A CRITICAL 3D IT IOH, Fith INTRODUCE Ici: and NOTES, OF

A CRITICAL 3D IT I OH, fITH INTRODUCE ICi: AND NOTES, OF VnLEZ DE GUEVARA'S VIRTUBSS YENCRN SE^ALES

DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the G-raduate School of the Ohio State University

By CHARLES FREDERICK KIRK, B. A., H. A,

The Ohio State University 1957

Approved by:

Adviser — Department of Romance Languages PREFACE

The present s t u d y has two principal aims: (l) to contribute to the small but ever increasing volume of critical analysis of the dramatic production of Luis Velez de Guevara, thus incidentally adding to the body of knowledge of the Golden Age theater in general, and (2) to make available for American scholars the text of a play whose close relationship to Calderon's La vlda <■* 1 es sueno has previously been pointed out. Since the publication in 1937 of The Dramatic Works of Luis V^lez de Guevara (Berkeley, University of Cali fornia Press) by Forrest E. Spencer and Rudolph Schevill, there has been an increased Interest manifested in the theatrical works of this seventeenth-century dramatist whose principal literary fame had for too long a time rested on his well known Diablo co.luelo. The number of Velez plays which are now available in annotated form is slowly growing, and with this growth comes an increasing awareness of the genius of the man. Although admittedly a dramatist of less importance than Lope, Calderon, or Tirso, Velez now stands as one of the outstanding fig ures of that large group of lesser dramatists whose pro-

Rudolph Schevill, "Vlrtudes vencen senales and La vida es sueno,” HR, I (1933), 181-195. li ill ductlon provided so much of the Spanish playgoer's fare during the seventeenth century. I shall attempt to show the relationship between this comedia of Luis Velez and the superb masterpiece of Calderon. Whether the former actually inspired the latter is of relatively little Importance. What is important, in my opinion, is to make Vlrtudes vencen senales avail able so that any who are interested may read it and re late it to La vida es sueno. While there is presented here much more which I trust will be found valuable, I shall feel rewarded simply to know that a reasonably ac cessible text of the Velez play has been provided. I must acknowledge ray indebtedness to the following members of the Department1 of Romance Languages of the Ohio State University: the late Professor C. E. Anlbal, •under whose inspiration and guidance I was first intro duced to the mysteries and pleasures of text editing, and under whom this work was begun; Professors Ramon C. Rozzell and Bruce W. Wardropper, who have contributed so generously and graciously of their time and talents in directing the final stages of the work; Professors Juan Avalle-Arce, Gabriel Pradal, and Stanley Sapon for crit ically reading the first draft, and for making valuable suggestions. I should like to thank also my colleagues at Kent State University, Professors F. Dewey Amner and Alberto N. Pamies, for reading the text of the play and iv providing suggestions for the solution of certain diffi culties. I cannot adequately express my sincere grati tude to all of these friends. A special word of appreciation must go to Professor John B. Nicholson, Jr., Librarian of Kent State Univer sity, and to his staff for the co-operation and assist ance which they have so willingly provided during the successive stages of preparation of this work. TABLE OF" CONTENTS ' ~ Page Preface ...... i Introduction I. T e x t s ...... vi II. Date and Authenticity...... xxi III. Versification Tables...... xxx IV. Principal S o u r c e s ...... xxxli V. Principal Themes ...... xlv VI. Relationship to La vlda es sueno .... lxxii VII. Literary Appraisal ...... lxxxv VIII. This Edition...... xcii Vlrtudes vencen senales Jornada Primera ...... 2 Jornada S e g u n d a ...... 48 Jornada Tercera ...... 101 N o t e s ...... 150 Index of N o t e s ...... 226 Appendix: Orthographic Variants...... 232 Bibliography ...... 239 I. TEXTS

A* Suelta Text (S) Although rather extensive inquiries have "been made,"*- they have served merely to confirm the statement of Spencer and Schevill2 that only two texts of Virtudes vencen senales survive: a suelta and a text appearing in a collection. The suelta (s.l.n.a.) is in the Palatine Library of Parma, Italy, from which a photostatic copy has been obtained. It consists of eighteen folios, both recto and verso. Page numbers in succession from 1 through 36 appear to have been rather hastily written in

Published catalogue listings or personal letters from directors of the following libraries or collections reveal that Virtudes vencen senales is not available in any other edition than the two discussed here: Congres sional, Hispanic Society of America, New York Public, Eoston Public, Univ. of Pennsylvania, Oberlin College, Univ. of California, Harvard College, Univ. of Michigan, Univ. of North Carolina, Yale Univ., Ohio State Univ., Bodleian of Oxford, British Museum, &ffentllche Wissen- schaftliche (Berlin), UniversitHts Bibliothek (Freiburg), Herzog August Bibliothek (Wolfenbtittel), National Biblio thek (Vienna), Blblioteca Unlversitarla (Bologna), Bl- blioteca Estense (Modena), Blblioteca Apostolica Vati- cana (Rome), Blblioteca Palatlna (Parma;, Bibllothdque Royale (Brussels), Biblioth&que Nationals (Paris), BIbliothSque de 1 'Arsenal (Paris), Blblioteca Municipal (Madrid), Blblioteca Nacional (Madrid), Blblioteca de Palaclo (Madrid), and the Blblioteca de la Universidad de Madrid. p Forrest E. Spencer and Rudolph Schevill, The Drama tic Works of Luis v£lez de Guevara: Their Plots, Sources, and Bibliography (Berkeley: Univ. of Califorala. 1937). p. 125.

vi vii the upper right-hand corner of each recto, and in the upper left-hand corner of each verso. These numbers are npt always distinct, and are not even evident on some pages. With the single exception of folio four, there is a signature on each recto page. This consists of a single capital letter — A, B, C, D, and E — on the first, fifth, ninth, thirteenth, and seventeenth pages, and the capital letter followed by -the numbers 2, 3, or 4 on each of the corresponding intervening pages. Al though it is partially obscured because of a page imper fection, the final signature, E2» on folio 18 recto is distinguishable. Folio 1 recto contains the title of the play followed by the words COMEDIA FAMOSA, the author1a name, the cast of characters, the designation IORNADA PRIMERA, the opening stage directions, and the first thirty-three lines of the play. With the single excep tion of Filipo fs sonnet in the first act (w. 863-876), the entire play is printed in double columns. There are guide words visible on each page, except 15 recto and 18 recto. The text is unusually clean, there being only one serious imperfection. Folio 8 verso has a torn page edge which has removed the first few words of seven verses (w. 1208-1214) in the left-hand column. The first twenty-two verses of the left-hand column of folio 16 recto (w. 2443-2464) are enclosed by a hand-drawn bracket in the left margin, and the word no is written viii three times in the same margin. The verso of this folio has a similar bracket enclosing eight verses part way down the left-hand column (w. 254-9-2556) . Each verso page contains the heading Virtudes vencen senales, while the designation of the author's name is given on each recto page. This appears as De Luys Velez de Gueuara twelve times,^ and as De Luys de Velez de Gueuara five times.4

B. Zaragoza Text (Z) Virtudes vencen senales appears as the third play in a collection entitled Parte Trelnta y dos, con doze comedlas de dlferentes autores published in Zaragoza in 1640 by Diego Dormer.-^ A photostat of .this edition was obtained from the British Museum Library which has only that part of the volume which contains the play in ques-

3 Folios 3, 4, 7, 8, 11, 12, 13, 14, 15, 16, 17, and 18. 4 Folios 2, 5, 6, 9, and 10. ^ In addition to Virtudes yencen senales, this volume contains the following plays: Qbllgados y ofendidos by Francisco de Rojas, 51 Duque de Memoransl by Martin Pey- ron y Queralt, Donde hay valor hay honor by Diego de Ro sas, El enemlgo enganado by Lope de Vega, Las tres mu .lo res en una by Doctor Remon, Amor, lngenlo y mujer by Cal deron, El sufrlmiento de honor by Lope de Vega, El caballero sin nombre by Mira de Aaescua, Los desagravlos de Crlsto by jjilvaro Cubillo, El santo sin nacer, y martlr sin morlr by Mira de Amescua, and Basta intentarlo by Felipe Godfnez. ix tlon.^ Consisting of nineteen folios, this edition has pages numbered consecutively from 91 through 128. The first page includes the title, preceded by the words COMEDIA FAMOSA, the author's name, the cast of characters, the opening stage directions, and the first forty lines of the play. In the upper right-hand corner of this first page there is also a hand written number un doubtedly Indicating the position of the play in the collection. Signatures appear on only eight pages: G-,

g2» an

H-j , and on pages 113, 115, 117, and 119, respectively. As in the suelta, the entire play is printed in double columns on each page, except for the soneto of the first act. Guide words, or syllables, appear In the lower right-hand corner of each page. Except for the first, there is a printed heading at the top of each page: COMEDIA FAMOSA on the versos, and VIRTUDES VENCEN SEflALSS on the rectos. Probably because it was a part of a bound collection, this text is in a superior state of preser-

6 In a letter dated Sept. 27, 1956 the Assistant Keeper of Printed Books of the British Museum, Mr. L. J. Thomas, informed me that he could not trace the where abouts of this volume prior to its accession to the Library. Nor could he assign any precise date for its acquisition, although the approximate date seems to be 1835* A microfilm of the text of Virtudes as it appears in the original volume which is in the Nieders&chsische Staats-und Universit3.t8bIblIoth.ak of Gtittingen, Germany indicates that this British Museum copy is, in fact, an exact duplicate of the original. vation, and is much more legible than is the suelta. The printing is sliarp and clear on almost every page, and there are no instances of torn margins or other defects.

C. Comparison of the Two Texts Text S is patently superior to Z. It is better punctuated, has a clearer reading in a greater number of instances, has more complete stage directions, and in general seems to be the product of more careful and intelligent editing. There is some variance between the two texts, both in minor matters of spelling, characters 1 names, and the like, and in more Important matters such as the omission of certain verses. In the preparation of the present edition an attempt has been made to collate the two texts, and to incorporate into this edition those passages of some length which at present are In only one or the other of the original texts. In general there are four types of variants: 1. Verses present in only one text S includes fifty and one-half verses not to be found In Z, while the latter provides eighty-three verses not present In 3. The additional fifty and one-half verses of S include forty which may be classified as amplifi cation, ? six and one-half verses necessary for preserva-

7 Vv. 411-4-14, 492-495, 1762-1765, 1882-1893, and 1945-1960. xi tion of the verse form,® and a four-verse section which contrasts the monstrousness of Filipo with the extreme g beauty of his mother. The additional eighty-three verses of Z Include thirty of amplification,-*-® three verses necessary to 'regularize verse form,-*■-*• two verses providing a more adequate transition, 1 ? and forty-eight verses whose common denominator appears to be the expression of an unfavor

able view of royalty.1^ in the first of these passages (w. . 2201-2228), Leda harshly criticizes Filipo, and gives vent to her bold defiance of the king’s authority. In the second instance (w. 2509-2516) there is the revelation of financial embarrassment for the royal household, and in the third passage (w. 2649-2660) Filipo praises his own virtues and draws his sword against the admiral. Chart A, which follows, is a synoptic presentation by acts of the one hundred thirty-three and a half verses which are to be found in only one of the two texts.

8 Vv. 634, 714, 749, 1053, 1590a, 1780, 1793. 9 Vv. 419-422.

10 Vv. 57-68, 169-176, 307-316.

11 Vv. 645, 1427, 1806.

12 Vv. 1313b-1315a. *3 Vv. 2201-2228, 2509-2516 , 2649-2660. xiii

JORNADA SSCrUiTDA

TOTAL TOTAL LIMES LINE NO. LINES LINE NO.

SUELTA ZARAGOZA

( 1) 1053 Regular!zeo verse form.

( 2) 1313b-1315a Transition to 1316.

(l) 1^27 Regularizes verse form.

(1/2) 1590a Regularizes meter.

( **) 1762-1765 Variation; padding.

( 1) 1780 Regularizes verse form.

( 1) 1793 Regularizes verse form.

( l) 1806 Regularizes verse form.

(12) 1883-1393 Comic relief; padding.

(19 1/2) xiv

JOKNADA TERCERA

TOTAL TOTAL LINES LINE NO. LINES LINE NO.

SUELTA ZASAQOZA

(16) 19^5“1960 Mourning for Lisandro; Filipo*s color compared with black of mourning.

(28) 2201-2228 Leda*s defiance of Filipo1s authori ty; expression of voluntad.

( 8 ) 2509^-2516 Explanation of Filipo*s gift of money to Enrico’s servants; fi nancial troubles of royal house.

(1 2 ) 2649-2-660 Filipo*s insistence on his virtues* which contradict his color; draws sword against admiral.

7127 WT XV 2. Vera© substitutions In addition to the completely omitted passages Just discussed, there are several instances in which one text makes a substitution, not always of corresponding length, for lines of the other. In the first Jornada S has a twenty-three verse passage (vv. 459-481) for which Z provides only seven verses. The S version is an expan sion of the idea contained in the shorter passage. Inthe second Jornada there are five instances of such substitutions. In the first of these (w. 1155** 1157), the S text expands humorously so as to provide two additional verses beyond the number found in Z. In the second instance (w. 1609^-1620), 3 again expands the other text by an additional ten lines, and in so doing corrects defective verse form. Expanding the Z version by an additional four lines likewise enables 3 to correct verse form in the passage Included In w . 1632-I642a. In verses I699b-1702a the S text expands by two lines the rendition of Z, while at w . 1724^-1737 the additional six verses of 3 provide a comic interlude involving TIrrena and Clar£n. The third Jornada has three Instances of substitu tion: w . 2087-2092a, 2112-2123, and 28llb-28l4. The extra two verses of 3 in the first instance serve to cor rect the Z text in the matter of Tebandro’s title. In w . 2112-2123, the 3 text includes ten additional lines xvi which, amplify Clarfn’a comic relaclon. The same interest in improving the comic effect is apparent at 2811^-2814, where the extra W o verses of S provide a better entrance for Clarfn. Chart 3, which follows, lists sixteen separate in stances of verse substitution, and attempts to classify the effect of each. It will be noted that there are nine cases of textual enlargement, in each of which S is the longer version, frequently with additional attention to humor. Although they are more difficult to classify, an attempt has been made also to comment on the seven cases where a substitution ha3 been made which is of equal length, or nearly so. xvi I

Chart B. Verse Substitutions

Line Total Lines In: Numbers Text "S" Text ,lZ,( KS" version:

459-481 23 7 Expands; pads.

1155-1157 3 1 Expands humorously.

1181-1182 2 2 More intelligible than Z. 1246-1248a 2 5/8 2 3/8 Regularizes metric scheme. 1441-1444 4 4 Equivalent to Z.

1498^-1499 1 1/2 1 1/2 More appropriate than Z, 1523 1 1 More appropriate than JZ. 1527 1 1 More appropriate than Z, 1558b-1562a 4 4 Equivalent to Z.

l609b~l620 11 3/8 1 1/2 Expands; pads; regu larizes verse form, 1632-I642a 10 6 Expands; pads; regu larizes verse form, l699b-l?02a 3 1 Expands; pads.

1724^-1737 13 7 Provides comic scene.

2087-2092* 5 1/2 3 1/2 Corrects Tebandro’s title. 2113-2123 12 2 Expands humorously.

2811^-2814 3 1 Improves comic effect. xviii 3« Less-than-line-length variants Included as footnotes to the text of this edition are all variants involving single words, or groups of words, in which something more than mere orthography is Involved. A hasty glance at the number of such foot notes will indicate the extent of these variants, while closer examination will demonstrate the futility of attempting to classify them.

4. Spelling variants A close examination of the two texts reveals con- 14 siderable variance in the matter of orthography. With the single exception, however, of the -ss- combination, there appears to be no clearly defined pattern of spell ing to distinguish one text from the other.. In fact, there is such great variance that personal preference, rather than some well-defined orthographic system, seems clearly to have been the determining factor in the matter of spelling.

D. Relationship of the Two Texts It seems possible that the suelta and the Zaragoza texts are progenies of a common ancestor, be it the orig-

See the Appendix below, pp. 232-238. ■*•5 The suelta shows a definite preference for this com bination, there being thirty-four occurrences of its use in thirteen different word families. In only three In stances, on the other hand, does Z use the same digraph. xix Inal manuscript or some earlier printed version which has not yet come to light. In collating the two texts one is struck at once by the almost perfect metrical form which results when omit ted passages are Introduced, and by the ease with which such Interpolations can be made. A careful examination of the present text will indicate that in no instance has it been necessary to violate the basic text (S) In order to Include passages found in the other text. Such a situation lends credence to the possibility of the exist ence of an unknown earlier text "X." Bearing in mind the Inclination of both the autor and the llbrero to alter a text to suit his own needs, it seems possible that such a situation might have occurred in the case of Virtudes vencen senales. Assuming that the present edition represents a fairly close approximation of this earlier "XM text, It. is not difficult to reconstruct what might have happened to produce the S. and Z texts. The autor in the case of S, for instance, might have decided that for hia purpose certain passages of the UXM text were unsuitable, and accordingly he eliminated them as he prepared his text for printing. In the case of Z, the llbrero, or perhaps an editor, decided to delete certain passages in preparing his particular text. Nor does it seem particularly unu sual that each of these hypothetical editors should have XX chosen different passages for exclusion. Indeed, It does not seen presumptuous to suggest that the editor of 3 raay have wished not to offend the monarch or the nobles, and consequently he deleted those lines vrhich he felt were not flattering to these groups. The elimination of these passages naturally required that certain relatively minor changes be made in the text in order to accommodate these exclusions. As was pointed out earlier,16 considerable effort has been made to locate another text of Virtudes vencen senales. It is regrettable that such efforts have been fruitless, and it is hoped that such an "X1* text will eventually come to light, and that It will sustain the present theory concerning the relationship of the suelta and the Zaragoza texts.

16 see above, p. vi, n. 1. II. DATS AND AUTHENTICITY

There can be little doubt that Virtudes vencen senales is a product of the pen of Luis Velez de Guevara. The only ascription of the play to any other dramatist is that of Medel,^ who says that the work is by Don Juan Velez, the son of Luis. However, as Anlbal has pointed p out,c this ascription must be accepted with reservations, and indeed it seems to be completely refuted by other evidence. The play is not included in the lists by Cotarelo,-^ A nor oy Paz y Melia, nor does it appear in the index of a collection in the possession of the University Library of Barcelona.^ However, five other catalogues do contain information concerning Virtudes. La Barrerra lists the Zaragoza text both in the biographical sketch of Luis

Francisco Medel del Castillo, fndlce general alfa- betlco de todos los t£tulos de comedlas, etc. (Madrid, 1735). 2 C. E. Anibal, rev. of Spencer and Schevill, op. clt., HR, VIII (1940), 172, n. 1. 3 Emilio Cotarelo y Mori, Catalogo de obras drama- ticas lmpresas pero no conocidas haata el presente, etc., (Madrid, 1902). ^ Antonio Paz y Melia, Catalogo de las plezas de teatro etc., (Madrid, 189977 ^ I am indebted to Prof. Arnold G. Reichenberger of the University of Pennsylvania for this information. He has examined this Index, and reports that Virtudes does not appear in the list of plays. xxi xxii Velez and in the title Index under the name Virtudes ' f vencen senales,— y negro Rey bandolero,u and this same augmented title is used by Mesonerc Romanos in his cata- *7 / logue.' Salva lists a 17th century edition which he describes in part thus: 11. . . principia por la pag. 91 y concluye en la 128; por conslguler.te pertenece a una Parte que me es desconoclda."® He also gives the aug mented title, but erroneously states that La Barrera had ascribed the play to Lope. Another clear reference to the Zaragoza text is this from Faxardo: "Virtudes vencen senales de Luis Velez Pte. 32 Vs. antigua o negro Rey Vandolero." ^

The most precise information which we have concern ing this play is provided by Rennert.-*-0 He lists Vir tudes vencen senales as a work of Luis Velez de Guevara,

^ Cayetano Alberto^de la Barrera y Leirado, Catalogo blbllografico y.blografioe-del teatro antiguo espanol, etc. (Madrid, I860)7 PP» 466b, 591b. 7 Ramon de Mesonero Romanos, Catalogo cronologlco de los autores dramatlcos, etc., BAE, XLY, liib. ®^Pedro Salva y Mallen, Catalogo de la Blblioteca de Salva (Valencia, 1872), I, 662a-bT Tills is obviously a reference to text Z. ^ Juan Isidro Faxardo, "Tftulos de iodas las comedias que en verso, . . .. En Madrid ano 1717•” I am again in debted to Prof. Reichenberger for having examined a type written copy of this unpublished ms. which was at his disposal. -*-0 Hugo A. Rennert, "Notes on the Chronology of the Spanish Drama," Mod. Lang. Rev., ill (1908), 55. xxlii and Indicates that a copy of the play was in the pos session of Jeronimo Amelia, a Valencian theatrical man ager, ir. the year 1628. Accordingly, Rennert sets the date of composition at some time prior to 1628, and adds the information that the play was first printed in 1640, although no evidence is presented to substantiate this statement. If 1640 is, in fact, the date of the first printing, it would appear that the suelta is the more recent of the two texts, a position which is upheld by Spencer and Schevill.^IT The testimony with regard to the paternity of Vir tudes which is supplied by.the various catalogue lists can be sustained by attention to several other aspects of the work. Spencer and Schevill have noted some nine general characteristics of Velez's work,I2 several of which seem to be particularly applicable In the case of the present play. Velez is noted for his supertypes, of which Filipo and Leda are perfect examples. The principal theme of the comedia Is, of course, the "virtue triumphant" one, in which Filipo 'a moral superiority is the thing which enables him to overcome the awesome evil which his out ward appearance portends. Quite typically, V^lez has LI-

11 Spencer-Schevill, The Dramatic Works etc., p. 125. 12 Ibid., p. xlli. XX iv sandro use a sequence of twenty-one different laudatory adjectives in describing the unknown prince to the court of Albania (vv. 386-398). In much the same manner, Leda is portrayed as the strong, resourceful type who belies the "weakness" of her sex, and accepts the loss of both her kingdom and her love with philosophic resignation only after having first expressed her dissatisfaction with Filipo. V^lez is also known to be particularly inclined to make use of strange and un-Spanish backgrounds for his plays. This is most certainly true of Virtudes vencen senales, where the action develops in Albania and centers around a cast completely devoid of Spaniards, all of whom nevertheless display the most praiseworthy char acteristics of their peninsular counterparts. There is never any doubt but that these Albanians, Neapolitans, Sicilians, and Hungarians are fundamentally good Caste llanos . While the appearance of the black Filipo on the stage is undoubtedly not so spectacular as the heroine's entrance on horseback in Velez's act of La Baltasara, ^ it certainly represents one more example of this drama tist 's love of the unexpected and the unusual.

3-3 Charles F. Kirk, "A Critical Edition, with Intro duction and Notes, of V^lez de Guevara’s Act (I) of La Baltasara" (unpubl. Master's thesis The Ohio State uni versity, 1940), v. 488+. XXV The frequency and the nature of the explanatory notes to this edition should testify more than amply to the "... occasional mingling of culto with his speech . . * mentioned as a characteristic of Velez, 14 although the quantity of such material in Virtudes is considerably less than in some of the other plays. Several different editors have pointed out the fond ness of Vllez for certain words, and have noted the fre quent occurrence of these words in his corned las. Reichen- berger discusses at some length the frequency with which the allento word family appears in the plays of Velez,^ especially in those dealing with warlike and patriotic subjects. He has noted ten occurrences in El agulla del agua, and seven in La mayor desgraela de Carlos V, while AshcomXD has observed eleven occurrences in El gran Iorge Caatrioto v Prfnclne Escanderbey. There are eight occur rences of this word family in Virtudes vencen senales. Reichenberger likewise has an extensive note on the humano word family*^ which he has observed nine times in

!4 Spencer-Schevill, loc. cit. ^■5 Arnold G. Reichenberger, "Luis Velez de Guevara, SI embuste acredltado y el Disparate erefdo: A Critical Edition with Introduction and Notes," (unpubl. dlss. The Ohio State University, 1946), pp. 140-141, n. 107-110. ^ Eenjamin B. Ashcom, "Luis Velez de Guevara, El gran Iorge Castrioto y Principe Escanderbey," (unpubl. diss. University of Michigan, 1938). ^ Reichenberger, op. cit.. pp. 182-183, n. 740. xxvl SI embuste acreditado y el Disparate crefdo. The word is one of the most frequently used in Virtudes, there being nineteen cases of its occurrence there. It has likewise been pointed out that another favored word of Velez is ocas ion, of which there are twenty-four *1 O occurrences in La nina de G<5mez Arias. Virtudes has nineteen cases of the same \*ord. Of all of Velez'a favored words the one which occurs most often in Virtudes vencen senales is valor, there being forty-three cases of its use, while valeroso, -a appears three times, and vallente twice. Ash.com noted thirty-nine occurrences in El gran Iorge Castrioto, ^ while Rozzell has observed sixteen cases of its use in La nina de Gomez Arias. ^ In the three hundred seventy- two lines which Velez wrote for Las hazanas del Marquis de Canete,^3- I have noted nine cases of valiente, seven of valor, and four of valeroso, -a. In addition to the individual words mentioned here, there will be found in the explanatory notes numerous

-2 R a m o n c. Rozzell, "La nina de Gomez Arias; A Crit ical Edition with Introduction and Notes," (unpubl. diss. The Ohio State University, 194-7), p. 129, n. 6. -5 Ashcom, op. cit., p. 218, n. 29. 20 Rozzell, op. cit., p. 129, n. 10. 2jJ; Luis Velez de Guevara y Duenas et al., Algunas hazanas de las muchas de Don Garcfa Hurtado de Mendoza. Marques de Canete, BAE, XX, pp. 498c-500b. ” xxvii references to other passages in Velez which demonstrate similarities of vocabulary, syntax, style, and thought, and which serve to enhance the attribution of the present play to Luis Velez. In his specialized 3tudy of four comedlas of V^lez, Wade points out that the word criiiel is always bisyliable with V^lez.22 jn vlrtudes the singular and plural forms each occur once (vv. 394 and 2207, respectively), and in both Instances diereBis is evident. Likewise, Vlrtudes lias f^ada (v. 2336) and fie (v. 2561) of which Wade says: "His [Velez's] -lar verbs which have -£o in the present tense . . . are written with dleresis in those forms in which the stress falls on the syllable following the -I-." i n the holographs there are fifteen cases of the word crlado, always as a three syllable word,22*- while the word is used this same way in all of its four appearances (w. 1127, 1498, 1506, 2507) in Vlrtudes. Schevill provides us with the most plausible sug gestion for dating the cexposition of Vlrtudes vencen senales.2^ He cites from, the play a passage (w. 2005-

22 Gerald E. Wade, "The OrthoSpy of the Holographic Comedlas of Velez de Guevara," HR, IX (1941), p. 463. 23 Wade, loc. clt. Wade, pp. 461-462. 2 5 Rudolph Schevill, "Vlrtudes vencen senales and La vlda es sueno," HR, I (1933), 190-191. xxvili 2007) In which Velez appeara to denounce the influence p C. of the prlvado, and suggests that the dramatist would be unlikely to write 3uch lines before the fall of the Duke of Lerma (1618), to ’whose house one of his protec tors belonged, or after the rise to power of the Conde Duque de Olivares. (1622). However, it should be pointed out that this is not the only possible assumption which can be made. It is, of course, possible that the pas sages mentioned were actually written during the period of Influence of either Lerma or Olivares, when the pro test would have had real significance. In this connec tion one is reminded of ^uevedo's Epfstola . . . al Conde-Duque de Olivares,2*^ j_n which the author does not hesitate to protest vigorously against the power and In fluence of a privado. Schevill further notes the rela tively small amount of culto material in the play, and indicates that this fact suggests Velez's middle period.

Of the 45 0 /0 of romance verse form in El Hercules de Ocana, Bruerton says: "we should not expect that percent age of rom. before 1617. "2^ The 60 0 /0 of romance in

2^ See also Filipo's reply to Clarfn's request for special favors in Vlrtudes (w. 2129-2l44a). 2? Francisco de Quevedo y Villegas, Epfstola satlrlca y censorla contra las costumbres presentea de loa Caste llanos, escrlta al Conde-Duque de Olivares, In Poetas de los slglos XVI y XVTI, ed. P. Blanco Suarez (Madrid, 1923), pp. 251-258. 2® Courtney Bruerton, "The Date of Schaeffer's Tomo Antiguo," HR, XV (19^7), 362. X X ix Vlrtudes seems to indicate the possibility of a composi tion date after I6l7» or perhaps after 1620, in view of the statement that there is no reason to believe that

60 o/o of romance would be used before 1 6 2 0. ^ Further more, Bruerton says: "Apparently there are usually two metrical combinations in the coinedla in which we find

30 o/o or less of red*: (1) together with heavy qu.and light or moderate rom. in plays before 1610 . . . and

(2) with light gu. or none at all and at least 35 o/o of

rom. in plays of 1620 and later . . . ." ^ 0 The percentage of romance (60.15) and redondillas (35.57) in Vlrtudest together with the complete absence of quintlllas would thus seem to indicate a composition date after 1620. ffhlle it is recognized that one cannot rely too completely on such data, nor bracket too closely on the basis of such statistics, it does seem reasonable to accept Schevill?s dates, particularly in view of the 1628 date mentioned above•

Korley and Bruerton, "Addenda to The Chronology etc.," HR, XV (19^7), 50. 3° Bruerton, op. cit., pp. 351-352. p. xxill. III. VERSIFICATION TABLES

Table 1 - Distribution of Verse Forms. Line Numbers Verse Form Totals

JORNADA PRII-SRA 1-244 redondillas 244 2 4 5 -5 7 0 romance (a-e) 326 5 7 1 -6 8 2 d^cimas' (augmented d^clma, 66 1-6 7 2) 112 6 8 3 -8 6 2 redondillas 180 8 6 3 -8 7 6 soneto 14 877-924 redondillas 48 “924

JORNADA 5SC-UNDA 925-1328 romance (e-o) 404 13 2 9 -1 6 2 0 redondillas 292 1621-1912 romance (e-a) 292 ------~ " ~9BH

JORNADA TERCSRA 1 9 1 3 -2 1 2 8 romance (a-o) 216 2129-2148 redondillas 20 2149-2464 romance (a-a) 316 2465-2728 redondillas 264 2729-2946 romance (a-e) 218 1034

XXX X X X i

Table 2 - Percentages of Verse Forma (Each. Act)

VERSE FORM TOTAL LINES PERCENT

JORNADA PRIKBRA redondillas 472 51.08 romance 326 35.28 d^cimas 112 12.12 soneto 14 - ,1-52 9 2 4 100.00 JORNADA SSGUNDA

romance 696 70.45 redondillas 292 _ 2 9 ^ ~ 9 E B 100.00 JORNADA TERCERA romance 750 72.53 redondillas 284 27.47 1034 100.00

Table 3 - Percentages of Verse Forms (Entire Play)

VERSE FORM TOTAL LINES PERCENT romance 1772 60.15 redondillas 1048 35.57 d^clmas 112 3.80 soneto 14 .48 2946 100.00 IV. PRINCIPAL SOURCES Although the accounts of the youth of Cyrus are cited as one of the sources of Vlrtudes vencen senales,^- it would appear that the relationship is actually very slight. Herodotus tells the story of the birth and early youth of Cyrus in the first Book (Ch. 107-129) of his celebrated History.^ The Hlstorlae Phlllplcae of Trogus Pompeius have been lost, but the abridgement by Justin contains a similar account of Cyrus.^ A Romance (Duran No. 4-29) which seems to have been first published in 1566 likewise relates the story.^ Patrana XVI of Juan

de Timoneda,^ first published about 1567, is an addi tional appearance of the same tale, and Lope's Contra valor no hay desdlcha,^ whose composition date Morley

^ Spencer and Schevill, p. 131. 2 Herodotus, The History of . . ., trans. George Raw- linson (1 8 5 8), ed. E. H. Blakeney (London, 1910), I, 56-68. ^ Justin, History of the World, Extracted from Trogus Pompeius (Bk. I, Ch. 4-6), in Justin, Cornelius Nepos; and Eutropius, etc., trans. John S. Watson (London, 1886), pp. 6-8. ^ Agustfn Duran, ed. Romancero general, etc., in BAE, X, 327-329. 5 Juan de Timoneda, El patranuelo, ed. Federico Ruiz Morcuende (Madrid, 1933), pp. 181-186. ^ Lope Felix de Vega Carpio, Contra valor no hay des dlcha, ed. J. E. Hartzenbusch, in BAE, XLI, 1-4-6.

xxxii xxxiii and Bruerton (p. 269) set at probably 1625-30, Is a dramatized version of the Cyrus story. Since each of these Is quite apparently a reworking of the story from Herodotus, It seems important to relate that account, and then to indicate in which ways each of the subsequent versions differs. According to Herodotus, Astyages, the son of Cyaxeres, acceded to the throne of Media. Soon thereafter Astyages has a dream concerning his only child, a daughter named Mandane. In the dream a flood of urine from Mandane engulfs all of Asia. The interpretation of this dream which the Magi provide is that the offspring of Mandane will usurp the royal au thority. Consequently, Astyages decides to rid himself of the threat by marrying his daughter to a Persian of little Importance, Cambyses. However, a second dream, the vision of a huge grapevine which grows from the womb of Mandane and overshadows Asia, makes Astyages deter mined to remove the threat completely. Accordingly he forces Mandane to return from Persia in order that she may be under his constant watch. Shortly a beautiful boy is bom, and Astyages orders his faithful adviser, Harpa- gus, to carry the boy to a remote mountainside and there expose the child to the elements. Torn between his loy alty to the king and fear of later retribution from Man dane, Harpagus turns the child over to Mi tridates, a herdsman, with orders to carry out the king's command. X X X iv From a palace .servant who accompanies him, Mltrldates learns the child 's true identity, and upon his arrival at home he and his wife Spaco decide to substitute their own stillborn child for the royal baby. Subsequently the herdsman reports to Harpagus, who sends some trusted servants to witness the dead body of the child. When he is ten years old, the boy who now is called Cyrus, engages in a game with his playmates. He is se lected as "klns,,, and in the exercise of this authority severely beats the son of a nobleman, Artembares. The latter takes a vigorous complaint to Astyages, who there upon calls the herdsman and Cyrus before him. Cyrus 1 explanation is that he was considered by his playmates as the one best fitted to be "king,” and that he had simply been carrying out his royal duties when he beat the lad who had refused to follow his commands. The manner of Cyrus, his regal bearing, and the resemblance to Mandane arouse the suspicions of Astyages, who as sures Artembares that the matter will be resolved to his complete satisfaction, and sends the complainant away. In questioning the herdsman, -who insists at first that Cyrus is his own child, Astyages eventually learns the whole story. Harpagus is then ordered before the king, and admits his guilt. Astyages feigns joy at having discovered that his grandson is alive, and asks Harpagus to send his own son to the palace, and then to return XXXV himself that evening for a banquet of thanksgiving. When the son of Harpagus arrives at the palace he is seized, killed, and hl3 body is cut into pieces, some of which are roasted while others are boiled. At the banquet Harpagus is served the portions of his child's body, while the rest of the company eats Joints of meat. After the banquet is concluded, Astyages inquires whether Harpagus has enjoyed the meal, and, upon receiving an affirmative reply orders that the hands, feet, and head of the dead youth be presented to Harpagus. The Magi now decide that since Cyrus has already carried out the terms of the two dreams by playing "king," Astyages no longer need fear his grandson. Consequently the youth is sent to meet his parents in Persia. His .constant references to his foster mother Spaca, whose name in Greek is Cyno (female dog), suggest to Mandane and Cambyses that they spread the report that Cyrus had been suckled by a wild beast, and had thus been saved from death. Bent on vengeance against Astyages, Harpagus con vinces some of the most influential nobles of Media to attempt to overthrow the king. He sends a letter in the entrails of a dead rabbit, telling Cyrus of his plan, and asking for his leadership. Cyrus calls a great body of Persians to clear a field, and on the following day pro vides them with a magnificent banquet. He then inquires

i X X X V 1 which day's work they preferred: the heavy labor of clearing the field, or the enjoyable opportunity of feasting. With this as an object lesson Cyrus Incites the Persians to revolt against the Medes. Astyages chooses Harpagus as the leader of the Median army, and suffers complete defeat when his forces desert to the Perslans. In none of the subsequent versions of the life of Cyrus is any mention made of Astyages1 first dream as recorded by Herodotus. The Justin account is a much condensed one, in which many of the names are omitted. It differs from the story told by Herodotus in two prin cipal respects. The herdsman actually exposes the royal baby, but upon the entreaties of his wife returns to get the baby and delivers him to the humble cottage. The wife is so impressed by the child's beauty and manner that she prevails upon the husband to expose her own living child in place of the royal baby. In this ac count Cyrus acquires his name from the shepherds, and his foster mother, for no explainable reason, receives the name 3paco because this was the Persian name for dog. The second major change in the story as told by Justin is in connection with the final battle scene. In this account the forces of Astyages put the Persian army to rout, but the tide turns when the Persian women shame their men into returning to the battle and eventual V'-V-i'S' ; V ^ - ’ :.‘.

xxxvli victory. In the Romance the shepherd, assents to the pleas of his wife, retrieves the royal baby from the wilderness, and exchanges the body of his own stillborn child. In this account the child is named Ciro because the foster mother's name is Cira. The story of the battle follows that in Justin's Epitome. Timoneda's Patrana XVI differs from the Herodotus account only in the naming of Gyrus, and in the story of the final battle. Here the Romance tradition accounts for Cyrus' name, while Justin's story of the battle is repeated. Lope's dramatic presentation necessarily differs considerably from all the other accounts, although it follows in the main the Romance version. There is, of course, the introduction of the love element in the cre ation of Fills, the sister of Harpagus, who is secretly in love with Cyrus. There is also the addition of a shepherd friend of Cyrus who serves as gracioso. In Lope's version Cyrus and Mitridates are ambushed on orders from Astyages, and in the resulting conflict Cyrus kills both the boy whom he had earlier ordered beaten and the boy's father. The final battle scene develops first as a crushing defeat for Cyrus when his rustic army deserts in the face of superior forces, but the tide turns dramatically with the defection of Har- xxxviil pagus• From these brief accounts of the different versions of the youth of Gyrus It seems obvious that the major episodes of Vlrtudes vencen senales come from sources other than those mentioned thus far. In fact, the only elements common to the Velez play and the story of Cyrus are (l) the attempt to eliminate the heir to the throne, and his subsequent acquisition of power, (2) the inherent quality of sovereignty which impels both Cyrus and Fili- po to play king, and (3) the ultimate kindness and gen erosity which motivates their treatment of those who have misused them. In connection with the first of these it must be pointed out that while there were omens of evil before the arrival of Cyrus, Fllipo's capacity for evil was unsuspected until his birth. The relationship between external physical beauty and inner virtuousness has Interested mankind almost from the very beginnings of human history. In his Sym posium Plato discusses the means by which one learns to appreciate the beautiful, and concludes that perfect understanding of this quality results In the knowledge that personal beauty is only a trifle, and that "... the beauty of the mind is more honorable than the beauty of the outward form."?

