by

’ an r ters L e s t e es ec a e e cf . m y w i of op im , p i lly Qu v do (

la Visita de los Chistes in bras o . cit. . 344 and O , p , I , p )

’ r n Ce va tes ; ( cf . a passage in the latter s el Celoso

‘ ‘ “ estrem erio O duefias nac as sa as en ol n , id y u d mu do para perdicion do mil recatadas y buenas inten

ciones

2575. ue alma ? Th bob s in los L ocos de Valencia 1 1 3 Q es e o , III , , carry on the same kind of conversati on “ Verino. gTfi sabes lo que es alma ?

F loriano. S é que e s alma ” acto primero y perfocci on del cuerpo .

Ar stot e t r the nter retat n of e e a and i l , h ough i p io m di v l

Ren asc nc o ans and h s ers is the s rce e e theol gi p ilo oph , ou

’ f l n of these phrases . C . Obras de Aristote es puestas e

en a caste ana or D . P atr c d Azcarate P sico l gu ll p i io o , 330 N OTE S

lo ia Tratado del Alma libre : Teoria eneral g I , , II g y “ definicién del Alma La sustancia es un a realidad

er ecta un nte e l es la n te e u p f , a e lequia ; lu go o alma e l q i a ” d l c er tal c o la aca a s do d ofin ir . . 1 47 e u po, om b mo ( p Si so quiero una defl niciOn comun a todas las especie s

del a m a es rec s ec r ue ol a a es la ente e u l , p i o d i q lm l q i a ” primora de un cuerpo n atural organico . (p . 1 48 ) Th e

Lat n r nders entel ui aetu th ac to rimer r i e eq a by s ( e p o, o

’ “ the obierno L e s rase the or m eans t a g of op ph ) , w d h t ” by which the soul actually is .

2580 . N o es lm la u en l eso ¢g a a q e e p lo pintan a S an Miguel ? Immortal spirits released by

eat were e e t . M c ae in a a an ce and it d h w igh d by S i h l b l , is thus that the Archangel is frequently depicted in “ church paintings . I n those devotional pictures which

e t S t M c ae as or s s he is n e and xhibi . i h l l d of oul , wi g d

nar e and s the a ance . I n eac scale s ts a u m d , hold b l h i

itt e na e re re resent n a an so one l l k d figu , p i g hum ul ; of those is usually represented with hands j oin ed as in

t an ness — he is th be to th ecte the t er is h kful e a , e el d ; o h

in an att t e of rr r— he is the re ecte the re r i ud ho o j d , p o

ate and ten but not necessar the idea is com b ; Of , ily,

' leted the ntr ct on Of a n is ras n p by i odu i demo , who g pi g

at the escen n sca e e t er t his ta n s or th d di g l , i h wi h lo , wi

the n wo- r n e o s c as is en to Pl t in lo g t p o g d h ok , u h giv u o

r the antique sculptu e .

i r n Sometimes S t . Michael s thus rep ese ted singly ;

so et es er ea t in Ma nna ct res as in m im v y b u ifully do pi u ,

r h a picture by Leon a do da Vinci w ere St .

M c ae a race an e c re t t o n i h l , g ful g li figu , wi h ligh , fl wi g

air nee s e ore the Ma nna and resents the h , k l b f do , p

anc to the n ant who see s to e c e the io s bal e I f , m w l om p u

little soul who sits in the uppermost scale .

r I have seen this idea va ied . S t . Michael stands

maj estic with the balan ce poised in his hands ; inst ead

332 N OTE S

F inea refers to the pictorial representation of the her e

a ter : the s in P ara se la Gloria the s in f oul di ( ) , oul Purgatory ( en p ena ) and the soul in H ell ( la del i n

fierno) .

n i r f f 2607 . N oche de los dijfuntos : F i ea s af aid o ghosts . C .

ol P a re P e r d Rib adene ra F los S anctorum B a r d d o e y , (

ce n a 327 : L a Commemoracion de los lo , III , p . “ ntos 2 de n e re ase do a ert r u e difu ; ovi mb h dv i , q

a n e estas a ar c nes do las A as del P r at r u qu p i io lm u g o io ,

ue a a e os re er tras se e antes or s e r q qui h v m f ido , y o m j , p

escr tas do A t res ra es ant s se e en tenor or i u o g u y S o , d b p

er a eras ue n estro S efior ero en o as e n v d d , y q u qui ll

sefiarnos las rr es enas ue las A as a ecen ho ibl p q lm p d ,

debemos usar do gran cautela en estas cosas ; por qu e muchas veces no son verdaderas las apar iciones do las