7 Plato, Symposium, trans* B. Jowett, ed. Louise Ropes Loomis (New York, 194-2), p. 201* XXX ix In Spain the adage Vlrtudes vencen senales is quite apparently a popular proverb of long standing, and is listed by Correas, Covarrublas, the Autorldades, and the Academy dictionaries.® Both of the two latter works con tent themselves with a relatively generalized definition, such as this from the Autorldades, s.v. VIRTUD: ”— Vlrtudes vencen senales: fr. proverb, con que se da a entender que uno obra <5 puede obrar bien, no obstante los indicios o slgnos que arg(i£an lo contrarlo. Vlrtudes vencen senales: antiguo proverblo espanol que indica que con el buen proceder se desmlenten y destruyen los indicios y las inclinaciones naturales que pudie- ran tenerse al viclo o a la virtud. V. J. Bastus.11 Correas and Covarrublas, on the other hand, introduce a note slightly more akin to the sense in the Velez play. After first defining VIRTUD in part thus: ". . . General- mente dicitur virtus, probltas, lntegritas, recta ratio; su contrarlo es vicio, latlne vltlumtM Covarrublas con tinues with: "Proverbio: *Virtudes vencen sena les, f convlene a saber la ciencia

® Gonzalo Correas, Refranes y frases proverblales, etc. (Madrid, 1924). Sebastian de Covarrublas y Horozco, Tesoro de la lengua caste liana o espanola (Madrid, 1611)• Dlccionarlo de la lengua castellana . . . compues- to por la Real Academia JSspano la (Madrid, 1726-1739). Real Academia Sspanola, Dlccionarlo de la lengua esuanola. 162- ed., (Madrid, 1936 tl939]). xl de la phisionomfa, como-le aconte- ci<5 a S<5crates, que por ella fu£ Juzgado hombre de raalas costumbres. Aquiet<5 su eecuela con dezlr a sus dlscfpulos que aquel phislon<5mico av£a dicho verdad si el se huvlera dexado llevar de su lnclinacl<5n."9

Thus in Covarrublas' definition, as in the v£lez play, the word virtud takes its sense not only from the original Latin meaning of valor or courage, but implies a sense closely linked to the well-known cardinal or "natural11 virtues of the early Christian moralists : prudence, Justice, temperance, and fortitude.10 The comedia Joins to these "natural" virtues the "theologi cal" ones of faith, hope, and charity which are displayed by the supertype Fillpo. Although clearly implied both in the proverb and in the comedia, the use of senales for physical features is not included in the usual dic tionaries, although Covarrublas, s.v. FISONOMIa , says: . . Es una cierta arte eonjetural, por la qual sena- lamos las condiclones y calidades del hombre, conslde-

9 The reference is to an episode recorded by Cicero, in which a certain physiognomist, Zopyrus, characterized Socrates as stupid, sensual and dull. Alexander Aphro- dislensis relates that when his disciples laughed at the Judgement, Socrates said it was a true description of his nature before the study of philosophy had modified it. See Covarrublas, s.v.- FIS0K01 :1a , and Encyclopaedia Britannlca, s.v. PHYSI0GN0I-C£. 3-° See St. Thomas Aquinas, Surama Theologlae, LXI, "Of the Cardinal Virtues." xli rando su cuerpo y talle y particularmente por las sena les del rostro y . . . cabepa. . . ." Of the phrase used by Juan Ruiz (c. 160c), "buen esfuerpo vence a la mala venture," which Is closely allied to the title of this comedia, Cejador says: "Este refran echa abaJo toda la Astrologla, y es el afcrismo de Tolomeo: el pueblo espanol nunca fu£ astrologo."11 Still another expression of the popular dlcho ap pears In the Canclonero of Sebastian de Horozco, which has these lines: "Poco hace el mal aseo, / pues todos somos mortales, / quanto mas que slempre veo / que en el hombre tosco y feo / vlrtudes vengen senales."'*2 Let us now turn our attention to some other come dlas which may have had source influence on Vlrtudes vencen senales. Lope *s El hi,1o de los leones, which was written between 1620 and 1622, according to Morley and Bruerton (Chronology, p. 205), has several interesting points of contact with the Velez play. It relates the story of a monster — half man and half beast, according to popular rumor — which wanders over the mountainsides

Juan Ruiz, Llbro de buen amor, ed. Julio Cejador y Franca, 6a ed. (Madrid, 1951), Tj £>6» n. 160. Ptolemy devoted a great part of Book IV of his Tetrabiblos to a discussion of astrological predictions concerning human beings, and concluded that "... human nature . . . is inclined toward the balance of good and evil." (Ch. 10). 12 Quoted by Spencer and Schevill, p. 131. xlii near Alexandria. As the play develops It is revealed that the monster is in reality a brave youth of excellent character who had been abandoned in the forest as a baby, was befriended by a lioness, and eventually raised by a wise old hermit. The youthful monster Leonido comes upon the dama Fenisa in the forest, and exhibits his purity of soul by conquering his passion and refusing to take advantage of her. She in turn protects the boy from the peasants who wish to kill him. Later Llsardo, the prince of Alexandria who had sworn to kill the monster, comes upon the sleeping Leonido, but a mysterious force prevents him from carrying out his vow. Taken to the court, Leo nido becomes the protege of Lisardo, and is placed in the hands of Fenisa's father, Tebandro, for training. Learning from Fenisa that Llsardo had dishonored her many years before, Leonido draws his sword against the prince, and. is ordered to be executed. Just as the execu tion is about to take place, Fenisa reveals that Leonido is the natural son of Lisardo, and that she had abandoned him in the forest at birth. In this comedia, then, there is not only the obvious similarity of the attempt t? pre vent the rightful heir to a throne from assuming his responsibility, but there are the additional parallel isms of the inherent goodness of the "monster," the rejec tion of a love for a close relative, and the name of the tutor. xliii Mira de Amescua's La rueda de la fortuna was per formed on August 14, 1604.^ Its central figure Is Heracllo, the son of the Emperor Mauricio and the Em press Aureliana, who at his birth Is spirited away from the psychopathic hatred of his father and is raised as a shepherd in a rustic setting, but is eventually re stored to his rightful inheritance. In the play there is a character named Filipo who displays the same fine moral qualities as his namesake in the V^lez comedia. Calderon's En la vlda todo es verdad y todo mentlra, and Corneille's Heracllus are subsequent versions of the same story. Much of this same interest In the Interchange of children and the concealed identity themes manifests itself in Lope's El gran duque de Moscovla y Emperador perseguido, as well as in Velez 's own El rey en su lma- glnacion, probably written in 1625, and in his Amor es naturaleza. Lope's play, which was perhaps composed in 1606,^ deals with events in Russia following the death of Ivan the Terrible (1584), and details the resulting struggle for the throne between Boris Godunov and the “false" Demetrius. Aside from the foreign background and the claims and counter-claims to the throne, there

13 Antonio Mira de Amescua, Teatro, ed. Xngel Valbuena Prat (Madrid, 1943), I, xxvi. 1^ Morley and Bruerton, p. 25. xliv seems little real relationship between this play and Vlrtudes vencen senales. In Amor es naturaleza, a Velez play whose date of composition has not been determined, there is a female "monster" who had been reared in a cave and suckled by a wolf. She Is ultimately revealed as the orphan daughter of the Duke and Duchess of Milan. In the following section of this Introduction, and In the critical notes, we shall have occasion to discuss other works in their relationship to the various themes of Vlrtudes vencen senales. While it is extremely dif ficult to justify many of these as sources of this come dia, the importance of their striking parallelisms must not be overlooked. V. PRINCIPAL THEMES Thematic variety In the Golden Age theater, as in other literary genres of the period, is simply one of the many manifestations of the spirit for which the age is notable. Vossler has pointed out the broad cultural background of the theater-going public of the day: Educados dentro de lo cristiano y lo espanol naclonal por sus padres y por sus abuelos y por su Iglesia, lo habfan sido todos. Sobre el ho nor, las convenlencias, las costumbres y el caracter; sobre Dios, la Eternldad, la nacion, la nobleza, el matrimonio, el amor, la galan- terfa, las justas, las leyendas po- pulares; sobre los heroes y los grandes hechos espanoles; sobre el imperio universal de Espana, y sobre la America espanola, estaban nruy al tanto y ten£an sus opiniones y con- ceptos inconmovibles, fortlficados en la fe.1 With audiences of such varied interests, it is little wonder that the seventeenth century Spanish dramatist found himself faced by the need to broaden the base of his productions. A single theme was no longer sufficient to make the appeal, and the playwright’s task became one of embellishment and adornment. The net result was a comedia with a relatively small number of primary themes which were linked, frequently casually and even care

^ Karl Vossler, Lope de Vega y su tlem-po, trad. Ram6n de la Serna (3£adrid, 1933), p. 217-

xlv xlvi lessly, to a considerably larger number of secondary and tertiary ones. Such a comedia, In fact, Is Vlrtudes vencen senales. It shall be my aim here to discuss only the 'two most important of these themes: kingship and triumph of virtue, leaving for comment In the explanatory notes the numerous other minor themes. The kingship theme which is so common In the comedia of this period has many facets. In Vlrtudes the empha sis is placed on three primary aspects of this theme: (1) the inheritance of authority by an acceptable person, (2) the unique position of the monarch, and (3) the spe cial attributes of a king. The swiftly moving expository dialogue of the first scene brings into sharp focus early In the play the particular difficulty which faces the Al banian nation. Leda's simple statement, "... represen- to el varon / de Albania ..." (vv. 24-25) Immediately sets the stage for a conflict over the throne, and as she continues, "... Albania intenta / que fuera de ella no case, / porque a extranjero no pase / su co rona ... ." (vv. 25-28), the conflict assumes a dual quality: the evils which attend foreign rulership, and the position of a female as the heir to a throne. It is P true, as Northup has pointed out, that the Salic law of Prance which debarred women from the throne was not rec-

2 George Tyler Northup, Three Plays of Calderon (Boston, 1939), pp. 324—325, n. 525* xlvli ognized In Spain except for a brief period during the nineteenth century. Nevertheless it provided a situation which Golden Age dramatists willingly seized as a drama tic device. Velez, himself used It effectively In at least three other plays: La serrana de la vera, El rey naclendo mu.jer, and El rey en su lmaglnaclon, In addi tion to making it the principal cause of conflict be tween Leda and Pillpo here in VlrtudesThis conflict between two of the major characters becomes even more dramatically effective with the introduction of the love element and the ultimate revelation of the brother- sister relationship. The intensely nationalistic nature of the Spaniard finds adequate expression in the frequent use of the theme involving distrust for lo extrano. In the comedia this regularly takes the form of warnings against surren der of authority to an outlander. It is far better, Al berto implies, to have Filipo, a native Albanian, as king "aunque ese cuerpo estuviera / sin acciones raclonales / de alma de hombre." (vv. 469-4-71) The note is particularly insistent here in Vlrtudes where it Is reiterated, for instance, five different times during the course of the

2 It is interesting to note that of the four plays mentioned, only La serrana de la vera takes place In Spain with Spanish characters. Accordingly, Velez's allusions to the Salic law are not perhaps as incon gruous as they might seem. xlviil first act.^ V<£lez also issues the same warning in El cerco de Roma (p. 10, col. a), and in El monstruo de la fortuna (fol. 9r, col. a) Tirso in Ave^gtiielo Vardas sums up rather neatly by having one of his characters say: "Gobernadores extranos / en un reino, es desatino / de que proceden mil danos."^- In the Golden Age the monarch holds a unique posi tion, that of vice-God. Vossler construes this role of the king as one of the. manifestations of the Spanish concept of honor: La idea del honor era, por asf decir- lo, la zona Intermedia en la que se encontraban y penetraban recfproca- mente valores sociales eternos y tem- porales. Por muy perecederos y apa- rantes que fueran, los honores tempo- rales eran considerados como reflejo y sfmbolo de los eternos, por ser de lo alto de donde todo poder y todo honor terrenos reciblan su consisten- cla, asf como su fugacidad, su esplen- dor y su insignificancia.‘ The particular aspect of the doctrine of the divine right of kings which is reflected in this God-King rela-

4 Verses 25-28, 196-199, 221-222, 242-244, 446-451. 5 References here and elsewhere to specific plays are to the particular edition listed in the general biblio graphy. ^ Act I, w . 146-148. 7 Karl Vossler, Introduccl<5n a la llteratura espanola. del Slglo de Pro, trans. Felipe Gonzalez Vicen (Buenos Aires, 19^5), p. 97- xlix tlonahip la based on Biblical teaching (Romans, XIII), and was officially proclaimed in Spain as early as the Slete Partldas: "Vlcarios de Dios son los reyes . . . puestoa sobre las gentes para mantenerlas en Justicla et en verdad. . . ." Having succeeded to the throne, Fi- llpo clearly recognizes his responsibility as the earthly representative of the Almighty: "En la tierra Dios humano, / esto he de ser" (w. 2020-2021) . Even more, he fully realizes the unique part which he must play in the scheme of things, and is painfully aware of the spirit uality which must now rule his actions: "el rey pasa / lfmites de hombre a divino" (w. 2348-2349). Nor is this an exclusively personal realization. Leda recog nizes the change, although she claims ignorance of its

cause: "No aS quS secreta causa / de deidad esta escon- dida / en aquella forma humana" (w. 2398-2400). With Velez the idea seems to be particularly attractive, for he has utilized it in at least six other plays,^ in one of which, Los novlos de Hornachuelo3t there are no less than three allusions to it (w. 92-100, 1079-1102, and 2099-2104). Although the terms used to describe the re-

8 Quoted by Frank 0. Reed and Esther M. Dixon in their edition of La Estrella de Sevilla (Boston, 1939), p. 141, n. 298-299. 9 La devoclon de la mlsa, Los novlos de Hornachuelos, El rey en su lmaglnaclon, La serrana de la vera, Tamblen la afrenta es veneno, and Tambl&a tlene el sol menguante. 1

lationshlp vary — vlcedlos, vaaallo, retrato, copia, lmltador, traslado, vlrrey , tenlente — the fundamental concept is always the same: the king is the representa tive of God, and as such is responsible to Him for the well-being of His children. As a natural corollary of this unique position of the monarch comes the insistence of the comedia that the good king possess certain very well defined attributes. He must display his superiority perhaps even more on the moralistic than on the physical side, and his actions must demonstrate that he is motivated by a firm belief in both the cardinal and theological virtues. In short, he must be a supertype who recognizes his particular mission in life, and who sets out to accomplish his aim as effectively as it is possible for superhuman effort to do, always of course within the framework of socially acceptable behavior. Not Infrequently does a character in the comedia of the period recognize certain kinglike qualities within himself as he demonstrates an Inherent feeling of kingship. Frequently also, other characters recognize with equal facility these same partially Inde finable qualities in such a character. The whole theme of the pr£nclpe vlllano, and the cycle of plays dealing 1 1 with It, presents this situation.10 Before making his escape from the tower prison, Fi- llpo addresses himself to Tebandro In a letter which re veals the first faint glimmer cf realization that he is mysteriously endowed with some special qualities: . . . no caben en tan poco mundo esferas de pensamlentos tan grandee. (w. 536-538) Later, astounded by the vision of his own blackness re flected in the limpid pool, he exclaims: . . . tan altiva alma, joh plata fugitival parece, aunque me copiaste, que en tan bajo y torpe engaste es Imposible que viva. (vv. 616-620) In the subsequent encounter with Leda the actions and words of the youth cause the princess to wonder: (jQue alma tan hermosa encierra cuerpo tan feo! No se despues que hablarle escuchl — que jamas el alma yerra — qul inclinacion le he cobrado en la fiereza que ofrece. (w. 719-724)

10 J. G<5mez 0cer£n in his edition of El rey en su lmaglnaclon by Velez (Madrid, 1920) cites (p. 109) the following partial list of plays of this type: Lope de Vega's Contra valor no hay desdlcha, SI hl.lo de loa leones, Lo que esta determinado, El hombre por su palabra, El alde- gtiela, Urson y Valent£n, El hl.lo de Reduan, and Lo que ha de ser; Mira de Amescua's La rueda de la fortuna; Baltasar de Carvajal's La bandolera de Flandes; Guillen de Castro *s El nleto de su padrel Calderon's En esta vlda todo es verdad y todo mentlra; Luis de Belmonte's El prlnclpe vlllano; Lope's or Mira's El palaclo confuso; Velez^de Guevara's El rey en su imaglnacl6n and El hi,1o del agulla. Although Vlrtudes vencen senales is not mentioned in this connection, it has certain paral lelisms to the pr£nclpe vlllano theme. Ill Fillpo's nobility of character is made apparent when, upon Leda's command, he Instantly stops his prot estations of love, and the girl exclaims in an aside: "No v£ / mayor alma" (w. 740-74-1) . tflien the admiral curtly orders Fillpo to leave, the young prince protests £Qui6n conmlgo te ha dicho que puede hablarse de esa manera sin dar a tu enfado mas razon? (w. 821-824) Leda's amazement at the young man's qualities is subse quently expressed to the admiral when she says about Fl- lipo: en su persona no se qu6 esconde el cielo, que ha puesto en la mfa inelinacion. (vv. 908-910) In the first encounter with, the peasant girl Tirre- na, Filipo refers to his noble soul (v. 983), and Tirre- na comments on his refusal of some proffered onions: quien con hambre hace despreclo de las cebollas no tiene mala sangre. (w. 1044-1046) To which Filipo replies: La que tengo no se, pero se de m£ que slento dentro del pecho un corazon generoso. (w. 1046-1049) Tirrena's reaction to Filipo is identical with that of Leda earlier: she is amazed at the nobility of character hidden beneath the dusky exterior. Filipo'a continence here is reminiscent of the stories told in the medieval llii Llbro de los enxemplos'^ and Castlgos e documentos del Rey don Sancho,3-2 wherein various kings are reported to have sent beautiful female captives back unharmed to their people. Fillpo's regal qualities manifest themselves again In the encounter with the gracloso Clarfn when the latter rolls onto the stage tied In a sack. The young prince warns Clarfn to be truthful, saying; Advierte que no me mientea; que soy un hombre que con extremo sentire que una mentIra me digan. (w. 1118-1122) When Clarfn chides him gently for his pretension, Filipo boldly inquires: Pues, £hay en el mundo dueno que lo merezca ser mfo, si no es Dios? (w. 1124-1126) Displaying his magnanimity (vv. 1136-1139, 1141-1144), Filipo hears the gracloso fs sad tale of his encounter with the bandits, and vows to avenge the wrong (w. 1203^- 1208a). The young prince displays once again his deep feel ing of personal worth when he replies to Clarfn's state-

El llbro de los enxemplos, ed. Pascual de Gayangos, in BAET LI, No. 12, p. 450. This work is hereafter referred to as Enxemplos. Castlgos e documentos del Rey don Sancho, ed. Pas cual de Gayangos, in BAE, LI, p. l4o. This work is hereafter referred to as Castlgos. iiv rnent that the admiral intends to marry Leda: "iComo / viviendo yo?" (w. 1231-1232). Nowhere are Filipo's inherent kinslike qualities more obvious than in his encounter with the bandits. From the moment of his command to release Tirrena (vv. 1357-1358), it is obvious that he is in complete control of the situation. Demonstratins once again the magnanimous spirit of true nobility, Filipo pardons the bandits, and accepts the leadership of their band be cause, as he expresses it: Mme incllna a mandar / ml bizarro coraz<5nV (vv. 1435-1436). However, a warning is issued that ha de ser el aceptar sin dejaros el oficio de mandaros, sabi&idorae obedecer. (w. 1437-1440) Comparing himself to the great Mongol conquerer Tamer lane, Filipo insists upon the title of King: Por Rey Juradme de estos campos, y llamadme Reyj que en ml valor verels que este tftulo merezco, y que asienta en mi valor el de rey mucho mejor que otro alguno. (w. 1446-1452) Subsequently he receives the homage of the robber band, and favors Clarfn with the post of rtrlvado. When this interlude is interrupted by the approach of an unknown armed force, Filipo assumes complete command of the defense: •!,-« r.v’-v1'.

lv Subamos, y las vldas defendamos contra ©1 poder de la muerte. Pasa adelante, qu© yo he d© quedarme el postrero; que soy vuestro rey, y qulero de las vldas que me dlo a cargo el clelo dar cuenta de esta suerte. (vv. 1562-1570) The juego del re.y Incident In which Filipo here en gages is a corollary of the theme of the prfnclpe vlllano, ^ and appears regularly in the corned las of this type. It is, of course, an Integral part also of the Cyrus story, although Gomez Ocerln says in connection with the use of the same device in El re.y en su imagina tion: wPor lo que hace a Luis Velez, cuya cultura no pa re ce ser muy extensa, podemos naturalmente pensar que se insplro en la comedia de Lope [Contra valor no hay desdicha], y que no conocio directamente el relato de Herodoto."-^ However there Is every reason to believe, as G6mez Ocerfn points out, that the situation was at this time a regular convention of the Spanish stage: "Conviene advertlr, sin embargo, que el Juego del rey, con la conslguiente distribuclon de cargos, parece haber aleanzado, dentro de nuestro teatro, tin cierto

Of this theme Yfilliam Empson says in his English Pastoral Poetry (New York, 1938): "The most vivid expres sion of the sentiment that combines heroic and pastoral is the theme of the prince brought up In secret by the peasant. . . •" (p. 196). ^ Luis Velez de Guevara, El rey en su lmaginaclon. ed. J. Gomez Ocerfn (Madrid, 1920), p. 119. lvi valor gen^rico, como recurao o lugar comun."^ V^lez continues the development of the kingship theme in the encounter between the robber band and the followers of King Lisandro, who have been led to the mountain stronghold by Tirrena. Fillpo regally proposes a division of authority: iQu£ intenta el rey viniendo en mi busca? - Si es quererme hacer guerra,- cont£ntese con ser rey de los poblados, y tenga por bien que yo de los campos y de los montes lo sea. (w. 1644— 1650) In the subsequent meeting with his father, Filipo once more demonstrates the forgiving spirit which is so char acteristic of the good king, as he remembers his respon sibility to his followers by requesting clemency for the robber band (w. 1744^-1753). However, with Leda's ap pearance he has forcibly impressed upon him now the real test of his nobility. Faced by his sister's beauty and his intense love for her, Filipo finds carnal desire difficult to put aside, but his heritage serves him well as he nobly proclaims: Mas en tanta competencia de temores y osadlas, de dudas y de temezas, vlrtudes vencen senales. ITanta razon, tanta fuerza! Al apetito la sangre, y al amor el valor venza. (w. 1906-1912)

!5 ibid lvii The entire third act of the play represents a contin uation of the development of the kingship theme, and pre sents Filipo as the possessor of those special qualities which combine to produce good rulers. Each of these particular attributes finds expression in the young king's introductory speech to the assembled Albanian court. Addressing himself to his brave, faithful and noble vassals "en cuyos hombros el peso / de tan gran reino descanso" (vv. 1915-1916), Filipo makes known his desire to share the responsibilities of his office. He demonstrates that he is fully aware of the position of leadership which he must assume, and shows his recogni tion of the people's need for his direction (w. 1961- 1972). He pleads for a kind of democratic monarchy in which all citizens will take part (w. 1987-2008), and pledges to be receptive to the desires and needs of all segments of Albania's population. There is a reminiscence of the .luego del rey device in the distribution of duties (vv. 2057-2093)> although in this situation, of course, Filipo is actually the king, and is acting in strict compliance with the pre rogatives of his position. He reiterates his faith in the democratic principle of the equality of all his vas sals ’ey replying to Clarfn's request for special consid eration: lviii Ninguno, por accidents de gusto nl de pasl<5n, ha de subir escal6n de merced, Indignamente violenclas que sollcitan, pues los oficios reales en m&rltos desiguales los reyes desacreditan. (w. 2133-2140) In the subsequent emotion-charged encounter with Leda, Filipo displays once again the sense of responsi bility and the sympathetic firmness which are so impor tant to the wise monarch. In a speech quite typical of the self-sufficient heroines of Velez, Leda unburdens her heart to Filipo, and complains bitterly of her treatment at his hands (w. 2149-2156) • With admirable restraint Filipo carefully analyzes the motives for his actions (w. 2265-2343), and brings the interview to a close with an unmistakable vow to demand allegiance even of his sister. The climactic scene between the young king and the treacherous admiral of Albania provides the basis for further delineation of Fillpo’s qualities of kingship. By virtue of the righteousness of his position and the strength of his morality Fillpo overcomes his adversary without resorting to the use of weapons. For one whose nature has so consistently displayed such praiseworthy qualities it Is an easy step to compassionate forgive ness of the admiral and his treacherous companions. Adequate testimony for the importance of triumph of virtue here is to be found in the title cf this comedia. llx In Vlrtudea the theme itself is inextricably linked to the theory of pre-natal influences, as it is also to the concepts of kingship, which have Just been discussed, and to a series of related minor themes, several of which appear'in medieval Spanish literature. The "appearances deceive" theme is to be found in at least two variations: a handsome exterior does not Indicate a soul of beauty,-1-® and an ugly face does not mean an ugly soul.^ There are likewise no less than four variations of the "nature will show itself" theme. In El Corbacho the story is told of two boys who are reared in the country; the farmer's son takes to farm life, and the son of the "T_ fi nobleman devotes himself to riding. Enxemplos numbers 104, 118, and 247 tell of the alleged son of a king who is proved a bastard when he displays the base habits of his true father. In the very interesting Llbro de los gatos there is the tale of the beetles who are treated with as much honor as oxen but do not learn to be as noble, and the wolf who becomes a monk but persists in

-1-® Enxemplos, No. 291; Castlgos, pp. 211, 214, 291; Llbro de las consolaclones de la vlda humana, ed. Pascual de Gayangos, in BAE, LI, 555» This latter work Is here after referred to as Consolaclones. ^ Enxemplos, No. 254; Castlgos, p. 266. Lesley Byrd Simpson, Alfonso Martinez de Toledo. El Arclpreste de Talavera o sea El Corbacho (Berkeley, 1939), p. 65. lx saying "Lamb and beef," Instead of "Pater Noster."1^ This "appearances deceive" theory Is rejected by the neo-Platonic doctrine that beauty reflects virtue.2^ This Renaissance axiom, in turn, is discarded by vSlez, and replaced by the traditional Christian view of the independence of soul and body, an attitude based on the doctrine that the soul is known only to God, and that human beings err because they are prone to judge on the basis of externals.21 The association of blackness with evil is well grounded in folklorlstlc materials, and had been firmly established in Europe through the machinations of medi eval necromancy. To the Spanish dramatists of the seven teenth century, however, the appeal appears to be some thing different from either the connotation of evil or the note to be found in the Biblical "Nigra sum sed for- mosa" idea presented in the Song of Solomon: I am very dark, but comely, 0 daughters of Jerusalem,

•*-9 pascual de Gayangos, ed. El llbro de los gatos, in BAS, LI, Nos. 33, 19. ^ See Bembo's discussion on beauty and ugliness in the Fourth Book of Baldassare Castiglione's Llbro del Corteglano, trans. Leonard Eckstein Oodvcke (New York. 192|jr'pp: 285-294. 21 On the subject of the corpus-anlma relationship of the gracloso and the hero in the cornedla see Charles David Ley, El gracloso en el teatro de la penfnsula (Madrid, 1954)7 p. 153. lxl Like the tents of Kedar, Like the curtains of Solomon. (I: 5) With emphasis on the spiritual, rather than the physical, the writers of comedlas present a large group of Negro figures who rather consistently demonstrate that black ness of skin does not necessarily indicate blackness of character. Lope's El santo negro Roaambuco de la cludad de Palermo, which Morley and Eruerton believe to have op been written before 1607, deals with a Negro captive of exceptional talent and promise who is converted to a life of Christian morality, enters a monastery, and subsequently exorcises a demon and resurrects a dead man. Velez 's El negro del seraph£n, whose censura is dated 1643,2^ is a revision of Lope's play, and Mira de Amescua used much the same material in his El negro del me.lor amo, which was published in Laurel de Comedlas (1653)• Diamante's El negro mas prodlgloso (1674) con cerns events in the life of Filipo, a Negro originally named looses, who is converted and dies by hanging him self on a cross.El prodlgio de Stiot>£a (Zaragoza,

22 S. Griswold Morley and Courtney Bruerton, The Chronology of Lope de Vega's Comedlas (New York, 1940), p. 240. 25 Spencer and Schevill, The Dramatic Works, etc., p. 287- 24 spencer and Schevill, p. 289. lxii 1645)* attributed perhaps erroneously to Lope,25 deals with the story of an Ethiopian slave also named -Moses who abandons a life of banditry to become a monk. Menendez y Pelayo believes that the scenes of outlaw life which this comedia presents are overshadowed in excellence only by 11 • . .el caracter de braveza prlmi- tlva y generosa, en medio de su ferocldad, que ostenta el caracter del negro."2^ In addition to Virtudes and El negro del Beraphln mentioned above, V^lez himself pre sents the Negro in four other plays: La nueva Ira de Dios, Santa 3usana, La Rosa de Alexandria, and La crea- cl6n del mundo. It does not seem improbable that this picture of the Negro's admirable qualities which is so appealing to Golden Age dramatists may be, in part at least, a reflection of the life of the outstanding Ethio pian slave-turned-scholar, Juan Latino, who is mentioned by Cervantes.2^ In the surprising birth of Fillpo we are faced by a phenomenon which has interested mankind continually

25 Morley and Bruerton, pp. 330-331» and Marcelino Menendez y Pelayo, Estudlos sobre el teatro de Lope de Vega (Santander, 1949), I, 297-308. 26 Menendez y Pelayo, p. 306. 2? Concerning Juan Latino see Francisco Rodriguez Marin's Nueva Edlcion Crltlca of Don Quljote (Madrid, 1947-49), I, 50, n. 3» George Ticknor, History of Spanish Literature (Boston, 1882), II, 582, n. 12, and V. B. Spratlin, Juan Latino, Slave and Humanist (New York, 1938). lxlli since the dawn of history. Needless to say, man's in nate curiosity has ever been pricked by the natural oper ation of the laws which govern creation of life. Even more has he been impelled to try to explain the unnatural, the prodigious. In pre-Christian Sparta the law of Ly- curgus recognized as fact the matter of maternal impres sions by requiring that Spartan women when pregnant should look constantly at statues of Castor and Pollux, representing strength and beauty, so that their offspring might be similarly developed. The Eook of Genesis (Chap ter XXX) lends at least partial credence to paternal impressions at the time of conception in the story of Jacob and Laban. According to this account Jacob peeled white streaks in rods of poplar, almond, and plane, which he then placed in the watering troughs, and ". . . the flocks bred in front of the rods and so the flocks brought forth striped, speckled, and spotted" (v. 39) • Pliny uses parental impressions to explain, at least in part, the tremendous variety in the human race: Cases of likeness are indeed an extremely wide subject, and one which Includes the belief that a great many accidental circum stances are influential — rec ollections of sights and sounds and actual sense-impressions re ceived at the time of conception. Also a thought suddenly flitting across the mind of either parent is supposed to produce likeness lxiv or to cause a combination of fea tures, and the reason why there are more differences in man than in all the other animals is that his swiftness of thought and quickness of mind and variety of mental character impress a great diversity of patterns, whereas the minds of the other animals are sluggish, and are alike for all and sundry, each in their own •" kind.2°

Ptolemy, the learned Alexandrian mathematician and astronomer of the 2nd century A.D., in the Third Book of his Tetrablblos (Ch. 8) uses the signs of the zodiac to explain particular varieties of prodigious births. He likewise recognizes the Importance of the moment of impregnation in such cases: Since the chronological startlng- poin’- of human nativities is natu- rallj the very time of conception, but potentially and accidentally the moment of birth, in cases in which the very time of conception is known either by chance or by observation, it is more fitting that we should follow it in deter mining the special nature of body and soul, examining the effective power of the configuration of the stars at that time. For to the seed is given once and for all at the beginning such and such quali ties by the endowment of the ambi ent; and even though it may change as the body subsequently grows, since by natural process it mingles with itself in the process of growth only matter which is akin to itself, thus it resembles even more closely

28 Pliny, Natural History, Bk. VII, Ch. 12, trans. H. Rackham (Cambridge, 1942), II, 5^1• lxv the type of Its initial quality.29 In his very curious book The Byrth of Manltynde, Eucharius Hoesslin finds fault with one of the current explanations for prodigious births: Other distinctions or separations in the matrix is there none: albeit that in tymes passyd, dyuers clarkes haue wryten, and many other haue be- leued, that there shold be vil. selles, or vil. dlstynct places in the matrix: in thre of the whiche on the right syde sholde only men chyldre be coceyuyd: and in the other ill. on the left syde wemen chyldre: and if it chaunced that the seede were conceaued in the seuenth sell which was the myddelmost, then that sholde become a monster, half a man, and halfe a woman. The which is but lyes, dreames, and fou fantasyes.^ Ambroise Pare, perhaps the most outstanding French surgeon of the sixteenth century, in his Livre XXV en titled Des Monstres et Prodiges differentiates between the two types of abnormal births, and indicates that one cause for the creation of such anomalies is imagination: Les anciens qui ont recherche les secrets de Nature, ont enseigne d 'autres causes des enfans mons- trueux, et les ont referez & vne ardente et obstlnee Imagination, que peut auolr la femme cependant qu’elle conyoit, par quelque obiect, ou songe fantastique, de quelques

29 Claudius Ptolemy, Tetrablblos. Bk. Ill, Ch. 1, ed. F. E. Robbins (Cambridge, 1940}, pp. 223-225• 3° Eucharius Roesslin, The Byrth of Mankynde, other- wyse named the Womans Booke, trans. Thomas Raynold (London,1545), fol. 12^-13r . lxvi

visions nocturnes, que 1 'homme ou la femme ont sur 1 'heure de la conception.31

Pari then relates three cases of such conceptual impres sions. Damascenus is reported to have seen a young girl whose body was covered with fur like that of a bear. According to this account, the mother had looked too attentively at a picture of St. John clothed in animal skins which hung at the foot of her bed at the time she conceived. Still another instance reported by Pari: Heliodore escrit, que Perslna, Royne d'Ethiopia, conceut du Roy Hydaspes, tous deux Ethiopiens, vne fille qul estoit blanche, et ce par 1 'imagina tion qu'elle attlra de la semblance de la belle Andromeda, dont elle auolt la peinture deuant ses yeux, pendent les embrassemens desquels elle devint grosse. . . . Par semblable raison Hippocrates sauua vne Princesse accuses d 'adultere, parce qu'elle auolt enfante vn enfant nolr comme vn More, son mary et elle ayans la chair blanche, laquelle It la sua sion d'Hippocrates fut absoute, pour le portraict d'vn More semblable a 1'enfant, lequel coustumlerement es toit attache a son lict.32 Franjsois Mauriceau, another distinguished physician of the same period, also recognized the importance of imagination in such situations, although he insisted that its effect is limited to a relatively brief and

31 Ambrolse Pare, Lea oeuvres de . . ., (Lyon, 1633), p. 766. 52 Pare, loc. clt. lxvii very specific period of time: I will not however deny that the Imagi nation hath Power to imprint on the Body of the Infant Marks of this nature; but that can only be when young with child, and principally at the very Moment of Conception; for when the Child is coa- pleatly formed, the Imagination can in no wise change its first Figure; . . . Let us therefore assert, that the Imagi nation cannot produce any of the above- mentioned Effects, but at the Moment of Conception, or within few Days after, and that we ought for the most Part to search elsewhere (if we desire the Truth of it) the Cause of most of these Spots, Marks and Signs with which many Inf arts are b o m . 33

Nor is this a subject for discussion exclusively in the so-called "Dark Ages” of medicine. As recently as 1886 a learned paper dealing with the matter of maternal impressions was read before the American Gynecological Society.its author, Dr. Fordyce Barker, cites the enormous mass of material dealing with this topic which was then on file in the office of the Surgeon General of the United States, and mentions the use of maternal im pressions as a literary device in Goethe's Die Wahlver- wandtsehaften, Sir Walter Scott's Fortunes of Nigel, and Oliver Wendell Holmes' Elsie Venner. Although he states

33 Franpois Mauriceau, The Diseases of Women with Child, and in Chlld-Bed, trans. Hugh Chamberlen (London, 1755), PP. 12-14. 3^ Fordyce Barker, "The Influence of Maternal Impres sions on the Fetus," Transactions of the American Gyne cological Society, XI (1886), 152-196. lxviii that the theory has been seriously questioned since the beginning of the eighteenth century, Barker concludes that "... the weight of authority must be conceded to be in favor of the doctrine that maternal impressions may affect the development, form, and character of the fetus."35 of the large number of cases cited by Dr. Barker the one which most closely resembles Vlrtudes ~ in that paternal impressions are involved — is that of a man whose wife died as the result of an accident in which she lost both legs. The husband’s subsequent marriage produced a child without legs• Barker comments: "• • • The question is naturally suggested whether the Impres sions which led to the absence of the lower limbs in the fetus were not paternal rather than maternal."36 The powerful impact of this popular concern with monstrous births which is so well documented in ancient and medieval literature, combined with an intense perso nal interest in the supernatural,37 led Velez to make ex tensive use of such devices. In the first scene of La hermosura de Raquel, Prlmera Parte, Isaac recounts the birth of his sons: Esau, who came forth red with his

35 Barker, p. 158. 36 Barker, p. 175- 37 concerning Velez and the supernatural see Arnold G-. Reichenberger's edition of El embuste acredltado (above, p. xxv, n. 15)i pp. xc-xciv. lxlx "body covered by a hairy mantle, and Jacob, whose hand grasped Esau's heel.3® Don itlvaro de Luna relates the strange facts of his birth to the Duke of Ar 'ona in the first act of El prlvado perseguldo: he cried out while still in his mother's womb,hj_s mother had frightful dreams during pregnancy, there was an eclipse of the moon on the night he was born, and he came forth from the womb marked with a blood-red cross on hi3 chest and a dagger on his neck. In the second act cf Disparates del Re.y don Alfonso the title character mentions the un usual manner of his birth: his hand was the first member of his body to exit from the womb. The situation in Virtudes, however, presents the only case in the come dlas of Velez in which paternal Impressions at the mo ment of impregnation cause a monstrous birth, and the only case in which there was no prior indication that the birth would be unusual. The triumph of virtue in the present comedia is one of the two central themes of the work, and begins its real development with the account of Fillpo 's birth as a black person. The effect of such an occurrence upon Li- sandro is sufficiently profound to cause the father in stantly to decree the banishment of his son from society,

38 See Genesis: 25- 39 s©© Consolaclones, p. 574, where a child speaks in the mother 's womb. lxx and to keep him locked away In a prison for twenty years. Such a monstrous birth, according to Llsandro 's belief, can be indicative only of the tremendous evil clothed by such a body. With thought only for the welfare of his na tion, the king forsakes natural parental affection and deceives his loyal subjects. However, even he is forced to admit that perhaps the outward appearance of his son is not a true indication of the youth's real nature, for he reports that Filipo . . .sin saber qulen es, muestra con valor a cosas grandes que tiene partes divinas, (w. 381-383) and says that these exemplary qualities are "tan reales que son lenguas / de su generosa sangre" (w. 397-398). The public reading of Filipo's letter to Tebandro (w. 515-538) serves to make the Albanian citizens only more sure that the young prince is indeed a person of noble and virtuous attributes. Their eagerness to find and elevate him to his birthright is a ringing challenge to physiognon^-, and a complete denial of this pseudo science. From the moment of his first appearance Fili po demonstrates that the people's faith has not been misplaced. In his every thought and action he reveals the powerful force for good which is his natural heritage and which has been nurtured so carefully by the faithful Tebandro. The proper development of Filipo as a character re lxxi quires that the two principal themes be co-existent. Thus as the prince demonstrates his qualities of king ship and his right to the inheritance, he simultaneously reveals the power of virtue to triumph over all odds. For all practical purposes, therefore, it is impossible to separate the kingship theme from the triumph of virtue theme, and for the most part what has been said here regarding the steps in the development of one of these applies equally for the other. VI. RELATIONSHIP TO IA VIDA ES SUEflO

As has been pointed out previously, perhaps the most important single aspect of Vlrtudes vencen senales is its close affinity to Calderon's La vlda es sueno. p Schevill has noted this relationship, and has indicated some twenty instances of similarity in episode and dic tion between the two plays

(1) the central character in each 1b a young prince confined and educated In secrecy to counteract an adverse portent at his birth;^ (2) the idea is expressed that human power or kingship may prove a dream; (3) the similar political importance which attaches to the reappearance of Fillpo (w. 445-448) and Segismundo (w. 812-813) J (4) the marked similarity of the scenes in which Lisandro and Basilio address their assembled courts to explain the ominous births and the enforced secret education of the orinces (Vlrtudes. w . 245-458; Vlda. w . 600-843);

1 See above, pp. ii and ill. ^ Rudolph Schevill, "Vlrtudes vencen senales and La vlda es sueno." HR, I (1933), 181-195. ^ The present arrangement of these items, together with their numbering, Is mine, as is, in many instances, the citation of verse numbers. ^ It should be pointed out that this theme is to be found in the medieval Barlaam. See Friedrich Lauchert. "La estoria del rey Anemus e de Iosaphat e de Barlaam, Romanische Forschungen, VII (1893), 366, and Gerhard Moldenhauer, Die Legende yon Barlaam und Josechat auf der lberlschen Halbinsel (Halle CSaalej). 1929.

lxxil lxxlii

(5 ) the Instant and unanimous public approval of the plan to restore the princes to their rightful heritage (Vlrtudes, w . 4 5 9.4 9 6; Vida, w . 844-857); (6) the fact that neither youth lias had contact with the outside world except through his tutor (Vlrtudes, w . 369-380; Vida, w . 746-75971 (7) the fact that neither prince has ever seen a woman before the appearance of Leda (v. 629 ff.) and Rosaura (v. 190 ff.); (8) the pardon of both tutors after each has failed to carry out his full responsibil ity (Vlrtudes, w . 553-556; Vida, w . 874- 879) ; (9) the ultimate reward given to each tutor by the prince when he becomes king; (10) the fact that both Filipo and Segismundo fall in love with the dama -principal, but are forced to sacrifice this love; (11) the similarity of the vencerse a si idea expressed in the title and central theme of Virtudes, and in w . 810, et passim of La vlda es sueno; (12) the striking correspondence in the func tions and relationships of the characters: Lisandro-Basilio, Filipo-Segismundo, the admiral-Astolfo, Tebandro-Clotaldo, Clarfn- Clarfn, Alfreda-Estrella, Leda-Rosaura, and the acompanamlento of each play; (13) the location and manner of the initial ap pearances of Leda (v* 620+) and Rosaura (opening stage direction); (14) the terror of both damas at their first sight of the princes (Vlrtudes, w . 664- 666; Vida, w . 173-17471 (15) Leda's apostrophe to her horse (w. 621- 624) and Rosaura's allusion to her mount (w. 1-8); (16) Clarfn in Virtudes actually rolls down the lxxiv mountain side (v. 1102+), while Calderon's Clarfn says: ". . . del monte hemos rodado" (v. 30); (17) Filipo's monologue In praise of his free dom (w. 571-620) and Segismundo's com plaint of the loss of his (vv. 102-172), both of which are cast in declmas; (18) the reference of both princes to their imprisonment for delltos of which they are completely ignorant (virtudes, v. 519; Vlda, v. 105); (19) the use of the term torre to indicate the place of imprisonment (Vlrtudes, w . 364— 365; Vlda, w . 195-196 and 740); and (20) the use of the word monstruo to refer to Fillpo (w. 251-256, et passim) and to Segismundo (vv. 209-212, 66^-672, and 1483). Several of these items seem worthy of more detailed attention than they have been accorded by Schevill. In spite of the statement that "it is improbable that Cal deron was at all acquainted with the extensive history of the awakened sleeper, which critics have built up since his time,one must remember that Calderon was an ex traordinarily erudite and well-read person. He certainly might be expected to know the tradition upon which the cycle is based. Northup's excellent brief study of the sources of Calderon's play^ presents succinctly the more important items in the vast number of such stories which

5 Rudolph Schevill, op. cit., p. 191. 6 George Tvler Korthup, Three Plays by Calderon (Boston, 1926), pp. xlvi-llii. lxxv 7 Q were unearthed by Farinelli' and Olraedo. It seems highly improbable that V^lez, and not Calderon, should have been acquainted, for instance, with such things as the Syntipas, or The Seven ’t/ise Masters, the legend of the "Old Man of the Mountain"^ as reported by Marco Polo, the Arabian nights version of the tale, the Boccaccio rendition, or the version in Agustfn de Rojas ' Via.le entretenido (1604), which seems to be the most immediate and direct source of the theme. It likewise seems doubtful that the vencerse a sf concept constitutes evidence of the direct Influence of Velez. It appears unlikely that Calderon was not ac quainted with this Christian doctrine, In view of the continuing Influence exerted by the Church upon his life and Interests. It is far too fundamental in its signif icance for mankind, and far too universal in its affir mation to be considered an indebtedness to Velez. In addition to the two passages cited concerning horses (above, item 15), there might be pointed out the burlesque culto description offered by Clarfn in w .

7 Arturo Farinelli, La Vita S un Sogno (Torino, 1916), I, 163 ff. ^ F^lix G-. Glmedo, Las fuentes de "La vlda es sueno" (Madrid, 1928), pp. 75-113. 9 See Wolfgang Fie Is chhauer, "The Old Man of the Moun tain: The Growth of a Legend," Symposium, IX (1955), 79-90. lxxvi 2672-2687 of Vlrtudes. The similarity between the soliloquies of Filipo and Segismundo, which Schevill merely mentions (above, item 17), takes on added significance when examined with some care. It should be noted that although the general tone of the two speeches is diametrically opposed — the one an exultation, the other a lamentation — there is in each case a group of four objects of which the princes speak. Filipo expresses gratitude for the freedom which permits him to viev clelos, sol, campos. and mar. Se gismundo, on the other hand, contrasts his lack of free dom with the liberty enjoyed by the ave, the bruto, the pez, and the arroyo. The relationship of these terms to the traditional four elements — earth, air, fire, and water — is obvious. However, the feature which most clearly distinguishes the two passages is the almost per fectly contrived symmetry of the Calderon selection, which completely overshadows the Velez construction. While Velez does apparently attempt a recapitulation of the four items in the lines "slrvele el orbe de templo" (v. 585), M. . . cuanto el sol reverbera" (v. 587), and "desde aquel monte vecino / del sol vf ese mar profundo" (w. 591-592), the effect is much less forceful than is the perfect strophic pattern in La vlda es sueno. In like manner, the Ideology expressed in each passage Is not quite the same, although several other passages of lxxvii Vlrtudes do show significant parallelisms to the thoughts which Segismundo expresses here. For example, the first words of Fllipo's letter to Tebandro, ". . . yo nacf

llbre / por racional" (t v . 515-516) are reminiscent of Segismundo's repeated question "itengo menos libertad?" (w. 132, 142, 152, 162). In fact, it is perfectly clear that Fllipo's sole motive for escape is his acute need to experience freedom. Again, after the encounter with Tirrena, Fllipo gives thanks to the Maker of the ". . . cuatro elementos / — estrellas, cielos, sol, luna" (w. 1096-1097) for having granted him the privi lege of his liberty. Finally, when he is united with LIsandro, the young prince apologizes to Tebandro for having escaped, explaining that "... los hombres / verse en libertad desean" (w. 1671-1672). While Schevill's list Includes the great body of similarities between the two plays, there are certain others which should be pointed out. Although it is per haps too obvious to require comment, the foreign locale of the two plays — Albania and Poland, respectively — should be mentioned. In each play the tutor introduces a note of gloom at a moment of great Joy. With the announcement of the existence of a prince, LIsandro and Basilio remove the tremendous threat to the future of their respective kingdoms. The exultation of the citizens is suddenly ;.v;

lxxviii terminated by Tebandro 's announcement of Fllipo's es cape, and by Clotaldo's revelation that Segismundo's concealment has been violated. The counter-claims to the throne, on which the sec ondary plot of each play depends, are in both Instances based on the Salic law. Fllipo's claim over Leda has already been mentioned,^ and Astolfo gives expression to his attitude in a conversation with his cousin Estrella (w. 540-54-4). In spite of their initial reaction of fear, each of the damas experiences an instant feeling of pity and sympathy once she has heard the prince speak (Vlrtudes, w . 243-252; Vida, w . 719-728). There is similarity likewise in the matter of Christian paternal love. Each of the old kings is moti vated by affection, at least in part, in his decision to reveal the truth about his hidden son. LIsandro speaks thus of Filipo to his assembled court: Veinte anos tiene, y no he visto su rostro; que, aunque me llame amor de padre, me ocupa ver que soy de un monstruo padre, (w. 399-402) Again, after learning of his son's escape from the pris on, LIsandro urges his subjects to search diligently for the lost youth, and hopefully exclaims:

See above, p. xlvi. lxxx . . . aunque ©n amorosos lazos cenlr tu cuello pens©, sin ©llos me volvere, que tengo mledo a tus brazos. (w. 1472-1475) Although there is a distinct difference In their attitudes, both Leda and Rosaura make appeals to the young princes for redress of grievances. Leda complains (w. 2149-2256) of her treatment at the hands of Fllipo, and Imperiously demands amends. Rosaura appeals for Segismundo's help in avenging the wrong which has been done her (w. 2690-2916). It Is Interesting to note that both of these lengthy pleas are in romance verse. While it Is a conventionalism of the comedia, the double significance of the graclosos1 name — Clarfn in both plays — might be pointed out, and attention directed to the rather frequent use of this dual meaning as a humorous device (Vlrtudes, vv. 842-845, 1117-1118, 2122- 2123, 2127-2128, 2462-2463, 2544-2545, 2558-2560; Vida. 1208-1219, 2034-2036, 2044-2047, 2197-2199). In some thing of the same vein is Fillpo's difficulty in compre hending the names Leda and Alteza (vv. 778-781, 735-789), and the humorous ho la, ola, hombre combination (w. 817- 820). Clar£n in La vlda es sueno, mistaking the intent of those who have come to release their prince, says: (iSegismundo dicen? Bueno: Segismundo Hainan todos los pr£ncipes contrahechos.) (w. 2263-2265) The repeated use of the term prodlglo to describe Fllipo finds a parallel in Clotaldo's reference to Segls- lxxxl mundo as "el prodigio / que entre esos penascos yace" (vv. 301-302). Similarly, the word flora is repeatedly employed in both plays. LIsandro refers to Fillpo as the "hijo de una fiera" (v. 4-19),^ and Rosaura remarks of the mysterious figure which she dimly perceives in the cave: "en el traje de fiera yace un hombre" (v. 97) Much of what has already been said relative to the theory of kingship expressed in Vlrtudes vencen senales is equally applicable to La vlda es sueno. Schevill's statement that the policies which Fllipo expresses in his speech before the assembled court reflect "an unusual spirit of liberalism and democracy"^ is misleading. The implication that a new and different theory of kingship is there expressed fails to reckon with Machlavellism, of which it is simply a modification. The problem faced by both Fillpo and Segismundo is that of establishing and maintaining that power which, according to II Principe, is the end of all politics. Differing only in his ap proach to the problem, Fllipo succeeds immediately and with relatively little opposition, while Segismundo is forced by circumstances to reject the direct approach of

H For other occurrences of this word in the play see below, p. 164, n. 136. 12 The term aopears in La vlda es sueno also at 1547, 1658, 2149, 2482*, 2660, 2882, 3 0 3 2, 3171, 3180, 3183, 3 2 0 2, and 3207. Schevill, Q£. clt., p. 188. lxxxli Machiavelli in favor of what Leopoldo Eulogio Palacios lias called le prudentlallsme, which he defines as "la contrepartle th^matique du machiavelisme. " Although Segismundo requires considerable convincing of the fact, the wise Basllio recognizes the need to secure the sup port of the popular will, and says to his court: • . . si el Seneca espanol, que era humilde esclavo, dljo, de su republics un rey, como esclavo os lo suplico. (vv. 840-843)' Basically it is disregard for this public will and a re sulting abuse of power which brings Segismundo to the brink of disaster. Unlike his counterpart Fllipo, the Polish prince at first assumes an air of arrogance ex pressed in such terms as "en lo que no es justa ley / no ha de obedecer al rey" (w. 1321-1322). • Only after an intensely disillusioning experience does he accept the responsibilities which constitute partial payment for the privileges of his role. As a consequence of his acceptance of the dream concept of existence, Segismundo realizes that authority is not an ever-present benefaction, but that it is "prestado / y ha de volverse a su dueno" (w. 2370-2371). This new attitude toward life causes him to wonder:

14- Leopoldo Eulogio Palacios, "La Vie est un Songe; Essai sur le sens philosophique du drame de Calderon,* Laval Theologlque et Philosophlque, VII (1951)» 145. lxxxiii I Que hay quien intente reinar, vlendo que ha de despertar en el 3ueno de la muerte! (vv. 2165-2167) Thus Segismundo's relationship to his fellow men results in the adoption of the same principle upon which Filipo 's actions had been continuously based, and he exclaims: "inas a un pr£ncipe le toca / el dar honor que qultarle" (w. 2983-2984). Taking into account this very considerable body of similarities and parallelisms, there is no doubt but that a strong link exists between Virtudes vencen senales and La vida es sueno. As Schevill has pointed out, the composition date of Calderon's play has been placed after 1629-30.^ The present dating of the composition of Virtudes between 1618-22 would therefore make it the predecessor of La vida es sueno. This certainly in no way minimizes the contribution of Calderon, in spite of Schevill's obvious predilection for the Velez comedia. The bald statement that "Velez's Clarfn is superior to Calderon's"16 is a purely subjective opinion to which exception should be taken. In the realm of pure comedy it is perhaps true, but one must realize that Calderon's gracloso serves an ideological function in the comedia, and as a consequence is better integrated into the plot

15 Schevill, ojo. cit., p. 191 • 16 schevill, 0]3. cit., p. 195» lxxxlv than is the V^lez counterpart. In this connection Ley says: "Clarln . . . resulta ser una, iraagen en espejo con-

vexo de Segismundo preso como 6l y confundido con el en aeterminado momento; muere . . . fllosofando sobre la vlda como su prlnclpe."1^ Likewise, as SIonian has pointed out,-*-® it simply is not true that "in Calderon the his tory of Rosaura and Astolfo is a poorly linked addition to the noble central idea.11 ^ The evidence which has been presented here would seem to indicate Calderon's rather comprehensive ac quaintance with Vlrtudes vencen senales. with respect to both general and specific details. Although it would be difficult to attempt to prove the exclusive influence of Vlrtudes, it seems apparent that many of Calderon's plot- details, and at least some of his diction, have been inspired by the Velez comedia. The difference, of course, lies in the undeniable superiority of Calderon's ideological development, and in the originality and artistry with which he has amplified ideas and themes merely suggested in the Velez play.

17 Charles David Ley, SI gracloso en el teatro de la •peninsula (Madrid, 1954), pp. 223-224. 1® Albert E. Sloman, "The Structure of Calderon's La vida es sueno," Modern Language Review. XLVIII (19531, 293-300. 19 Schevill, op. cit., p. 195» VII. LITERARY APPRAISAL

To say that Vlrtudes vencen senales is a great play would be a gross exaggeration. While it has many quali ties to recommend it, on the whole it is a rather pedes trian effort which never quite lives up to its potenti alities . • Velez starts with the premise that a youth raised in Isolation can successfully assume leadership of a people in a situation which would seriously challenge the most highly trained political expert. As Schevill points out,1 it is precisely in this initial premise that Cal deron and V^lez differ. On the one hand, Vlrtudes as sumes the tremendous power of natural heritage to over come savage environment; La vida es sueno, on the other hand, supports with equal Intensity a belief in the over powering effect of such an environment. From the point of view of Velez, it is necessary only for his audience to accept this initial premise. There need be no attempt, as indeed there is none, to Justify a super-virtuous character such as Fllipo. As for Calderon, his hero is a true savage who must be led slowly but surely, by means of a series of trabajos, to a state of conversion. Which of the two assumptions is preferable would seem to be a

^ Rudolph Schevill, “Vlrtudes vencen senales and La vida es sueno.” HR. I (1933)» p» 192.

lxxxv lxxxvi purely personal reaction. The modern mind, so Impressed with the social and psychological Implications of per sonal existence, finds the Calderonlan assumption more valid. Yet to condemn Velez for his failure sufficiently to motivate and explain his hero ’s actions seems unwar ranted. If we accept the original assumption upon which the principal theme is based, and from which the comedia takes its title, we find ourselves untroubled by the dramatist’s failure to justify his hero. Structurally Vlrtudes is composed of a three-part plot line: the problem of Albania, the bandits' story, and the Tirrena episodes. Of these the first is, of course, the main plot, with the other two, inextricably bound to each other, serving as sub-plots commanding Intermittent fleeting attention. To the story of Albania Velez addresses himself with dispatch, presenting to his audience in the opening expository scenes the many facets of the problem: the lack of a properly consti tuted heir, the. clashes over authority within the king dom, and the threats from foreign rulers. LIsandro's revelation of his well-kept secret leaves little doubt that in the capable hands of Filipo rests the salvation of the people, a fact which is quickly confirmed by the young man’s nature as it is revealed in the encounter with Leda. At this Juncture there is need for some digressive action which will prolong the work and post- lxxxvii pone the inevitable outcome. Consequently V^lez intro duces the peasant girl with a dual purpose in mind: to provide yet another example of the super-virtuousness of Fillpo, and to draw the attention of his audience to an other minor plot. This, the episode of the bandoleros, provides still another opportunity for additional delin eation of Fillpo's character, and likewise draws atten tion momentarily from the inexorable progress of the main plot toward its conclusion. It seems unnecessary to comment that such a loose, uninspired structure does not produce good drama. Both the bandoleros and Tirrena are discarded by Velez once they have served their relatively unimportant function. If it is true that conflict is the soul of drama, then Vlrtudes is soulless, for in the comedia there exists no conflict worthy of the name. Even before his appearance on the stage, Fillpo manages to Impress the audience with his spiritual and moral superiority, and the fact that he will eventually be victorious is never seriously questioned. In fact, V^lez puts relatively few, if any, stumbling blocks in the path of his hero. To some degree at least, there seems reason to be lieve that perhaps Velez had in mind for this comedia a more thoroughgoing pastoral significance than is appar ent in the finished product. Certainly in the case of Filipo the influence of the pastoral element operates to lxxxviil enhance his inherent nobility. Moreover, one is impressed not only by the importance of this element in the sub-plots previously mentioned, but likewise by the name symbolism of some of the characters, which will be discussed shortly. Fillpo's initial appearance, and the accompanying paean of thanksgiving with its emphasis on the beauties of nature, gives the impression that this rustic element is to have prime significance. Such an impression is strengthened by the first meeting of Leda and Fllipo, which likewise takes place in a bucolic setting. The introduction of Tirrena and the bandoleros represents an undeniable use of the pastoral, while Filipo*s rescue of the shepherdess is a neat variant on the usual deliverance from, rather than into, the hands of the salvage. Here, of course, it is the salvage who has been redeemed by Christian virtue. Empson has pointed out the close affinity which exists between the "Noble Savage" literary tradition and the pastoral.2 The reader of Virtudes is likewise impressed by the relatively large number of scenes which develop in rustic settings: the meeting between Fillpo and Clarfn, the reunion of LIsandro and his son, the two encounters between Fillpo and the treacherous almlrante, and the final scene, in addition to those previously mentioned.

2 Vfilliam Empson, English Pastoral Poetry (New York, 1938), pp. 195-250. lxxxlx As for name symbolism, one need not look beyond Leda and Ninfa. The first suggests the classical tradition of the mother of Castor and Pollux to whom Jupiter appeared in the guise of a swan, while the second is the name applied by Greek mythology to an order of woods-dwelling god desses. In connection with the foregoing discussion a dis tinction between the Renaissance and the Baroque pastoral should be pointed out. The former, perhaps best typified by the ijjglogas of Garcilaso, places major emphasis on the bucolic and the amorous. The latter, exemplified by Gon- gora, devotes Itself to the exaltation of natural beauty by means of stylistic processes. It is to this latter type of pastoral that Velez 's use of the theme is most closely linked in the present comedia. Stylistically Vlrtudes is in the characteristic tra dition of Velez. Some attention has been given above to the fondness of the dramatist for certain words, as well as to his orthoSpy.^ vtfhile the culto style, which is so characteristically mingled by Velez with his more direct diction, is not so prominent as in many of his works, it is nevertheless plainly present in this comedia. In this respect it is essential to point out the sharp contrast between the speech of Fillpo and that of his social

3 See above, pp. xxv-xxvii. xc equals. The first indication which we have of the young prince's nature comes in the reading of the letter to Tebandro. Later Fillpo appears alone in his soliloquy addressed to Liberty, and subsequently engages in dialogue with Leda. One is instantly struck by the relative clarity and simplicity with which the young prince expresses himself in these situations, particularly in contrast to the highly culto diction of LIsandro's long expository speech to his court (w. 245-458). It seems reasonable to suggest two possible explanations for this variance of diction: (l) to emphasize Filipo’s complete isolation from the cultural pattern which is reflected by the culto style, and (2) to carry even further the analogy of Vlrtudes with the true pastoral. It seems fair to conclude that, whatever the motive, the result is effective. In connection with the first possibility, nothing could more adequately set the young prince apart from his courtly associates than the simple, straight forward style of speech which he employs. It is a realistic touch which adds credibility to the picture of a person completely cut off from society for so many years. Squally appropriate is the device if the motive is to accentuate the pastoral. On the whole, then, Virtudes vencen senales is an example of a fairly typical comedia of the seventeenth century Spanish stage. It is an entertaining piece which xci provides an interesting combination of sources and themes, and which successfully blends the didactic with the amusing. The fortunate union of political philosophy and pure Christian doctrine must have been appealing to the Spanish playgoer of the day, as too doubtless were the theatrical effects employed. VIII. THIS EDITION

In the preparation of this edition use lias been made of both the suelta and the Zaragoza texts. Through out the text itself, as well as in the notes and the Introductory material, the letters S and Z have been used to indicate these two editions. Because of the superiority of the suelta text, which was pointed out above,^ it has been established as the basic one for this edition, although Z has been used whenever it is obviously preferable to S. Because of the relatively large number of lines omitted in one or the other of the two texts, and in the interest of complete ness, it has seemed advisable to Include in this edition all of the lines of both texts. Whenever such lines could not be included in the text of the play, either for reasons of verse form or comprehension, they have been indicated as variants in the footnotes. Since no particular purpose would be served in re taining the exact form of S, the text has been modernized in the matter of spelling and punctuation, including capitalization and the use of the graphic accent. Three types of older orthography have, however, been retained: (l) the assimilated final ^r of infinitives with enclitic object pronouns, whenever

1 Pp. x ff xcli xciii

necessary for the preservation■of rhyme;

(2) meamo, -a, when the rhyme requiresand

(3) certain peasant words of Tirrena and gracloso words of Clarfn, in order to pro vide the flavor which Velez must have intended.^- Characters 1 names have been regularly capitalized and standardized, both in speech captions and in stage directions.5 Brackets [ ] have been used to indicate material which is in neither text, but which has been supplied by the present editor. Exceptions to this are the page and line numbers. In the case of the former, it has been noted above^ that 3 has handwritten numbers which are legible on about three-fourths of the pages. Since these numbers are relatively unimportant to the reader, and since the abbreviation p. doe.s not occur in S but Is used in the present text, it has been decided to bracket page numbers. On the other hand, in order to avoid con stant distraction, brackets have been omitted around all

2 Verses 178, 242, and 879- 3 Verses 1054, 1146, 1642, and 1810, 4 Verses 953, 954, 990, 1041, 1375, 1377, 1601, I877a, and 2119.

5 It should be noted that Z consistently uses REY, not LISANDRO, as a speech caption. 6 Pp. vi-vii,. xciv

line numbers, even though, these have been provided by the editor. Complete asides, those in which one character ad dresses the audience, desiring.not to be heard by other characters on the stage, have been indicated by the use of single parentheses ( ) around the material thus ex pressed. The double parentheses (( )) indicate partial asides in which several characters speak among themselves, not wishing to be heard by others on the stage. In those cases where the word Aparte, or its abbreviation Ap., is used as a stage direction in one of the texts, the fact is included in a footnote. Broken verses have been Indicated in the notes by the use of superscripts to represent the individual parts of such verses. Thus 1066a and 1066b indicate the two parts of the complete verse whose number is 1066. The plus sign (+) following a verse number indicates the position of some material, usually a stage direction, between the given line and the next succeeding one. At the bottom of each page of the text there are footnotes whose numbers correspond to the line numbers of the text. These footnotes include all major variants of both S and Z . An attempt has been made to edit all variants, changing spelling, punctuation, capitalization, and graphic accent to conform to the policies adopted for the text Itself. Specifically excluded from these xcv footnotes are variants in the abbreviation of speech cap tions, variants of accentuation, punctuation, or capital ization, the use of for vuestra, and simple ortho graphic variants. These latter are listed in Appendix I, and have been discussed earlier in this Introduction. 7 A section of explanatory notes, with’an accompanying index, has been included following the text of the play.

^ P. xviii VIRTUDES VENCEN SENALES [p. 1]

Comedia Famosa

Luis V^lez de Guevara

Hablan en ella las personas siguientes:

FILIPO ROBERTO TIRRENA

LISANDRO, Rey ALBERTO, [Criado] LEDA, Infanta

DIONIS10 RICARDO ALFREDA

EL ALMIRANTE TEBANDRO ENRICO

ARTENIO CLARlN CUATRO SALTEADORES [CELIO]

Title. S places Comedia Famosa on two separate lines, the first word being in larger type, and places de on the same line as the dramatist's name. Z places Comedia Famosa on a line above the title, and on a line below the title has DE LUIS VgLEZ DE GUEVARA. Personas. Z lists the cast in the following order:

ALMIRANTE SARGESTO ) DION IS 10. Emba.lador TIMBRERO L ^ LEDA LIDONIO )Bandoleros REY’ de Albania LISENO ) ALBERTO RICARDO TIRRENA. Serrana DOS GRANDES FELIPE ALFREDA TEBANDRO CLARlN ENRIQUE

(The DOS GRANDES are, of course, ARTENIO and ROBERTO of S.) JORNADA PRE-ERA

Sale nor una puerta DIONI5IO» Emba.1ad.or de Sicilia, y el ALMIRANTE de Albania; y nor otra al mismo tlempo las mujeres, y LEDA, Prlnceaa de Albania, detras, como que vlene de caza; y dice el ALMIRANTE:

ALMIRANTE Al paso nos ha salldo

su Alteza, y plenso que sale

al campo.

DIONIS 10 No hay luz que iguale

a tanto sol encendldo

en la hermosura que ofrece.

ALMIRANTE ifste es el embajador.

DIONISIO (( No v£ belleza mayor.

Sola del mundo merece ser dueSo hermosura tanta.)) LEDA iQue es lo que dices?

DIONISIO Senora, 1

turba, admira, y enamora

tan nueva deidad.

Act designation missing in Z. Stage Direction: Z: Salen el AIMIRAHTE, DIONISIO, Emba- .lador. y (JENTE. 5+* Z: Sale IEDA de caza. 6. S: Speech caption partially obscured. 7« S : Speech caption obscured. Z adds Aparte as stage direction. 8. Z: al la del mundo merece. 9. Z: nor duefio hermosura tanta. ;,.s- • ;vV .-

- 3 - LEDA Levanta.

DIONISIO De Alfreda, hermana del rey

de Sicilia, Enrico, es esta.

Dale una carta,

LEDA iQuedan con salud?

DIONISIO Y apresta, 15 coao es justfsima ley, cad.a cual al dulce empleo de vuestra Alteza, seSora, sucfaas albriclas.

LEDA Ahora, esbajador, no deseo 20

tomar estado. En razon

de esto mi padre os habra

dado la respuesta ya:

que represento el varon

de Albania, y Albania intenta 25 que fuera de ella no case,

porque a extranjero no pase

su corona; que aunque aumenta

tanto con la monarqufa

de Sicilia su valor, 30 la razon, embajador,

13-14. Z : De Enrico, rey de Sicilia, / senora, la carta es eata.« 15a. Z: Queda- 24, Z: representa. - 4 - de estado ©n que mas porffa es conservarse con dueno legltimo y natural [p. 2] solamente. DIONISIO En caso lgual 35 se expone a notable erapeno, porque no es tan extranjero Enrico que hacer desea este empleo, que no sea a esta corona prlmero 40 que otro ninguno llamado, faltando varon, pues ya con tanta evldencia esta sabldo y averiguado que no la hereda mujer. 45 LEDA Cuando verdad eso fuera, y Enrico asplrar qulsiera a esa acci<5n, tiene poder Albania no solamente para hacerme relna a ml, 50 mas para que deje aqul;

35* Z begins Dlonlslo's speech with Solamente. 36. Z : se opone. 42. Z : faltando sazon. 45. Z: y no le hereda mu.ler. 4 7. Z: que Enrico. 51- Si para que quedese aqul. The Z reading supplies the mas necessary as the correlative of no sola mente In v. 49. - 5 - que no es bien que os represents con razonea excusadas su valor, embajador, pues celebran su valor 55 las hojas de sus eapadas; que en el d[e]recho, la accl6n, de los pleltos de los reyes, como duenos de las leyes, arbltrlos las armas son. 60 Y viva mi padre, amen, muchos anos siendo dueno de Albania, que de este empeno nos puede sacar tambien, hasta que falte; que luego 65 para.elegir dueno m£o vasallos tengo en quien f£o su honor todo y su soslego. Y en sucesos semeJantes,

honrando la real famllla 70 cuando me niegue a Sicilia, Albania tiene almirantes. Esto hallara Enrico en m£, y es la respuesta que os doy;

55* 9s celebra. Z is grammatically correct. 57-68. 3 omits. 69• Z: Que en sucesos s erne ,1 ante a. 74. Z: y esta respuesta que os doy. «• 6 ~

y quedaos, porque me voy 75 a matar un Jabal£.

Vase LEDA, con todas las damas, y queden el ALMIRANTE y DIONISIO, emba.lador.

DIONISIO Notable resoluci<5n,

senor almirante, ha sldo.

ALMIRANTE La princesa ha respondido

con la determinaci6n 80

de sus vasallos, el celo

de su padre acredltando.

DIONISIO Y vuestra nobleza honrando.

ALMIRANTE Mil anos la guarde el clelo

que sabe favorecer 85 mis servicios y el blas6n de ml sangre.

DIONISIO Esa ocasIon

debe, almirante de ser

la principal que os obliga a contradecir de Enrico 90 el lntento que publico.

Quedando Albania enemiga

de Sicilia y provocada

76+. Z: stage direction limited to Vase, which appears at 76. 83. Z: Y vuestra grandeza honrando. 84. Z: mil anos le guarde el clelo. 86. S: mis servlclo3 y el valor. Z preserves the rhyme. 87^. Z: esa accl6n. - 7 - Napoles — pues esta Alfreda, que esta obligaci<5n hereda, 95 con Carlos capltulada,

y haciendo liga las dos

coronas por tlerra y mar,

poca defensa ha de hallar,

almirante, Albania en vos; 100

que contra dos reyes no es

el poder de un almirante

de Albania solo bastante.

ALMIRANTE Embajador, el que ves tiene en el pecho valor 105 para no temer al mundo.

Y en Enrico y Carlos fundo .

el ser del mundo senor

cuando yo lo venga a ser de Albania; que me han de dar, 110 llegando a verme trlunfar

de ellos, prlncipio, poder,

ocasion, gente, y deseo

de ver el mundo a mis pies.

DIONISIO jBasta! iNo mas, albanes! 115

97• Z\ ligas. 101. Z : y contra. 102• Z : del almirante. 112. Z: nrlncinlo y poder. 113* Z omits £• — 8 —

ALMIRANTE Porque s 6 que no es trofeo

echarte por un baleen,

no lo lntento.

DION1310 Vive el cielo,

que no tlene todo el suelo

alban£s, si un coraz<5n 120

Be hlciese de todos, pecho

para reslstlrme a ml

solanente.

ALKIRANTE . Hablas aqul,

embajador, satisfecho

de que eres embajador, 125

y deque estas en palacio.

Pero, jvlve Dios • • • !

DIONIS10 A espacio,

alban^s; que liay mas valor [p. 3]

en ml que piensas.

AD4IRANTE Sera

muy poco, sicillano; 130

y guardate que la mano

que sobre el acero esta

no desnude algun acero;

que, por vlda de su Alteza, que no tlenes la cabeza 135

121. S: si hlciese de eao desoecho. The Z reading is more Intelligible. - 9 - segura en el sol.

DION IS 10 flero

y qu£ f&nfarron estas!

ALMIRANTS Tan fanfarron que me voy

por no matarte.

DIONIS10 No estoy,

si esa certeza me das, 140

de tl poco agradecldo.

ALKIRANTE Veras lo en otra ocasi<5n;

que viene el rey.

LISANDRO (( Voces son

Vase el AlMIRANTEt y salgan todos los que pudleren. acommnando al Rey LI SANDRO, de barba blanca, y ROBERTO, y ALBERTO y ARTENIO y RICARDO.

del almlrante. iSl han sldo

con Dionlslo, embajador 145 de Sicilia, que esta aquf? ))

DIONISIO (No estoy, de colera, en m£,

pesia al albanes furor.

IPor vida de Enrico, que he de castigar tan bravas 150

bizarrfas!)

ALBERTO (( Cuando entrabas

140. S: te das. The Z reading is more Intelligible. 143+• Z omits this stage direction, but between l43a and 14313 has: Entra el REY. y tres GRANDE3. 148. Z : pesia el. el almlrante se fuS*

LISANDRO Algun encuentro han tenido,

que eata Dlonlsio enojado. ))

DIONIS10 Ya, senor, he deapachado

como Enrico ha merecido,

pues ha querldo tratar

de Albania laa conveniencias,

pudiendo en laa experlenciaa

prlmeraa escarmentar

cuando aobre el mlamo lntento

que he venldo a tratar yo,

por Cesar solicit^

este proplo casamiento.

Eata corona le vlene

por dereeho, aunque enemlga

Leda, la princesa, diga

que Albania almirantes tiene.

Cuando casarae pretenda,

o cuando pretenda aer

reina de Albania, ha de ver

si habra entonces qulen defienda

la corona que se debe

a Enrico, que es el varon

163. Z: del Cesar. 166* Z: drecho. 169-176* S omits these eight verses. - 11 - que, mas cercano a esta accion, 175 a estos intentos se mueve;

porque no seran bastantes

entonces a defendella,

si Albania, que hoy le atropella,

se vuelve toda almirantes. 180

LISANDRO iNo mas, Dionisiol

DIONIS10 Senor, . . .

LISANDRO Leda res pond i<5 a tu intent 0 por mi propio pensamiento que es alma de su valor,

y no tlenes que esperar 185

mas resoluciones. Di

a tu rey que has visto en mf

todo el valor que Juntar

se pudo en Pirro, en Aquiles,

en C^sar y en Alejandro, 190

y que el albanes Lisandro

no teme amenazas viles; que Leda es solo el varon de Albania, y que no me hereda mas que ml valor en Leda; 195 que la albanesa nacion,

183. Z: •pronrlo. 184. S : que es el alma de su valor. Z provides the proper number of syllables. por casamlento ni herencia, no pretende sujetarse a extranjero rey nl darae a ninguna conveniencia 200 deapu^s de eata; y que la accion que tlene al reino alban£s contradlcen; que 6a ta ea ultima resoluclon. Y vete con Dios. DIONISIO El cielo 205 te guarde. Vaae DIONISIO.

ARTENIO lExtrana porf£a!

LISARDO Pensara que la edad m£a

arma el pecho de recelo

porque corona de nleve

ml cabeza el tiempo helado. 210

ROBERTO Nunca el coraz<5n que, armado

de valor, su aangre mueve

puede helarse con la edad, ALBERTO Aunque del mundo el recelo asegura Leda, el clelo [p. 4] 215 trato a Albania con crueldad

202. S: a banes, an obvious printing error. Z: el relno. 206a . Z omitb stage direction. 206k. Z : speech caption is ALBER. 211-213• Z: RICAR. No enagenes este estado / s i aquesta pledad te mueve; / que no es tan grande tu edad. 215. Z: asegura a Leda. - 13 - cuando le neg<5 varon que tu valor retratase y juntamente heredase tan invencible naci<5n. 220 Pues, el mlsmo Inconvenlente que en dan la a extranjero hallo si se casa con vasallo, porque la albanesa gente no ha de querer de un igual 225 gobernarse. RICARDO La ocasion de haber faltado varon a Albania ha de ser mortal rulna de su corona. ARTENIO Plugulera a Dios que le hubiera, 230 aunque un rudo monstruo fuera, porque Albania en su persona venerara tu valor y tu sangre venerara. ROBERTO Aunque en la fiera mas rara 235 que engendra Libia calor

218. Z: su valor. 219. S: te heredase; Zs in .lust ament e heredase. 222. Z: que el darlo. 226^-244. Z omits 18 l/2 verses, concluding Alberto’s speech and the broken redondllla: y yo recelo. f si no lo remedia el clelo, / que ha de suce- demos mal. 236. 3: Llblo, an obvious printing error. o Cltla hielo le hubieraB por un prodigio tenldo, fuera dlchoso partldo para Albania. Y no pusieras en contingencia el soslego de tu reino, puea de dallo a extranjero o [a] vasallo nacen tantos danos luego.

LISANDRO Valerosos albaneses, que el clelo en amparo guarde de Albania slgloa eternos con largas fellcldades, varon teneis, heredero de ml valor y mi sangre, hermano de Leda, y hiJo de su misma santa madre, no de una fiera de Libia ni de Citia, mas notable monstruo de naturaleza, prodigio entre cuantos hace. La novedad, si os admira por repentlna, no os cause espanto por prodigiosa.

245. S: albanases, an obvious printing error 246. Z: os reuarde. - 15 - Atentamente escuchadme. 260 Ya sab6is, por relacionea algunos de vuestros padres y los demas por vosotros, pues son varias las edades, cSmo me cas6 en Hungrla 265 con Margarita, que yace lnmortal en mi memoria como en vivldores Jaspes. Los primeros anos verdes de mi edad no quiso darme 270 hiJos el cielo, por causas que el solamente las sabe, hasta que en anos mayores tuve a Leda para imagen

del sol y para que a un tiempo 275 a mf y a Albania alegrase. Hiclsteis fiestas, y dieron

b u s soberblos homenajes cuantas luces vistio el cielo, tantos cometas al aire. 280 Aseguro este feliz parto que Albania esperase

264, Z: que son. 268. Z: como venerada en .lasnes. 277• Z: le hdclstels. 280. Z: el aire. - 16 - var<5n qu© de su corona fuera generoso Atlante.

Solicitaba el deseo 2 85 engendrar su semejante, natural lnclinaci<5n de todos los animales. Una noche que tenia puesta en los ojos delante, 290 en un taplz de oro y seda, una figura admirable de la relna de Etiopia, Saba — donde al azabache negro dlo esplritu brloso 295 el bianco belga Timantes, que a vlsitar [a]l hebreo, solo en veneerse lgnorante vino del ardlente cllma [p. 51 que da honrosa pompa a un ave — 300 tan atento que pudleron las especies visuales dar a la imaginativa fuerza para que engendrase

295- Z: espfrltu vivo. 296. Z: valga Tlmantes. 297. S and Z: el hebreo. 299• Z: de la ardlente* 300. Z: pompa al aire. 301. Z: pudleran. f-Y? - i'-r. - "•’ : v; v.ys.-r;'-•••■• -v-

- 17 - lo mismo que estaban viendo 305 los ojos; que en estos trances es universal doctrina de todos los naturales, que lo que se ve, se engendra; por lo que a comunicarse 310 pasa luego a la potencla, racional imaginable; y hace caso, como en tantos que ha visto experimentarse, de estas ideas que en Dios 315 tambl^n llaman ejemplares: de las varas que Jacob puso con celestial arte de Laban a las ovejas, pruebas de fe, estas verdades, 320 sin la variedad de ejemplos que en los antlguos anales de cristianos y gentiles tantas dudas satisfacen.

305* Z: estaba. 306. 3: slendo el suceso admirable. The Z reading is necessary in order to include the succeeding verses. 307-316. 3 omits these 10 verses. 317. Z: que las. 319. Z: delante de las ovejas. 320. Z: prueban. 322. Z omits en. - 18 - Al fin, a loa nueve meaeg, jah, cielos! la reina pare, y de la lmagihaci<5n copla tan viva que nace, siendo Margarita hermosa el alba de donde sale, mas, a nuestro parecer, de Saba que de su madre, tan atezada, tan negra que dlo ocasi<5n que pensasen alguna desdicha mia los que asistieron delante. Dlscurri para dIsculpa de aquel prodlgloso ultraJe que en Margarita hacer pudo tin parto tan espantable en mi pasada atencl^n, o porque en la mlsma parte mire a Saba, o porque el cielo no permitlo que pasase su lnocencia detrimento. Y refirlendo los lances

325* Z: de los nueve. 326. Z: un nlno la relna pare. 332. Z substitutes pasaba for de Saba. 333. Z: atezado . . . negro. 336. Z: las que. 34-2. Z: las mlsmas partes. - 19 - prlmeros que a este prodlgio fueron ocasi6n bastante, satisfice la inquietud de sus pensamlentos antes 350 que de faciles indicios a esfera mayor pasasen; y yo, suspenso y confuso de suceso semejante, triste culp6 mi fortune; 355 y entre alentado y cobarde, del que fuS parto feliz hice aborto miserable, dandole en clausura eterna a una ama que le criase 360 despues de darle el bautismo, sin dar a entender a nadie el suceso, y publicando que naclo muerto. En la carcel de una torre de palacio 365 que en las espaldas del parque muda centinela vive, glgante sin alma yace.

350• Z: que sus. 351* Z: que dlfIdles indicios* 357* Z substitutes su for fuST 360. Z: a un ama. 368. Z: nace. - 20 - Retirado 1© dispuse

criar sin qu© en ©sta part© 370 haya visto mas que un hombre qu© ha servldo d© ensenarle clencias y de hacerle, y todo, companfa, qu© ©ntra y sale

a meterle la-eomida, 375 y algunas veces a darme, cuando 1© deja dormido, noticia d© lo que sab©, d© lo que discurre y dice, de la inclinacion notable; 380 que sin saber quien es, muestra con valor a cosas grandes que tiene partes divinas, y con aquel color, talle,

y disposicion gentil, 385 que es callado, honesto, grave, verdadero, generoso, discreto, valiente, afable, alegre, templado, limpio, agradecido sin arte, 390 colerico en las acciones,

378. S : noticia de lo que lo sabe. which makes the verse one syllable too long. 386. Z: que eacollado. atento, resuelto, facll como anlmoso sufrldo, no criiel como cobarde, a ©star ocioso Jamas incllnado: a todas partes tan reales que son lenguas de su generosa sangre. Velnte anos tiene, y no he visto su rostro; que, aunque me llame amor de padre, me ocupa ver que soy de un monstruo padre hasta esta ocasi<5n que habeis obligado con tan grandes resoluclones la m£a para que en Fillpo os hable, que este es el nombre, albaneses que de los negros celajes de su color, tras de tanta noche de prisiones, nace sola Albania con los rayos de su corona en la tarde de mi edad cuando los mfos

396• Z omits a. 398, Z: de sus generosas -partes. 407* Z; su nombre* 409. Z: tantas. 4 1 0. Z: noches. 4 1 1 - 4 1 4 . Z omits these four verses. - 23 - restituci&i de la Injuria 435 ejecutada en el padre por la culpa del abuelo, si pudo culpa llamarse la fuerte Imaginative, ocasi

que cuando en Filipo extrane el color, lo monstruoso, lo no visto, lo espantable, lo diferente, lo fiero, 455 lo prodigloso, lo errante, lo feo, lo peregrino,

438. Z: si culpa pudo. 447-448. Z: aspire a su lnvestldura / no slendo alba- nls. miea grave. 452 . 3 omits en, which, destroys the sense of the passage. - 25 - que aunque Leda, nueva Evadne y Sem£ramls, merece ser sol de dos orbes, nacen 480 en Flllpo para Albania mas firraes seguridades. ALBERTO A toda ley, heredero var<5n quereraos . No aguardes a m£s dllaclones. Saiga 485 Flllpo. LISANDRO Con tan loable, herolca resoluci<5n y allento, albaneses Martes, podra sujetar mil mundos Flllpo. Venld a darle 490 por prfnclpe la obediencia* RICARDO Vamos, y con mas notable aplauso que Albania ha hecho a sus duenos naturales dlgamos, HI viva Flllpo!M 495

TODOS I Viva Flllpo! TEBAKDRO No pases

Sale TEBANDRO solo, con un panel en la mano.

482. Z: con firmes. 486b . Z : con tan noble. 491. Z: nor principal obediencia. 492-495- Z omits these four verses. 496+. Z omits, but has at 496a : Sale TBBANPRO. - 26 - adelante, si estas voces te lievan tan adelante que vas a buscar, senor, a Fllipo; pues deiaste 500 la ocasion de tantos dlas para el lntento que hoy haces publico, a ml parecer, en Albania. LISANDRO A que me espante

me das, Tebandro, ocasi<5n. 505 TEBANDRO No es bien que intente ocultarte lo que has de saber despues. LISANDRO SI es muerto Filipo, acaben mis esperanzas con &1, y el ultimo medio falte 510 de Albania a la suceslon legftima. TEBANDRO No es tan grande la desdlcha. Este papel lee. LISANDRO I Confusion notable! Lee el papel el REST.

"Tebandro, yo nacf llbre 515 por racional. De esta carcel

5l4a. Z omits. 514+. Z has merely Lee as stage direction - 27 - en que preao me han tenldo delitos que a m no los sabe, en ml confusa fortuna,

ml desdlcha, voy a darrae 520 a la libertad de verme dueno de mf mlsmo. Basten veinte anos de cautlverio. Perdona el determinarme

a dejar tu companfa; 525 que puede ser que te pague algun dia el beneficlo de crlarme y de ensenarme; pues fuera de tl jamas

be conocldo otro padre 5 3 0 a quien le deba el saber nl la vlda. Y no te espantes, pues conoces mis alientos, que de tan estrecha parte

me saiga a ensanchar adonde 535 mire el cielo; que no caben en tan poco mundo esferas de pensamientos tan grandes.1’ TEBANDRO Ese papel halle escrlto

518. Z: no lo sabe. 530. Z: he reconocldo padre 534. Z: pues de tan. - 28 - esta manana al entrarle 540 a deapertar en su proplo aposento; que en el parque por una ventana pudo antes del alba abortarle,

haciendo escala su Industrla 545 para que en salvo bajase de las sabanas. Aquf tlenes ml cabeza. Dame el castigo que quisieres, si acaso puedes culparme 550 suceso que nunca pude prevenirle nl atajarle. LISANDRO Alza, Tebandro, del suelo; que yo no puedo culparte,

porque s4 c<5mo has sabldo 555 servlrme. TEBANDRO El cielo te guarde. LISANDRO Que se busque la persona de Flllpo en cuantas partes

tlen8 Albania sera luego [p. 8] necesario. No le cause 560

541, S: despe .jar, probably a printing error. 544. Z: abortarse. 546. Z: salva. 549. Z: qulsleras. 550. Z: nuede. 556 b. 3: guatde. an obvious printing error. - 29 - dano el color prodigioso con los que acaso encontraren en alguna soledad con $1, dando en las cludades de Albania y villas pregones 565 dlferentes luego, si antes no le alcanzan mis deseos, que llevan para alcanzarle con el mlsmo corazon

las alas de amor de padre. 570

Vanse, y sale FILIPP s<5lo, vestldo de color, con valona y un baat<3n grande' de un arbol, tenlda la cara de negro. FILIPO Llbertad, gracias os doy, que por vos este sol miro, esta azul maquina admiro, y estos campos viendo estoy.

Por vos hombre humano soy, 575 por vos tengo nuevo ser, y por vos vengo a entender, cuando vengo a contemplar clelos, sol, campos y mar, mayor de Dios el poder. 580

562. Z: encontrare. 570+. Z:_Vanae todos. Sale FILIPO, negro, con vestldo de pano. 573* S: maqulno, an obvious printing error. 578. Z: cuando llego. - 30 - En todos su autor contemplo, y todos con dulce union estan diciendo que son de su oranlpotencia ejemplo.

Sirvele el orbe de templo. 585 Todo le adora y venera, y cuanto el sol reverbera, inanimado o sintiendo, parece que esta diciendo: "Dios es mi causa primera." 590 Desde aquel monte veclno del sol vi ese mar profundo, y en 4lt mas que en todo el mundo, admlrl el poder divino,

viendo que a este cristallno, 595 feroz, salado Pegaso, cuando desbocado acaso contra el sol se desenfrena, con una rienda de arena le detiene Dios el paso. 600 Cansado vengo y con sed, y alii una fuente he escuchado, relna de plata, que el prado

588. Z substitutes 21 for o. 592. S: vlese mar, an obvious printing error. Z: miro el mar. - 31 - hace de cristal merced.

Hospedad y socorred 605 con sombra y agua diamante, lfquido hermoso, tin errante peregrino que ©sta en vos tamblen conociendo a Dios, a quien todo es semejante. 610 Mas, icielosl dSoy yo este feo monstruo que dentro el cristal a la noche miro igual? Yo soy el mismo que veo. Aun mirandome no creo 615 que soy yo; que tan altiva alma, joh plata fugitive! parece, atmque me copiaste, que en tan bajo y torpe engaste

es imposible que viva. 620 Saiga ahora por arrlba LEDA, con un venablo. LEDA (Bruto con alas, que al viento en la fuga desaffas, mas veloces son las m£as, pues vuelo en mi pensamiento. Aguarda; pero, iqul intento? 625 Que este penasco tajado,

618. Z : me compraste. 620+. Z: Sale LEDA. cazando por lo alto del monte. - 32 - preciplcio de este prado, me implde el paso. iQue harS?)

FILIPO (0 el alma se engana, o ve

aquf dentro otro traslado. 630 deldad nueva conf£a de este cristal su arrebol Junto a mi sombra hasta el sol, Junto a mi noche hasta el dfa?

iSi es el alma propia m£a 635 que me ha querido ensenar su esencia inmortal?) Comlenza a bajar LEDA. LEDA (Ba Jar quiero al prado por aqu£.) [VASE,3 [p. 93 FILIPO Ya se escondio la que v£. Mas, ique lo pudo causar? 640 Si es deidad, habrase al cielo vuelto. Si es el alma m£a, no querra ml companfa por fiera y torpe, recelo.

627* Si precloio, an obvious printing error, 6 3 3. Z: esta el sol* 634. Z omits this verse. z omits the gjYa+. s places after 637D* t0P p stage direction. 638. Z: desde aqu£. 639. Z: lo aue- Vi» 640. Z: nuede. 641. Z: el cielo. Pero, £qu£ fuego, o qu£ hielo, es el que discurre en mf ahora, despu^s que allf admlr£ el original cuya copla en el cristal arder y dar rayos v£? £!ste, £qu£ portento es, que vlnlendo en forma humana con belleza soberana ql mundo pone a sus pies? Yo he visto el cielo y despu^s sol, campos, mar, que al deseo atras se dejan; y creo que por rara y por hermosa no iguala ninguna cosa con el milagro que veo. [Sale LEDA. iQui^n eres, deidad? que as£ haclendo llsonja al prado como del cielo has bajado desde ese monte. LEDA IAy de mfl FILIPO iTu temes?

645. S omits this verse. 648. Z: miro el bello original. 655* 3 omits which destroys the sense. • -T -u r*v;.yy^v.r‘-y ' r-v — •• "-‘v . v . ' \

- 34 - LEDA iQuien area? Di, 665 monstruo portentoso y fiero. Tercla el venablo. FILIPO Deten los rayos de acero, sol que enainorado adoro. Basta que fulmlna el oro

que a tus pies rendldo estoy. 670 LEDA iQul^n eres? FILIPO Un hombre soy que tu hermoso ser ignoro.