A as s n do n estra fl aca cabeza e s ones del D e lm , i o u , , ilu i

on ue n os n eta en afia dandon os a enten er m io , q i qui y g , d ” n que vemos lo que o vemos . p . 329 .

t i n ar s c s n r n 261 3 . gQue e d z o? O v iou oc a io s p i ted copies of

’ ’ Lope s plays change this to gque te parece ? As in this

particular case ; and again in verse 28 68 it is change d

’ to gque m e dizes ? I t is hard to believe that contem

orar r nters not n erstan the est n s n c p y p i did u d d qu io , i e

it is n ot un common in LOpe . Cf . gqué te dice el ” ‘ — as miento l al P asar de l Arro o . c a y , II , xiii

n r 2679 . y aqui vie e bie n que P ed o

es tan r uin como su amo : Correas Vocabulario . 41 1 has , , p , “ T n en es P e r c su am o e r un a bu o d o omo , y m jo palmo . ( E s

“ gTienes cuenta de p erdon ? Cuenta do perdon : es un a

n d l s del Rosar a en so ce ue e l cue ta a modo o a io, qui di q P ap a tiene concedida alguna indulgencia en favor do ” — t las Animas del Purgatorio . Die . de ou . L A DAMA B OB A 333

n E pena a las once estoy . Tu cuenta ol perdon me aplique ” para que salga do pena .

‘ — Lope : P eribdriez y cl Com endador de

caita . O , III , xiii “ F inea und erstands that N ise will tak e her soul out

f r ator . f . a s l E s la a e su Golan . o pu g y C l o a c v d , II , xiii

271 4 . almario debo de ser : an unexpected pun from the boba

F inea .

n 2768 . si 0 8 faltan telas y rasos : you m ay give your so nets ( as ” resents a e no fin e c ot and sat n . That p ) , if you h v l h i those were included amongst the gifts Of a lover can

‘ ' b seen r P eribarie l Com endador de eana e f om z y e O ,

I , xv

serviera una a a era a Si d m , hubi d do

arte a secretar o a r p mi io m yo domo,

O a algunos gentilhombres do mi casa.

E st s c eran as scaran o hi i joy , y bu

ca enas do a antes r nc s orlas d di m , b i o , p ,

telas rasos a ascos terc e s , , d m , iop lo ,

‘ r ii y ot as cosas extra as y exquisitas .

E ste i.e . Garc as vend n or dos reales [ il o] e p , y tiene tantos son etos

eli antes discr t g y e os,

que vos n o los k arogs tales : I n his novela . L as F ortune s “ de Dia na ( printed in Lope wrote : P ero a V

ni va ni lo ene en ue a en c s eron 1, u vi q h bl omo qui i do Garcilaso ? Assi dezia vn a canzion que cantauan vn dia los musicos do vn sefior grando

Las Obras de B oscan y Garcilaso

so en en or dos rea es v d p l ,

n o las hare s ta es y y l , aun que os precieys do aquello del P arnasol 334 N OTE S

There is no reason to doubt that the poet whose ver s e

he s c ans san was L se and t at h h d t mu i i g ope him lf, h e a

recalled an idea already expressed elsewhere .

’ 2825. muquir according to Juan H idalgo s Vocabulario d e

Germania eans to eat omer . ee uifion , m ( c ) S Q es d o

’ B ena ente in his L oa eon ue em ezo Tomas F erndnd v , q p e z d en la corte (first e . ) “ A estr st s r zc vu os gu o of e o,

Ma r este n e at . d id , u vo pl o

S i os sa e en lo tendrel s b bi ,

siempre a punto y saz onado . P ero si n o es do sustancia

r od ll mu uir pa a p o e q ,

os ue lo er n ir Oj , q vi o ,

n o lo veran mas en F ran cia .

28 29 . ynp osible : ynp osibles in the manuscript .