Rlndi6ndome de esta suerte, no te receles de m£,

que he visto poder en tl 675 para veneer a la muerte. Tu con hechizo mas fuerte tiranlzas el sentldo y el alma. LEDA (Suceso ha sido notable.) Levanta. FILIPO Di, 680 iquien eres tu, que sin mf me has dejado, y me has temldo?

LEDA Una mujer.

6 6 6 +. Z omits stage direction. 6 6 8. Z: los que enamorado adoro. 669. Z: fulmlnes oro. - 35 - FILIPO iMuJer eres? LSDA Y d© heroico coraz<5n.

FILIPO jValgame el cielol I Que son 685 de esta suerte las mujeres! LEDA iNo has vlsto mujeres? Dl. FILIPO Bien monstruo te he parecido porque la primera has sido que vf despues que nac£. 690 LSDA Pues, idonde has vivido? FILIPO Preso toda la vida he pasado, slendo rigores del hado ml culpa. ISDA lExtrano sucesol

FILIPO Y hoy ha sido el primer d£a 695 que el sol he salido a verj y hasta encontrarte, mujer, sol el sol me parecla. El d£a me pareci(5, en estos hermosos prados 700 de sus rayos coronados, alma que el clelo le dio

684-. Z : y de Enrico corazon. 6 8 5 • 3: que so. an obvious printing error. 6 8 9- 2 : pues que la prlmera has sido. 693-694a . Z: sin que culpa me hay an dado, / nl padre. 697* 2: que hasta. 696. Z: solo el sol. - 36 -

al mundo; ©1 sol, que en el mar y en el celeste zafir

dos espejos al salir 705 qulso hacer para mlrar su beldad, una alegrfa infundi^ notable en m£. Pero despu^s que te v£, mlente el sol y miente el d£a. 710 En tl solamente creo que se clfra el blen humano, en tl el clelo soberano, en tl el amor y el deseo;

y tanto pudlste en m£, 715 despues de vernos los dos, que a no conocer a Dios, le conoclera por tl. LEDA (lQu£ alma tan hermosa encierra cuerpo tan feo! No se, 720

despuls que hablarle escuch£ [p. 1 0] — que jamas el alma yerra — que inclinacion le he cobrado en la flereza que ofrece.

Nuevo mlsterlo parece 725 haberme a un monstruo lnclinado.

705. Z: que al sallr. 71^. Z omits this verse. - 37 -

No b S la sangre que tlene; que su persona me agrada.) FILIPO Deldad herrnosa, humanada en ser de mujer, ique vlene en tl secreto bastante a rendirme el albedrfo? Preso estaba y era rafo, y ya no, slendo tu amante. Ponme esa nleve en la boca — o en los ojos, que estoy clego - para que me temple el fuego que me vuelve el alma loca. LSDA IDetente J FILIPO Bit bare; que puedes mas en mf que yo. H2DA (No vl mayor alma.) FILIPO iVaste? LEDA s£. FILIPO iY qu£ mandas? LEDA Que te quedes. FILIPO iComo be de quedarme yo si alia me llevas contigo?

727* Z: en la sangre. 736. Z: veen los o.los que estoy clego 737. S: tlemple. 74lt). Zi Baste, LSDA SI el alma se va conmigo, quedese el cuerpo. FILIPO Eso no; que ea llevarse todo el blen el alma, y quedarse aca sin la gloria que le da, el cuerpo.

LEDA El paBO deten, y no me slgas. FILIPO Yo soy tuyo y he de obedecerte, mas, £he de volver a verte? LSDA Oye, palabra te doy. FILIPO iCuando? LEDA Cuando quiera el clelo. FILIPO Querra alentar mi cuidado tarde, que soy desdichado; aunque dije mal; que el suelo, pues yo te he llegado a ver, nunca ha conocldo en hombre mayor dlcha. LEDA Adios.

74-9. Z omits this one verse. 7 5 3. S omits de, making the verse one syllable short. 754-. Z: oye concludes Filipo's preceding speech. 755b. Z tquerra. 759. Z: mies one te he llegado a ver. 76lb . S: a Dios, an obvious printing error. - 39 - FILIPO Tu nombre saber merezca, mujer; porque con alentar en tan triste ausencia pueda la vida. LEDA Mi nombre es Leda. 765 FILIPO El nombre quiso imitar tu hermoaura hoy, Leda mfa, con tu dorado arrebol. Tambien ae me pone el aol,

tambien 'ae me acaba el dfa. 770 Dice dentro el ALMIRANTE. ALMIRANTE Ten eae caballo. FILIPO Un hombre que parece que deaea hablarte, Leda, ae apea de un hermoao bruto. [Sale el ALMIRANTE.] ALMIRANTE Al nombre de vuestra Alteza he llegado, 775 que mi hermoso norte ha sido. LEDA Almirante, bien venldo.

767* Z: tu hermoaura, ray Leda mia.1 770+. Z: Salen CIARDT .v el ALMIRANTE. 774-°. Z : El nombre. 7 7 7 • 3: speech caption is FIL., an obvious error* - 40 - FILIPO (Almirante le ha llamado, y el, Alteza. Luego no

se llama Leda, y me quiso 780 engarar.) ALMIRANTE Con el aviso de Leda me reclbliS el eco cuando la grama pise de este verde prado.

FILIPO (No pienso que me ha enganado; 785 Leda j Alteza se llama. Be celebrar su belleza deben de usar varios modos los hombres •)

Sale CIARIn . lacayo gracioso, con fleltro bianco. cl ar In Esta vez todos hemes de ver a su Alteza* 790 Quedese el senor roc£n sobre su palabra un poco. ALMIRANTE (Con mi fortuna estoy loco.) LEDA iA que hab^is venido al fin, almirante?

7 7 8. S adds seals to the preceding speech, and substi tutes Alteza for Almirante here, thus destroying the sense. 780. Z: que me 789®+. Z omits this stage direction. 789°. S: speech caption is ALM., an obvious error. Z: Desta. 794. Z omits A* - 41 -

ALMIRANTE A agradecer 795 los favores que me has hecho. FILIPO (Todos adoran, sospecho, por deldad a la mujer.)

ALMIRANTE iQu£ monstruo es 4b te? LEDA Almirante, aqu£ le encontr^ viniendo 800

tras de un jabalf; y el, viendo [p. 1 1] mi br£o, cortes y amante, sin conocerme, procura hacerme con la aslstencia lisonja. ALMIRANTE Dame licencia 805 que le despeje. FILIPO (Hermosura celestial, ique envidia en m£ con este hombre que liego has causado! Que me dio veneno plenso; que as£ 810 los celos deben de ser hijos, seg\5n he le£do, del amor y del olvldo. Segunda muerte, mujer,

con tu belleza me has dado. 815

801. Z: tras un ,1abal£. y entlendo. 802. Z: que de ml atrevldo amante. - 42 - Gran bien y mal hay en ti.) ALMIRANTE iHola! iA qu£ aguardas aquf? FILIPO (Ola el hoabre me ha llamado. Olas deben de llamarse los hombres tambien.) ALMIRANTE IQue dlgo 82 Q vete! FILIPO IBueno! iQulen conmlgo te ha dicho que puede hablarse de esa manera sin dar a tu enfado mas razon?

CIARfN (El negrito es replicon. 825 Pan de perro ha de llevar.) ALMIRANTE

817* Z omits A. 8 1 8. S omits ha, an obvious error. 827-829• Zs AliilRANTE. ^No basta mandarte yo que te vayas? FELIPE . No, por cierto. AII^IRANTE. Matarete. FELIPE. Ya estoy muerto. - 42 - me sucede traigo yo

este bast<5n que me di6 un sauce que desgaje.

CIARfN IDS jarne llegar por ti! 835 FILIPO LLega, villano atrevldo.

CLARJEn Yo lo doy por recibido. ALMIRANTE IAparta! CIARfN iTranquita a mf? Soy yo postigo, por vida de su Alteza, que he de hacer 840 a la tranquita entender qui£n es Clarfn. FILIPO £1 convlda a las batallas, no mas, y segun tengo lefdo, no pelea. ALMIRANTE Estoy corrldo 845 de verte hablar. 0 te vas, o te mato sin que pueda tu brutalidaa valerte de las manos de la muerte.,, . FILIPO Hombre, por vida de Leda, 850 que si me enojas, es poco

834. Z : desgua.l£. 846. Z: ano te vas? 847. Z : 0 te .1uro» • - 44 - sagrado el aol para tl si te falta el que esta aquf. LEDA No le ofendais. ALLIRAKTE Estoy loco

de c<5lera y de furor; 855 su muerte en vano resIsto. FILIPO No haran, Leda, porque han visto que tlene el negro valor. LEDA Vete • FILIPO De esa suerte, s£; que es mi amor muy obedlente. 860 Pero escucha atentamente . . . LEDA Ya te escucho atenta, dl.

FILIPO iVes este monte, Leda, que constante, grandemente a los aIres lisonjero,

siendo atalaya del mayor lucero 865 de las estrellas, es segundo Atlante? Pues no tan firme al tiempo, no al errante curso de la fortuna ni al mar flero, como mi amor sera, que en verdadero

nl en firmeza no admite semejante. 870

857• Z : ha vlsto. 859^. S: De ese, grammatically Incorrect. 862. Z continues Fillpo's speech with antes de partlrme, giving Di as Leda's renly. 863-876. 3 indents 864-866,'868-870, 872-873, and 875- 876, all inclusive; Z makes no Indentations. 864. Z : gravemente '. - 45 - Monte con alma soy. Mira, si en ella caracter eras, Leda, &qu£ recelo puede esperar mudanza en las edades?; que esencia que los tiempos atropella blen puede, compitiendo con el cielo, 875 desaflar al cielo a eternidades. Vase FILIPO.

I£DA iPeregrlno monstruo! ALMIRANTE lExtrano! CLARfN Dame licencla que al valle ahora baje a matalle; que no quise hacerle dano, 880 tenlendote a ti delante. I£DA Sois muy valiente, Clarfn. CLARfN Y mucho, senora.

LEDA Al fib, vuestra venlda, almirante,

£fue a agradecer lo que yo 885 a Dionisio respondf? ALMIRANTE Pudo el favor tanto en mf, que nueva vida Infundlo en el alma que constante

872. S: carecter, an obvious error. 874. Z: los cielos atropella. 876+. Z uses only Vase as stage direction. 877^- Z gives lExtrano! as part of Clarfn'b speech which follows. - 46 - os rinde los pensamlentos. 890 LEDA De los encarecimientos no hagais favor, almirante. ALMIRANTE (iCielos, que es esto! £Tan presto mi dicha me desengana?)

LEDA Vamos, que la tarde Lana 895 con sombras los montes, puesto casl el sol y muerto el dfa sobre la verde esmeralda del campo, y en esa falda suena ya la monterla. 900 ALMIRANTE (Nunca mi desconfianza puedo veneer. Loco voy.) LEDA Palabra, almirante, os doy que tuvlera ml privanza aquel monstruo que se fue, 905 a no ser tan espantoso, por lo cuerdo y valeroso; que en su persona no se qul esconde el cielo, que ha puesto en la raia Incllnacion. 910 ALMIRANTE (}Ah! Mujerll condlclon, llnaje siempre dispuesto a elegir y desear

902. Z: puede. 9 1 3* 3: a desear. - 47 - lo peor.) LEDA Vamos de aqu£.

ALMIRANTE (A un tlempo dichoso fuf, 915 y desdichado.) LSDA (Buscar le he de hacer; que la mujer que mas esqulva pelea con el recato desea verse aun de un monstruo querer.) 920 CIARfN (Aunque esta vez a las ancas de otra colera ostent£ perrazo, yo os buscar£ con un diluvlo de trancas•) JORNADA SEGUNDA

Salgan por el vestuario SERGESTO, LIDONIO, TINBREO. ,v LIS 2210. salteadores, muv recatados uno a uno, y vayan subi^ndoae al monte, y diclendo: S2RGEST0 lAl monte! LIDONIO IAl monte I TINBREO Alla estamos mas seguros. LISENO Y podeaos dos diferentes caminos atalayar desde un puesto. 3ERGEST0 lArriba, Lidonio! LIDONIO IArriba, Ti[n]breoI TINBREO lArriba, Liseno! 930 LISENO lArriba, Sergesto, arribaI que parece que te han hecho cosqulllas, segun retozas,

Act designation in Z is ACTO II. 924+. Z: Salen SARC2SST0, TIM3RSR0, LIDONIO, y iLISENO, bandoleros, y suben por el monte. 926'b-925. 2 assigns speech to Lidonio. 930a. 3 ends Lidonio’s speech (929°-930a) with Timbreo, and Z with TIMBrero. 930b . 3: speech caption is TIRESKA, an obvious error. 931. Z: LISENO. lArriba (todos) arribal TIREIENA, dentro. lArre, burra! - 49 - con' la hierba. Sale F[I]LIP[0]. FILIPO Desde lejos

hombres he visto pasar 935 el monte arriba, y entlendo

que aon gente, que Iob vlve notablemente deseo qulen me haga companfa. Vanse metlendo por arriba, y al mlsmo tlempo dice TIRRENA, labradora, de adentro: TIRH2KA lArre, burraI FILIPO Gente plenao 940

que va tambien por el valle. Cp. 13 3 Encontrar tambien pretendo que comer, porque ha dos d£as que entre estos sllvestres brezos, estos lantiscos y hayas, 945 aun fruta amarga no encuentro. I Oh, humana flaqueza, al fin a las penslones del cuerpo sujeta! TIRE3HA lArre, burra! dlgo. FILIPO Gente vlene. SI el deseo 950 no se engana, me parece

934a+. S omits. 938* Z: notable deseo. 939+. Z omits stage direction. 944. Z: sllvestres vezos. 945. Z: torblscos y jaras. 947- Z has a for Oh. 948. Z: paslones. 950. Z: y si el deseo. - 50 - que es mujer. TIRRENA Desde aquf al puebro para herme companfa, senora burra, cantemcs. FILIPO Si es mujer, es lmposible . ' 955 que imite a Leda; que el cielo cifro todo el bien human o en tan divino sujeto. Canta TIRRENA dentro. TIRRENA Por el monte va la tlaa, tendldo al alre el cabello. 960 I Que bien canta, y que bien llora, mal de amorea y de celos ! FILIPO }Que dulclslma armonfa con la lengua y con los ecos

hace esta sirena humana! 965 Loco me tiene, y suspenso. TIRRENA Perdlda va por el monte de sus proplos pensamientos. Mal haya el pastor que agravia

sus hermosos o.los negros. 970

953- Z: hacerme. In S hiatus is necessary. 958+. Z omits this stage direction, but at 959 has TIRRENA canta as the speech caption. 959-962. S does not italicize here, nor at 967-97^-a * 967* S: speech caption is Canta. intended as stage direction. - 51 - Va saliendo TIRRENA. A las aoledades huye» porque plensa hallar remedlo del monte en las soledadea al mal que padece. (jAy, clelos! Mfrale.

iQue salvaje o monstruo es este, 975 tan ©spantable, tan fiero?) FILIPO No te alborotes, mujer, y vuelve al dulce instrumento de la divlna armonla de tu lengua, que me has hecho 980 notable agravlo en dejarlo; que hombre humano soy, y tengo alma tan noble que estaba del nunca escuchado acento

de tus lablos suspendldo. 985 TIRRENA (Ya no acertare, de miedo.) FILIPO iComo te llamas? TIRRENA Tlrrena, a su servlcio. (Por cierto de esta vez no vuelvo mas

970+. Z omits. 974+. S omits. 975* Z omits o, and substitutes ese for £ste. 976* Z: y tan fiero. 985. Z: 3uspendlda. 989- Z omits de. - 52 -

a ver mi burra ni el puebro. 990 Dios, Tlrrena, te perdone.) FILIPO Ven aca, mujer. TIRRENA Ya vengo. (Nunca hublera aca venido.) FILIPO Pierde el temor, que no Intento

ofenderte nl eno^arte. 995 Mas dime . . . TIRRENA Presunta presto, FILIPO iConoces a Leda? TIRRENA iA Leda? 31 es la que dlcen los versos

en cisne se convlrti6 . FILIPO iFabulas sabes? TIRRENA No creo 1000 que hay qulen las sepa mejor que las mujeres. FILIPO Sospecho que lo debes de declr, porque teneis los ingenlos

dlspuestos para mentiras. 1 0 05 TIRRENA No se como los tenemos. Lo que aS declr de m£

990. Z: al puebro. 994. S: lntento only partially visible 995* S: eno .latte, an obvious error. - 53 - es que en mi vida me acuerdo de haber hablado verdad.

FILIPO Grande falta es en tan bellos 1010 animales. TIRRENA Y sin esas tenemos otros defectos mayores. FILIPO iMas que mentir? TIRRENA dNo son mayores perdernos por quien nos deja, olvidaaas 1015 de quien nos quiere, y sin seso a cada paso mudarnos, hacer elecci<5n de aquello que es peor, ser confiadas, soberbias, y con extremo 1020 vengativas? FILIPO Ves, mujer, todas las faltas que has puesto [p. 14] en tu natural; pues mal haya yo si no me muero

por vosotras, y si hay cosa 1025 que debajo de los cielos Dios tan bella haya formado a mis ojos.

1015. Z: olvidar. 1016. S: sin eso; Z: a quien. » 54 • TIRRENA Yo lo creo; que todo eBto te decfa por ver si aborrecIralento 1030 te obllgaba de nosotras, y me dejabas. . FILIPO No pienso ofenderte, por mujer; que es general prlvllegio

en ra£, y despu^s porque adoro 1035 a Leda que fue el primero dueno de ml libertad, y le guardo este respeto.

1029. Z: eso. 1031. Z: obligara a . 1 0 3 2a. Z de .laras . 1041. Z: ese otro. 1042a . Z esta. - 55 - no se, pero s4 de mi. que slento dentro del pecho un corazon generoso. T IRRSI'A No he vlsto en cuerpo tan negro 1050 alma tan blanca Jamas. FILIPO G-uardete, mujer, el cielo. TIRREKA Yo voy por el pan. FILIPO Canina.

TIHRSIIA I Jo, burra1 Vase TIRRENA FILIPO iQue hasta los mesmos

animales obedezcan 1055 a la mujer? Mas si el cielo con divlna providencia los puso al hombre sujetos, y a la mujer reconoce el hombre amoroso lmperio, 1060 icuanta mas razon tendran de obedecerlas, prlmero que al hombre? Sale TIRRENA. TIRHS2IA Ves aqu£ el pan. FILIPO Paguete el cielo el sustento que en esta ocasion me das 1065

1 0 5 3. Z omits this verse, 1054s . Z uses only Vase as stage direction. 1054'°. Z : los mismoa. 1059. Z: ya la. 1062. S: obecellas, an obvious error; Z: obedecella. - 56 - pladosa, que en o*tr»o tieapo

puede sar* que "te lo pague tambien yo, mujer.

TIRRENA No nuloro mas paga que la llcencla de dejarme Ir*. FILIPO Yo no puedo d e t e n e r t e •

TIRRETiTA Dios "te guarde- FILIPO Ve-be con Dios •

TIRRENA Sobre el vlentc liemos de lr» la burra y yo. FILIPO 31 a Leda acaso, a quien tenge rendlda el alma, encontrares, dlle, Tlrrena, que quedo muerto por* ella, y que cumpla la palabra de que en estos montes un dlchoso d£a me vuelva a ver, porque en ellos vuelva a adorar los dos soles que en Leda se me pusleron; y dlle que un negro, bianco de los nayos de sus clelos,

1070b. Z : No qulero. 1078. Z omits de. 1081. Ss vuelva a dorar. an obvious printing erro? - 57 -

de haberla visto esta loco, IO85

y dlle . . .

TIRREKA Yo te prometo

de declrla mucho mas,

como me entretengas menos.

FILIPO Vete, Tirrena, en buen hora.

TIRREKA Ya me voy (y no lo creo). Vase, 1090

FILIPO Gracias te doy, hacedor

de tantos orbes lnmensos,

culdadoso mayordomo

del gusano mas pequeno

de la tlerra, a quien estan 1095

haclendo cuatro elementos

— estrellas, clelos, sol, luna —

por rey homenaje eterno,

de verme en estos desnudos

montes de pledad, y yermos 1100

de socorro allmentado

sin llegar a merecerlo.

Ba.la rodando de un monte CIAR-llT. me- [p. 1 5 ] tldo en un costal, basta el tablado.

Pero, iqu£ es esto que alro?

IO8 5 * Z: haberlo. 1089• Z: en buena bora, 1090 . Ss stage direction appears on a line below 1090, 1092. 3: lumenso, a syntactical error; Z: lmmenaos- 1097. Zs Cielo. 1102+. Z omits stage direction bere, but at 1105+ has CIARlN, en un saco, rodando de arriba. De la cumbre d© ©at© cerro

rodando ha bajado un bulto 1105

sin pies nl cabeza. Entiendo

qu© es algun nuevo animal

qu© no he visto. Llegar quiero

a ver lo que es. Cosa ©s viva.

Algo esta encerrado dentro 1110

de este sayal. A romperl©

estos lazos m© resuelvo.

Romp© los cordeles, y saiga del costal ClARiN muy dereoho.

iValgame el cielo!

CIARlN Y a mi;

pues del perejil huyendo

en la frente me ha nacido. 1115

FILIPO iNo eres tu un hombre . , •

ClARiN Esto es hecho.

FILIPO . . . que te has de llamar Clar£n?

.. . 0 CLARjCn Ya soy sacabuche.

FILIPO Advierte

que no me mientasj que soy

un hombre que con extremo 1120

1111. •! aropelle. 1112. estos cabos. 1112+• Z omits stage direction here, but at 1113a has desatale, v saca la cabeza. 1116j. Z omits un. Ill8b , Z : Advierto. - 59 -

sentir£ que una mentlra

me digan.

CIARfN Lindo sujeto

para servir en la corte.

FILIPO Pues, £hay en el mundo dueno

que lo merezca aer mfo, 1125

al no es Dios? t CIARfN A Sae me atengo;

que ha dejado a sue crlados,

vinculado el Padre nuestro

para el pan de cada dfa.

FILIPO Dime, ique nuevo auceso 1130

de eBta suerte te ha trafdo

a mis manos?

CIARfN No haber muerto

en ellas ayer, y hacerme,

despues de dejarme en cueros,

la fortuna esta lisonja* 1135

FILIPO Aunque parezco tan fiero,

nunca en los rendidos hombres

de las ofensas me vengo.

Yo te perdono.

CIARfN. Los pies

ochenta veces te beso* 1140

1153. Z: ayer en ellaa. FILIPO No soy amigo tampoco

de ceremoniaB del suelo.

Levanta, y dime la causa

de esta aventura.

CLAR£n Esta atento.

' Cuando ayer tarde partimos 114 5

de las faldas de los mesmos

montes donde no3 dejaste,

a la corte fu£ siguiendo

del almirante el caballo,

como de costumbre tengo, 1150

un poco a pie y otro poco,

como dlcen los plebeyos,

a la sombra del roc£n,

hi Jo bastardo del viento,

en una cometa habido. 1155

Y como soy, en efecto,

hombre, canseme, y no pude

seguir el portante. A[l] tiempo

que de la noche las sombras

sobre la tierra viniendo 1160

poco a poco, le brindaron

1151* 3 and Z: aple. an obvious printing error. 1155* Z omits this one verse. 1156-57* Z omits two verses, substituting a single ones como b o t hombre no nude. 1159* Z: aue de las sombras la noehe. - 61 -

al cansancio con el sueSo,

no qulse hacer la raz<5n

— o fuese valor o mledo.

Oamlnando poco a poco, 1 1 6 5

de dormido de evangelio,

mas de dos leguas sonS;

y entre dormido y desplerto,

perdlendo el camino, d £

en las manos, sin quererlo, 1170

de unos salteadores que andan

en estos montes haciendo

raros insultos• Entonces

— ya podras ver de mis miedos

si quislera haber nacldo — 1175

porque, poniendome al pecho

las espadas, me obllgaron

a que, si lie vara un relno

dentro de las faltrlqueras,

se le diera luego, a trueco 1180

de no venae en tal conflicto.

Al fin, no hallando provecho

en m£, me dieron muy llndos [p. 163

1179* Z: faldrlqueraa. 1180. Z: se les diera. 1181-82. Z omits, but substitutes: Al fin, no hallando panancia. / utilldad, nl -provecho. - 62 -

palos y punetes secos,

que fu6 apacible agasajo 1185

para un hulsped sonoliento.

Y quitandome lo mas

del vestido, en ese lnflerno

o costal, como a hombre inutll,

esta manana que el clelo 1190

se apiad<5 de mis desdichaa,

con tan notable suceso

como lo has visto, me echaron

a rodar por esos cerros,

y pensando que camlno 1195

del abismo lba derecho,

d£ en tus pies. iSsta es ml historia,

y mis chichones son £stos.

FILIPP iDe esa condici<5n hay hombres?

Pues, iqul animal hay tan fiero 1200

que ofenda su semejante?

§ CLARIS No son semejantes ellos

a los demas.

FILIPP I Vive Dios,

1186. Z : sonolento. 1189- Z s a costal como hombre lnutll. 1192. Z : con tan notable su.jeto. 1193. Z : como has vlsto. me arrojaron. 1196. Z : drecho. 1197. Z omits e s . 1201. Z : a su seme.lante. que si en el monte los veo,

que los he de hacer pedazos1 1205

CIARiN Son muchos.

FILIPO idu£ importa serlo,

si tengo yo coraz6n

por todos Juntos? t CIARfN Yo tengo

mledo por el mundo todo.

FILIPO Ven aca, dime . . .

CIARfN Dlrllo, 1210

como yo lo sepa.

FILIPO Aquel

monstruo de beldad soberblo,

aquel cristal anlmado,

aquel Imposlble bello,

aquel celestial arpon 1215

contra los humanos pechos,

que Leda y Alteza llaman

por la alteza en que ve puesto

el mundo mllagro tanto

de h e r m o B u r a y raro lngenlo, 1220

iqul^n es? 9 CIARfN iQulen es? idul donalre!

1206a . Z : Son muchachos. 1208-14. S: t o m margin makes the first few letters of each verse illegible. 1215- Z: aquel celestial anrparo. - 64 -

La prlncesa, por lo menos,

de Albania; heredera suya,

y Jurada por el reino.

FILIPO 4N0 mas?

CIARfN <&Es poco?

FILIPO No es mucho, 1225

para sus merecimientos,

ser reina de muchos mundos,

que fueran relnos pequenos*

CIARfN El almirante imagino

que aspira a su casamlento, 1230

aunque es su vasallo.

FILIPO 4Como,

viviendo yo? t CIARfN iLlndo es eso

para el almiranteI

FILIPO Leda

no ha de tener otro dueSo,

si no soy yo, aunque revuelva 1235

dos mundos*

CIARfN Asf lo entlendo.

FILIPO Tu, quiero que me acompanes

en estos montes; que quiero,

1225c - S : No es -poco. which destroys the sense, 1235. Z: resuelya. - 65 -

como sociable animal,

la companfa hasta el tiempo 1240

que se sazone la empresa

de la dicha que deseo.

CIARfN Aqul eatoy para servirte.

FILIPO iDinero?

iQue es dinero?

» CIARfN La mejor 1245

cosa que en el mundo ha hecho

la Indus trla para la vida.

FILIPO iMejor que mujer?

CIARfN El suelo

no tieue cosa mejor.

FILIPO Si excede al milasro bello 1250

de la utujer, grande cosa

debe de sar.

CIARfN Con extremo;

lo excede todo.

FILIPO Clarfn,

dime donde le veremos

para venerarle y darle 1255

alabanzas •

1239- 3 and Z: come animal sociable, one syllable short. 1246-12488-. Z: cosa que la Industrla ha hecho / para la vldal PSLIPE. ^Me .lor / que muter? 1253°* Z omits this partial verse. - 66 -

ClARlN Aqul plenao

que en un retrete escondido,

sagrado por lo encubierto

a los senores ladrones,

he de tener uno de estos 1260

animales; que le guardo con venerado silencio

para una necesidad, y en pago de que me has hecho

merced de darme la vida, 1265 en la ocasion te le enseno.

Saoa un real de a ocho de un falso- [p. 173 peto escondido.

FILIPO iEn tan poco lugar cabe

cosa tan grande? i CIARfN Eso creo que tiene tambien de Dios; que es dlos del mundo el dinero. 1270

FILIPO Eo hay otro Dios, si no es Dios.

CIARfN iSste es. Sacale•

FILIPO Ya le miro atento, y me parece la cosa mas baja que he visto.

1260. Z: de esos. 1262. Z: en venerado silencio. 1266+. Z omits stage direction. 1267- Z: En taaapoco lugar cabe. 1271. Z omits es. 1272a . S omits stage direction. CIARfN. E n eso

se echa de ver que no sabea 1 2 7 5 lo que vale este misterio

de la polftica humana, en qulen todo cuanto vemos

se cifra.

FILIPO iDe que manera?

CIARfN 32ste es honra, S a te es aliento 1280

primero, este es hermosura, este es amigo, este es deudo,

£ste es sangre, £ste es senor,

este es valor, este ingenio,

este es mujer, 1st© amor, 1285 este es donaire, este es verso,

este es musica, este es talle, este es vesti&o, este es cuello,

este es media, S a te es zapato,

este es pan, eB agua, y luego 1290 es vino, es pastel, es olla, este es rabano, este es queso, este es todo el mundo junto,

y sin el el aundo es menos

que cualquiera de estas cosas 1 2 9 5

1277. Zs oulitlca. 128lb . Z omits es, as again in 1 284* and 1285a* - 68 -

qu© h© dicho.

FILIPO Yo lo confieso,

si todos son como tu.

jVive Dios! qu© este embeleco

has d© ver como 1© estimo

desvaneciendole al viento. 1300

Arro.la ©1 real de a ocho.

Los hombres,

Idolos de plata hechos?

iPor qu£ en un metal precioso

adoran cuando los cielos

y la tierra les estan 1305

dando lecclones y haciendo

maestros de la verdad

de que hay un autor eterao

a qulen se le debe solo

adoracion y respeto? 1310 r ]2l vive, que lo demas

es de animos Tiles.

TIRRSHA, muv le.los de adentro.

TIRRENA ICielos,

1296a . \i edlcho. probably a printing error. 1299. Z ; que has de ver. 1300+. :i omits stage direction. 1303. 3 es un metal, which destroys the sense. 1304. S que adorar. which destroys the sense. 1312a+. S: stage direction appears on a line below Cielos. Z omits stage direction, but speech caption at 1312*3 is Dentro TIRRENA. - 69 -

socorroI

FILIPO Voces parecen,

si no me enganan los ecos,

de mujer.

TIRRENA ICielos, valedme! 1315

FILIPO Algun agravio le han hecho.

Sfgueme, Clarfn, y toma

otro bast<5n de estos fresnos;

que he de acudirla.

CIARfN (Yo he dado

en lindas manos, por cierto.) 1320

FILIPO Pasa adelante, Clarfn.

Servirasme en los encuentros

para acometer, tambi&i

de clarfn.

CIARfN (Con lindo almuerzo

se encontr<5 el ayuno mfo.) 1325

FILIPO Vamos. No perdamos tiempo;

que es mujer al fin.

CIARfN (Yo voy

medrando como merezco.) Vanse.

1313-1315a» S omits two partial verses and one complete verse• 1315°* Z: r Cielos, s ocorro1 1318. Z: de esos. 1319*• Z: aeudlrle. 1320. 3: oorelerto, an obvious printing error. 1325* Z: se encontv6 el a f . 1328. Z: medrado. aalen los SALTEAD0RE3, y SERGESTO metiendo do la mano a TIRRENA*

3ERGE3T0 No tlenes quo replicar

ni pedir socorro al clelo; 1330

qu© esta muy lejos del suolo,

y no to puede escuchar.

TIRRENA No importa* qu© hasta la tierra

llegan de Dios los ofdos*

SERGESTO Sontlmlontos son perdidos. 1335

En ©sta cueva qu© enclerra

nuestros lechos has d© entrar

conmlgo•

TIRRENA Pedazos hecha

prlmero.

SERGESTO Ni t© aprovecha

resistlr ni porfiar. 1340

Esto ha d© sor*

TIRRENA iNo ha d© ser,

con la vlda!

TINEREO Para ayuda

de tus desdichas sin duda

buscas la muert©, mujer*

Acaba, que el capitan 1345

t© quier© honrar*

1328+. Z: Sale TIRRENA, y los cuatro BANDOLEROS, TIRRENA Sin honor

tan infame estoy mejor. I . 183

SERGESTO £No soy yo para galan

tuyo mejor que un villano

que te han de dar por marido? 1350

Acaba.

TIRRENA ISocorro pido

al clelo!

SERGESTO Qu^jaste en vano.

TIRRENA .Por eso no he de dejar

a los cielos de pedir

socorro.

SERtSSTO 0 has de morlr, 1355

o te tengo de gozar.

Salen FILIPO y CIARlN con bastones*

FILIPO IQue digo dejad, vlllanos,

de ofender esta mujerl <

SERGESTO Monstruo fiero al parecer,

ipara tantos tienes manos? 1360

FILIPO No; basta razon.

SERGESTO Aquf

la razon no ha de bastar

sola.

1354. Z: pidir. 1356+* Z: FELIPE y CIARlN. con bastonea 1360. Z: uara todos. - 72 -

FILIPO Yo no vengo a hablar.

TINBREO Pues vuelve, monstruo, por tl.

FILIPO Y por Tlrrena, ladrones. 1365 CIARfN Lad.r0na2.0s, no hay que hablarme, que esta vez he de vengarme del costal y los chlchones. Metenlos a palos adentro.

TIRRENA El cielo ha vuelto por m£;

que mis Justas anslaB vio. 1370 Con brevedad me pago > el negro el pan que le d£.

Alla va ml burra a dar por esos trlgos de Dios.

Mas que hasta el puebro los dos 1375 no nos hemos de 3 untar, craro esta. Trote ha tornado de no parar en un mes, nl una semana despuls, que el mledo mosca le ha dado, 1380 plcandole por detras. Tras de la burra me voy. Pues llbre vlendome estoy de este pellgro, no mas,

1364. Z: speech caption Is S A R G 5 S T 0 . 1368+. Z omits stage direction. 1377. Z: claro. 1379. Z: dempu^s. Tlrrena, sin compaffla 1385 pasar el monte otra vez;

que ha andado la doncellez

cerca de la duenerfa. Vase, Salen por una puerta retlrandose loa SALTEADORES de FILIPO y CLARFN.

SERGESTO Deten, hombre prodlgioso,

el fuerte brazo vlolento, 1390 al te basta el rendimiento

para volver victorioso;

que en el herolco valor

de la Industrla o del poder,

poder sin sangre veneer 1395 es la victoria mayor.

CIARSl Ladronazos, no ha lugar. 31gan la prueba hasta el fin; que le faltan a Clarln

sels chlchones que vengar. 1400 FILIPO Detente, que estan rendidos,

y rendldoe corazones

no ofendo yo. CLARjfe Y mis chlchones

y mis palos reclbldos,

1388+. Z: Vanse huvendo los BAND0L5R03. v EELIPE y CIARfN tras ellos. 1394. Zs y del coder; 1398. Z: Slgan y a prueba ■ - 7 4 -

los punetes y costal, 1405 ihanse de quedar asf?

FILIPO Clarfn, responde que sf

la clemencia natural.

£ste de la sangre mfa

es generoso Interns, 1410 porque en los rendidos es

la venganza cobardfa.

Alzaos del suelo.

CIARfN (Que luego hube de encontrar con qulen

sepa discurrlr, tambi£n 1415 estando de furor clego; Ique se haya el agravlo mfo

quedado a oscurasl)

TINBREO No has dado, en habernos perdonado,

menos de tu herolco brfo 1420 muestras que de tu valor

en rendimos.

SERGESTO D1 qulln eres, y si de todos ser quieres capitan, pues este honor

1405. Z: y el costal. 1406. Z: ansf. 1417. Z omits se. 1418a. 3 : ascuras. - 75 - a tu pecho es tan debido, 1425 yo, que de todos lo soy, este tftulo te doy

desde luego. [p. 193

FILIPO Yo he nacido, aunque de orlgen confuso,

de pensamientos tan altos 1430 que aunque de fortune faltos,

tanta en ellos de honor puso el clelo herolca ambicl6n, que el tftulo he de aceptar,

porque me inclina a mandar 1435 ml bizarro corazon.

Pero advlertoos que ha de ser el aceptar, sin dejaros, el oflcio de mandaros,

sabl^ndome obedecer. 1440 LXDONIO No hay quien de tu voluntad en la obediencia se atreva pasar un atomo.

FILIPO En prueba, amigos,de esa verdad,

1427* 3 omits one verse. 1432. Z • tanto# 1441-1444. Z: rQue valor, aul gravedadl / Justo ea que asf se le deba, / nuestro bu e n suleto en •prueba. / amigos, de su verdad. - 7 6 -

no quiero que me Hamels 1 4 4 5 capitan. Por Rey Juradme

de estoa campos, y llamadme Hey; que en ml valor verbis

que este tftulo raerezco,

y que asienta en ml valor 1450 el de rey mucho mejor

que otro alguno. Aunque parezco,

por las muestras naturales del negro color del rostro,

flero y pro&lgloso monatruo, 1455 vlrtudes vencen senalea.

Con menos partes, con menos

valor, Tamorlan se hizo

rey del Asia, y satlsflzo

a penaamientoB tan llenos 1460

de generosa amblcl<5n,

slendo primero un ganan. LEDONIO El vasallaje te dan

los campos que a tus pies son

relnos de esmeralda ya. 1465 SERGESTO Y nosotros te juramos por nuestro rey, y besamos

1455* S* nrodloao. an obvious printing error* 1456. Neither S nor Z italicizes. 1465- Z: Ya el vaaalla.le* 1465* Z: esmeraldas. - 7 7 - la mano.

CIARfN (De veras va.

I Vive Dios, que 9e ha dejado

besar la mano! Esto es hecho. 1470 tfl es rey hecho y derecho.

IQu £ grave, que mesurado!

La ceremonla de rey

acepta de estos ladrones.)

Justicla de mis chlchones 1475 pldo, pues es justa ley

ya que a vuestra Majestad en este puesto le veo.

FILIPO Clarfn, hacerte deseo merced.

CIARfN (I Linda vanidad 1480 al negro se le ha metldo en los cascosl)

FILIPO Ya desde hoy, amigos, vereis quien soy, y en mi valor no vencido

verlis que merezco ser 1 4 8 5 rey de vosotros. No mas,

l468b . i i; Deveras. an obvious printing error. 1471. Z drecho. 1477- Z omits a. 1478. Z en este punto le veo. 1481. Z alegre se le ha metldo. - 7 8 -

que basta.

CIARfN Sonando estas.

FILIPO Todo ©1 humano poder,

Clarfn, 63 sueno.

CIARfN Blen dices,

mas ya que el cielo de un salto 1490

te ha puesto en puesto tan alto,

raz6n es que solemnlces

con mercedes y favores

la fortuna que has tenido.

FILIPO Clarfn, no os echo en olvido. 1495

CIARfN (iEncaJ<5me el vos?)

FILIPO Mayores

mercedes os pienso hacer

que a todos.

CIARfN Soy tu criado.

FILIPO Seras, Clarfn, mi privado.

CIARfN No lo puedo agradecer 1500

menos que con ofrecerte

sangre y vida.

FILIPO Guardeos Dios*

1488. Z indicates this verse as a continuation of Clarfn's speech (1487 )• l489a . Z assigns this partial verse to Filipo. 1490* Z omits va que. 1498 -1499- Z : CIARfN. Ser tu -privado / qulslera. Soy tu erfado. 1500. Z: No le puedo. 1501. Z: menos que con ofrecer. - 79 -

CIARfN ((Aquf para entre los dos,

si no pensara ofenderte,

te quisiera preguntar 1505

d&ide cosen los criados

de los reyes de los prados,

porque estoy para expirar

de hanbre; que si es, a dlcha, [p. 20]

su hierba la de Clarfn, 1510

eeri, privanza roofn.

FILIPO Clarfn, no bay temer desdlcha

conmigo.

CLARfN Clsar lo dijo

a Amlclas pasando el mar,

mas fue despu£s de cenar. 1515

FILIPO Yo soy mas, porque soy 111 jo

de ml valor solamente,

y rey ya para que pueda

merecer por dueno a Leda.))

TINEREO Grande numero de gente 1520

ocupa la verde falda

de este monte.

FILIPO Capltan,

vasallos mfos seran

1518. 3: v pues v a . which, destroys tbe sense# 1521# Z: ocupan. 1523* Zs soldados vuestros seran. — 80 —

que da la robusta espalda

de ese bosque, en que primero 1525

rudos troncos se han crlado,

humanos se han transforaado,

al parecer, y en llgero

escuadr6n suben a darme

el vasallaje a mis pies 1530

porque saben que despu^s

con Leda han de eternizarme;

que, como a los campos, tantas

glorias Leda les ofrece

que les infun.de, parece, 1535

vidas y almas en las plantas.

SERGESTO Mas cerca llegan, y son

armada gente que viene

contra nosotros.

FILIPO No tiene,

en mfs copioso escuadron, 1540

para comenzar mi brazo.

CIARfN Aquf hemos de perecer.

(Yo me metf sin querer

en bien gentil embarazo,

1525* Z: de este monte. 152?. Zs y humano ser han tornado. 1528* S: almrecer. an obvious printing error; Z: y el llgero» 1536. Z: a las plantas* 1544-. Z: en muy gentil embarazo. que notables hay algunas. 15^5 desdichas. Y 6sta no ha sldo la menor, pues he venido

hoy a morlr en ayunas.)

TINBREO Cuando el enemlgo viene

con mas poder es raz£n 1550 fortlflcarse; que son

estratagemas que tiene

la guerra.

FILIPO iY no es eso hulr?

SERGESTO No, sino esperar mejor.

FILIPO SI en eso corre el honor 1555 tan poco rlesgo, subir

podremos lo mas fragoso

del monte,

SERGESTO Es raz&i de estado, porque en el atrincherado

puedes del mas poderoso 1560 enemlgo defenderte

con pledras, no mas.

FILIPO Subamos,

1556. Zs con poco. 1557j> Z: podemos. 1558?* S i speech caption is CAPITiCN. 1558^1562&. Z substitutes: LIP ON 10. En bus altos riseos, / entre robles y lentlscoa. / el defender es forzoso / las vldas de aauesta suerte. /sin mas prevencion. - 82 -

y las vidas defendamos

contra ©1 poder d© la muerte.

Pasa adelante, que yo 1 5 6 5

h© de quodarme ©1 postrero;

qu© soy vuestro rey, y qulero

de las vidas que me dl6

a cargo el cielo dar cuenta

de esta suerte.

LIDONIO (( lQu£ valor I 1570

CLARlN Estuvi^rale mejor

el tomarla en una venta.))

Van sublendo a la cumbre del monte.

(Ail, Clarfn, siendo tal vez

el mlsmo gestas allf,

que aquf ladron jabalf, 1575

si he de morir por la nuez,

protesto a Dios que lo soy

forzado.)

FILIPO Arriba, soldados

valerosos; que alentados

con la fortuna que os doy, 158Q'

no hay que temer el poder

de dos mundos Juntamente.

1564. Z: poder v la muerte. 1570b . Z : Gran valor, 1572+. Z omits stage direction. 1574. Z: que estas. Vayan saliendo ahora ARTSNIO, RICARDO, TEBANPRO. el REY, y TIRRENA.

LISANDRO Allf se descubre gente.

TIRRENA Elios, seHor, han de ser

— que del monstruo que buscais 1585

huyendo cuando lleg6

a ampararme, plenao yo —

que las cumbres que mirais

de este monte van buscando

por sagrado, [p. 21]

LISANDRO Quiera el cielo 1590

librar de mortal recelo

vlda que estan deseando

mis ansias, y tantas vidas

como ya la han menester.

TIRRENA No hay del negro que teraer, 1595

si del valor no te olvldas

que tiene; porque se da

llnda mana en la ocasIon

que se le ofrece un baston.

1582+. Z omits this stage direction, but at 1583+ has Suben todos, REY. y GRANDER, y TIRRENA, and at l£o4+: El BEX, TEBANO [slc.3, y ARTBNIO, RICARDO. y gente. 1588. Z: lumbres. 1590a . Z omits this partial verse. 1594. S: lo han. a syntactical error. 1595* Z substitutes monstruo for negro. 1597* Z: porque de Leda. 1599. S: a un bastn. - 84 -

Me remito con que va 1600

hendo, sin que le alborote

nlngun temor, maravillas;

dlganlo algunas costillas

que a estas horas son gigcte.

LISANDRO Blen hlclmos en dejar 1605

los coches y las llteras;

que estas asperas laderas

no se han de poder pasar,

si no es a pie#

ARTENIO Desde aquf

podremos saber si acaso 1610

en este fragoso paso

esta Filipo.

RICARDO Y a i£

me parece que es mejor

con un lienzo levantar

bandera de paz y hablar, 1615 asegurando el temor

de esta gente, desde aqu£,

como cobarde, coel el.

1601. S: aborote. an obvious printing error; Z substi tutes slendo for hendo. 1604. Z: esta hora. I609f. 3: aple, an obvious printing error. 1609°-1620. Z omits eleven and a half verses, substituting: AR33SNI0. Gran senor. / hagamos desde aquf seSas. 1610. 3: a caso, an obvious printing error. Sabremos si saben &e £l

o esta con ellos, as£. 1620

LI3ANDR0 Bien dice, Artenio. Levanta

un llenzo, Ricardo, y llega

pidiendo platica.

TIRRENA No hay

como mi burra bandera;

porque ©n vi&idola asomar, 1625 vinleron desde una legua

a embestlrme. Dlcen d© arrlba. SERGESTO El ©nemigo

ha hecho senal d© treguas

con una bandera blanca.

FILIPP Dejadme que con la negra 1630 d© ml color les responda.

RICARDO Hombres hay a las almenas d© ©sos penascos qu© son

muros de su fortaleza.

LISANDRO Llama, Ricardo. l623a - Z adds stage direction: Levanta un llenzo. I627a . Z: envestlrme; omits stage direction. 1631. Z: 1©. 1632-1642. Z omits eleven verses, but substitutes: RICARDO. I AH. de arribal / FELIPE. iAh, de aba.lo! RICARDO^ En es te monte / y en su Intrincada as-pereza, / acaso habeis encontrado / con un mancebo que arenas / tendra velnte anos. y el noinbre / es Flllpo. - 8 6 -

RICARDO I Ah, d© arrlba! 1635 FILIPO I Ah, de aba Jo!

RICARDO El rey des©a

saber si esta con vosotros,

con generosa promesa

de las vidas, un mancebo

bizarro, que por las senas 1640

es etfope, y se llama

Filipo.

FILIPO Con esa mesma

persona, si atento miras,

estas hablando. iQue intenta

el rey viniendo en mi busca? 1645

Si es quererme hacer guerra,

cont^ntese con ser rey

de los poblados, y tenga

por bien que yo de los campos

y de los montes lo sea; 1650

que no esta en el testamento

de Adan clausula que pueda

llamarle por heredero

mas que a m£, pues las herencias

vinieron por tiran£as 1 6 5 5

l642b . Z con la mlarna. 1646. Z: auerer hacerme. 1652. Zs clausura. 1655. Z: tlranla* primero.

LISANDRO (( Ricardo, deja

que llegue a hablarle; que, pueato

que la espantosa presencia

puede admirarme, la sangre

que en S i con tanta excelencia 1660 esta dlciendo que es mfa

con la que tengo en las venas

parece que so procura

Juntar.)) | Filipo, que esperas I

I Baja, baja; que te aguardo 1665 con las entranas abiertasI

TEBANDRO IFilipo, baja!

FILIPO Tebandro,

saben los cielos que alegras

con tu presencia mis ojos. Perdoname el ofenderla 1670 con dejarla, que los hombres verse en libertad desean.

iQui^n es ese venerable • 2 2 ] anciano que represents

tanto valor y me ha hablado 1675 con tan notable terneza?

1656s • Z omits this partial verse* 1657* 3 omits a. 1666* 3: extranas. an obvious printing error. TEBANDRO Filipo, tu ralsmo padre.

FILIPO INo me enganaa1

TEBANDRO £No lo muestran

las razones, si la sangre

que tienes no lo conflesa? 1680 FILIPO 3i, ha hecho, Tebandro. Alla bajar con alas quisiera

a aus pies.

Ba.la FILIPO solo, y CLARlN.

LISANDRO Ya estan mis brazos, Filipo, para que tengas

en ellos el centro tuyo, 1685 y yo, el olmo de esta hiedra. CLARfN (Alla va tambi6n Clar£n,

que esta creyendo que suena.)

FILIPO I Oh, padre amadol Perdona, Tebandro, que amor me lleva 1690 natural al que me ha dado el ser que tengo, primera

obllgaeldn de mi vida.

1677* Z: mesmo. 1679. Z: y la sangre. 1681-1683. Z omits alia in 1681, and transposes 1682 and l683a thus: a bus pies/ alia ba.lar con alas quisiera. I683a . 3 has stage direction on same line with this partial verse; Z omits stage direction here, but at 1686 adds Ba.lan. 1688. Z adds Sale FSLIPO as stage direction. - 89 -

I Gracias al cielo que llega

d£a en que conozco a qulen 1695

por ley de naturaleza

debo todo el ser humanol

LISANDRO No puedo hablar, de terneza.

TEBANDRO ((Ambos lloran.

RICARDO Tierno paso.

ARTENIO ]Qu £ valor Filipo muestra, 1700

que ingenlo, que bizarr£a,

que altivez!))

FILIPO Dame llcencla

para preguntarte, padre,

qul causa pudo secreta,

slendo til qulen me engendraste, 1705

poner tanta diferencla

en los dos, pues cuanto nace,

como la tIslea ensena

y Tebandro me ha lefdo,

a su seme3ante engendra. 1710

LISANDRO Natural cosa, Filipo:

despu£s sabras la extraneza

de tu parto prodigioso.

1699^-1702a. Z omits two complete and two partial verses, but substitutes: RICARDO, I Q u £ nledadl ARTSSIO. I Que valor 1 1701. S: blzaria. a •printing: error. 1707* Z: cuantos nacen. Y ahora van a la herencla

con que te convlda Albania, 1715

que eres su principe.

FILIPO Espera.

Luego, £su rey eres tu?

LISANDRO Filipo, si; y que quisiera

serlo del mundo, por darte

el mundo.

TIRRENA (I Con quS grandeza 1720

espetado se ha quedado!)

LISANDRO Liegad, albaneses, ea,

a besar la herolca mano

de vuestro principe.

ARTSNIO Y llega

Lleaan todos a besarle la mano.

Albania, con el valor 1725

que aguarda de vuestra Alteza,

a ser feliz.

FILIPO Dios os guarde.

1719. Z: ser del mundo. 1721. Z: esrantado. 1724^-1737* Z omits one partial verse and thirteen complete ones, but substitutes: RICARDO. Tenaa / el imperlo. y la corona / fellces sialos. tu Alteza. / FELIPO. Dios os auarde. RICARDO" 1 Hay tal valor! Later, at 1753+, Z gives the following version of 1734— 1737: CLARtN. Y a mi. queen los cacrpos era / vuestro prlvado. /.que harSls? / — dlao — laxd hara vuestra Alteza? / FELIPO. Muchas mercedes, Clariiu - 91 -

RICARDO (lQu£ majestad!)

TEBANDRO Hoy ensenas

ml opinion acredltada

con tan raras excelenclas. 1730

FILIPO Yo me acordar^ de vos,

Tebandro.

TIRRENA El pan de Tlrrena

no se os olvide.

FILIPO No hara.

CLfcRfN Y del que en los campos era

vuestro privado, iqul har£is? 1735

— dlgo — £qu£ hara vuestra Alteza?

FILIPO Muchas mercedes, Clarfn.

LISANDRO Vamos, para que te vea,

Filipo, tu hermana, y toda

la corte que alegre espera 1740

tu persona, apercibiendo

a tu Juramento fiesta,

y lo mismo el reino todo,

que te aclama.

FILIPO La primera

merced que has de hacer por m£, 1 7 4 5

senor, suplico que sea

dar un perdon general

1731* S: devos, an obvious printing error. 1742. Z: fiestas. - 92 -

de los delitos y ofensas

que en estos montes han hecho

£stos de qulen fu£ cabeza, 1750

pues fueron los que primero

en Albania dleron muestras

de que era heredero tuyo.

LISANDRO Efecto tu gusto tenga

cuanto quisieres, Filipo. [p. 233 1755 Desde hoy haz cuenta que heredas

a Albania.

FILIPO El clelo te guarde.

Sale un CRIADO.

CRIADO Con el aimlrante llega

su Altezaj que en busca tuya,

y de tanta dicha cierta, 1760

hoy de la corte ha salido con las venturosas nuevas de que el prlncipe esta aqul;

que ya con ella se apean

las damas y el almirante. 1765

Salen el AL&QRANTE. LEDA, y SENTE.

LISANDRO Filipo, tu hermana es £sta.

1750. Z: soy cabeza. 1757+- Zi Sale ALBERTO. 1758. Z: speech caption Is ALBERTO. 1762-1765+* Z omits four verses and the stage direction. 1766. Z omits es. - 93 - Sal a recibirla.

FILIPO Eatoy

obligado a la fineza

de ml hermana. (Pero, jcielosl

iNo es esta que veo Leda? 1 7 7 0 iEs engaSo del deseo,

o es de ml amor apariencia?) Senor, • . •

LISANDRO 4 Qu£ dices? FILIPO iQul&i es ml hermana?

LISANDRO La que en belleza

a todas hace ventaja 1775 como el sol a las estrelias, la que trae el almirante de la mano*

FILIPO i£lsa no es Leda?

LISANDRO Leda, tu hermana*

FILIPO iMI hermana? LISANDRO Leda, tu hermana. £En qu£ piensas? 1780 FILIPO (iClelos, desdlchado he sido!

4 Como en tanta gloria pena hab£is mezclado tan grande,

1767a * Z: sale a recibirla* 1770- Z substitutes mlro for veo. 1778b . Z: gsta. 1780* Z omits one verse. ■ * 94

en tanto bien tantas quejas?

Con gran pension me hab^ls hecho 1785

prfncipe de Albania. lOh, fuerza

de ml desdlcha, que mas

tu pesar que ml amor pueda!

Loco estoy.)

LEDA (Notablemente

le ha puesto el alma suspensa 1790

sin duda el haber sabido

que su hermana soy.)

FILIPO (I[Que] fueras

hija, Leda, de la aurora,

pues eres sol de la tlerra

y hermana de aquella dlosa 1795

que con tres rostros la ensena

el clelo, y no hermana mfa!

I Ph., Albania, lo que me cuestasl)

LISANDRO (( iQu! te suspends, Filipo?

FILIPO Un imposlble; que Leda 1800

encanta todas mis dichas,

ata todas mis potenclas.

1791* Z: habra sabido. 1792°. S and Z: No fueras. The sense of the phrase y no hermana mia (v. 1797) seems to demand the affirmative wish provided by [Que] here. 1793* Z omits one verse. 1796. Z omits la. 1799* Z: te Bua-pendeB. 1800. Z: que en Leda. - 95 -

LISANDRO Eato fuS de haberla visto

en el monte, cuando de ella

enamorado quedo; 1 8 0 5

y desenganado queda,

vlendo que es su hermana#))

LEDA Dame f

Filipo, tu mano, y deja

que acredite con los brazos

que te doy la sangre mesma. 1810

FILIPO ((Detente, Leda; que el alma

basta que el veneno beba

de tus ojos por los mfos.

En esta ocasi&i no quleras

que de llama que es tan alta 1815

llegue el incendlo mas cerca.

LEDA Ya es fuerza darte los brazos. Abrazanse.

FILIPO Mira que soy hombre, Leda.

LEDA No Imports, si b 4 de m{

que soy qulen soy.

FILIPO Rayo fuera 1820

en tu belleza encendido,

1803. Z: haberle. 1806. S omits one verse. 1810. Z: sangre nuestra. 1812. Z: basta que el veno vea. 1817* Z omits stage direction. 1820°. Z: fuerza. - 96 -

o por el aire cometa,

ai mas abraso las plumas

de las alas que me que man.))

LEDA (Notable fuerza de amor.) 1825

ALMIRANTE Deme a besar vuestra Alteza

su mano, y Albania goce

de su vida primaveras

fellcislmas.

FILIPO Alzad

a mis brazos.

ALMIRANTE (iQue esta ofensa 1830

a mi esperanza ha querido

hacer la fortuna fiera?

El mundo he de revolver,

o la corona albanesa a ml frente he de cenir; 1835

que no es razon que la tenga un prodigio, un monstruo, un bruto.)

FILIPO Almirante, . . . [p. 24] AUOSASTB iSenor?

FILIPO Leda

1822. Z: cometas. 1823* Z: al mas celebres las plumaa. 1824. Z: oue no queman. 1826-1827. Z: Ddme los pies, vuestra Alteza. / v su mano. Albania goce. I830a . Z substitutes Almirante for a mis brazos. 1833* Z adds Amrte as stage direction. es ml hermana.

ALMIRANTE iQulIn hay ya

que en el parentesco pueda 1 8 4 0

poner duda?

FILIPO Pues miradla

como deldad mas suprema

de hoy mas que cuando de Albania

fu£ legltima heredera,

(aunque tambien lo era mfa); 1845

y medld con la prudencla

la dlstancia que hay de vos,

slendo vasallo, a la esfera

de Leda, slendo ml hermana

y de Albania infanta. ALMIRANTE (Apenas, 1850

de furor, puedo alentar,

ni estoy en mf. iDe una fiera,

de un mlnotauro, de un orco,

que ha dado por culpas nuestras

el cielo a Albania, ha de o£r 1855 esto su almirante? I Oh, pesla

a la fortuna, a Llsandro,

y al mundo! Has aquf es fuerza

1845- Z: aunoue tambiln hoy lo es m£a. 1850. Z adds Anarte as stage direction. 1857 • Z: a la fortuna Ale.landro. 1858. Z omits - 9 8 -

disimular; que algun d£a

puede ser que tome de eatas 1860

misteriosas prevenciones satisfacci6n.)

LISANDRO I Las literas,

y los coehes, y partamosI

LEDA (A1 campo sal£ prlncesa,

y vuelvo Infanta. Tal es 1865 en las cosas de la tierra la fortuna y la exencion

de los hombres a las hembras; pues siendo un monstruo Filipo,

por hombre el ser heredera 1870

de Albania me quita. I Oh, cielos,

dadme valor o paclenclal)

TIRRENA (Tonta he quedado de tantas novedades y grandezas.

La corte quiero seguir 1875 en mi burra caballera

hasta mi puebro.) LISANDRO Confla que te harS merced, Tirrena,

1867- S: exempcl&i; Z: exce-pcl6n. 1871. Z: de Albania me quita el clelo. 1872. Z: y naclencla* I877a . Z: hasta el -puebro. - 9 9 -

por el venturoso aviso

que nos has dado.

FILIPO A ml cuenta 1880

esa deuda ha de quedar.

AIMIRANTE (( Clarinillo, . . .

CIARlN Vueselencia.

En todo lo que pudlere,

senor Almirante, crea

que le tengo de ayudar, 1885

y que Informal a su Alteza

de su persona de modo

que se le luzca. No entlenda

que don Clarln se ha olvidado

de las muehas, que conflesa, 1890

ohllgaolones y gustos

a su casa.))

ALMIRANTE (No se extrema

poco conmlgo esta vez

la fortuna.)

FILIPO (Hermosa Leda,

tuyo fuf, tu her mano soy. 1 8 9 5

Loco adore tu belleza,

1881. Z: esa duda. 1882-1893* Z omits twelve verses. 1 8 9a. 4 z substitutes: H5S. HI los. vamoa. 1895* 3: m£o fu£. cuerdo rairo tu peligro,

recatado, la violencia de los rayos de tus ojos.

Obstlnado doy la vuelta 1900 al encanto que me llama.

Mas seguro me recelan

escollos de tu hermosura que sin naufragio escarmientan.

Libre huyo, preso vuelvo. 1905 Mas en tanta competencia

de temores y osadfas,

de dudas y de ternezas, vlrtudes vencen senales.

ITanta razon, tanta fuerza! 1910 Al apetito la sangre,

y al amor el valor venza.)

1898. Z: reeatando. 1902. Ss maasesuro, an obvious printing error; : mal seguro. 1904. Z: eacarmlenta. 1905* Z: y nreso vuelvo. 1906. Z: tantas com-petencfas. 1909. Neither S nor Z italicizes. JORNADA TERCERA

Salgan todoa loa Caballeros albaneses de gala, y entre ellos TEBANDRO y el ALMIRANTE; y I u o k o FILIPO, y si^ntese eFiii" ~alll£\^y^ambiTn~cM'3!N''.------

FILIPO Valerosos albaneses,

fleles y nobles vasallos,

en cuyos hombros el peso [p. 253 1915

de tan gran relno descanso,

como a los que sols columnas

de Albania qulse hoy Juntaros

para daros parte a todos

de mis lntentos blzarros. 1920

Ya sab£ls como, despuls

que fu£ prfncipe jurado,

vlvi6 ml padre — que el cielo

pisara zafir — relnando

tan poco tiempo que solo 1925

fue el que basto para espaclo

de enterarme en el goblemo

de Albania, tomando a cargo

el peso de esta corona

Act designation In Z is ACTO III. 1912+• Z: 3ale FELIPO muy galan. de rey, y los QRANDES. 1923. Ss murlo ml -padre. an obvious error In view of tan poco tiempo (v. 1925) •

- 1 0 1 - - 102 -

que, como dijo aquel sabio, 1930

si los hombres advlrtieran

a lo que estan obligados

los reyes que se las cinen,

no hubiera qulen entre tantos

la levantara del suelo, 1935

nl qulen de ella hiciera caso

para darla con el pie;

que aunque es oflcio tan alto,

son mayores que el oflcio

las pensiones y el culdado. 1940

Murio ml padre, en efecto,

slendo el sentimlento cuanto

deb£a al paternal amor,

merecic5 rey tan amado.

AcompaH6 el reino el mlsmo 1945

que yo tuve, que con llanto

general y largos lutos

la luz del dfa empanaron;

que a mf, como a qulen tocaba

mas la obligaci<5n de tanto 1950

sentimlento, para entonces

1930* Z: dl.1o el sablo. 1935* Z: le levantara. 19^0. Z omits y. 1943- Z: debi. 1945-1960. Z omits sixteen verses. - 103 -

parece que el cielo, acaso

no haclendo ninguna cosa,

me enlut<5 el rostro, pues cuando

negro me form<$, previno 1 9 5 5

el sentimlento al agravlo.

Asistf a sus funerales,

haclendo Olimpos mas altos

de lutos y de planetas,

que tumulos se llamaron. 1960

Pasados algunos d£as,

despu^s el pueblo alegrando,

porque la trlsteza engendra

temor, por raz6n de estado

quitar los lutos mand6, 1965

y mil veces a caballo

me vl6 la corte; que es Jus to

alentar a los vasallos

con la vista de los reyes;

que, como son anlmados 1970

arboles del sol que adoran,

mueren no vlendo sus rayos.

Y cumpliendo de mi padre,

como fiel testamentario

1962. Z: despu^s el tiempo alegrando* 1966. Z: acaballo. 1970. Z: vcoaao son anlmados. 1971* Z: de el sol. 1973* Z: de Ml parte. - 104 -

y obedlente hiJo suyo, 1 9 7 5

cuanto besando su mano

murlendo le prometl,

porque para respetarlo

he de tener siempre vivo

en el alma su retrato, 1980

comenzando a ejecutar

la lmltacl6n de tan alto rey, en el nombre de Dios hoy he querldo llamaros para mandaros por dueno, 1985 y pedlros por hermano y amigo que todos Juntos — el peso conslderando de que me ha encargado el cielo, con el valor, con los aSos 1990 de la experiencia de algunos, con el celo encamlnado al bien comun — - me ayud£is, me aconsej^is, trabajando, como en Justicia y en paz 1995 pueda siempre gobemaros, dlclendome la verdad; que, a los duenos soberanos de qulen nace el blen comun, [p. 26] no hay llsonja, en todos casos, 2000 - 105 -

como no hacerles llsonja;

que solos son desdlchados

los reyes en no escuchar

verdades de sus vasallos.

No de un hombre solo quiero 2005

consejos, no de un privado

que acertar qulere a ser rey,

ZQul£n se aeonseja con tantos?

Siempre al rico, siempre al pobre,

a la justlcia, al agravlo, 2010

a la merced, a la queja,

al aviso, al desengaHo,

papeleando, comlendo,

en el sueSo, en el descanso,

loan de estar ablertas siempre 2015

las puertas de ml palacio.

Esto es ser rey, albaneses;

esto es cumplir con el cargo

de aquel que han menester todos.

En la tierra Dios humano, 2020

esto be de ser; que esto, amigos,

de vosotros ayudado,

puedo ser, porque sin muchos

2004, Z: verdades a sus vasallos* 2013* Z: va oeleaado, comlendo. 2021, Z: ha de ser* - 106 -

soy un hombre, y puedo errarlo;

que todos pod^ls conmlgo 2 0 2 5 ser reyes, si aconsejando lo mejor, me haceis buen rey, al blen publico gulados,

porque a las demas naclones verme veneer cause espanto 2030 con vlrtudes las senales de un prodigio tan extrano. ALMIRANTE Guard© a vuestra Majestad

largos y felloes anos

el cielo, para que, Albania 2035 las esperanzas gozando que promete su grandeza

en tan verde edad, podamos hacernos duenos del mundo,

a valor tan soberano 2040 despojo humilde; que todos,

de su grandeza alentados, servirle procuraremos, como obligados estamos;

que qulen con tan sablo acuerdo 2 0 4 5

2026* Z: ser reyes y aconsejando. 2027* Z: har4>is» 2032. Z: nrodlKO. 2035* S: t?ara que a Albania, a syntactical error. 2042. Z: de su valor alentado. - 107 - plde consejo de tantos,

ninguno habra menester.

FILIPO Almirante, vueatros altoa

blasonea, la sangre vuestra

de tanto ascendlente claro 2050 originada, no puede

dejar siempre de obligaros

a servlrme con la leaItad,

como a los demas que hoy llamo

para el efecto que tengo 2055 en la ocasl6n declarado.

Ml Camarero Mayor,

y ml Presidents os hago,

y Gobernador de Albania en ml ausencia.

ALMIRANTE lQu£ obllgado 2060 vuestra Majestad me qulere a sus pies! FILIPO Alzad. Vasallos tan grandee nunca, aimirahte,

parece que estan premlados.

(De esta suerte le aseguro, 2065

2049. Z: blasonea la sangre cr£a» 2053* Z omits 3a. 2055* Z: aue os tengo. 2061. Z: me tlene. 2065* S adds An., and Z, Anarte as stage direction. - 108 -

que es el camino mas sano

en polfticas de reyes

asegurar obligando

sospeciiosos corazones.)

Blen b S que os debo, Tebandro — - 2070

por qulen sols, y porque fulstela mi maestro tantos aSos,

ml padre, y mi compan£a —

ahora gratificaros,

que soy rey, tantos servlcios, 2075 que no plenao ser ingrato;

tiCtulo de Condestable

os doy, y con 4l os mando

que me est^is siempre asistiendo. TEBANDRO Esos pies beso.

FILIPO Los brazos, 2080 Tebandro, estan para vos. TEBANDRO Ruego a Dios que de Alejandro

vuestra Majestad exceda [p. 273 la memoria, y simulacros

heroicos levante el mundo 2085 a vuestro nombre.

FILIPO No os pago

2066. Z: mas aanto. 2071# Z : nor auien sot. y nor quien fulstels. 2074, Z: gratlflcaron. 2076. Z: y no plenso ser Ingrato. - 109 -

como os debo. Goce Artenlo

tftulo de Adelantado

de Albania.

ARTENIO G-uardete el cielo.

FILIPO De Alferez Mayor, Ricardo. 2 0 9 0

RICARDO Prospere el cielo esa vlda

en Albania.

CLARIn iX al cuitado

Clarin, que le papen duelos?

FILIPO fOh, Clar£n!

CLARfN Si no me engaHo,

que ya no me escuchas pienso 2095 aunque me tocan tan claro

las quejas de mi raz<5n;

que sordo te ha vuelto el alto

oficlo de rey, Filipo.

Todo, el tiempo lo ha trocado; 2100

prlncipe, fuf tu valido;

pensI ser tu secretario,

Rey, en llegando a ser reys

llev6 a Clarfn el,dlablo:

iqul de noches, que de d£as 2105

2087* Z: como debo. Gozad h o y . 2089^-2092^. Z omits, but substitutes s TEBAHDRO. Los pies te beso / nor tal merced. 2103. Z: y en llepcando. 2104. Z: le llev<5. - 110 -

te asist£, rey, esperando

vertel; que servirte ©ntonces

era llsonja de entrambos,

pues £bamos los dos horros

de gusto. Ahora, penaando 2110

que pude, entrandome un rey,

hacerme hombre, temo un chacho,

porque haa dado en apretar

en este pontificado

el reclblr, de manera 2115

que con achaques estando,

no me atrevo a reclblr,

si intereso el verme sano,

una melecina, apenas,

por no reeibir.

FILIPO Has dado 2120 en lo mas sano, Clar£n, OLARfN Ha de ser tan desdichado clar£n que son6 tamblln; que hoy entre por tent os t ant os

de t£tulos de mercedes, 2 1 2 5

2109# Z: los dos otros. 2111. Z: imede. 2112-2123* Z omits twelve verses, but substitutes: hacerme hombre afortunado, / aunoue sono mi clarin. 2123* 3: son#, an obvious printing error. 2124. Z: hov entre portentos olaroa. - Ill - no ha de venir a ser algo.

FILIPO iQu£ quieres?

c l a r In Que un clarln sea organo de los privados.

FILIPO Clarln, hasta en tl han de ver todos mis vasallos hoy 2130 el ejemplo que les doy, y lo que siempre ha de ser. Ninguno, por accldente de gusto nl de pasi&i,

ha de sublr escal<5n 2135 de merced, lndlgnamente

yiolencias que sollcltan, pues los oficlos reales en m£rItos deslguales

los reyes d«sacreditan. 2140

Clarin, humllde has nacldo. Contentate con tener de vestlr y de comer cerca de un rey.

CIARIn (Hoy has sldo,

2127-2128. Z : PEL. ;.Qu£ quer^ls aue un clarin sea? CUR. Organo de los urlvadosT 2129. Z: esta en tl. 2136. Ss de aaerced nl dlgnamente. 2138. Z: ntaestos oficlos realesT 2144b. 2 ; Ear ha sldo. - 112 - segun en esta ocaal6n, 2 1 4 5 tal rey qu© desautoriza mi miercoles de ceniza, y mi vlernes d© paai6n.)

Sale IEDA, con aaya entera, y verdugado, y manto, sola* IEDA Filipo, de Albania rey para ventura de Albania 2150 ai bien no para la m£a, porque nacf desdichada,

no te espantes que delante grandeza y nobleza tanta

quejosa venga a tus pies, 2155 llegue a tu vista agraviada; que qulero hacerlea teatigos en mi deadicha, en mi causa, de tu rigor, de mla quejas. Pues que rey Justo te llamas, 2160 £es razon que por razones de estado tuyas me hagas tan gran sinrazon a m£

2146* Z; tal rey me desautoriza* 2148* Z: vlernes de carbon* 2148+. Z omits stage direction, but has Sale IEDA as speech caption for v. 2149* 2155* S; vengo, an error of syntax or printing. 2156. S: llegu£, probably a printing error. 2157* Z s hacerle testlgo* - 113 -

quo hasta on el gusto me agravias?

Blen pueden sufrirse ofensas [p. 28] 2 1 6 5

del interns ordlnarias,

mas las que llegan al gusto,

Filipo, tocan al alma,

Hasta este punto he tenldo

la libertad como esclava, 2170

con mil candados la lengua,

con mil muros las palabras;

ya rompiendo las prisiones,

y atropelladas las ansias,

por la boca y por los ojos 2175 salen en fuego y en agua;

porque como miran cerca

el peligro — que amenazan

desdlchas que vlenen siempre

mayores que imaglnadas — 2180

a la natural defensa

acuden las esperanzas,

las quejas a las injurias,

a los rebatos las armas.

Oon Rodulfo, rey de Hungrfa, 2 1 8 5

viudo dos veces, me casas,

2165* Z: aufrirse afrentaB, 2172. Z: con mil nudoa. 2174. Z: ya atronellando. 2185. Z: Rodolfo, - 114 -

desigual a ml edad verde

y de condlci<5n extrana, porque te da su heredera,

Ninfa, con la confianza 2190

de ser del hungaro rey,

o asplrar a la tiara

del imperio al tuvlere

hi Jos en m£; que a au instancla

podra Jurarte por rey 2195

de romanoa Alemania.

Siendo de Alfreda y Enrico,

rey de Sicilia y su hermana,

mas iguales casamlentos

para Sicilia y Albania, 2200

dejas a Enrico y Alfreda

por Ninfa y Rodulfo, y guardas

los provechos para ti,

y para m£ las desgraclas.

Ambiciones, que a mi costa 2205

y tan contra el cielo pasan

de resueltas a crtteles,

y de injustas a tiranas,

2189-2190. Z: nor que Ninfa, su heredera. / venza con la confianza. 2194. Z: hi.los de m£. 2197. Z: Y siendo Alfreda v Enrico. 2201-2228. S omits twenty-eight verses. - 115 -

no las plenao obedecer

si estuvleran a sus plantas 2210

mil Albanias, mil lmperlos,

nl mil mundos que plsaras.

No pueden el albedrfo

forzar humanos monarcas;

que nacl<5 el alma, Filipo, 2215

llbre a las leyes humanas,

y mas que todas la mla,

que senora soberana

no conoce superior,

menos que a esferas mas altas. 2220

S&Lo al clelo reconoce

por dueno; a £ste s<5lo guarda

decoro, y despu^s al nombre,

a la memoria sagrada

de ml padre, de qulen se 2225 que soy viva semeJanza,

sin que el color contradlga

a la verdad de la estampa.

Solo en ml ml padre es rey.

Despues del clelo este manda 2230

como ml rey y ml padre,

en ml vlda y en mi alma.

2230. 3: esto, an error of syntax or printing. - 116 -

A £ste obedezco, demas

que soy princesa jurada

en Albania antes que tu 2235

prfncipe nl rey de Albania.

Y vlve Dios, que prlmero

que me obligues a que en nada

que fuere contra el lntento

que ml raz<5n te de clara 2240

te obedezca, que has de ver

volver el sol la dorada

carrera atras, y lo mismo

que el sol hacer a las aguas

firme a la fortuna, al mar 2245

que no slga a sus mudanzaa,

pararse el tlempo, cans arse

la muerte, morir las almas;

porque una mujer que esta

por ofendIda obstlnada 2250

es sol, es agua, es fortuna,

es mar, es tlempo con alas,

es muerte, es alma que nunca

en dolor, en muerte, en llama,

2238. Z omits en. 2241. Z: se ob^ctezca. 2243. Z: carreta. 2246. Z omits a. 2248. S: morlr~las llamas, probably a printing error - 117 -

nl la duraci6n la vence 2255 nl la etemidad la acaba.

FILIPO (lExtraSa resoluci<5n!

Aqui ha de ser necesarla

la templanza, corriglendo

mujer tan determinada.) 2260

Despejad todog. No quede

ninguno aqul.

CIARtt* (i Furia extrana!

I Vive Dios, que a esta mujer

he de ver parlr taras cas 1)

Vanse todog, y queda FILIPO J LSDA.

FILIPO Ahora, Leda, que solos 2265 hemos quedado, con gana

de reportar tu furor,

y con la justa templanza

que a una hermana, a una mujer

de tantas partes, estaba 2270

obllgada ml cordura,

por mujer y por hermana

te qulero satisfacer.

Y veras c6mo te trata

225$. Z adds Aoarte as stage direction. 2262°• Z : iFuerza extrana I 2263* Z: sin duda que esta mujer. 2264. Z: le he de ver. 2264+. Z omits stage direction here, but has Vanse at 2264. - 118 -

diferentemente un hombre, 2275

un hermano, un rey en tanta Cp. 291

resoluclon atrevlda,

pues sin testlgos te habla,

porque te lleve por hombre,

rey, y hermano esta ventaja. 2280

Lo prlmero, Leda, nunca

yo de casarte tratara

sin darle parte prlmero

a tu gusto, pues no hay causa

que lo hay a sldo en el mundo 2285

de mas daHos, si tan altas

mujeres tan pocas veees

por su parecer se casan;

que ese casamlento, Leda,

intentl por la tardanza 2290

con que Enrico de Sicilia

mi embajador despachaba.

Tan feliz efeeto entlendo

que tlene ya, que la plata

del tlrreno mar divlden 2295

las galeras slclllanas

con Enrico y con Alfreda;

que quiere hacer con su Infanta

2285* Z: de haberlo sldo en el mundo. 2298. Z: la Infanta. - 119 -

esta llsonja Sicilia

al parenteeco de Albania, 2300

tanto que estoy por momentos

esperando que me traigan

nuevas que en salvo han surgido

en las albanesas playas.

£sta es la verdad. Y ahora, 2305

Leda, que estas informada

y satlsfecha, te qulero .

con menos llbres palabras

advertir. Escucha atenta:

que solo soy en Albania 2310

rey y senor absoluto,

y que ya que de las almas

no lo sea, que lo soy

de las vidas, que esto basta

para ser dueSo de todo; 2315 que aunque a mi padre con tanta

raz<5n como tu venero

muerto, tambien por su falta,

Leda, soy de Albania rey;

que £u4 de poca importancia 2320

jurarte por su princesa

prlmero; que se adelanta

2303* Zs nueva. 2316# Z: v aunque ml padre con tanta* - 120 -

a la mujer la exenci<5n

de aer var<5n, aunque nazca

mil siglos despu^s; y yo, 2325 cuando no naclera en casa

de Lisandro, con la sangre

que me ha dado, aunque a la eatampa

en el color contradlga,

pues el valor le rescata, 2330

si en la Libia, si en la Citia

mas abrasada o helada

naciera con estas partes,

mereciera ser de Albania

rey, y del mundo; y no estea 2335 en que eres mujer fiada,

ni mi hermana, ni que un tiempo

pudo en tu deidad humana

idolatrar la locura

de ml amorosa ignorancla, 2340 para que otra vez te arro jes

tan libre y determinada;

que, rvive Dios I . . . LEDA Rey, senor,

2323. : eleccl<5n. 2326. : aunque no. 2330. : lo retrata. 2336. : mu.leres« probably a printing error. 2338. : uude entre deidad humana. 2341. : una vez. - 121 -

hermano, . . .

FILIPO • . . Leda, la sacra

dlgnidad de rey, que a Dios 2345

tanto imlta, venerada

ha de ser aun de los mismos

pensamientos; que el rey pasa

llmites de hombre a dlvino,

y el parentesco de hermana, 2350

hasta. salir a ser relna,

no te quita el ser vasalla.

IEDA Vuestra Majestad, senor,

perdone, puesta a sus plantas,

mi arrepentida osadla, 2355

mi furia desalumbrada;

que el almirante ha tenido

culpa de que en su desgbacla

estl mi humildad ahora,

mi fe, mi amor; que informada [p. 3 0 ] 2360

de 6l, siniestramente al fin

como mujer, con tan vana

resistencia . . .

FILIPO El almirante

2545- Z: deidad de rey. 2349. Z: hombre adivino. 2354. Z: a sus planta. 2358. Z: tu deaferacia. 2362. Z: con tan flaca. - 122 -

en mis deserviclos anda,

muy contra su sangre haciendo 2365 dlligencias, sin que nada

le obligue en mf.

LEDA Mis intentos

os declare temeraria,

necia, resuelta, atrevida;

que bien b 6 que en todas causas 2370

sols mi rey, sols ml senor,

sols mi dueno.

FILIPO Leda, basta,

y sabed mas cuerda ser,

s6lo a que sols obligada

de un rey, hermana y amigo 2375 (mejor, amiga y hermana);

que por la vida de Alfreda,

mi dueno y reina de Albania,

que en otra ocasion os sobre

la cabeza en la garganta. Vase, 2380

LEDA Tlene Filipo razon;

que a su amor he sldo ingrata,

2366. 3: dlligencias que sin nada. an error of syntax or word transposition. The singular subjunctive obli gue (v. 2367) requires sin que, rather than que sin. 2367* 3 begins Leda's speech: En ml, 2374. Z: a quien sols. 2375. Z: hermano. 2376. Z: mejor amigo que hermana. 2377. Ss A freda. a printing error. - 123 - y a la estiraaci<5n que ha hecho siempre de mf; pues con tanta

resoluci<5n, el decoro 2385 le perdf que a la cesarea majestad de rey se debe, por lnformaciones falsas del almirante; que siempre

de ser rey dentro del alma 2390

los primer os pensainientos como caracteres guarda. Confleso que no he teiaido cosa como ver alrada

la de Filipo conmlgo. 2395 I Con qu£ dlferente cara

enojado mira un rey!

No b & que secreta causa

de deidad esta escondlda

en aquella forma humana. 2400

Corrida estoy de haber sldo

tan facil que a las palabras

de ten hombre tan mal seguro

dlese crldltoj que es falta

general en las mujeres

2390. Z: dentro de Albania. 2393* Z: no he tenldo. 2402. 3 omits a, a syntactical error. - 124 -

no recatarse de nada,

y creerlo todo. El rey

esta ofendido; dar traza luego con Tebandro qulero

para volver a su gracla; 2410

que es la persona a qulen tlene

mas respeto, y su privanza

con tantos mlrltos goza.

A solas padre le llama,

y es a qulen Albania debe 2415 llamar padre de su patria,

pues hoy logra tan lucldos

cuidados de su crianza.

IQu I alborozado que vleiie Clardn! Sale CIARlN.

CIARfE (Aquf esta la Infanta.) 2420

Dime albrlclas, vuestra Alteza. LEDA ,jDe qul, Olarfn? CIARlN De que acafca ahora su Majestad de reclblr unas cartas

en que le avis an que Enrico 2425 y Alfreda estan ya en Albania

2414. Zs que a solas. 2419. Z: alborotado. 2420®. Z omits stage direction. - 125 - desembarcados•

LEDA iQuS dices? CIARfN Leda, lo mismo que pasa. No menos que de la boca

del rey lo b S, que me manda 2430 que te pida las albriclas: que de toda la Jornada

dichosa de vuestras bodas que goc£is edades largas,

me da de ayuda de costa 2435 las albriclas* vistas hagan la salva a todas. LEDA Clar£n, yo te las mando.

CIARlN Las mandas para un testamento son;

que para dar las infantas 2440 por albriclas no seran

buenas almendras y pasas,

promesas para principios* Cp* 31] En que mi ayuda, o mi jaca,

de costa se estrena, yo 2445

2437^* Zs todos * 2440-2441* Z: me .lores que para dar las, / noraue albri- cias no se dan* 2443* Z: nrlnclplo. 2444. Z: me ayuda . * * aca. 2445* Z: le estrena. - 126 -

soy desdlchado. Bien haya

un lacayo de comedia,

que a la priraera embajada

que trae de amorosas nuevas

le da el galan, y la dama, 2450 la cadena y la sortija,

y el poeta de la traza,

si ae le antoja, escrlbiendo luego a la tercer Jornada,

dos mil ducados de renta, 2455 y con merencia se casa

o Dominga, motilona

de Calla o de Fellsarda,

y acaba un hombre su vida

lindamente; y una Infanta 2460 de Albania, toda promesas.

Si la de Sicilia falta, no soy elarfn, vive Dios,

sino trompeta bastarda.

Sale TEBANDRO.

TEBAHDRO Deme los pies, vuestra Alteza. 2465

2446. Z: o bien haya. 2448. Z: •primer. 2451. Zs la sort 1.1a y la cadena. 2458. Zs y de Fellaarda. 2460. Z: y no una infanta, 2461. Zs todo. - 127 - LEDA Oh, Tebandro, levantad; quo por el valor, la edad, el ingenio y la nobleza

igualaros mereceis con los reyes; que el que ha dado 2470 a Albania vueatro culdado,

inmortal por vos le haceis, y a vos os liace inmortal. TEBANDRO No son, Leda, en vos de nuevo

las muchas honras que os debo 2475 de su Majestad Real, haclendo siempre a ml fe

nuevas honras y favores. LEDA Vos las mereceis mayores* TEBANDRO Orden tralgo.

LEDA iPara qu£, 2480 Tebandro?

TEBANDRO Para advertiros que esta en Albania la armada de Enrico, y a la jornada

2469. Z: lgualando mereceis. 2475-2480aT 3: haclendo siempre a ml fe / nuevas hon ras v favores. / IEDA. Vos las mereceis mayores. / las muchas honras que os debo. / TEBANDRO. De su Ma.lestad Real / orden tralgo* Z : las muchas honras aue os debo. / haclen do slemnre a mi fe / mil mercedes. / LEDA. Vos la mereceis mayores. / TEBANDRO. De su Malestad Real / orden tralgo. - 128 -

juntamente preveniros.

Encargandome de vos, 2485 como el menor escudero

que tennis, y humilde, espero

serviros.

LEDA Guardele Dios,

que en eso su Ka,Jestad

sake que me hace merced. 2490 TEBANDRO Que os he de servir creed,

con la vida y la verdad.

LEDA iNo va mi hermano conmlgo? TEBANDRO Ya, como galan y amante,

solo con el almirante, 2495 tan senor y tan amigo,

se ha adelantado a esperarte pienso que en Valdelucero, porque, embozado prlmero, aunque a costa de de^arte, 2500 a Alfreda pretende ver.

IEDA Tebandro, yo te confieso que del amoroso exceso

2486. Z: menos. 2489• Z: esto. 2497* Z: esoeraros. 2498. S: valde lucero. probably a printing error; Z: balde Lucero. 2499. Z: lnvooado prlmero. 2500. Z: de.laros. - 129 - celos pudiera tenor

con no acordarme quo soy 2505 su hermana.

TEBANDRO Clen mil ducados

para dar* a los crlados

de Enrico por S i te doy,

porque qulere que parezcas en la generosidad 2510 hlja de la majestad de Lisandro, y no escurezcas, aunque esta el relno empenado,

de tu heroica estimacl6n

la generosa opinion 2515 que tus grandezas le han dado.

LEDA Mil veces beso su mano por la merced que me ha hecho su 24ajestad, que su pecho es mas de padre que hermano; 2520 que relna pretendo ser para llamarme su esclava; pues cuando mas recelaba el llegarle tarde a ver,

desenojado conmlgo 2525

2505 . Z: a no acordarme que soy. 2509-2516. S omits eight yerses. 2517. Z: beso la mano. 2523* Si Mas tezelaba. probably a printing error. - 130 - con la ooasi&i — que lo esta *— mayores muestras me da de padre, hermano y amigo. CIARlN Eso si, cuerpo de Dios;

no el remiso retlntln 2530 del "yo las mando, ClarIn" y "ojos, decldselo vos". LEDA iTomaras dos mil? t CIARlN ^Ducados? f LEDA Clarln, si. Cp. 3 2] CIARlN Guardete el cielo,

infanta de terciopelo, 2535 sol del sol, flor de los prados, de treinta soles aurora, de mil auroras lucero, calentador por enero, por agosto cantlmplora, 2540 protomujer de mujeres que haces los hombres enanos, talego con pies y manos, pues hoy para clarln eres de los cielos chirimla, 2545 archlrrelna del amor,

2529* Zs Eso es dar cuerpo de Dios. 2531* Z: de yo los mando, Clarln. 2540. Z: v en a^oato. - 131 - y al fin la Infanta mejor

de toda la infanterla. Dame los pies, y cabe ellos,

sl es posible, la libranza; 2550 que de la verde esperanza

de que visten sus dos bellos

jazmlnes al mes de abril, le largo la poses l<5n,

que para ml abrlles son 2555 solamente los dos mil.