“ e 2892 . [ B ien mi termino agradeces ! A fin e way you hav of ap “ p reciating my position (my conduct ) Termino vale

tambien or a 6 o o do ortarse a a ar en ol trat f m m d p , h bl o ” — t i n comun . Dicc . de aut. Liseo accuses O ab o of ot liv

in to his s of the ar a n e t er . C are for g up ide b g i i h omp , this use of termino “ F uera en tanta amistad termin o in justo ” no ser don Luis como lo aueis pintado . — L o e : l N oehe de S an Juan . 73r . p a , I , f

76 n n : a s re an er s rasca it is e en 29 . v cayma h wd, d g ou l ; vid t from Covarrubias that the caimdn or alligator had a “ b ad reputation vn pez lagarto que se cria en las rias

do n as so com e los hombres ue van n a and or I di , y q d o p

l a a or ser ol n re do a e a en a ar ara o gu , y p omb qu ll l gu b b ,

no me han sabido dar su etimologia ; dove ser a modo do ” los coc r os ue so crian en ol rio N . The Die . d od il , q ilo e

f e n n out. cites as an example o the d fi itio which I have

N OTE S

E r es andor a ? P er a s T r n eant to sa P an or a g p g h p u i m y d ,

t n n of h r as n ect na e creat re for h e hi ki g e a obj io bl u , , “ ” sa s no est en en st r as . I n a t n to th e y , oy bi hi o i ddi io “ ” e n n andor a sc r the Die . de ant. als o m a i g of p g di o d , gives En estilo festivo y familiar so llama la muge r ” r a essada dexada fl oxa en sus ac on es . muy go d , p , y ci

n nd r a cf . cl Diablo co uelo o . cit. . 1 2 an d O p a o g j , p , pp

208 .

cl Alcazar

l uent d e obia y a p e e S g , y hubo Juan elos que a cl

A z r r subieron agua sin sogas : 1 . The lca a : o royal palac e

T e now a tar aca e was t c efl of ol do, mili y d my , buil hi y

in he t nt nd s teent cent r es an d a n b e t fif ee h a ix h u i , h vi g e n

art estr e fire on ar o s ccas ns has n er p ly d oy d by v i u o io , u d

T n gone extensive restorations . he palace sta ds on the

est r n a e T e and is an s n s ht high g ou d bov ol do, impo i g ig

when viewed from the valley of the Tagus .

T re n r e 2 . The bridge of Segovia : he was o b idg of this n ame across the Tagus at Toledo as far as I am

a to e arn an d we ma ass e t at F n ea in he r ble l , y um h i , foolish chatter is con fusing Toledo with Segovia whose p uente del diablo is on e of the great aqueducts of the i world . I t s known throughout Spain as the puente d e “ ” S e ovia an d as a watercarrior was ass c ate in g , o i d

’ in n h n l T F ea s mi d with t e jua e os of Toledo. he structur e

’ i f n f r r e e en s a work o Roma times . C . Richa d F o d s xc ll t

H andbook or Travellers in S ain L n n ar t f p ( o do , p

2 . 825 , p .

h n t r ifi i n 3 . t e j ua e es a t c o do Jua elo a compli cated invention to raise water from the Tagus river to

the Zocodover the c s are of T e the n ent r , publi qu ol do ; i v o

was a ec an c an and en neer ro Cre na whos m h i i gi f m mo , e

ta an na G o ann Turriano en res in its n I li me i v i , du Spa ish

i n n n n f form Juanelo. H e s k ow ot o ly or the above in LA DAMA B OB A 337

v ntion c ete in 1 568 but as a a er of e a rate e , ompl d , m k l bo

in c ca ac t he eca e a a or te clocks, whi h p i y b m f v i of

n Charles V . The artificio is d escribed at le gth by

V a in l P re rino curioso o . cit. . 1 94 it is illalv , c e g , p , I , p ;

n n in his Vida del B uscou ca . 8 me tio ed by Quevedo , I , p ,

r n es in il stre F re ona and t er conte by Ce va t la u g , o h m

t n P rr T porary writers . Cf. als o D . S is o RamO a o : oledo

en l mano 2 s T e . 6606 . a , tomo ( ol do , II , p

1 45 l : ns a of h s a llebaua or lleuaua . 3 . lebaba i te d t e u u l ,

’ 31 71 . al un : l uen in the an scr t ere L e s aste a e g a g m u ip , wh op h m d

nt c at th u uesso the ne t r . him a i ip e e g e Of g , x wo d

n e n n l n do de a los qu aze lora ,

ri n los ue mueren : re ers to the Trausi se y e a q f , who “ customs are thus described by H erodotus : Llevo dicho do anteman o qué modo de vivir siguen los Getas atani

zontes o e ens res do la n rta a . L os Trausos ( d f o i mo lid d ) , si bien imitan en todo las costumbres do los demas