LEDA iHoy quedaras satIsfecho, Clarln? CIARlN Y desde hoy clarln hara suela a tu chapln de su boca. LEDA En vuestro pecho 2560 siempre, Tebandro, f!L6. TEBANDRO Siempre he de ser el que he sldo, sirviendoos; que ha merecido esa paga aquesta fe. LEDA A tratar la prevenci6n vamos de nuestra Jornada.

2549-2556. In 3 these verses are enclosed by a hand drawn bracket In the left margin. 2549* Z: y con ellos. 2552. Z: vlrten tus. 2554- Z: le carraS. 2559* Z: sera suela. - 132 -

CIARlN Oh, Infanta la mas honrada

de cuantas Infantas son,

las albriclas me has pagado

mas que esperl. Por lo menos, 2570 no he de tomar de otra menos

de los dos mil un ducado. Vanse, y salen FILIPO y el ALMIRANTE, de camlno. FILIPO El mismo sitio, almirante,

por la amenidad convlda

que su esmeralda, querida 2575 ya por el jazmln diamante,

pisemos en hospedaje

grato hasta que baje el sol

y al rubio ocaso espanol plda por el mar pasaje. 2580 ALMIRANTE Los caballos quedan bien de esos sauces arrendados. FILIPO (iQulOn de esa suerte culdados pudiera dejar tamblen!)

ALMIRANTE (Que conslga, clelos, creo 2585 que querels mi pretension,

2572+, Z: Vanse. Salen FILIPO, de camino, y el AUQRANTE. 2574. Z: de la amenidad. 2575* Z: esmeralda florIda. 2582. Z: de los sauces. 2584. Z: dejar -pudiera. 2585* Z adds Anarte as stage direction. - 133 - pues me pon£is la ocasIon en las manos del deseo; que de este modo tambien

de un monstruo rey nos llbramos.) 2590 FILIPO Solos, almirante, estamos.

ALMIRAM'E Tanto que apenas se ven liorizontes desde aqu£; que las verdes copas son

de estos sauces pabellon 2595 del fresco soto, y as£ tan defendldos est&n que se esta sobre la cama siempre de su verde grama

dormldo el abrll galan. 2600 FILIPO Almirante,

que siempre os estoy haciendo! 2605 AL&ORANTE Senor, vuestra Majestad puede . . .

2590. Z: llbremos. 2592. S: a penas, probably a printing error. 2593* Z: saqntes desde aqu£. 2598. Z: se estan. 2600. Z: dormldo el mayor galan. 2603. Zs Be rey, que es naga el favor. - 134 -

FILIPO Almirante, escuchad, que a solas con vos pretendo daros qulen sols a entender

y a entender de vos qul£n soy; 2610 pues cuando mas muestras doy de esto, no os puedo veneer con mercedes, con favores, con negarme a los recatos,

que tlenen mucho de Ingratos 2615

los pechos de los traidores. [p. 33] Esa carta que escriblsteis a Enrico, y que se os cayo, hall£ en ml camara yo, a m despu^s que recibisteis 2620 tantas mercedes de mi, en que a Enrico le avisais las prevenciones que estals, para darme muerte a if,

haclendo con el favor 2625 de su venida; y Enrico, cuando vos le hagais mas rico, os tendra por mas traidor; que siempre en el interes

2609. Z: daros qui&i soy a entender. 26X0. Z: y a entender daros qul&a soy. 2624. Z: muerte aquj. 2627. Z: cuanto. - 135 - de reinos, o de otra cosa, 2630

y el traidor sobra despuls.

con vos y conmigo aqu£ vuestro alevoso deseo;

y que por las partes m£as, cuando hi Jo no naciera 2650 de Lisandro, mereclera soberanas monarqu£as; que ©1 negro adusto color,

2649-2660. S omits twelve verses. - 136 -

que dando al alma la palma

ful sombra del b o I del alma, 2655 no fue eclipse de valor;

y pues de esto mismo infiero

cuan poco le conoceis,

ahora hablarle verlls

con la lengua de este acero, 2660

Yo aqu£ no soy rey, que aqu£

que un enemigo lnsolente

qulere castigar as£.

iQuI aguardais? Sacad la espada, 2665

pues solos los dos estamos,

y sols otro hombre. Veamos,

ya que en ml, ya que en vos, nada

a servirme os obligl,

si en la ocasIon que tennis 2670

con el valor mereells

el ser rey mejor que yo;

que cuando Albania traldora

me negara el vasallaje

natural, y el homenaje 2675

me romplera, y como ahora

contra todas sus espadas

2661. Z: 1 aqu£ no soy rey, que aqu£. - 137 - solo en el campo me viera, jvive Dios! que los hiciera vasallos a cuchilladae. 2680 ALMIRANTE Senor, confieso que he sldo contra vuestra Majestad ingrato, mas yo . . . FILIPO iSacad la espada! ALMIRANTE A esos pies rendido

pienso morir sin hacer 2685 resistenciaj que alentada, para venceros, espada mi rendimiento ha de ser; que otras ningunas no pueden en valor tan soberano. 2690 Mateme la que en la mano real resplandece, y queden los verdes troncos robustos de estos sauces por testigos

solamente de castigos 2695 tan merecidos, tan Justos; que en la majestad airada vuestra con razon no se que nueva deidad se ve,

2692 . 8 s resplanee. probably a printing error. 2699. Z: que sleropre deidad. - 138 -

que ha vuelto rayo la espada. 2700 Otro hombre sols enojado, y plenso que os han temldo,

sin haberos ofendido,

cuantos troncos pelna el prado;

cada cual por Justa ley 2705 parece que decir prueba

al vlento que no se mueva,

que esta con Ira su rey.

iQu£ har£ quien con culpa esta »

con sentido y sin honor, 2710 a sus pies?

FILIPO Vlvir mejor. ALMIRANTE SeSor, la vlda no es ya

bastante paga. [p. 34] FILIPP Almirante, levantad, que estoy corrido Envalna la espada el REY.

que algun culdado haya sldo 2715 a darme nombre bastante.

Esa carta haced pedazos, y con ellos por los vientos camlnen los pensamientos

2709. Zs r>ara quien con culoa esta. 2710. Ss con honor, which alters the sense; Z: consentldo. 2714+. Z ornitsPstage direction. 2717* Z adds Dasela as stage direction. - 139 - que os armaron tantos lazos; 2720 y haced cuenta para vos

que hoy comenzais a nacer, y guardaos de recaer;

que morirlis, vive Dios,

sin que me cueste el cuidado 2725 de que arrepentido estoy.

Y vamos de aqui. ALMIRANTE Yo voy

cuerdo, loco y obligado. Vanse, y tocan un clarfn, y salen algunos de color, y luego ENRICO. Rey de Sicilia, y ALFREDA, como de camlno. trlste.

ENRICO Esta enramada es el sltlo

mejor que por agradable 2730 y acomodado se pudo elegir en esta parte para aguardar a Fillpo y a Leda. Mira esta margen,

Alfreda, que a este crlstal 2735 sirve de florido esmalte; que para espejo parece que te le presenta el valle

2727b. Z: Ya voy. 2728+• As stage direction Z has merely: ALFREDA y ENRICO, galanes» con gente* 2731* Z: y acomodadole rnede. en nombre de Albania.

ALFREDA Est£n

de parte de mis pesares 2740 mis lagrimas, y me dejan pocas voces alegrarrae.

Desdichada fu£ mi estrella,

pues me obliga a que me case

con un humano portento, 2745 un etiope, un salvaje;

que aunque de 4l pregona Europa

tantas generosas partes, donde no hay objeto hermoso,

iqu£ gusto puede alentarse? 2750 Que cuando en el alma vlvan

virtudes tan admlrables, lo que no miran los ojos no se deja amar de nadiej

que amor que entra por la vista 2755 del alma a comunlcarse la entrada no le permits, si lo visto no es amable. Por convenienclas, Enrico, tuyas pretendes que pague 2760 mi gusto de un casamiento

2747- 2 s pregona Etiopa. 2757. Z: permlten. - 141 -

l6bregas eternidades.

Yo morlr£, si pudlere;

ENRICO Deja de afligirte, Alfreda,

que hasta esta ocasi6n, Alfreda, 2775 no me pareci

~~ml3terios tan lmportantes.~~

~~Yo vengo a ser con la industria, Alfreda, del almirante 2780 de Albania, de Albania rey, con palabra de que mates~~

~~la misma noche a Filipo~~

~~que a ser su esposa llegares,~~

~~en la cama con veneno 2785~~

~~2768. Z: esnantes. - 142 -~~

~~que te dar£ en un diamante;~~

~~y luego que en premlo de esto~~

~~con 6l, Alfreda, te case.~~

~~Pero a un traldor siempre suelen~~

~~dos alevosos burlarle, 2790~~

~~el lo pueden ser los reyes;~~

~~porque el de Napoles parte, en esta conformidad, [p. 353 ocupando los dos mares,~~

~~Adriatlco y Tirrano, 2795 con una armada a guardarme las espaldas, y a ser dueno~~

~~de tu belleza admirable;~~

~~y asegurandome rey~~

~~de Albania, y al almirante 2800 dandole muerte, al Narciso~~

~~bermoso de las ciudades~~

~~a ser su sirena iras con Carlos, que el clelo guarde.~~

~~ALFREDA Dljame besar tus pies 2805 mil veces por el rescate de mi gusto, de mi vida.~~

~~ENRICO Levanta, Alfreda. <&ue haces? Tu hermano soy, y no dudes que Jamas podr£ faltarte. 2810 - 143 - Suena una corneta de posta, .y sale CELIO.~~

~~iQuS postas son £stas?~~

~~CELIO De una, ton caballero notable se apea ahora, y parece,~~

~~Enrico, que qulere hablarte. Sale CLARfN, de camino, graclosamente.~~

~~CLARlN Vuestras Altezas me den 2815 sus pies, si no quieren darme sus manos, y albrlcias luego. ENRICO £Qul£n so is?~~

~~CLARfN £No se ve en el traje? El Caballero, senor,~~

~~de las Albrlcias me cabe 2820 por nombre, porque Filipo~~

~~con S i ha querldo honrarme por particular ayuda de costa. ALFREDA El hombre es notable. ENRICO Las albrlcias teneis ciertas. 2825~~

2810+. Z omits stage direction. 2811^-2814. Z omits one partial verse and three complete ones, but substitutes: CRIADO. Qulere un embalador hablarte. 2814+. Z omits stage direction, but uses Sale CIARj-S as speech caption at v. 2815. 2818-2827. Speech captions illegible in Z. 2824®. Z: El nombre es notable. - 144 -

~~c l a r In De esa suerte, acrlbllladme~~

~~a preguntas.~~

~~ENRICO S u b Altezas,~~

~~icuando llegan?~~

~~CLARlN Esta tarde.~~

~~Vera vuestra Alteza en Leda~~

~~una soberana imagen 2830 de abril, al sol en cfcapines,~~

~~y con basquinas un angel;~~

~~y vuestra Alteza en Fillpo,~~

~~tinto en luna, el buen lengua je,~~

~~rey Jurado, el estornudo, 2835 las buenas noches en came,~~

~~majestad maga, buscando~~

~~la estrella que en vos le nace,~~

~~escureciendo grandezas~~

~~y tronando majestades; 2840 al fin un marido a oscuras,~~

~~que un reino a los pies os trae, con un alma de cristal en un bur 11 de azabacbte;~~

~~y porque la relacion 2845~~

~~2826* Z: crebllladme. 2834* Z: tlnto en lana en buen lengua le* 2835* Z: eateraudo. 2844. Z: en un abrll. 2845. Z: qua nor la relacion. - 145 -~~

~~la viflta a los olos pase,~~

~~ya llegan Filipo v Leda por 1c nenos a ^asarse.~~

~~Tocan chlrlafaa, y vayan entrando los 3RANDS3 de Albania, de gala, y TEBAN— PRO, y el ALRLRANTE y FILIPO. y LEDA. T aaler. al paso SP'RICO y A L F R E D A .~~

~~FILIFO Vues tras Malestades sean muy cion venidos a honrarme 2850 . a nil y a este roino, como~~

~~han dejado desearse.~~

~~iComo vienen?~~

~~ENRICO A eso s6lo~~

~~respondan las voluntades,~~

~~que son encarecimientos 2 8 5 5 las palabras deaiguales.~~

~~FILIPO Guardeos el clelo.~~

~~ENRICO De v o s ,~~

~~hermosa Leda, no'tables~~

~~alabsnzas nos ha dlcho~~

~~la faxa., mas no os alabe, 2 8 6 0~~

~~pues tampoco os encarece~~

~~la faaa de aqul adelante.~~

2646. Z omits a. 2847. Z : l l Q ' j S a * 2 S 4 3 + . Z has as stage direction merely Salen Leda. FILIPO, y todos los GRANDS3. 2854. Z : resoondl. 2859. Z : han dlcho. 2860. Z omits aaa. - 146 - LEDA A vos os haceis lisonja. FILIPO Bella Alfreda, ... . ALFREDA (Alroso talle en gran majestad de rey.) 2865 FILIPO A beldad, a luz tan grande, menos que el alma no puede con muchas eternldades satisfacer. ALFREDA (lQu£ entendldo, que rey, que cortes, que gravel) 2870 FILIPO 31 la que es vuestra pudlera [p. 361 al sol que vels seraejante deshacer la nube negra que implde que no se alcancen los rayos que la coronan 2875 de virtudes y de partes, en ella fuerals Narclso de vos misma. ALFREDA (Las senales prodiglosas del color con las partes admlrables 2880 del alma vence. No he vlsto,

2867- Z: el alma no tlene. 2870, 3: grave illegible. 2873* Z: nleve negra. 2874. Z: que lmpiden que no le alcancen. 2875* Z: de la corona. 2878^. S: mis mo, an error of syntax or printing. 2881. S: de alma, an error of syntax or printing. - 147 - despuls d© llegar a hablarle, hombre d© alma tan hermoaa.) FILIPO Eata sombra no oa espante, que al lado de vuestro dfa 2885 sera aol. ALFREDA (A qu© 1© amen obliga — pe I'd one, Enrico — que s<5lo no h© d© matarle, pero 1© he de defender; porqu© el alma, hermoaa lmagen 2890 de Dios, tanto le parece que el cuerpo hermoao le hace.) ENRICO! (Espantada se esta Alfreda admirando•) FILIPO }Condestable

de Albania, prended a Enrico, 2895 rey de Sicilia, y dejadle en Valdelucero preso! ENRICO iQue dices? FILIPO No hay que alterarte, que tengo velnte mil hombres que las espaldas me guarden, 2900 que contra toda Sicilia

~~2886b. Z adds Aparte as stage direction. 2893. 3: le, an error of syntax or printing. 2897. Z: balde Lucero. 2898b. S omits hay, a syntactical error. - 1 4 8 -~~

~~y el mundo seran bastantes;~~

~~y poco lmporta que Carlos~~

~~de Napoles anenace~~

~~las albanesas rlberas 2905~~

~~por mar, nl que desembarque~~

~~con todo el poder de Europa~~

~~por tlerra para ayudarte;~~

~~que estoy en Albania yo,~~

~~y tengo valor y sangre 2910~~

~~para defender a Albania;~~

~~que esto ha hecho el almirante~~

~~en ml servlcio, que es Justo~~

~~que al rey extranjero engane~~

~~por su natural senor. 2915~~

~~ENRICO Ya es imposlble negarte~~

~~la verdad, Filipo; mas~~

~~despu^s que ahora llegaste~~

~~con la grandeza que ostentas,~~

~~tanto ha podido el hablarte 2920~~

~~y el verte que me has vencido~~

~~con las soberanas partes~~

~~que de tl pregona el mundo;~~

~~y confieso, a tan notable~~

~~valor rendldo, Filipo, 2925~~

~~2924. Z: que confieso - 149 -~~

~~que mereces que te llamen~~

~~no solo de Albania rey,~~

~~slno de cuanto el amante~~

~~luclente de Dafnes dora.~~

~~FILIPO Hermano quiero llamarme, 2930~~

~~y amigo tuyo no mas,~~

~~pues has llegado a lnformarte~~

~~que tengo valor, Enrico,~~

~~para ser rey.~~

~~ENRICO Y tan grande~~

~~que de los reyes lo eres, 2935~~

~~las prodiglosas senales~~

~~con tus vlrtudes venclendo.~~

~~FILIPO Yo dare mujer que iguale~~

~~a Carlos en Nlnfa, infanta~~

~~de Hungrla, con que te saque 2940~~

~~de la deuda en que le estas.~~

~~ENRICO Siglos el cielo te guarde.~~

~~CIARlN Mis albrlcias no se olvlden,~~

~~para que mejor acaben~~

~~con el perdon, y con ellas 2945~~

~~vlrtudes vencen senales. FIN~~

~~2930. Z : H a m a r t e . 2942. S : e clelo. a printing error. 2945. Z : ellos. 2946. S does not italicize. NOTES~~

The notes given here are meant to serve a threefold purpose: (l) to explain difficulties of text, (2) to point out certain syntactical and stylistic qualities of Velez, and (3) to present examples of similar Ideology or phrasing from other dramatic works of Velez, and from the works of a variety of other Spanish literary figures, thus emphasizing Velez's reflection of the life and thought of his time.

Citations from particular pieces of literature cor respond to the edition of the work listed in the bibli ography. For the most part, only the essential words of the titles have been used in these notes — this in an effort to conserve space. Except for the anonymous La Estrella de Sevilla, titles whose authorship is not indi cated are understood to be by Velez. The following is a list of the principal abbrevia tions used in the notes: Alemany - Bernardo Alemany y Selfa, Vocabularlo de las obras de Don Luis de Gongora y Argote. Madrid, 1930. Autorldades - Dicclonario de la lengua castellana . . . compuesto por la Real Academia Espanola. Madrid, 1726-1739. 6 tomos. BAE - Blblloteca de Autores Esoanoles.

~~- 150 - - 151 -~~

~~BRAE ~ Boletfn de la Real Academia EspanolaT~~

~~Caballero - Ram<5n Caballero, Dlcclonarlo de Modlsmos. 2a ed. Madrid, 1905.~~

~~Clas. cast* - Claslcos castellanos. (Edi- clones de "La Lectura.")~~

~~Connelley-Higglns - Thomas Connelley and Thomas Higgins, A New Dictionary of the Spanish and English Lan guages . Madrid, 17o9. 4~v7~~

~~Covarrublas - Tesoro de la lengua caste- liana, o espanola. Compuesto por el Licenclado Sebastian de Covarrublas Horozco. Madrid, 1611.~~

Correaa “ Vocabulario de refranes y frases proverblales . . . que Junto el maestro G-on- zalo Correas. Madrid, 1906 (2a ed., 1924). Denis - Serge Denis, Lexique du Theatre de J. R. de Alarcon. Paris, 1943. Dice. Acad. - Dlcclonarlo de la lengua espanola. 16& ed. Madrid, 1939. Hill-Earlan - John M. Hill and Mabel M. Harlan, Cuatro comedlas. New Yorkj 194l.

NRFH - Nueva Revlsta de Fllologla Hlspanica. PMIA - Publications of the Modern Language Association of America. RFE “ Revlsta de Fllolog£a Espanola. S - Suelta edition of Vlrtudes vencen senales. TAE - Teatro Antlguo Espanol. - 152 - Z - Zaragoza edition of Vlrtudes vencen senales. PERSONAS. Many of the same character names appear in other plays of Velez. ALFREDA in Amor es naturaleza is a monster, calmed only by the sound of music; in El re.y naclendo muger she is the Infanta of France, and the cousin of Carlos. An ALMIRANTE appears in Zelos, amor, y venganza, and in Don Pedro Mlago. ALBERTO has a prin cipal role in El Marques de Basto. ARTENIO is an ayo in El cavallero del sol. In a note (PERSONAS, pp. 116-117) to his edition of Velez's El embuste aoreditado (unpubl. dlss., The Ohio State University, 194-6) Arnold G-. Reichen- berger says: "No less than twenty of Velez's characters are so named [CARLOS], Including historical figures. • . . With one exception, a criado in El pr£nclpe vlnador, they are all of noble birth, ranging from kings to galanes." Relchenberger likewise points out that seven of these appear in plays with an Italian setting, but he makes no mention at all of Vlrtudes. An ENRICO is mentioned in El amor en vlzcafno, although he does not appear in the comedia. FILIPO is the infante of France in El amor en vizcafno. There is a King Filipo of Spain who does not appear on the stage in El cerco del penon de Velez, and Filipe [sic ] Is a character In El agulla del agua. In La adultera penltente (1657), a doubtful product of Lope's pen (see S. OriswoId Morley and Courtney Bruerton, The Chronology of Lope de Vega's "Comedlas" [New York, 1940], - 153 - p. 250, and. Narcellno Nenendez y Pelayo, Estudlos aobre el teatro de Lope de Vega, ed. EnrIque Sanchez Reyea [Santander, 194-9], I, 303-305)» there is a Negro slave named Filipo who attempts to ravish Teodora, the dama principal. The latter becomes captain of a band of thieves, and cuts off her own hand rather than give It to Filipo. In Zeloa, amor, y venganza there is a Rey LISANDRO whose name Is mentioned several times, although he never actually appears on stage. LI3AED0 is the name of the King of England In El cavallero del sol. In the same play RICARDO is the servant of the aged king. ROBERTO Is a crlado In Cumpllr dos obllF,aclones y Duquesa de Saxonla. TIRRENA Is a character In El nlno dlablo, while In La rosa de Alexandria she is a labradora. LISENO and TIM3RI0 are characters in La hernosura de Raquel, Parte la, and in Amor es naturaleza there is a character named LEDA. Naples is a frequently used locale for the cornedlas of Velez. El cavallero del sol has a Princess of Naples, Zeloa. amor, y venganza has a King of the same nation, and in El monstruo de la for tuna war is declared upon the Queen of Naples. Albania likewise is used at least twice by Velez as the locale of comedlas: El gran Iorge Castrioto and La devoclon de la misa. There are at least three other Negro characters in - 154 - cornedlas by Velez: an Ethiopian in Santa Susana, Brisis, the Queen of Ethiopia, in La rosa de Alexandria, and Tomas, a Negro leader of Ethiopian forces in La nueva Ira de Dios. 3-5 • No hay luz . , . ofrece. This "astrologo estllo,11 which is so common in the Golden Age theater, came in for its share of condemnation: Las llanezas del honor no con astrologo estilo se han de dezir; habla claro, y dexa en sus zonas clnco al Sol, que, aunque'Estrella soy, yo por el Sol no me rljo. (La Estrella de Sevilla, vv. 1304-1309.) que si yo como el sol fuera, pues el al sol me compara, no hubiera quien me quisiera, ni a la cara me mirara. Fuera de ser un favor tan comun como el amor, dime, .) Notice that Velez has made particularly extensive use of the style in the present comedia. Other examples are to be found at w . 699 ff., 1081 ff., 1774-1776, 1793-1797, 2537-2538, 2871-2876, and 2884-2886. 7. See Introduction (p. cvlii) for the explanation of parentheses here and elsewhere in the text. "An abundance of parentheses fits into the general framework of the style of a Baroque writer like Velez, a - 155 - style marked by its tendency towards exuberant multifar iousness and away from classical restraint" (Reichenberger, op. clt., pp. 131-132, n. 66-67). "in what are believed to be his earlier plays, Velez rarely employs the parenthetic style that is noticeable in plays that belong, so it would seein, to his later period which, in this respect, points toward Calderon" (Ramon C. Rozzell, ed. La nlna de Gomez Arias, unpubl. dlss. The Ohio 3tate University, 1947, pp. 143-144, n. 81). 7-8. Sola . . . tanta. The adjective sola, in its mean ing of "unique," is a modifier of hermosura. Translate: "Such unique beauty deserves to be master of the entire world." 10. dices. Forms of address in the comedia vary because of stylistic and metrical considerations, and no fixed rule can be laid down for their -use. Generally speaking, both tu and vos were used during the seventeenth century for both Intimate and disrespectful address. Vuestra merced (vuesamerced) was the usual term used in courteous, formal address. For additional information consult Julio Monreal, Cuadros vie.1 os (Madrid, 1878), pp. 171-200, Francisco Rodriguez Marin, ed. Don Qul.jote (Madrid, 1947- 1949), IX, 262-267* J. Fla Carceles, "La evolucl6n del tratamiento vuestra merced," RFE, X (1923), 245-280, St. Clair Sloan, "The Pronouns of Address in Don Qui.jote," Romanic Review, XIII (1922), 65-76, and "The Forms of - 156 - Address in the Hovelas ejemplares of Cervantes," Romanic Review, XV (1924), 105-120, M. Romera Navarro, "Apunta- clones sobre vlejas formulas castellanas de saludos," Romanic Review, XXI (1930), 221-223, and Tomas Navarro- Tomas, "Vuesasted-Usted," RFS, X (1923), 310-311. 12. Levanta. Concerning the use of reflexive verbs as intransitives and omitting the pronoun, see Joseph E. Glllet, "Propalladia" and Other Works of Torres Naharro (Bryn Mawr, Pa., 1943-1951), III, 554, n. 46. Other occurrences of the same verb without the reflexive are to be found in w . 48, 680a, 1143, 2466, 2714, and 2808. 13• The mission of Dionisio to the Court of Albania Is reminiscent of King Marsilio's visit to the Court of Navarre to win the hand of Dona Urraca in Velez's Los fi.los de la Barbuda. 13-14. rey de Sicilia. Sicily became a dependency of Aragon in 1282, and remained so until the Tfar of the Spanish Succession (1714). See Charles S. Chapman, A History of Spain (New York, 1948), pp. 126-129 and 371- 372. The use of a tereera in marital arrangements is a common device of the comedla. Alfreda, as custom dic tated, has simply written a letter to Leda apparently urging her to accept Enrico's offer of marriage. Among other instances, Velez uses the device in El amor en - 157 - Vizcaino, where Filipo, the Infante of France, pays a visit to Don Garcia of Navarre, and acts as an intermedi ary for his brother Carlos: Estrella, ved el retrato, que pues vengo por tercero a Nauarra del Delfin; cumplir con ml oficlo es esto. (fol. Av ,a-b.) In El rey naclendo muger Febo, the Prince of Wales, comes to talk with Carlos, the King of France, in behalf of the marriage between his sister Luna and Carlos. 17* empleo = trato de amores. See Americo Castro, ed. Cada qual lo que le toca y La vina de Nabot by Francisco de Ro las Zorrilla, TAB, II (Madrid, 1917), 226; William L. Fiehter, ed. El castlgo del discreto by Lope F^lix de Vega Carpio (New York, 1925), p. 264; Benjamin B. Ashcom, ed. El gran Iorge Castrioto y Principe Escanderbey by Luis V^lez de Guevara y Duenas (unpubl. diss. University of Michigan, 1938), p. 298. The word is used again in the same sense below (v. 39)• 24-25- represento el varon / de Albania. Concerning the use of the Salic law as a device in the comedia, as well as Velez's own frequent references to troublous times in kingdoms which lack male heirs, see Introduction, pp. lix-lx. 25-28. As noted in the Introduction (pp. lx-lxi), this insistence on the evils of foreign rulers Is one of the most important aspects of the kingship theme in the play. - 158 - In SI cerco de Roma Bernardo says: porque es costumbre en Castilla, y antlguo y guardado fuero, que nlngun rey estrangero herede su cetro y sllla; y quando alguno quisiera hacer alguna vlolencia, hallara mas resistencia que en bronce la blanda cera. (p. 10a.) There is a similar exhortation against foreign rulership in El monstruo de la fortuna (fol. 9r, a). Cf. also Calderon's La vida es suenoi Para esto Junto su corte, y el vulgo penetrando ya y sabiendo que tiene rey natural no quiere que un extranjero venga a mandarle. (w. 2287-2292.) 30. valor. As has been pointed out in the Introduction (p. xxlx), this is one of the favored words of Velez. It is used 42 times subsequently in Vlrtudes t w . 54, 55, 105, 128, 184, 188, 195, 212, 218, 233, 250, 382, 461, 858, 1164, 1284, 1393, 1421, 1448, 1450, 1457, 1484, 1517, 1570, 1596, 1675, 1700, 1725, 1872, 1990, 2040, 2330, 2467, 2642 (twice), 2647, 2656, 2671, 2690, 2910, 2925, and 2933* In addition, valeroso, -os appears in w . 907, 1579, 1913, and valiente in w . 388 and 882. Rozzell (o]D. cit.) cites Montesinos (v. 67 of Lope's 51 cuerdo loco, TAE, IV, 198-199), who indicates that valor, nobleza, prestlgio, and meritos are simply shades of - 159 - meaning of a common term, Rozzell likewise points out that in V^lez the word valor frequently is used with a possessive adjective as a substitute for a simple subject pronoun. 39. empleo. See above, n. 17. 48-51. tlene poder . . . que aeje aqu£. The meaning of these lines is obscure. Yo, understood, may be the sub ject of deJe; "Albania has the power not only to make me queen, but to force me to remain here." 52-56. que no es blen . . . de sus espadas. Albania (v. 49) continues as the subject of represente (v. 52), and as the antecedent of su (w. 54 and 55) and of sus (v. 56). Translate: "for it is not proper for me to declare her military prowess in needless words (razones excusadas), ambassador, since the blades of her swords make her prowess so famous." 57-60. que en el d[e]recho . . . las armas son. The word accion is used as an appositive of el derecho, "the law," with the meaning "Modo legal de ejercitar el mismo derecho, pidiendo en Justleia lo que es nuestro o se nos debe" (Dice. Acad.)• A prose rendition of these lines might be: "porque en el derecho o en la accion, las armas son arbitrios de los pleltos de los reyes, porque los reyes son duenos de las leyes." Cf. similar diction from SI rey en su Imaglnaclon: - 160 - Demas que, en tan alta acci6n, no lmportan ociosas leyes,

mejor comprenae, sino a lo extraordinario, potente, obscuro, maravllloso e infinlto. Es £sta una consideraci<5n de la naturaleza, del hombre y de su alma que supera en profundi- dad po^tica al naturalismo y humanismo corrien- - tea. El humanismo espanol no se contents con la sentencia: "hihil human! mihi alienum," [sic ] sino que' partiendo de la exigencia de que nada humano debe sernos extrano, avanza hasta la convicci<5n de que todo lo extrano, singular y maravllloso nos afecta e lnteresa deade el punto de vista humano. En resumen, es un huma- niamo que saltanao sobre si mismo apunta ya al romantlclamo e Incluso a los simbollstas de hoy.

(lntroduccl6n a la llteratura espanola del 3iglo de Pro: Seis leccionea fBuenos Aires, 1945J, pp. 124-125.) 77. resolucl&i = anlmo, valor. 81. celo. "por ext., cuidado del aumento y blen de otras cosas 6 personas" (Autoridades). In connection with the rhyme with clelo below (v. 84), Hill-Harlan (p. 122, n. 22-24) suggest interestingly that color symbolism— azul = "jealousy"— rather than easy rhyme accounts for the high frquency of this combination in Golden Age literature. 86. blas6n. "honor, glory." Cf. the title of another vSlez play: Si el caballo vos han muerto o blas&i de los hendozas, and the following: Blas6n de tu autoridad es el rendirme a tus pies, y credito tuyo es mi convencida humildad; . . . (El embuste acredltado, w. 465-468.) The word is similarly used again below, v. 2049. - 162 -

8 7. ocaaldn. This Is one of the favorite words of Velez. There are 18 cases of its use in Virtudes, in addition to this one: vv. 113, 142, 226, 334, 348, 403, 440, 501, 505, 1065, 1266, 1598, 1814, 2056, 2145, 2379, 2526, and 2670. 94-96. esta Alfreda . . . capitulada. Translate: "Alfreda . . . is promised to Carlos." Although this rather specialized meaning of the verb capitular is not recorded by the usual dictionaries, Covarrubias defines capitulaclones: "Los conciertos, condiciones y pactos, que se dan por escrito para convenlr unos con otros, especlalmente en casamlentos." Of.: Ya traygo, senor, aquf del modo que has ordenado, lo que esta capitulado por el Infante, y por tl. (El amor en vlzcafno, fol. 8r, a.) In El rey naciendo muger Febo says of the marriage which is being arranged between his sister and Carlos: . . . ha mas de vn ano, y muy cerca de dos, que estan sin cumplirs© capitulaclones hechas. (p. 10b.) 112. prlnclplo. "Causa primitlva o primera de una cosa, . . ." (Dice. Acad.). 116. trofeo. "Victoria 6 triunfo conseguido" (Autoridades). 117. echarte por un balcon. As Ashcom has pointed out (op. clt., p. 266, n. 1295), the threat to throw someone from a balcony or other high place is a characteristic of - 163 - Velez. Four occurrences were noted in SI firan Iorge Castrloto, and one each in El asombro de Turqufa, El Hercules de Gcana, Los novloa do Hornachuelos, and La luna de la sierra. In addition, I have found the same device in six other Velez plays. In La nlna de Gomez Arias a character is thrown over a mountain side. To- riblo is about to despenar Olalla in La montanesa de Asturias when he is prevented from carrying out his threat. The gracioso of El caballero del sol threatens to throw a postilion over a balcony. Don Nuno of' El ollero de Ocana is about to be executed by being thrown from a cliff when his accuser recognizes and pardons him. A soldier threatens to throw Alberto Tudesco from a bal cony in El Marques del Basto, and in El prlvado perseguldo the gracloso is almost thrown from a balcony. It will be remembered that Seglsmundo actually kills a crlado by this method in Calderon's La vlda es sueno (v. 1427+). 123'b-126. The diplomatic immunity enjoyed by representa tives of one nation to another is adequately attested in the comedia. Court etiquette demanded that such repre sentatives be accorded defferential treatment. Some light is shed on the traditional reception of an ambassador in these lines of Fray Olofernes directed to the alcalde of Oran: - 164 - All£ en mi tlerra es vsanpa dar a loa Embaxadores aaslento mientras que hablan, que aquello todo es dar lionra al dueno de la Embaxada. (La conqulata de Oran, p. 71b.) In the third act of Los f 1.1 os de la Barbuda two ambassadors come to the court of the Moorish Icing Marsilio. After Inquiring why they are not provided with seats, as is the custom, they hear Marsilio order their imprison ment. Here Pionislo is accused of taking refuge not only in his ambassadorial immunity, but also in the ley de la preBencia real, which banned the use of arms in the pres ence of the monarch. This ban came to include any loca tion within the palace. For information concerning the ley de la presencla real see Northup, op. clt., pp. xvili and 334, n. 1706; John M. Hill and Frank 0. Reed, ed. Los novlos de Hornachuelos by Luis Velez de Guevara y Duenas (New York, 1929), pp. 200-201, n. 3031-3051* 124. satisfecho, "convinced, having confidence." Cf.: para que los dos quedamos yo dlsculpada con vos y vos de mf satisfecho. (El embuste acredltado, w . 80-82.) Que ya estoy de qulen sols tan satisfecho. (El dlablo esta en Cantlllana. p. 161c.) 136. flero. Another of the favorite words of Velez, it occurs 15 additional times in Vlrtudes: w . 235, 253, - 165 - 419, 455, 644, 666, 868, 976, 1136, 1200, 1359, 1455, 1832, and 1852. In addition, the word flereza occurs in v. 724. The word lias a diphthong in each of its appear ances here. 148. peala al. Concerning this very interesting deaf1- Ruraclon see the extensive note of F. Rodriguez Karin, ed.

~~Don Qul.lote (Kadrid, 1947-1949), II, 8, n. 2. furor. Another of the favorite words of Velez in this cornedla. It appears subsequently at vv. 855, 1416,~~

1851, and 2267. 201-203. y que la acclon . . . contradicen. Translate: "And[tell the king] that [the foregoing considerations 3 contradict the action which he Is taking toward the Albanian kingdom.” 229. ruina. It will be noted that the word is trisylr labic, conforming to Wade 's findings (Gerald E. Wade, ”The OrthoSpy of the Holographic Comedlas of Velez de Guevara," HR, IX (1941), 463-464). 236-237. Libia calor / o Citla hlelo. Cf. Ptolemy,

Tetrablblos. II, 3* Again, the north-eastern quarter of the whole Inhabited world is that which contains Scythia, which likewise is the northern part of Greater Asia; and the quarter opposite this and toward the south-west wind, the quarter of western Ethiopia, is that which we call by the general term Libya. (ed. Robbins [Cambridge, 1940], p. 131.) 266-268. Margarita . , . Jasjoes. The double meaning of

~~the word margarlta ("pearl11 and "daisy") Is a ready-made poetic figure especially appropriate at the time of Velez because It was also the name of the wife of Philip~~

~~III.. Of.: Si es Flora que fu£ flor pledra enojosa,~~

~~Margarita en ser pledra, y ser preciosa. (La devoclon de la mlsa, p. 112.)~~

269 ff. This relacion of Lisandro In which he tells of his efforts to provide Albania with a male heir Is remi niscent of a similar passage in SI amor en vizca£no. In Act I of the latter comedla Dominga is revealed as the sole heir of Inigo L6pez Ezquerra, lord of Biscay, who had hidden her away and spread word that his first mar riage was without issue. The death of Dominga has been publicly announced, she has been turned over to un hidalgo castellano who has educated her himself in a mountain retreat. 279-280. cuantas . . . tantos. Cf.: Dalde aquese memorial, que es tanta vuestra pobreza, cuanto el franco y liberal. (El capltan prodlKloso, p. 172.) Vn hombre descubro a un tronco, que en aquella encina, o roble, quanto de las ramas pond's ; tanto de ella sangre cone. (Los tres oortentos de Dios, p. 16b.) - 167 - 284. Atlanta. Aahcom (op. clt., p. 250, n. 545). lias

~~pointed out the fondness of V~~

adds that it often suggests to Velez another of his fa- . vorite words, columna. In the present play it occurs again at v. 866. Reichenberger (op. cit., n. 1088-1090) cites Alarcon's criticism of the common cliche— comparing "the monarch or his minister who carries the weight of government on his shoulders with Atlas on whose shoulders rested the shy"— in Los pechos prlvlleglados. It has also been noted that Atlantes are "statues of the male figure used to support any architectural projection" (Stephen H. Ackerman, ed. La corte del demonlo by Luis

~~Velez de Guevara [unpubl. M. A. thesis, The Ohio State University, 1951], n. 245). Cf. also:~~

Estos son aquellos Soles cuya luz nunca se eclipsa, los Atlantes de sus rayos, pues en los hombros estrivan. (El cerco de Roma, p. 23b.) See below, n. 1915-1918. 285-288. The notion that like begets like (here and vv. 1707-1710) is related directly to the theme of maternal influence which has been discussed in the Introduction (pp. lxii-lxlx)• Notice also that below (vv. 301-306) Velez reflects Pliny's concept of the Importance of visual impressions (see the Introduction, p. lxiil). Cf. La montanesa de Asturias: - 168 - Verte querer, pues no ay aue nl animal que no apetezca su lgual. (pp. 4lb~42a.) See also Ptolemy, Tetrablblos, I, 2: But in an inquiry concerning nativities and Individual temperaments in general, one can see that there are circumstances of no small importance and of no trifling character, which join to cause the special qualities of those who are born. For differences of seed exert a very great influence on the special traits of the genus, since if the ambient and the horizon are the same, each seed prevails to express in general its own form, for example, man, horse, and so forth; and the places of birth bring about no small variation in what is produced. For if the seed is generically the same, human for example, and the condition of the ambient the same, those who are born differ much, both in body and soul, with the difference of coun tries. (ed. Robbins, p. 17•) In Lope 's Contra valor no hay desdicha the King listens to Ciro's declamation concerning the monarchs of the various kingdoms— animal, vegetable, mineral, earth, air, sea, etc.— and observes: Porque son precisas leyes, De que tengo claras senas, Que penas engendran penas, Y reyes producen reyes. (p. 6c.) 291. taplz. Visual representations in the form of por traits or tapestries play Important roles in the comedia generally, and are to be found in at least three other Vilez plays: 51 ollero de Ocana, La conqulsta de Oran, and Tambien la afrenta es veneno. - 169 - 294. Saba. The well-known visit of the Queen of Sheba to the court of Solomon (I Kings, 10:1-13) has been a continuing source of inspiration to artists. There are many paintings depicting the episode, as well as an opera by Goldmark. "Es la reina que, sometida por Salomon, se convlrti6 a la religion de Johveh. Los etlopes se precian de haberla tenido por reina, a la que dan el norabre de Makeda, y sus reyes son tenldos por descendientes del hi Jo de aquella, Memlek" (Enclclopedla ilustrada, Espasa- Calpe, s.v. BALKIS). 296. el bianco belga Tlmantes. It has not been possible to determine whether Velez had some particular artist in mind. Tlmanthes was a celebrated Greek painter, b o m about 400 B.C., whose name was used by seventeenth cen tury Spanish dramatists to designate painters as a class. Cf., for instance, Calderon: pues, contra el tiempo y olvido, los pinceles de Tlmantes, los marmoles de Lisipo, en el ambito del orbe me aclaman el gran Basllio. (La vlda es sueno, vv. 607-611.) For information concerning a little-known statement of Calderon in praise of painting, see E. R. Curtius, "Calde ron und die Malerei," Romanische Porschungen, L (1936), 89-136. The traditional superiority of Belgian tapestry work, together with the completely meaningless nature of the Z - 170 -

variant, is Justification for the present reading. It seems logical to suggest, then, that V^lez may have In mind a particularly outstanding Belgian artist, who may or may not have celebrated the Queen of Sheba's visit to, Solomon In a tapestry. Although I have been unable to locate evidence to connect Rubens with such an artistic endeavor, he has painted a portrait of Eathsheba, the mother of Solomon, and It is possible that thlB painting Is the one which Velez has In mind. 317-319. Jacob . . . Laban. The story of Jacob and Laban (see Introduction, p. lxiil), which Is of such great Importance in Virtules. finds expression In at least four other Velez cornedlas. At the end of the first part of La hermosura de Raquel there is a detailed account of Jacob's deception of Laban. Cf. also:

7 yo sere, cuanto viva, de don Jaime de Aragon un esclavo que le sirva, mas que Jacob a. Laban por Flerlda, Raquel mfa. (El prfnclpe vlnador. w . 735-739.) Iacob, que de la beldad de Rachel enamorado, guardo a Laban el ganado, qulere entrar. (Las tres edades del mundo, p. 2 5 6a.) que no fue tanto en Aran Raquel de Iacob querida, - 171 - quando se la di<5 Laban, como lo es de mi Susana. (Santa Susana, fol. 4V, b.) The extent and variety of the Interpretations of the Jacob-Rachel theme in Spanish and Portuguese poetry of this period have been discussed by Edward Glaser. See "A Biblical Theme in Iberian Poetry of the Golden Age," Studies in Philology, LII (1955), 524-548. 364-368. The similarities between Vlrtudes and La vlda es sueno with respect to the situation in which Fllipo and Segismundo find themselves at the opening of the re spective plays have been pointed out in the Introduction (pp. lxxil [1], lxxiv [19 and 20], and lxxxi). Cf. with this passage Rosaura's description of the sight which greets her as she peers into the darkened room inhabited by Segismundo: Si, pues a sus reflejos puedo determinar (aunque de lejos) una prision oscura que es de un vivo cadaver sepultura; y porque mas me asombre, en el traje de fiera yace un hombre de prisiones cargado y solo de una luz acompanado. (La vlda es sueno, w . 91-98.) 421-422. al tope de. Asheom says: "Al tope is a jewel e r ^ phrase describing a mounting in which stones are set flush, side by side, with a flat upper surface" (og. clt., p. 276 , n. 1683). In his edition of Lope's El seacrar en buena tlerra (Hew York, 1944), however, William L. - 172 - Fichter objects to this definition, feeling that the ex

pression means rather "sharp" or "penetrating" (p. 2 1 3, n. 1905). For additional comment on this matter see C. E. Anibal, review of Fichter's edition, Romanic Review, XXXVII (1946), 266-267, n. 1905. The phrase appears to be something of a favorite with Velez, there being at least six plays in addition t,° VIptudeB in which it is used: El gran lorge Castrioto

~~(w. 1073-1078), Tamblen ,1a afrenta es veneno (p. 288b),~~

~~El aguila del agua (pp. 63b and 312a), La corte del demonlo (w. 1590-1592), Santa Susana (fol. 4r, b), and Tam-~~

bien tlene el sol menguante (fol. 88v, b). 435-437• la injuria . . . por la culpa del abuelo. Cf. Exodus 20:5: . . for I the Lord thy God am a Jealous God, visiting the iniquity of the fathers upon the chil dren unto the third and fourth generation of them that hate me; . . . 458. There is a slight reminiscence of the Velez title in Calderon’s La vlda es suego when Clotaldo recognizes Rosaura’s relationship to him: "... las senas / dlcen blen con las senales / del corazon . . ." (w. 413-415), as there is again in these lines spoken by a soldier to his prince: Gran prfnclpe Segismundo (que las senas que traemos tuyas son, aunque por fe ■be aclamamoa senor nuestro). (w. 2276-2279.) - 173 - 478. Evadne. The wife of Capaneus, one of the. Seven before Thebes. When her husband's body was burned she threw herself on the funeral pile. According to Ashcon

(op. clt., p. 214, n. 1) this name— along with Palaa and Semframls (see succeeding note)— is a favorite metaphor ical name for the heroines of Velez. 479. Semframls. Ashcom (op. clt., p. 225» n. 70) notes the double role in literature which is played by this leg endary Queen of Assyria: the exemplar of lust (cf. Velez's La corte del demonlo) and the exemplar of the mujer varonll. This latter was the aspect most appealing to Golden Age dramatists. John Brooks (ed. Lope's El mayor imposlble [Tuscon, 1934], n. 471-472) says that Semiramis is often cited as proof of the fact that women may lead armies. 519- fortuna. Rozzell (op. clt., p. 220, n. 1606) says that the fortuna theme "is a dominant one in Velez's prlvado plays, . . . and in the remainder . . . it constantly provides desultory rhetorical motifs. With Velez fortuna works at cross purposes with naturaleza." Concerning the these see Howard R. Patch, The Goddess Fortuna in Medieval Literature (Cambridge, 1927) and Francisco Lopez Estrada, "Sobre la Fortuna y el Hado en la literatura pastorll,"

~~ERAS, XXVI (1947), 431-442. Additional occurrences of the word in the present comedia are to be found at w . 794,~~

8 6 8, 1135, 1431, 1494, 1 5 8 0, 1 8 3 2, 1857, 1894, 2245, and 2251- 562-564. encontraren . . . con S i. II111 and Reed (op. clt., n. 1593) point out that this was a frequent sub stitute In the seventeenth century for the modern encon- trarse con. See also Don Quljote (ed. clt.) I, 352, 16 (and note); III, 210, 6; V, 81, 5; VI, 228, 6; and VII, 277, 21. 570+. vestldo de color. "Hablando de vestldos, dlcese del que no es negro" (Dice. Acad.). In their edition of Lope's Amar sin saber a qulen (New York, 1920), M. A. Buchanan and Bernard Franzen-Swedellus point out (n. 1495) that "in the daytime Spanish gentlemen wore black, gente de capa prleta. For their nocturnal adventures they sallied forth In vestldos de color, long cloaks, swords, and bucklers (broquel)." See also Hill-Harlan (p. 446, n. 1075) where it is noted that ordinarily a colored costume was worn by the seventeenth century Span iard when he traveled. The use of color in Filipo's cos tume here is, then, not strictly in keeping with the cus tom. Obviously, however, Velez means to set his noble characters apart from the others by having them appear in colored dress. Cf. below (v. 2728+) where the members of J-Snrico's entourage appear in the same sort of costume. 595-600. a este crlstalino . . . el paso. Cf. a similar figure in these lines from two other Velez plays: que parece que a Castilla tiene desde all£ en la mano, - 175 - con un freno, como al cano man la arena de la orilia.

~~(Los novlos de Hornachuelos, w . 4-5-48.) y con un freno de arena para el caballo del mar.~~

~~(El pr£nclpe vlnador, w . 1011-1 0 1.) 2 ; In Los tres portentos de Dios Saul refers to the Sea of Galilee as~~

~~esse caballo del Cielo, siempre de espuma argentado, que con un freno de arena le detlene Dios los passos.~~

~~(p. 6b.) 596. feroz salado Pegaso. Cf. for similar diction:~~

~~ya el salado cristal ponen a raya, vestidos de damascos los remeros, que le castlgan con azotes de haya; • . .~~

~~(El Rey don Sebastian, p. 155*) cafste del esquife a la salada agua del mar, saliendo a la marina, . . .~~

~~(Ibid.. p. 197.) Pegasus, the celebrated winged horse which, according to Greek mythology, sprung from Medusa at her death, is~~

the symbol of poetic inspiration, and appears to have been connected with the sea by reason of having trans ported Perseus when the latter freed Andromeda from a sea monster. 621 ff. The appearance of several characters on differ ent stage levels Is a favorite device of Velez, as it is

~~v'.i;'.':''". '' If ■ - 176 -~~

of many dramatists of the period. Cf. La luna de la sierra, w . 280 ff. In El alba y el sol (Act III) the Christians come down from a mountain cave to do battle with Moorish forces on the stage. In El amor en vlzcafno Carlos and his servant Vilhan are sighted on top of a mountain by Bermudo Tenorio and his s^qulto, who are in a valley.

The two groups carry on separate dialogues v/Ithout speak ing to each other. There is a Moorish slave ship placed on a higher stage level in Los sucesos en Oran. For additional information concerning this technique of stagecraft which is so common in Velez, consult Hugo A. Rennert, The Spanish Stage in the Time of Lope de Vega

(New York, 1909), pp. 84-85. 6?0. traslado. 11 Copy, reproduction." Cf. Julian, the tailor who fervently desires to devote himself to the cause of Christ, engaged in repairing a religious habit: Ya esta el habito hllvanado, y ahora vestirle quiero, que con vos, habito, espero ser de Francisco un traslado. (El lego de Alcala, vv. 314-317.) " De vueso pecho y valor, Urraca, tengo cuidado; que sols un vivo traslado del Cide, nueso senor. (Los fi.los de la Barbuda, p. I4bc.) ...... - 177 - 635 • Si. "Do you suppose . . . ?" Cf.: iSi se muri<5 sin cenar, y es el camlno tan largo, que ha hecho hasta el otro rnundo? (B1 Hercules de Qcana, p. 247.) iSl duermo y esto que escucho es sonado? (El embuste acredltado, w . 2170-2171.) 639-660. Cf. a similar situation, with parallel diction,

in El prfnclpe vlnador: ^0 es lmagen del deseo, o buscando a Endimion Diana al suelo ha bajado del estrellado zafiro, o es su celestial traslado, pues tan armada la miro? (w. 89-94.) 645. Ague fuego, o que hlelo . . . ? The fuego-hlelo

~~combination (also w . 735-758) is a frequent one in Velez, as it is also in other dramatists of the period. See Brooks (on. cit., n. 430) where several examples are~~

~~provided. Cf. also from Velez: (En fuego helarme imagino y en hlelo arder.) (La corte del aemonio, w . 741-742.)~~

|Ay, Dios! Viendo a Diagote, no s£ que fuego me yela el pecho o que nieve empezo a arder. (Si el caballo vos ban muerto, p. 15b.) Reichenberger (op. clt., p. 194, n. 840) points out - 178 - that the use of the word fuego was very common In the language of love, and cites these lines: . . . cuando a detenerte mis pensamientos no hasten, el fuego de mis suspiros es posible que te abrase. (El diablo esta en Cantillana, p. 167b.) 661-672. Of the verse form found here S. Griswold ilorley and Courtney Bruerton (The Chronology of Lope de Vega's "Cornedias" [New York, 1940], p. 12) say: "An augmented decima (ABEA:ACCDDEED) of twelve lines is too common to be regarded as an error. It occurs in the midst of pas sages of regular declmas." C. E. Anibal in his review of Richard H. Olmsted’s edition of El Conde don Pero Velez by Velez (Minneapolis, 1944) wonders whether this is Indeed a common device, or whether it is merely an illustration of Velez's strophic Ineptitude. (HR, XIII [1945], 262.) Morley and Bruerton ("Addenda to The Chronology etc.," HR, XV [1947], 49-71) point out that there are two such declmas largas in La serrana de la vera (w. 3024-3035 and 3086-3097), onftln El Conde don Pero Velez (w. 461- 472), and one in Mas pesa el re.y que la sangre. In addi tion, Brooks (op. clt., n. 789-796) cites an occurrence of the augmented d6cima, without recognizing it as such, in the Hartzenbusch edition of Lope's cornedias (IV, 305). Hlll-Harlan do not comment on the phenomenon when it - 179 - occurs in Tirso's El burladon de Sevilla (vv. 17-48-1759). 667• rayo. This word is another favorite with Velez. Additional occurrences in Virtudes are at vv. 701, 1084, 1820, 1899, 1972, 2700, and 2875* Reichenberger (op. clt., pp. 192-193* n. 840) points out that imagery with this word is "one of the most commonplace decorative means of seventeenth century poetry," and asserts that the preference shown by dramatists for it "is significant as an expression of the spirit of the Baroque." 681. sin m£. "The frequency of this sin sentldo, sin ml group runs so high in Velez’s plays that it may take its place with the sueno, sonando group as a means to help establish the authenticity of some plays not universally ascribed to Velez" (Rozzell, o j d . clt., p. 194, n. 782-

785). 685-686. Velez makes admirable use, frequently for comic effect, of Filipo's lack of acquaintance with the details of common, everyday life. See, e.g., the situation where the use of the titles almlrante and alteza cause him to believe he has been deceived (w. 778 ff.); his gracioso- like response to Clarfn's question, "iQuien es Clarfn?" (w. 842 ff.); the mistaken significance of Clar£n's "Los pies . . . te beso" (w. 1141 ff.); and the discus sion of money (w. 1244 ff.). 733-734. Preso estaba . . . siendo tu amante. Translate: "I was imprisoned and yet my life was my own; now, being - 180 - your lover, my life no longer belongs to me." This preso libre concept of love, highly favored by the poet and the dramatist of the G-olden Age, appears again below (v. 1905). 789a+. laca.yo gracioso. En un numero aplastante de cornedias, el gracioso vlene a ser sinonimo de lacayo, aunque a veces, por tener algun que otro lacayo poca gracia humorlstica, o por aparecer poco en ee- cena, o porque haya dos lacayos rivales, no podemos hacer equivaler los terminos de lacayo y gracioso; y no hablemos de los casos en que el gracioso no es lacayo, sino otra cosa, como villano— aim asfrecuentenente slrve como criado. (Charles David Ley, El gracioso en el teatro de la peninsula [Madrid7 1954-3, p. 75.) C. E. Anibal says: The expression lacayo gracioso, . . . is surprisingly rare. Velez himself employs it in its full form only to designate the comic char acters in El hijo del aguila and El primer Conde de Orgaz, and to satirize the type in El dlablo co/luelo (ed. Clas. cast., p. 28l). I can find it elsewhere only in Lope's La ocasion perdlda (be fore 1604), though criado gracioso, vlllano gra cioso, etc., and lacayo or gracioso alone are not uncommon.

(HR, XIII [19453, 260.) Tlrreno in El precipe vlnador is listed as labrador gra cioso in the reparto. It should be noted that the term lacayo gracioso in the present conedla appears only in one text, S, since Z omits the stage direction completely. With the introduction of Clar£n we begin to get a taste of the humor which is so much a part of the Diablo cojuelo, and for which Velez is noted. A typical gracioso - 181 - Clarfn exhibits from here to act-end the characteristic progress of the false valor associated with his type: the threat to do bodily harm to someone so long as he is among friends (v. 829), and a subsequent hasty retreat when threatened by his adversary (v. 837); blustering bragga docio (w. 838-842) which'soon turns to excusing himself for not having engaged his adversary in battle (w. 878- 88l), and eventually ends with a rather weak boast of what he will accomplish in the future (w. 921-924). 791-792. Queaese . . . un poco. Translate: "Let Sir Nag be on his honor for a little while." According to Autori dades (s.v. PALABRA), sobre su palabra is equivalent to ba.lo su palabra, which is defined as meaning "sin otra seguridad que la palabra que uno da de hacer una cosa." In Zelos, amor, y venganca there is a similar bit of dic tion employed by another gracioso: Yo, entre el temor, y paciencia, he esperado, hasta que ya, a los Roclnes que quedan hechos, sobre su palabra, dos marmoles de la puerta, dlxe: Senores Rocines, aqu£ estamos como bestias, sin saber de nuestro dueno; esperen vn rato, mientras voy a buscarlo: . . . (fol. 84v, a.) 818-820. (Ola . . . tamblen.) The obvious efforts of Velez to lend realism to Filipo's complete isolation from the world frequently, as here, take the form of humorous situations resulting from his lack of aequain- - 182 - tance with simple, everyday vocabulary. Similar diction is to be found in El Conde don Pero Velez: Leonor. iCla! Martfn. iQuien es quien me olea? (v. 727.) Tlrso makes use of the same hola-ola-o11a confusion on two occasions: Juana. jHola! iQu£ es eso? Caramanchel. ■ Oye, hidalgo: Eso de hola, al que a la cola como centera le siga; v a los doce, solo diga: 011a, olla" y no "hola, hola." (Don Gil de las calzas verdes, Act I, Scene II.) Duarte. Hola: io£s? Tabaco. ■ ^Quien es la ola? Hablad como habels de hablar; que aunque la corte sea mar, no tengo yo de ser ola. (Averselo Vargas, vv. 1288-1291.) The Galician-Portuguese origin of the estribillo tHola! que me lleva la ola, / jHola! que me lleva la mar, used by Lope in SI via.le del alma (Scene VI), is pointed out by Menendez y Pelayo (on. cit., I, 34 and 39). 826. Pan de perro. "Dano y castigo que se hace o da a uno. Dfcese por alusion al pan con zarazas, que suele darse a los perros para matarlos" (Autoridades). Cf: hable a su Alcayde, d£xeles como venfa Vuessa Ilustrissima a dalles pan de perro sino dauan a la Iglesia llilitante la obedlencia, . . . - (I'B- eonquista de Oran, p. 74a.) - 183 - 871. Monte con alma soy. Cf. this similar diction: Hija sols de la montana. Sola el alma os alferencla, que sols Denasco con alma para ser aspld sin ella.

~~p_(La montanesa de Asturias,~~

871-873* Mira, . . . en las edades. Translate: "Look, Leda, if you are a part of it [my soul], what distrust can expect Inconstancy over the ages?" 921, a las ancas. "A ancas, o a las ancas: Modo adver bial que denota la circunstancia de lr una persona en las ancas de la caballerfa que monta otra persona" (Autoridades.) 925 ff. At the beginning of the third act of Las tres edades del mundo there is a similar scene In which Luzero appears dressed as a bandolero after off-stage voices have been heard to say: 1. iPor aqu£l 2. iPor aca! .3. lAl monte! 4. jAl valle! 5. lAl arroyo! 6. jAl r£o! (p. 264a.) 937. los vlve. In their present form these words seem to have no comprehensible significance. Possibly they represent a deformation of some such exclamatory phrase as " jDios vive!11 940. lArre, burral Tirena [sic] is a character in Velez 's La rosa de Alexandria. She too is a labradora, and her first words, spoken off-stage, are: "lo aquf, - 184 - burra, Jo, detente, / idonde vas?" 940^-974. Since Tirrena and Flllpo are on different stage levels and consequently are supposedly unable to hear the words of the other, no asides have been indi cated In this passage, 945. lantlscos. This is an old form, much used in Anda- luc£a, of the modern lentlsco, "Mata 6 arbusto siempre verde, de la famllia de las terebintaceas, . . (Auto ridades ). Cf. also: galanes ceflros mansos de la noche, que, en lentiscos y romeros retozando, despertais mas presto el sol. (La luna de la sierra, vv. 1094-10970 952. ouebr o. The change of to ^r Is especially com mon in the comedia to lend a flavor of rusticity. Addi tional examples of rustic speech in the present play are to be found in w . 953, 990, 1041, 1375, 1377, 1601, and 1877. Concerning peasant speech in general see Ramon Menen- dez Pldal, "El dialecto leonls," Revista de Archivos, Bibllotecas y Museos, X (1905), 128-172 and 294-311, and Frida Weber de Kurlat,"Latinismos arrusticados en el saya- gues," NRFH, I (1947), 166-170. 959-962 and 967-974a . This song of Tirrena is reminis cent of a romance -pastor11, although it is not indexed in the Romancero general. I have been unable to locate it - 185 - in R. Menendez PIdal's Flor nueva de romances vie 1os ■ ■ ■ ■■■ ■ ■ - ■■ — — - (Buenos Aires, 1946), nor in G. Menendez Pidal's Roman- cero (Madrid, 1933), nor in the 3AE. Rozzell (op. cit., p. xxx) notes the propensity of Velez for using "songs in an ominous role by allowing the song to give a slight hint that something is about to be fall a certain character." In some Instances the song establishes "the irony of a situation in which a charac ter is extremely joyful with lightning about to strike." 1016. sin aeso. "imprudently." "Seso: fig. Prudencla, madurez" (Autorldades). 1039. aLlevas que darme que coma? Notice Identical syn tax in a similarly worded question in El lego de Alcala: iTiene que coma? iPodra darmelo para que cobre allento y responder pueda? (w. 1272-1274.) 1041. estotro. According to Hill-Harlan (pp. cit., p. 590, n. 704), the companion forms esotro and eatotro were "often used in vague connotation to indicate a qual ity that the speaker was either unable or unwilling to express more definitely." They cite Andres Bello and R. J. Cuervo, Gramatlca de la lengua castellana (Paris, 1914), sec. 264. See also Hayward Keniston, The Syntax of Castilian Prose: The Sixteenth Century (Chicago, 1937), p. 214, sec. 17*28 and 17.29. - 186 - 1044-1046a. Qulen con hambre . . . mala sangre. "Eate pobre yantar ea tradicional dechado del comer humilde: ’Contlgo pan y cebolla 1 dice la 'expresion refranesca con que suelen ponderar su desinterns los enamorados 1 " (F. Rodriguez Marin, o£. cit., I, 311, n. *4). The dance 21 Vlllano waa performed to the accompa niment of varioua seta of veraea, one popular version of which la to be found in the Sntrem^s nuevo de la aoca- rrona Ola 11a y Lanzas of Lula Quinones de Benavente: "A1 vlllano se lo dan / la cebolla con el pan" (Emilio Cota- relo y Mori, Colecclon de entremeaea, . . . [Madrid, 1911]> II» 732b). See also Cotarelo's volume I (pp. cclxiii-cclxv) for a detailed analysis of the Vlllano, including several additional citations of the use of these,verses. 1049. generoao • ”l? oble." 1088. como. When followed by the subjunctive (again at v. 1211), como has the force of "if," "provided that." Gf. : Senor, como tu me valgas, no temo nada. (La corte del demonlo, p. 449a.) Quanto me mandas hare, como ahorcado no sea. (El amor en vizca£no, fol. 17r»a.) 1090. Ya me voy (y no lo creo). In the third act of El asombro de Turquta the gracioso Beltran, who has just - 187 - undergone questioning "by Don Diego, is given permission to leave, and says: No voy muy malo de al'oriclas, y si Dios me guarda el seso, nunca mas encerratorio, libre voy, y no lo creo. (Fol. 6lr ,b.) 1091-1102. A rather Involved passage whose meaning is clarified by more normal word order: "Gracias te doy ... de verme— en estos montes desnudo3 de pledad y yermos de soccrro— alimentado sin llegar a merecerlo." 1093— 1095• cuidadoso mayordomo . . . la tlerra. This concept of the infinite concern of the Deity for the most humble of creatures is a favorite with Velez. It is found., for instance, in at least four other of his comedias: La corte del demonio (vv. 2396-2401), El lego de Alcala (w. 1758-1761, 2402-2406, 2545-2549), La conqulsta de Gran (pp. 52a and 63), and Los fi.los de la Barbuda (p. l4lc). 1100. yermos de. The adjective yermo is combined with de to give the meaning "devoid of." Cf.: Duque. iQuien so is? Gavilan. • Vn lacayo yermo de racion y de salario que anda bus candc un buen dueno. (El privado -perseguldo, p. 213b.) 1102-r. Reference has already been made to the similarity of this situation with one in La vida es sueno (see Intro duction, p. Ixxlii [16]). This is a favorite stage - 188 - effect with Velez, and is to be found In several other of his coned las. In the third act of El I-llrcules de Ocana (p. 2cl) Cespedes enters, wounded, In such a manner. Chamerro nearly falls over a cliff, but is saved by the quick thinking and strong teeth of Marruca (El alba y el sol, Act III). Capoche in Act II of El lego de Alcala descends under his own power from a mountain "desnudo en calzon y camisa de llenzo," after having been similarly beset by a robber band. In the third act of the same play (w. 2285 ff.) Julian is set upon by Luzbel and So- berbia while at prayer before the altar of a monastery, and cones rolling onto the stage with his face "todo acardenalado / y sangrlento." In Act II of Qumpllr dos obllgaciones Mendoza makes a voluntary entrance through a fireplace, supposedly having descended the chimney. In La nina de Gomez Arias (Act III) Perico Is "metido en una aaoa" and carried on stage on the shoulders of Beltran. Soileau, ridiculing such a scene In Moliere's Les fourberles de Scapln (Act III) writes: "Dans ce sac ridicule oil Scapin s 'enveloppe, / Je ne reconnols plus 1 'auteur du Misanthrope" (L'Art Poetlque, Chant III,

399-4-O0). 1114-1115. del pere.111 huvendo . . . me ha nacldo. "Refran que da a entender el gran cuidado que se debe tener en la eleccion para hu£r de una cosa mala para no dar en otra peor" (Autorldadea) . Cf. the identical words - 189 - of another of Velez'a graclosos: El denonlo me ha enganado, pues he dado en el garlito, y huyendo del peregll en la frente me ha nacldo. (El rey naclendo muger, p. 27a.) Cf. also: Huyendo del peregll, he dado en el alcazar. Dios te perdone, Vilhan. (El amor en vlzca£no, fol. 16r,a-b.) 1118. sacabuche. Clar£n's name la too obvious an invita tion for punning, and he cannot resist the temptation here, "instrumento nrusico de metal, a modo de trompeta, que se alarga y acorta recogiendose en s£ mismo, para que haga la diferencia de voces que plde la musica" (Autorldades). 1122-1123. A commonplace with Golden Age writers, the expression of scorn or contempt for courtly life is per haps best typified by Antonio de Guevara's Menospreclo de corte y alabanza de aldea (1539)• 1140. ochenta veces. For the use of ochenta as an in definite number for comic effect see Joseph E. Gillet, op. cit., III, 342, n. 64, where numerous examples of such use are Indicated. 1153. a la sombra del roc£n. Although I have been un able to find this expression listed in any of the usual dictionaries, the meaning seems to be that of "walking.” - 190 - Clarfn's Joke here consists in giving the impression that the phrase differs in meaning from a pie (v. 1151). 1154-1155• hiJo . . . habido. Hill and Heed (op. cit., n. 428-431) have pointed out that the allusion to horses being born of the wind dates from classical antiquity, and found serious believers in some quarters. Rozzell (op. cit., pp. 201-202, n. 1023-1024) cites seven pas sages from various plays of Velez in which the speed of horses is compared to pensamlentos or vlentos. Cf. Leda's apostrophe to her horse above (vv. 621- 624) and these other descriptions from Velez of the gen esis of horses: Es de una yegua y un tigre eometa hircano del viento, y merece por lo hermoso ser constelacion del clelo. (La corte del demonlo, vv. 557-560.) • • . aquel cauallo que puede el Sol temello, y emhldiallo: porque es en la carrera "tan ciudadano de la quart a esfera, que es vn rayo ensillado, hijo del Betis Cordoues prenado, tan Ccmeta crinlto, que lo dize en el viento el sobreserlto, quando siendo elemento, se burla de las aues, y del viento en lo veloz, y hermoso. (Lo que obllga el 3er re.y, fol. l40r .) In general, G-olden Age dramatists rarely mention a horse without using some imagery suggestive of dynamism. The present lines are quite probably intended as a parody of this tradition: the animal involved is a rocfn instead - 191 - of a horse, and he Is the bastardo offspring begotten not by the traditional comet (el cometa), but by a toy

bite (la cometa)• 1157-1158. no nude segulr el portante. "I couldn't keep up the pace." "portante: D£cese del paso de las caballe- rfas en el cual mueven a un tiempo la mano y el pie del mismo lado" (Autonldades).

~~H 6 3. no qulse hacer la razon. "i refused to accept the Invitation." The expression hacer la razon is explained by Samuel Gill y Gaya (ed. Guzman de Alfarache by Mateo~~

~~Aleman, Clas. cast., 83 [Madrid, 194-2], II» 133» n. 7) thus: "Corresponder al brindis beblendo. Comp. Esteba- nillo: '. . . y emparejando con cualquier coche de damas~~

0 senores, les brlndaba yo a salud, y mis companeros a un mismo tiempo y compas, sin saber puntos de solfa empina- ban los codos y hacian la razon. ’ " Of. from Tirso: D. Juan. Catalinon, s ientate. Catalinon. Yo soy amigo de cenar de espacio. D. Juan. Digo que te sientes. Catalinon. La razon hare. (El burlador de Sevilla, w . 2280-2284.) 1166. de dormldo de evangello. "fast asleep." Although 1 have been unable to locate this phrase in any of the usual dictionaries, its meaning seems to derive from the definition of evangello: "En la misa, cap£tulo tornado de - 192 - uno de los cuatro libros de los evangellstas, que ae dice despues de la epletola y gradual, y al fin de la rcisa" (Autorldados). The end of the mass would, naturally, be the point at which the inattentive listener might expect to be in the most profound slumber. Gf. the words of another gracloso: Tomale y cumple al momento lo que te encargan en el, y vuelve a hablarla, y con esto echarme tu benaicion, que ir a desplcarme pienso de anoche, porque ya estoy de durmiente de Evangello. (Cumpllr dos obligaclonea y Duquesa de Saxonla, p. 24a.) 1174-1175- ya podras . . . haber nacido. Translate: "now you can see from my fears whether I should wish never to have been born." 1200-1201. ague animal . . . ofenda su semejante? Cf. . Pliny (Natural History, Bk. VII): In fine, all other living creatures pass their time worthily among their own species: we see them herd together and stand firm against other kinds of animals— fierce lions do not fight among themselves, the serpent's bite at tacks not serpents, even the monsters of the sea and the fishes are only cruel against dif ferent species; whereas to man, I vow, most of his evils come from his fellow-man. (ed. Rackham [Cambridge, 1942], II, 509-511.)

1222. por lo menos. Rodriguez Marin point out (o p . cit., II, 112, n. *8) that the expression is equivalent to nada menos que. See also below, v. 2848. - 193 - 1244-1312. ThiB entire passage, particularly Clarfn's humorous and effusive speech in praise of money and its powers (vv. 1280-1296), is appropriate to his station in life. One of the characteristic comic obsessions of the gracloso is his desire for money, coupled with vigorous but often vain attempts to secure it. The passage is re lated to the satirical tradition of which Quevedo’s le- trllla beginning "Poderoso caballero / es don Dlnero*' is perhaps the best known representative. Gf. these similar views on money:

pp. 331-3 3 2 , n. 1351), the use of vos is one step In courtesy above the usual tu In dealings between master and servant. Clarin's question is prompted by the appar ent Improvement of his social station resulting from Fi- lipo's use of this tratamlento. There is a similar situation In the first act of SI rey naclendo muger. The gracloso Turp£n has just finished a humorous account of his antecedents when he is inter rupted by Febo, the Prince of Wales, who Is visiting Tur pin's master Carlos: Febo. iPues alcanpastls [sic] le vos? Turpin. (Encajome el "vos", por Dios?) - Carlos. Es Undo humor. Febo. Ya el lo advierte. Turpin. Huelgome que Vuestra Alteza sea con ser estrangero tan discreto cavallero. Febo. Pegaseme la agudeza de vos. Turpin. (iOtro "vos"? Por vida de quantas Altezas tiene • el mundo, que el Ingles viene a Paris con avenlda de voses.) (p. 9b.) 1499. privado. It is interesting to note that Fllipo freely offers the position of favorite to Clarin at this point, but that later (w. 2005-2007 and 2129-2144) he in sists that such favoritism is detrimental to the best in terests of a nation. The problem of prlvanza frequently - 201 - appears in Golden Age literature as a principal theme, and although generally the practice was attacked (see, e.g., Quevedo, Los suenos, ed. Julio Cejador y Frauca, . 3a ed. (Madrid, 194-3 3, II, 262-264, and Tirso, El bur lador de Sevilla, vv. 1957-1964), on occasion an Incor ruptible favorite might be sympathetically treated to provide an example for the conduct of an actual favorite.

~~1503• para entre. "between."~~

1512. no hay temer. According to Rozzell (o j d . cit., p. 172, n. 434), the expression no hay + infinitive is perhaps elliptical for no hay medio de + infinitive, or an analogous construction with no cabe + infinitive. In this connection see Rodriguez Marin (op. cit., I, 297, n. 2 and *2; II, 102, *23;'and VII, 88, *1 ). Frank 0. Reed and Esther M. Dixon (ed. La Estrella de Sevilla [Boston, 1939 3, n. 1877) suggest the possi bility of no vale + infinitive. Cf. these additional examples: que el Rey esta enamorado y no hay burlarse con el. (El dlablo esta en Cantlllana. II, 17-lSY) Sin la infanta no hay vivir. (La devoclon de la mlsa, p. 119.) y tan a bras ado viene que no ay tratar de otra cosa en qualauier conversaci6n. (la aontanesa de Asturias, p. 5^b.) - 202 - 1513-1515• Cesar lo dljo * . . despu^B de oenar. The reference is to Caesar's assurance of reward for the fisherman Amyclas given during the crossing of a storm- tossed sea in a frail boat, as related by Lucan (Phar- salla, Blc. V, 504-677). The name is used again by Velez under similar cir cumstances in Mas pesa el rey que la sangre: Ya con un remo en la sinlestra mano, A Cesar con Amlclas pareela, Hasta que en una isleta, que el mar moja Como resaca el viento nos arroja. (p. 104b.) 1539-1541* No tlene . . * ml brazo. Some such word as razon is to be understood. Translate: "My arm has no reason to wait for a larger force on which to begin." 1562-1570. This episode is reminiscent of a similar one in Act II of Lope's Contra valor no hay desdlchas. Ciro and his foster father Ilitrldates are ambushed on a moun tain path by Evandro and his son Fineo, the youth whom Ciro had earlier ordered beaten when he "played" king. Ciro and Mitridates are separated during the skirmish, but subsequently are re-united and joined by their friends Fills and Bato. They see soldiers approaching in the valley and Bato, the gracloso, suggests that they flee. Ciro valiantly replies: Esta espada no sabe hulr. Todos juntos os poned a mis espaldas. (p. 10b.) - 203 - 1571-1572. Estuvl^rale . . . venta. Translate: "it would be better if he were to show his appreciation [by buying us a drink] at an inn." Clar£n is playing with the word cuenta which Flllpo has just used (v. 1569) in the sense of being responsible for a trust which has been placed in his hands. Clarfn's tomar en cuenta means "apreciar, recorder un favor, una clrcunstancia notable o recoaendable" (Autorldades). 1573-1575- slendo tal vez . . . ladr<$n jabalf. The meaning of these lines is completely obscure. 1594. la refers to vlda (v. 1592). 1604. glgote. "Guisado de carne plcada que se rehoga en manteca. . . Por ext., cualquiera otra ccmlda plcada en pedaaos menudos" (Autorldades). In Act II of 31 el caballo vos han muerto Diagote threatens the gracloso: vos he de facer gigote, que lo yante Barrabas. (p. 13b.) Cf. also: Tenga vn gallina paciencia y pues no esta en la presencia del Cesar, a cuchilladas jigote le plenso hazer por despicarme del juego. (SI Marques del Basto, p. 31a.) 1614. lienzo. A flag of truce figures in at least two other Velez plays. Gomez Arias uses a lienzo as a sign of peace toward the Moor to whom he intends selling Gracia (La nlna de G

(fol. 66r.) 1641. etfope. See also below, v. 2746. For a discus sion of the pronunciation of this word in the Golden Age see F. Robles Degano, Ortolog£a claslca (Madrid, 1905), pp. 204-205, and Bello-Cuervo, op. cit., sec. 53 and 115. 1657« llegue hablarle. The a embebida, of which this is an example, is usually thought of in terms of the modern personal accusative. However, as Montesinos has pointed out, ". . . a veces [a] falta tambien con verbos que la exigen; . . ." (TAB. VIII, 143, cited by Rozzell, pp. cit., pp. 145-146, n. 85 ). 1685• centro. Fichter (ed. El sembrar en buena tierra, n. 84) has pointed out that the use of this word in the sense of “the object of one's love," “beloved" is quite common in the Golden Age theater. 1686. el olmo de esta hledra. This image, a highly favored one by poets, is a conventional representation for a pair in love, although it has been extended, as here, to Include filial affection as well. In El rey en su imaglnaclon the rustle Carlos expresses his distaste for the figure: - 205 - Y es esto tanto, que quando, Celia, encuentro alguna yedra con algun olnio abrazada, como del valor la fuerza allenta mis esperanzas contra arnorosas ternezas, la desenlazo y esparzo los verdes despoxos della al viento; • . . (w. 209-217.) Among the additional usages of the image by Velez are these: Eres muger, ^aunque dizes que eres piedra, enganate tu porffa, y puede ser que algun d£a busques yedra, y no halles yedra. (El caballero del sol, p. 3b.) Vos sois el muro, y yo soy Hiedra de vuestra pared. (Tambien la afrenta es veneno, p. 5&&c.) The following represents a slight variation on the theme: Nlnguno a su padre ignala, el padre slempre es mexor que el hi jo, porque el es rama y el padre es tronco de adonde se alimentan y propagan. (El agulla del agua, p. 192a.) 1688. esta cre.yendo que suena. See above, w . 1487-1489, and note. 1721. es-petado. "surprised." "E3PE1AH: fig. y fam. Deeir a uno de palabra o por escrlto alguna cosa, causan- dole sorpresa o molestia" (Autorldades). - 206 - 1768. flneza. "FINEZAS Is on© of the stock words of the comedia to signify actions or an attitude prompted by af fection either between lovers . . . , or between friends . . . , or between king and vassal. . ." (Reichenberger, op. cit., p. 195* n. 867)• 1811-1813. el alma . . . los m£os. Concerning this "optics of love" theme see Frank G. Halstead, "The Cptics of Love: Notes on a Concept of Atomistic Philosophy in the Theatre of Tlrso de Molina," PI-2A, LVIII (194-3), 108- 121. The theme is a particularly attractive one to Velez. It is used in the present comedia on at least four other

occasions: w . 735-739, 1898-1899, 2747-2758, and 2890- 2892. In addition it appears also in El prlnclpe vinador (w. 31-33), El Marques del Basto (p. 27a), and La devoclon de la mlsa (p. 146). In connection with the theme the eyes or tears are variously referred to as "the door of the soul" (Relnar desuues de morlr, I, w . 543-544) or "the tongue of the soul" (La devoclon de la mlsa, p. 109), and the sight of the object of one's affections becomes a poison which enters the soul through the eyes (La corte del demonlo, w . 889-891; El caballero del sol, p. 10a; La nueva Ira de Dios, [p. 2b]). A neat variation on the usual diction is presented when Benzayde is shown a painting of Cardinal Cisneros, and recognizes it as the image which had previously ap- - 207 - poared to him in dreams: . . . veneno arroja por los ojos, . . . (La conqulsta de Oran, p. 70b.) It should be noted tliat similar diction occurs in Calderon's La vlda es sueno when Clotaldo first realizes that Rosaura is his daughter: [el corazon] asf, como no sabe 10 que pasa, y oye el ruldo, va a los ojos a asomarse, que son ventanas del pecho por donde en lagrimas sale. (w. 422-426.) Cf. also from Cervantes' La fuerza de la sangre: "Y en esto se le iba entrando por los ojos a tomar pose- sion de su alma la hermosa imagen de Leocadla, ..." (Novelas ejemplares [Paris, 1920], I, 314-315.) 1819• si se de m£. Translate: "since I know about my self." "SI: A veces denota aseveracion terminante" (Auto rldades ). 1853- orco. Orcus, in Latin mythology the ruler of Hades, is more popularly known under his Greek name, Pluto. See Richard Bernheimer, Wild Men in the Middle Ages (Cam bridge, 1952), pp. 42 ff. where it is pointed out that the name regularly appears in medieval literature as a common name for the wild man. 1864-1865- Al camuo . . . infanta. Translate: "I went out into the country the heiress to the throne, and now I return simply the daughter of the king." The urlncesa - 208 - was the "hija del rey, Inmedlata sucesora del reino," while the infanta was "cualauiera de las hljas legitimas del rey" (Autorldades). 1915-1918. en cuyos . . . de Albania. As was pointed out abcve In connection ’with the word Atlante (n. 284), Velez has a great fondness for the word columna, which frequently Is paired, as here, with the word hombros.

Relchenberger ( o j d . cit., p. 208, n. 1088-1090) cites three occurrences of the figure: El Conde don Pero Velez (w. 126-128), and El rey en su imaglnaclon (w. 134-138 and 1237-1290). In addition I have noted the following passages: vos soys la mayor coluna en que nuestra fe se apola, divlno atlante en que al ombro puso nuestras culpas todas; • . . (El aguila del agua, p. 64b.) Generoso don Garcia, En cuyos valientes hombros Tu rey, espanol Atlante, Libra el peso de los polos, . . . (Las hazanas del Marques de Canete, p. 499b.) Es verislmil, que Alberto tan sin conseJo deshaga vna coluna tan flrme sobre cuyos ombros carga, si voto a Dios, la opinion con que se acredita Espana. (Los amotlnados de Flandes, Act I.) 1923-1924. el cielo nlsara. Velez Is quite fond of this circumlocution. Cf.: - 209 - Invicto Carlos, quo el clelo plsas, . . . (El Rey don Sebastian, p. 200.) que ya inis ray os no son para aquestos emlsferlos porque con nuevos misterios, hecha Sol del Sol remlso, reinos de Luzero piso, de planetas huello imperios. (El caballero del sol, p. 30b.) y nacl<5 esa noche mesma Carlos, de Laura ml esposa, que la pisa las estrellas. (El rey en su Imaglnaclon, w . 428-430.) " 1930. aquel sablo. I have been unable to Identify the person to whom Velez refers, if indeed it is a historical figure. In El alba y el sol Velez ascribes the same tale to "a Greek philosopher": Asf lo entlendo; que es la mas pesada carga la de ser rey, si se cumple con obllgaciones tantas como trae la dlgnldad consigo; y ;gor esta causa dixo el fllosofo grlego, que aunque en la tlerra se hallara la corona, ningun hombre debiera de levantarla si tuvlera seso; y esta de hierro, mas lo declara que las de esmeraldas y oro. (II, p. 16b.) 194-4-* The effect of cuanto ("all that") in v. 1942 is carried over to this verse, so that the meaning is "the grief being all that I owed to parental love, all that such a.beloved king deserved." - 210 - 194-7. largos lutos. Although I have been unable to locate such a meaning In the usual dictionaries, the sense of lutos here seems to be "the period of mourning." The term lutos regularly means the black drapes and .. cloths used as exhibitions of grief at the death of a person, and is so used below (vv. 1959 and 1965). T,/hen combined with the adjective largo, as here, it usually signifies the mourning raiment worn by both animals and people. 1959. planetas. According to the Autoridades dictionary, the word planeta is a term in germanfa for candela or vela. 2040-2041. a valor tan soberano / despojo humllde. Translate: "a small achievement, as compared to your valor." 2065-2069. Cf. these similar passages from Velez: No ay en Palaclo hazana que tenga mas de heroyca, mas de estrana, nl mas valor conslgo que saber obligar un enemigo. (Los celos hasta el cielo, [p. 14].)

M&3 yo se de las personas Que me aeompanan, quien son, X lo que le debo a toda ILL companla. (Ag. Con esto A otros designios se toman Los pasos, y si alguna Imaginacion traidora, La lisonjeo y obllgo.)

(51 Catalan Serrallonga, p. 578a.) - 211 - Do Tito quentan por clerto que lloraba al algun d£a pasava sin haber hecho alguna merced, que mas conquistan estos imperios en las almas que el poder. (El agulla del agua, p. 187b.) 2093. le napen duelos. "E/CPENLE DUSLOS. Expresion fa miliar, ccn que se moteja la indoler.cla de uno respecto de los males ajenos, que debfa excusar o remediar de al gun modo" (Caballero). Cf.: Qual anda el bellacon entre fiestas, sin trabajar, nl her nada, y a mi que me papen duelos. (La rosa de Alexandria, fol. 190V, b-1911', a.) 2104. dlablo. According to both Morley (HR, V [1937], 282) and Wade (op. clt., 463), Velez customarily used this word as three syllables. However, in La Paltasara it appears twice bisyllabically (vv. 318 and 3 2 0 ). 2109-2110. ibamos . . . gusto. ". . . Ir horros en el juego es no llevarse uno a otro jugan&o con tercero, y este partido se haze antes de ver las cartas . . ." (Cova- rrubias). Cf.: Tabardillos con el voticario juega, y van horros a matar con el medico y albeytar. (La serrana de la vera, vv. 2356-2359.) 2110-2120. Ahora, . . . por no recibir. Translate: "Now, thinking that I could protect myself by getting to know a king, I fear I've lost everything, because you are bent on treating me (oste nontIfIcado) so harshly In the mat ter of receiving; so that, if I an interested, in regain ing ray health when I an sick, I scarcely dare to take any medicine, so as not to be accused of 'receiving'." "Hacer a uno hombre. fr. fig. y fara. Protegerle efi- cazmente" (Dice. Acad.). "CHACHO: m. Puesta que se hace en el juego del hombre" (Autorldades). "Posted, a sort of- cant word used by some gamesters at games of ombre, for: my stake is down" (Connelley- Higgins). 2146-2148. desautorlza . . . pasIon. Translate: "you are doing me out of my only chance for a good time." Ash Wednesday and Good Friday, representing respectively the beginning and end of the Lenten fasting season, are for Clarfn two of the most important days in the year: they mean his last chance to enjoy the Carnaval spirit before Lent, and the first opportunity to make up for the forty days of abstinence which the Lenten period imposes. Cf. these other Faster metaphors: Seras, senora, mi Pascua de Resurreccion, despues de vna Quaresma tan larga.