Tracios ract can no stante sus s s art c ares en , p i ob u o p i ul

el nacimiento y en la muerte de los suyos ; porque al

nacer a n est s to s los r entes a re e r del lgu o, pu o do pa i l d do

rec én n ac o e ezan a dar ran s a ent s con i id , mpi g de l m o , tando los muchos males que lo esperan en el discurso de

la a s en un or n l s es ent ras s vid , y igui do a p u a a d v u y mi e

r as anas er al r r uno de e s con c as i hum ; p o mo i llo , mu h

estras do content sa tan do acer a e r a lo mu o, y l do pl y l g i ,

dan se t ra on eran las ser as de ue ac a e pul u , p d do mi i q ab d

rarse los enes do ue e eza erse c lib , y bi q mpi a v olmado ” en n nt r n la bie ave u a za. [V ivian los Trausos al pie del — H omo en la Mes a n er r . N ta del Tra ctor . f . , i i f io o du ] C

los N ueve libros de la historia de H erodoto de H al i

r ca naso; ( traducida del griego al castellan o por el P .

' B art é P ou 1 727—1 802 do la com aiiia do Jesfis olom , , p ) ,

2 t s Ma r r nt 7 omo ( d id , II , lib o qui o , § iv, p . . 338 N OTES

Two volumes ( in one ) of this work were printed at

M r 1 846 h resent t n is ta en r the ad id , ; t e p edi io k f om

manuscript of the author. There were Italian transla

’ t ns H er t s in L e s da but none in an s io of odo u op y , Sp i h ,

s far n w. On H er t s cf. a s R. . Macan a as I k o odo u l o W ,

M A . : H erodotus the F t F t and S i th Books . , our h , if h x

t ntr ct n N tes A en ces n ces Ma wi h I odu io , o , pp di , I di , p

L n n . 1 55 . ( o do , p

T s c os cc r n to ic all the c aracters are hi l e , a o di g wh h h

rr is en r s t rn a n the two ma ied , giv a humo ou u by h vi g

men who are left without mates clasp han ds . The s ame

in h n sh i f device is not uncommon t e Spa i comed a ; c .

f t nd f anti o cl V er the end o la N oche oled ama, a o S ag d e.

340 IN DE X

en a ento 2 77 . er ic o 2 68 . p s mi , s v i .

tor a 2 84 . se stil 2 79 . pepi i , ,

P e rarc 31 1 S a er t re a 2 74 . t a , . ibil i ,

ia 274 . so re ro ro o 32 7 . p s , mb m ,

car e 302 . s otanilla 322 . pi s , ,

e a do re 2 64 . Ta o 3 1 1 . pi z y, s ,

no a 2 72 . t r no 334 . pi ( é mi ,

Orfido 299 . tinie ndo 304 . p , ,

o ta 254 . tranzelin 31 9 . p s s, , re P ra do . 29 6 . Trausos ( costumb s do

r e a o a o 296 . tr no . 279 . p u b d mig s , i

ro 2 60 . tr ar 303 . pud , ipul ,

e to ue 298 . tro e ar 2 76 . pu s q , p z ,

n o dos en ol a ro V e a L o e do 31 2 31 7. pu t s ( i ) , g ( p ) , ,

ij o 324 . V éle z L 31 3 . pu , ( uis) ,

ué to dice ? 332 . e n a a 294 . gq v d v l , ra aco o 321 . ro 299 . p j , vid ,

Recolet os los 29 6 . V r o 31 1 . ( ) , i gili , re a o do a anto 296 . ta 258 . g l s ( m ) , vis s , ro a o 266 . a ato al uso n e o 321 m diz , z p s u v , r mfl a 301 za s 2 64 . u , . , a a 31 . s l , 7