(51 caballero del sol, p. 17b.) Barreto. Pues tal vanldad te atiza, Como los hay de ceniza El miercoles de Barreto. Guiomar. pfcaro de bajas prendas, - 213 - iQue no ves las.que hay en af? Yo pienso sen para tl hartes de Carnestolendas. (Tambien la afrenta es veneno, p T s S B a . )------' 2148+. saya entera. The aaya Is defined as "Falda que usan las mujeres. En la ciudad es hoy, por lo general, ropa interior; en los pueblos, ropa exterior" (Autorl- dades). G-lli y Gaya (op. clt., II, 127, 5 and 223, 13) defines the saya entera as "saya con falda larga." verdugado. "Vestidura que las mujeres usaban debajo de las basquinas, para ahuecarlas" (Autorldades). Hill and Reed (op. clt., n. 1417) point out that a decree of Philip IV in 1639 limited the size of these hoop petti coats to four yards in circumference. 2213-2216. There is occasional mention in the cornedla of the limit of the monarch's control over the personal affairs of his subjects, particularly as they relate to the Interests of the heart. Cf. from other Velez plays: A otro norte me a guiado mi amoroso desvarfo porque nacio el albedrfo libre al cielo potentado, y esta lnclinaci<5n Jamas venzera poder inJusto, que los derechos del gusto tocan al alma no mas, que el Prfnclpe a quien le dio reynos el cielo en empeno de las vidas solo es dueno pero de las almas no. (El agulla del agua, p. 196a.) - 214 - Que el Rey es rey de las vldas, Y no puede ser juez De las almas, i^ues alii Es solar el interes. (Tambien la afrenta es veneno, p. 588b.) El Rey en la vlda puede, y en la hacienda, castigarme, pero en el honor no tlene Juridiclon, aunque Rey de las almas tambien fuese. (Los novlos de Hornachuelos, w . 2736-2740.) porque tu solo eres dueno de la hacienda y de la vlda, y del honor solo el cielo. (Ibid., w . 3088-3090.) Cf. similar diction in a parallel situation in which Estrella speaks to her brother Garcia, the King of Navarre: Que aunque vn hombre por hombre es dueno por justa ley de vna muger, mas es Rey, si anade a hermano este nombre, y permiteme que assombre, sin parecer desvario, quando Dios el albedrio dexa libre el fuero humano, que por Rey quiera vn hermano ser potentado del mio. (El amor en vizcaino, fol. 7r,b-7v,a.) $ 2221. The subject of reconoce here, and of guarda in the following verse, is alma (v. 2215). 2227-2228. el color . . . la estampa. Notice the same expression below, w . 2328-2329. - 215 - 2260. mu.jer tan determlnada. Velez speaks of the deter mination of women on at least three other occasions: Monte, esquadron, mar airada, azero, rayo, leon, menos peligros son que muger determlnada. (El verdugo de Malaga, fSi7~15*,£.)------Vna luz determlnada la muger, es como rfo, que no buelue atras, ni para. (Zelos, amor, y venganza, fol. 75v,b.) no ay peligros que no venga la muger determlnada, que no valen contra ella fuerjsa, isrgerio, rigor, almas; ni escusare sus ternezas, ni se moueran sus ansias, ni torcera mi valor, oro, perlas, piedras, plata. (Juliano apostata, fol. 7v »b.) 2264. tarasoas. ". . . Sierpe contrahecha, que suelen sacar en algunas fiestas de regozljo" (Govarrubias). The word is something of a favorite with Velez. I have found it in at least five other of his comedias: las tres edades del mundo (Act II), Los novlos de Iiornachuelos (vv. 904-905), Mas pesa el rey que la sangre (p. 103b), La conqulsta de Oran (p. 72b), and El caballero del sol (p. 17b). 2308. menos llbres palabras. "less unbridled words,” hence "more circumspect speech." 2375* hermana y amigo. The force of y. here seems to be - 216 - that of ’'besides," "in addition to," while amigo appears to mean "friend" in a general sense, without regard to sex. 2379-2300. en otra ooasion . . . en la garganta. Trans late: "the next time your head will be [considered] ex cess baggage on your neck." 2389-2392. que slempre . . . guarda. The subject is Flllpo. More normal word order would be "que [Filipo] siempre guarda los prlmeros pensamlentos de ser rey como caracteres aentro del alma." 2395* The antecedent of la is alma (v. 2390). 2396-2397. Leda's surprise at the change which anger has produced in Filipo's nature is matched below (vv. 2701- 2704) by that of the almlrante. Cf. a similar passage: Que en un rey palabras de Ira Sirven de desnudo estoque. (Mas pesa el rey que la sangre, p. 100c.) ’ 2435. me da = dame. a.yuda de costa. ". . . lo que se da fuera del salario . . ." (Covarrubias). See also below, n. 2444- 2445. Of. these lines from Velez: D. Hasco. «jQue seruicios le han hecho a vuestra [Alteza? D. Alonso. Dies anos solamente de presidio en • [Ceuta• D. Easco. Pues yo digo que se les de otro3 tantos de ventaja, y luego clen escudos de ayuda de [costa. (El espejo del mundo, fol. 55v.) - 217 - — Secretario, que se le den, poned en la consulta, para ayuda de costa, clen cruzados, y que luego el Consejo le despache con renta y con ventaja. (El Rey don Sebastian, p. 176.) 2438^. mandaa. Another word-play involving the two meanings of manda: "offer" and ""bequest." 2440-2443. que para dar . . . principios. "PRINCIPIQS: Cualquiera de los platos de vianda u otros manjares que se sirven en la comida entre la olla o el cocido y los postres" (Autorldades). Translate: "Almonds, raisins, and promises, as main dishes will not be the proper things for princesses to offer as rewards for the receipt of good news." 2444-2445. mi ayuda, o ml jaca, / de costa. In linking the word .laca with ayuda de costa (see above, n. 2435) Clarfn again engages in word-play whose meaning is com pletely unclear. Perhaps he has in mind the expression condenar en costas ("to sentence to pay the costs") whose implication of a resulting financial burden brings to mind a domesticated beast of burden, the .laca. 2446-2461. This gracioso-talk provides one of the more difficult passages of the comedia from the point of view of comprehension. The da of v. 2450 serves as the verb of which w . 2455-2458 are the compound subjects. There is obvious word-play in the use of motIlona (v. 2457). The primary meaning of this word is "hairless" or "sparse - 218 - haired," from which figuratively derives the designation of a nun who carries out the household duties in a con vent (see Dice. Acad., s.v. MOTILONA and LEGA). Translate "Fortunate is the lackey of a play who, on his first amo rous mission receives the chain from the suitor and the ring from the lady, and to whom the poet of the piece— if he is so Inclined— while writing the third act gives two thousand ducats as a gift and then marries him off to I-ierencia or Dominga, the scullery maid of Celia or Fe- lisarda, and the fellow finishes his life happily." Concerning the gracioso as a critic of the comedia see Charles David Ley (op. cijt., pp. 76-87), and Sturgis E. Leavitt, "Notes on the Gracioso as a Dramatic Critic," Studies in Philology, XXVIII (1931), 84-7-850. Cf. these additional instances of the word motIlona; ¥ yo, iacaso soy fantasma? iNo hay alguna motilona, Aunque haya estado en Galicia, Como no despunte en gorda? (El ollero de Ocana, p. 158c.) Y esta motilona y alabastro, que de ermana companera viene deste angel al lado, . . . (El agulla del agua, p. 314-a.) Fray Olofernes is listed in the re-oarto of La conqulsta de Oran as motllon, and in the second act of the play there is a humorous dialogue between him and a band of robbers, in which he is referred to as Padre hotilon - 219 - and Motllonago. Later (p. 72a) he refers to himself as: . . . Ilotllon mosquetero de San Francisco, que basta a lleuarse a-Gran a cuestas sino se rinde a sus plantas. The names Celia and Fellsarda are quite apparently meant to designate the primer dama of the "play within the play” mentioned here, as likewise Kerencia and Dominga are intended to typify servant names. In the second act of Los novlos de Hornachuelos, for example, the details of a rustic wedding are related, and among the peasant guests are Dominga and Ilencfa. 2462. la. The reference is to Infanta (v. 2460). 2464. trompeta baatarda. ". . .la que media entre la trompeta de sonldo fuerte y grave y el clar£n dellcado y agudo" (Covarrubias). Special emphasis, for humorous ef fect, is likely intended on the word bastarda. 2498. Valdelucero. I have been unable to locate this geographic name. It may very likely be a product of Velez 's imagination. 2529-2532. Clar£n warmly approves of Filipo’s generosity in providing money to be given to the servants. Translate: "That's for sure, by heaven; not the indolent ding-dong of ’I’ll take care of you, Clarfn,1 and 'Eyes, you tell him how much I appreciate him.' M 2534-2548. The stringing together of such absurdities is a common humorous device in the comedia. It may be used, as here, by the gracioso In support of a request for - 220 - favors or In gratitude for the granting of such a favor. Cf., e.g., a strikingly similar passage in La corte del demonlo (vv. 404-415) where Matachfn praises Lucero for the gift of a purse of money. On the other hand, it may he a listing of highly derogatory qualities addressed to one whom the gracioso wishes to torment. See, e.g., La Baltasara (w. 267-284) and Los novios de Hornachuelos (w. 2233-2250). 2537. treinta. For the use of trelhta as an indefinite number in the Golden Age see 'William L. Fichter, ed. 51 castlgo del dlscreto, p. 204, note, and' El sembrar en buena tlerra, n. 1312. 2541. protomujer. The perfectly proper prefix proto-, indicating preeminence, was occasionally adopted by gra cioso types for humorous effects. Cf. from Velez's La Baltasara: has mentido y rernentido, y protomentido y todo. (w. 301-302.) Quevedo ends his description of the lice&clado of Cabra: ". . . al fin, era archipobre y protomiseria" (Vlda del buscon, ed. A. Castro, Madrid [1911]> P» 34). It is perhaps unnecessary to point out that one of the most frequently used comic devices in the comedia is the coining of -words, and that the gracioso is character istically quite skillful in this art. - 221 - 2553* abril. Velez shows a sudden Interest in this month, and uses it throe more times before the end of the

comedia: oara mi abrlles son (v. 2 5 5 5 ), el abril galan (v. 2600), and una soberana imagen / de abril (w. 2830- 2831). Cf. these similar uses: Aurelia, ique dezis, senora mia? iDaos gusto ver las galas y colores, hecha vn Abril a nuestra infanteria? (El nuevo Ira de Dios, [p. 8a].) Teodora. Ya llega el Senor Don Juan, delante el Principe vn poco, como viene el Abril loco mas hermoso y mas galan. Hipollta. Poco es el Abril, Teodora, y poco el maio, y el sol, que este Adonis espanol es mas hijo de la Aurora. (El agulla del agua, p. 322a.) See also below, n. 2600.

2 5 5 9-2 5 6O. hara suela a tu chapin / de su boca. Cf. this similar diction from La nlna de Gomez Arias: Sere chapin de esos pies, y hare jervilla y chinela de la lengua y de la boca. (w. 617-619.) 2571. otra. The reference is to infanta above (v. 2 5 6 8). 2585-2588. (Que consiga . . . del deseo. More normal word order might be "Clelos, creo que quereis que consiga mi pretension del deseo, pues me poneis la ocasion en las manos.11 2600. el abril galan. In another comedia Velez uses the adjective galan to describe the month of May: - 222 - . . . el primero dla del mayo florido, del mas galan de los meses. (La corte del dernonlo, vv. 1938-1940.) 2617-2618. Esa carta . . . que se os cayo. Letters play a prominent part in Golden Age comedlas, and frequently are inadvertently lost and later discovered. Such a situation as this occurs in at least two other Velez plays: Cumpllr aos obllgaclones (p. 21), and La nina de Gomez Arias (w. 931 ff.)» 2641-2642. que a solas, sepals, conflo / mi valor. Translate: "I have you know that when alone, I trust my courage." 2645. Sacad la espada. For a close parallel to this scene cf. the meeting of Enrique and his ambitious vassal Lope Melendez at the conclusion of the second act of Los novlos de Hornachuelos: Sacad la espada, que quiero saber de ml a vos, estando en vuestra casa, y los dos en esta cuadra encerrados, quien en Castilla merece, por el valor heredado, ser Rey o vasallo. (w. 2025-2031.) In the third act of El rey naciendo sujer Carlos, the King, challenges his vassal Rugero to a duel to de cide who will be the ruler. Rugero bows to his King with out recourse to a duel.

Brooks (o j d . clt., n. 3037-3040) cites Tlcknor - 223 - (History of Spanish Literature, II, 39.3) who says: "... the last duel with royal approbation occurred in the youth of Charles V. Charles himself challenged Francis I of France to a duel, with hilan and Burgundy as stakes." 2657-2660. y pues . . . este acero. Filipo momentarily refers to valor personified: "and since, from this very situation I infer how little you know of him, you shall now see him speak with the tongue of this sword." 2704. peina. This verb is frequently used In one of Velez's favorite poetic figures. Of numerous examples, cf. the following: que ser en Castilla reina, ni de quanto mira el sol desde el ocaso espanol donde la aurora se peina. (Los novlos de Hornachuelos, w . 635-638.) Hojas peynen los botones de la rosa mas doncella; (La Baltasara, w . 549-550.) Polifemo, galan, del orizonte que lo peyna con flores . . . (La Baltasara, w . 583-584.) y el Sol sus cabellos peyna en nuestro mar, y su Ocaso. (SI primer Conde de Orgaz, fol. 73v ,L.) 2714-2716* estoy corrido . . . nombre bastante. Trans late: "I am ashamed that some distrust has been sufficient - 224 - to give me the reputation." 2787-2788. y luego que . . . te case. Translate: "and so, Alfreda, in return X'or all this, marry him." The esto refers to the assurances which Enrico lias just made to his sister.' 2799-2C04. There is a rather violent change of subject in these lines. Enrico himself is the subject of the two gerunds asegurandome (v. 2799) and dandole (v. 2801), while Alfreda is the subject of Iras (v. 2803). Trans late: "and when I have assured myself of the kingship of Albania, and killed the admiral, you will go with Charles — whom Heaven will keep— to the narcissus of cities to be its siren." 2834. tlnto en luna. In addition to the unadorned "tinged with the moon" reference to Filipo 's color, there may be some sense of the quality of nobility. Denis points out (s.v. Luna) that this name of one of the most noble of Spanish houses was frequently used metaphori cally to indicate the high quality of one's nobility. el buen lenguaje. The sense of this phrase seems to be "an apt speaker." 2834. rey Jurado. There may be a pun intended on the two meanings of jurar recorded by the Autoriaades diction ary: "Reconocer solemnemente y con juramento de fidelidad y obediencia la soberanfa de un prfnclpe," and "echar votos y reniegos." el estornudo. I am unable to explain the phrase. Covarrublas records the meaning "Especie de tordo," but this seems to have no bearing on the situation.

2836. las buenas noches en carne. This •. appears to be a comic elaboration of the simple word negro, referring to Filipo’s color. ’’Quedarse a buenas noches, quedarse a escuras, quando alguno ha muerto la luz" (Covarrublas, s.v. NOCHE). "Estar en carnes, estar desnudo sin vestl- dura sobre s£" (Covarrublas, s.v. CARNE).

~~2928-2929. el amante / luclente de Dafnes = Apollo. INDEX C? NOTES1~~

abril, 2 5 5 3, 2600 Absurdities (listing of), 2534-2548 acclon, 57-60 Address (forme of), 10, 1496 adorar en, 1303-1304 "a1* embeblda, 1657 a las ancas, 921 Albania, Personas Alberto, Personas Alfreda, Personas alairante, Personas Amazons, 75-76 ~ Ambassadors, 123’D-126 Amlclas, 1513-1515 amigo, 2375 ancas (a las -- ), 921 animal. 1200-1201 lArreI, 940 Artenio, Personas astrologo estllo, 3-5 Atlante, 254, 1915-1918 atomo, 1443 Augmented declma, 661-672 ayuda de costa, 2435, 2444-2445 ayunarle a uno, 1324

~~ba.ja rodando. 1102 + Balanced sentences, 1280-1296 bandolero theme, 1422^ ff. belga, 296 biason. 86 buenas nochea (auedarse a \ buen lenpcuafle. 2B54— -----“~~

~~capitular. 94-96 Carlos, ?ersonas cartas (use of in comedias). ft cebollas. 1044-l04£a----- celo. 81 centro, 1685~~

~~1 Numbers refer to lines.~~

- 226 - 227 - Cesar lo dl,1o. 1513-1515 cielo (plsar el ---), 1923-1924 Cltla, 23^-237----- Color symbolism, 81 color, 2227-2228 vestldo de ---, 570+ columna. 1915-1918 Comic devices, 685-686 como s "if," "provided that", 1088 contlp;o pan y cebolla, 1044-1046a Court etiquette, 123^-126 life, 1122-1123 crlstallno, 595-600 cuant(as) . T . tant(os), 279-280 cuenta, 1571-1572. culpa, 435-437

~~chacho, 2110-2120 chapfn, 2559~~

Dafnes, 2928-2929 dar cuenta. 1571-1572 dar por. esos tripos de Dios, 1373-1374 declma larpfa. 661-672------Deity (concern of), 1093-1095 dlablo, 2104 Dialectal forms, 952 dinero, 1244-1312 Dlonlsio, 13 Diplomatic Immunity, 123^-126 dormido de evanp*ello, 1166 duelos (papenle ), 2093 Duels, 2645

echar por esos trlgos de Dios, 1373-1374 echar (a uno) por un bale on", 117 El Villano, 1044-1046a empleo, 17 en carne, 2836 encontrar con. 562-564 en la ocasion, 1266 Enrico, Personas Enumerative speeches, 1280-1296 espetado, 1721 estornudo, 2834 estotro, 1041 etlope, 1641 Evadne, 478 evangel lo (dormido de — -), 1166 - 228 - falaopeto. 1266+ flero. 136 Flllpo. Personas flneza. 1768 Foreign monarchs, 25-28 fortuna. 519 freno de arena. 5 9 5 -6 0 0 fuego, 645 furor, 148

generoso. 1049 glgote. 1604 gracioso characteristics Braggadocio, 789a Coiner of words, 2541 Dealre for money, 1244-1312, 2440-2443, 2529-2532 False valor, 7 8 9a Hunger, 1324-1325, 2146-2148 Punning, 1118 guaano, 1093-1095

hacer a uno hombre. 2110-2120 hacer la razon. Il65 hledra. 1686 hlelo, 645 ho la. 818-820 hombre (hacer a uno -— ), 2110-2120 homhros. 1915-1Q18 horros (ir -- ), 2109-2110 Horses 1 speed, 1 1 5 4 -1 1 5 5

~~Infanta. 1864-1865 In.lurla. 435-437 lr horros. 2109-2110~~

~~Jabalf, 75-76 .1aca, 2444-2445 Jacob, 317-319 Jurado, 2834~~

Laban, 317-319 lacayo gracioso. 7 8 9a+ lantlscos. 945 * Leda, Pers onas lengua.le (bu e n ). 2834 Letter, loss of, 2617-2618 - 229 - ley de la presencla real. 123b-1 2 6 Libia. 236-237 llenzo, 1614 ''Like begets like" theory, 285-288 Llsandro. Personas Llseno, Personas los vlve, 937 lutos, 1947

mandas, 243 8^ margarita, 266-268 Maternal Influence, 285-288 menos (por lo -- ), 1222 ml^rcoles de cenlzas. 2146-2148 Monarch Anger of, 2396-2397 Authority over subjects, 2213-2216 Duels, 2645 monte con alma. 871 mosca (plcarle la -- ). 1 3 8 0 -1 3 8 1 motilona, 2446-2461 mu.ler (determination of), 2260 mu.ler varonll. 479 Multi pie-level staging, 621 ff., 940D-974

Naples, Personas Negro characters, Pers onas no hav temer. 1512 ocasIon, 87 en la — -, 1266 ochenta, ll4o ola. 8 1 8 -8 2 0 olmo, 1686 olla. 8 1 8 -8 2 0 "Optics of love" theme, 1811-1813 orco, 1853 palabra (sobre su — ), 791-792 Palas, 47^ pan de perro, 826 pan y cebolla, 1044-1046a papenle duelos, 2093 para entre, 1503 Parentheses (use of In text), 7 Pastoral, 1357-1358 Pegaso, 596 pelna, 2704 pere .111 (del — - huyendo), 1114-1115 pesla al, ~l48 plcarle la mosca, 1 3 8 0 -1 3 8 1 plsar el cielo, 1923-1924 planetaa, 1959 por lo menos. 1222 portante, 1157-1158 presencla real (ley de la), 1 2 3 b- 1 2 6 preso-llbre concept of love, 733-734 prlncesa, 1864-18§5 prlnclpio, 112 prlnclplos, 2440-2443 prlvaao, 1499 protonujer, 2541 puesta, 2 1 1 0 -2 1 2 0

~~quien soy, 1483~~

~~rayo, 667 Reflexive verbs (intransitive use), 12 resoluclon, 77 Ricardo, Personas Roberto, Pers onas ruina , 229 Rustic speech. 952~~

Saba. 294 sacabuche, 1118 salado, 596 Salic law, 24-25 satisfecho, 124 saya entera, 2148+ Semframis, 478, 479 senales, 458 senas, 458 si = 'do you suppose", 635 = "since", 1819 Sicilia, 13-14 sin m l ,' 681 sin seso, 1016 sobre su palabra, 791-792 sola » "unique", 8 sontbra del rocfn, 1153 Songs (use of by Velez), 959-962 sueno, 1488-1489, 1688 Supertypes, 75-76 - 251 - Tainorlan. 1458 taplz, 291 taraacas, 2264 tercera, 15-14 Tlmantes, 296 Tlmbrio, Peraonas tlnto en luna, 2&54 Tlrrena, Personas tomar en cuenta, 1571-1572 tope (al --- de;, 421-422 traslado, 6 5 0 treinta, 2 5 5 7 trofeo, 116 trompeta bastarda, 2464

~~Valdelucero, 2498 valor, 50 verduFado, 2148+ vestldo de color, 5 7 0+ viernes de pasl&n, 2146-2148 volver por, 1364-1565~~

~~E, s ’’besides," "in addition to", 2 5 7 5 yermos de, 1 1 0 0 APPENDIX - ORTHOGRAPHIC VARIANTS1~~

Line Number S Text 2 Text 22 desto de esto 26 della de ella 37 estrangero es trail Jero 56 ho Jas oJas 76 jauali xavali 79 Princessa Princesa 81 vassallos vasallos 85 fauorecer favorecer 86 serulcios servicios 109 a ha 111 triunfar triumfar 112 dellos de ellos 150 brauas bravas 151 entrabas entravas 158 conueniencias conveniencias 159 esperiencias experiencias 163 Cessar Cesar 198 sujetarse sugetarse 200 conueniencia convenlencla 2 01 desta de esta 209 nieue nieve 210 cabe9a cabeza 221 inconueniente inconveniente 222 dar la dallo 223 vassallo vasallo 248 felizidades fellcidades 267 lnmortal immortal 274 tuue tuve 276 alegrase alegrasse 278 soberuios sobervlos 278 omenajes homenajes 284 Atlanta Athlante 294 Sabaa Saba

1 Not Included In this list are variants which, have already been indicated as footnotes to the text itself. Likewise excluded are variants of punctua tion, including capitalization or accent, the use of the tilde to indicate missing letters, and the abbre viation V. for Vuestra. Specifically excluded also are variant spellings of characters 1 names.

- 232 - - 233 - Line Number 3 Text Z Text 304 engendrase engendrasse 334 qne que 336 asslstleroh asistieron 343 Sabaa Saba 345 inocenia innocencia 361 dalle darle 372 ensenalle ensefiarle 372 hazerle hazelle 383 diuinas divinas 403 aveis aueis 408 celajes celaxes 416 juralde Juradle . 418 desseastes deseastes 428 inmortales immortales 432 inuiolable inviolable 437 aguelo Abuelo 439 imaginatlua imaginative 489 sujetar sugetar 490 dalle darle 496a Viva Vlua 511 sucession succession 518 delltos delictos 523 veynte veinte 540 entrarle entralle 544 alva alya 573 azul apul 587 reueruera reuerbera 605 ospedad hospedad 637a inmortal immortal 659 yguala igxiala 661 assl ansi 732 aluedrio alvedrio 733 estaua estava 735 nleue nleve 746a quedesse quedese 753 bolver boluer 784 de* este deste 785 a ha 790 emos hemos 791 quedesse quedese 794 aueis aveys 801 jauali Xavali 804 assistencia asistencia 811 deuen deven 834 sauze sauce 854 ofendais ofendays 859 de esse dessa 864 lisonjero lisongero - 234 - Line Number 3 Text Z Text

866 Atlante Athlante 904 tuuiera tuvlera 904 priuanpa privanpa 906 a ha 911 ha a 915 fuy ful 923 perrapo perrazo 933 retopas retozas 934a yerva yerba 934b lexos le Job 940a Harre Arre 944 slivestree slluestres 949a Bujeta augeta 949b Harre Arre 958 aujeto sugeto 975 aalvaje saluaje 978 buelve buelue 981 dexarlo dexallo 984 acento accento 989 buelvo bueluo 1021b Ves Vees 1034 preuilegio priuilegio 1039 lleuas llevas 1040 lleuo llevo 1058 sujetos sugetoa 107 0a yr ir 1073 emos hemos 1073 yr ir 1080 buelva buelua 1081 buelva buelua 1089 omenaje homenaje 1108 e he 1 1 22b sujeto sugeto 1131 desta de esta 1144a desta de esta 1148 fuy ful 1153 rozln rocin 1185 apaz ible apacible 1185 agassajo agaaajo 1196 yua iba 1212 soberuio eobervlo 1222 Prlncesaa Prlncesa 123 la vassallo vasallo 1239 soziable sociable 1241 empressa empresa 1252^ estremo extremo 1255 beneralle veneralle 1262 benerado venerado - 235 - Line Number S Text . Z Text 1289 zapato papato 1296a 4 he 1316 agrauio agravio 1319a 4 he 1319b e he 1322 seruirasme siruirasme 1331 lexos le Jos 1364 buelve buelue 1366 Ladronapos Ladronazos 1376 emos hemos 1384 deste de este 1392 bolver boluer 1392 vitorloso vlctorioso 1393 heroyco heroico 1396 vitoria victoria 1397 Ladronapos * Ladronazos 1400 seys seis 1420 heroyco heroico 1434 acetar aceptar 1438 acetar aceptar 1447 destos de estos 1450 assienta asienta 1463 vassallaJe vasallage 1474 aceta acepta 1492 solenizes solemnizes 1495 olvido oluido 1510 yerva yerba 1522 deste de este 1526 an han 1527 an han 1530 vassallaje vasallaJe 1542 emos hemos 1544 embarapo embarazo 1553 huir huyr 1569 quanta cuenta 1571 Estuuierale Estuvierale 1573 ha a 1575 Jauali xavali 1585 bus cais buscays I627a embestirme enuestirme 1652 Ad an Adam 1663 parece pareze 1672 dessean desean 1690 lleua ileba 1697 deuo debo 1709 leydo leido 1723 besar vesar 1723 heroyca eroyca - 236 - Lin© Number S Text Z Text 1754 Efeto Efecto 1756 quanta cuenta 1756 heredas eredas 1775 ventaja ventaxa 1786 fuerpa fuerza 1791 sabldo sauido 1804 della de ella 1809 brapos brazos 1817 fuerpa fuerza 1825 fuerpa fuerza 182 9a feliclsslmas fellzissimas 1831 esperanpa esperanza 1833 rebolver reboluer 1848 vassallo vasallo 1855 a ha 1855 oyr oir 1858 fuerpa fuerza 1859 dissimular disimular 1860 destas de estas 1865 buelvo bueluo 1879 aviso auiso 1880 quenta cuenta 1895 fuy fui 1905 buelvo bueluo 1907 ossadias osadias 1909 vencen venzen 1910 fuerpa fuerza 1912 venpa venza 1914 y i 1914 vaasallos vasallos 1915 ombros hombros 1917 sois soys 1917 colunas columnas 1920 bizarros vizarros 1922 fuy fui 1929 desta de esta 1936 della de ella 1940 cuydado cuidado 1941 efeto efecto 1968 vasaallos vasallos 1971 del de el 1979 viuo vivo 2001 hazelles hazerles 2004 vaasallos vasallos 2010 agrauio agravio 2011 quexa queja 2024 errarlo errallo 2043 seruille seruirle - 237 - Line Number 3 Text Z Text 2047 avra aura 2058 hago ago 2062 Alpad Alzad 2062 Vaasallos Vasallos 2064 parece pareze 2065 desta de esta 2069 corapones corazones 2070 deuo debo 2071 fuystes fuistes 2079 asslstlendo asistiendo 2080b brapos brazos 2084 y • i 2085 heroycos eroicos 2087 deuo debo 2092b cuytado cuitado 2098 ha a 2100 ha a 2101 fuy fui 2104 lleuo lleb<5 2106 asslstl asisti 2107 entonces entonzeB 2109 yvaraos ibamos 2129 han an 2130 vaasallos vasallos 2141 has as 2143 vestir bestir .2155 quexosa quejosa 2159 quexas que Jas 2183 quexas que jas 2193 tuuiere tuviere 2199 yguales iguales 2234 Princessa Princesa 2242 bolver boluer 2266 emos hemos 2295 diulden dividen 2303 salvo saluo 2351 a ha 2352 vassalla vasalla 2355 ossadla osadia 2386 Gessarea Cesarea 2394 ayrada alrada 2410 bolver boluer 2437a salva salua 2443 promessas promesas 2444 haca aca 2461 promessas promesas 2470 a ha 248lb aduertiros advertiros - 238 - Line Number 3 Text Z Text 2553 jazmines iazmines 2554 possesion possession 2563 siruiendoos sirvlendoos 2578 ba je baxe 2582 sauzes sauces 2589 deste de este 2595 destos de estos 2595 pauellon pavellon 2612 desto de e3to 2613 fauores favores 2616 traydores traidores 2620 reciblstes recebistes 2623 preuenciones prevenciones 2628 traydor traidor 2632 . traydor traidor 2664 a3si ansi 2673 traydora traidora 2674 vassallaje vasallaje 2675 omenage homenaje 2679 viue vive 2680 vassallos vasallos 2681 6 he 2694 destos de estos 2694 sauzes sauces 2697 ayrada airada 2720 la? os lazos 2734 margen marjen 2746 salvaje saluaje 2759 conveniencias conueniencias 2784 a ha 2789 traydor traidor 2790 burlalle burlarle 2795 Tirreno Tireno 2797 a ha 2801 Narcisso Narciso 2803 a ha 2842 reyno reino 2844 azabache apabache 2851 reyno reino 2877 Narcisso Narciso 2882 hablalle hablarle 2904 amenaze amenace 2928 luziente luclente 2928 Daphnes Dafnes 2938 yguale iguale 2943 olviden oluiden SELECTED BIBLIOGRAPHY

sectioi; i Luis Velez de Guevara y Duenas A. Studies. Anibal, C. E. Review of El Conde don Pero V^lez y don Sancho el deseado, ed. Richard H. Olm sted. (Minneapolis, 1944), Hispanic Review, XIII (1945),*258-262 Bruerton, Courtney. "Sight Plays hy Velez de Gue vara," Romance Philology, VI (1953), 248-253. Rozzell, Ramon C. "Faclstol,11 Modern Language Notes, IXVI (1951), 155-160. ______. "The Song and Legend of Gomez Arias," Hispanic Review, XX (1952), 91-107. Schevill, Rudolph. "Vlrtudes vencen aenales and La vida es sueno,1' Hispanic Review, I (1933), 18i -195. Spencer, Forrest Eugene and Rudolph Schevill. The Dramatic Works of Luis Velez de Guevara: Their Plots, Sources, and Bibliography. Berkeley: University of California Press, 1937. Wade, Gerald E. "The Orthoepy of the Holographic cornedlas of V^lez de Guevara," Hispanic Review, IX (1941), 459-481. B. Works. (1) Plays. 51 agulla del agua y batalla naual de Le- panto, ed. A. Paz y Melia. Revista de Archlvos, Bibllotecas, y Museos, X (1904), 186-2 0 0, 307-325; XI (1904), 5 0-6 7. 51 alba y el sol. Suelta, Madrid, 1709 [?]• A lo que obllga el ser rey. In Comedias nuevas escogldas de los me .lores ingenios de Esnana, v. 10. Madrid, 165 8 [?J.

- 239 - - 240 - El amor en vlzca£no, los zeloa en francos, y torneog de Navarra. In Escogldas, v. 18, Madrid. Los amotlnados de Flandes. In Quinta Parte de comedlas escogldas de los me lores ln- nenlos de EspanaT Madrid, 1653-1654. 51 assombro de Turqufa y vallente t.oledano. 3uelta, s.l.n.a. El canitan prodlgloso, Pr£nclpe de Trans11- vania. In Adolf Scliaeffer, Ocho comedlas desconocidas . . . (Leipzig: F. A. Brock- haus, 1887), I, 147-261*. El cavallero del sol. Sevilla: F. de Leef- dael, 17— [?}. El cerco del penon de Velez. In Doce come dlas de Lope de Vega y otros, Parte veynte y nueveT s .1., 1634. El cerco de Roma por el Rey Deslderlo. Valencia: J. y T. de Orga, 17'80. El Gonde don pero Velez y don Sancho el deseado, ed. Richard H. Olmsted. Minne apolis: University of Minnesota Press, 1944. La conqulsta de Oran. In Escogldaa, v. 35* La corte del demonlo, ed. Stephen H. Acker man. Unpubl. K. A. thesis, The Ohio State University, 1951. Cumolir dos obllgaclones. In Teatro poe- tlco en doce comedlas de los me .lores Ingenlos de Espana, 7a Parte, s.l., 1634. Cumplir dos obllgaclones y Duquesa de Saxo- rtia. Valencia: Vluda de Joseph de Crga, 17^8. La devocion de la misa. In Schaeffer, Ocho cornedias desconocldas . . ., II, 75-152. El diablo esta en Cantlllana, ed. Manuel Munoz Cortes. Clas. cast,, 132. Madrid: Espasa-Calpe, S.A., 1946. [Also in BAE, XLY, 159-176.3 El eapelo del mvndo. In Tercera Parte de las comealaa de Lope de Vega y otros auctores. Barcelona: S. Corinellas, l6l2 [? ]. El primer Conde de Grgaz y servlclo blen pagado. In Doce comedlas de varlos autores. Tortosa, 1 6 3S. Disparates del Rey don Alfonso, el de la mano horadadaM In Escogidas, vT 18. El embuste acredltado y el Disparate crefdo, ed. Arnold G-. Reichenberger. Unpubl. Ph. D. diss., The Ohio State University, 194-6. (A 3panlsh transla tion of this edition was published as v. XII of the Colecclon Flloldglca by the University of Granada, 195b.) Encontraronse dos arrolluelos [La boba y el vlzcalno 3. In Escogidas, v. 23- Los fijos de la Barbuda, ed. Ramon de Mesonero Romanos. In BAE, XLV, 125-14-2. El &ran Iorge Gastrloto y Prfnclpe Escan- derbey, ed. Benjamin B. Ashcom. Unpubl'. Ph. D. diss., University of Michigan, 1938. El Hercules de Ocana. In Schaeffer, Ocho comedlas desconocldas . . ., II, 217-293- La hermosura de Raquel, Parte la - Suelta, Madrid' [?1, T5I5 Tit:------La hermosura de Raquel. Parte 2s-. Suelta, Madrid [?], 1515 [?J- De Iuliano apdstata. Suelta, Madrid [?], i650-^t:^ ------

El lego de Alcala, ed. Kenneth G. Miller. Unpubl. M. A- thesis, The Ohio State Unlver s ity, 194-6. La luna de la sierra, ed. Luisa Revuelta. Claslcoa Ebro~ 15. Zaragoza: Editorial Ebro, 1950- [Also in BAE, XLV, 177-197-1 - 242 - El Marques del Basto., 3uelta, s.l.n.a. Mas pesa el Rey que la sanpye, y bias on de los Guzmanes, ed. Ramon de Resonero Ro manos. In BAE, XLV, 95-108. La mayor desyracla de Carlos V . Suelta, Madrid t?J, 1750 [?]. La montanesa de Asturias. In Escogidas, v. 30. La nlna de Gomez Arias, ed. Ramon C. Rozzell. Unpubl. Ph. D. diss., The Ohio State University, 1947. Los novlos de Hornachuelos, ed. John M. Hill and Frank 0. Reed. New York: The Century Co., 1929- La nueva lra de Dios, y &ran Tamorlan de PersiaJ Suelta, Valencia [? J, 1642 T? ]• La obllKaclon a las murderes y Duquesa de Saxonia. In Escogidas, v. 2. El ollero de Ocana, ed. Ramon de Mesonero Romanos. In BAE, XLV, 143-158. El prfncipe vlnador, ed. Robert J. Berndt. Unpubl. K. A. thesis, The Ohio State University, 1951. El prlvado persepquido. In El me .I or de los me .lores llbros que han salido de come dlas nuevas. Madrid, 1^53 • Relnar despues de morlr, ed. Manuel Munoz Cortes. Clas. cast., 132. Madrid: Espasa-Calpe, S. A., 1948. [Also in BAE, XLV, 109-123.3 El Rey don Sebastian. In Schaeffer, Ocho comedlas desconocldas . . ., II, 153-216. El rey en su lmaftlnacion, ed. J. Gomez OcerJn. TAB, IlTZ Madrid: Centro de Estudios Hist<5ricos, 1920. El rey naciendo mup;er. Suelta, Sevilla: T. L

El Catalan serrallonga y Bandos de Barcelona, ed. Ramon de Mesonero Romanos. In BAE, LIV, 565-584. Enfermar con el remedio. In BAE, XIV, 429-448. El monstruo de la fortuna y Lavandera de Napoles^ In Escogidas, v. 24. Del plelto que tuvo el diablo con el cura de Madrlle.los. In Flor de los melores doce comedlas. Madrid, 1 6 5 2. Tambi&n la afrenta es veneno, ed. Ramon de Mesonero Romanos. In BAB, LIV, 585-602. Tambien tiene el sol menguante. Suelta, Madrid, 1666.

SECTION II Dictionaries, encyclopaedias, etc. Alemany y Selfa, Bernardo. Vocabulario de las obras de don Luis de G-ongora y Argote. Madrid: Revista de Arehivos, Bibliotecas, y Museos, 1950. Boggs, R. S., Lloyd Kasten, Hayward Kennlston and H. B. Richardson. Tentative Dictlonar:/ of Medieval Spanish. 2 v. Chapel Hill, N. Carolina, 1946. Caballero, Ramon. Dlcclonario de modismos (frases y metaforas). 2a ed. 2!adrid: Llbrerla de Eugenio Sarcia Rico, 1905. - 245 ~ Connelley, Thomas and Thomas Higgins. A Key/ Dictlonary of the Spanish and English Languages. 4 v. Madrid: Pedro Julian Pereyra,1 7 8 9. 1 Correas, Gonzalo. Refranes y fra3es proverblales . . ., 22- ed. Madrid: Revista de Archlvos, Bibllotecas, y Museos, 1924. Ccvarrubias Horozco, Sebastian de. Tesoro de la lengua castellana o espanola [1611], ed. Martin de Rlquer. Barcelona: S. A. Ilorta, I. E., 1943. Der.Ls, Serge. Lexlque du Theatre de J. R. de Alarcon. Paris: Librairie E. Droz, 194-3• Dicclonarlo de la lengua espanola, I6a ed. Madrid: Real Academia Espanola, 1939. Snclclopedla Universal Ilustrada Buropeo-Americana. Madrid: Espasa-Calpe, S. A., s.a. Encyclopaedia Brltannlca. Chicago: Encyclopaedia Bri- tannica, Inc., 195S. Gran Dlcolonarlo de la lengua castellana (de Autorldades) . . . por Aniceto de Pages. 5 v. Barcelona: Fomento Comercial del Libro, [1932]. Keller, John E. Motif-Index of Mediaeval Spanish "Exempla.” Knoxville: University of Tennessee Press, 1949.

SECTION III • Catalogues Barrerra y Lelrado, Cayetano Alberto de la. Catalogo blbllografico y biografico del teatro antlguo espanol, desde sus origenes hasta mediados del slglo XYfli: Madrid, 1860. Cotarelo y Mori, Emilio. Catalogo de obras dramatleas impresas pero no conocldas hasta el presente, . . . Madrid, 1902. Cruzada y Villamll, G. "Teatro antiguo espanol. Datos ineditos que dan a conocer la cronologia de las comedlas . . . que se conservan en el Archivo del Palacio de Madrid; M E-l Aver 1 guador, ifpoca I (1871), 7-11, 25-27, '73-75, 106-108, 123-125, 170-172, 2 0 1 -2 0 2 . - 246 - Faxardo, Juan Isidro. "Tftulos de todas las Comedlas que . . . se han impreso hasta el ano de 1716 . . ." Unpubl. IIs., Madrid, 1717. Medel del Castillo, Francisco. Indlce general alfabe- tlco de todos los tftulos de comedlas .... Madrid, 1735* (Reprinted by J. M. Hill, Revue Hlspanlque, IXXV (1929), 144-269.3 Mesonero Romanos, Ramon de. Catalogo cronologlco de los autores dramatIcos, . . . In BAS, XLV. Paz y Me11a, Antonio. Catalogo de las plezas de teatro . . . en el departamento de menuscrltos de la Blblio- teca UaclonalT Madrid, 1899* Salva y Mallen, Pedro. Catalogo de la blblloteca de Salva. 2 v. Valencia, 1872.

SECTION IV Miscellaneous Items Aleman, Kateo. Guzman de Alfarache, ed. Samuel Gill y Gaya. 5 v. Clas. cast., 73. 83. 90, 93, 114. Madrid: Sspasa-Calpe, S. A., 1936-1946. Anlbal, C. S. Review of Lope de Vega's 51 mayor lmposible, ed. John Brooks, Hispanic Review, III (1935), 252-260. ______• Review of Lope de Vega's El sembrar en buena tlerra, ed. W. L. Fichter, Romanic Review, XXXVII (1946), 252-268. ______. Review of G. T. Northuo's Three Plays by Calderon, Hlsuanla, X (1927), 373-37^ Barker, Fordyce. "The Influence of Maternal Impressions on the Fetus," Transactions of the American Gyneco logical Society, XI (1886). 152-196. Bello, Andres and Rufino J. Cuervo. Gramatlca de la lengua castellana, ed. Niceto Alcala-Zamora"~y Torres. 2a ed. Buenos Aires: Editorial Sopena Argentina, 1949. Bernhelmer, Richard. Wild Men In the Middle Ages : A Study In Art, Sentiment and Demonology. Cambrldge : Harvard University Press, 1952. - 247 - Boileau-Desprâux, Nicolas. L'Art Poetlque. In The Art of Poetry, ed. Albert S. Cook. New York: G. E. Stechert ar.d Co., 1926. Bruerton, Courtney. "The Date of Schaeffer's Tomo Antlguo,11 Hispanic Review, XV (1947), 346-364. Calderon de la Barca, Pedro. Casa con dos puertas mala es de guardar. In Northup, Three Plays by Calder&i. ______. La cena del Rey Baltasar. In Northup, Three Plays by Calderon. ______. No slemore lo peor es clerto. In Hill and Harlan, Cuatro comedlas. ______. La vlda es sueno. In Northup, Three Plays by Calderon. Castlglione, Baldassare. The Eook of the Courtier, trans. Leonard Eckstein Opdycke. New York: Horace Live- right, 1929. Cervantes Saavedra, Miguel de. El ingenioso hidalgo Don Qul.jote de la Mancha, ed. Francisco Rodrfguez Mar£n. 10 v. Madrid: Edlciones Atlas, 1947-1949. ______Novelas ejemplares, II, ed. Francisco Ro- drlguez Harfn. Clas. cast., 36. Madrid: Espasa- Calpe, 3. A., 194-3. ______. Novelas e jemplares. 2 v. Paris: Casa Editorial Garnler Hermanos, 1920. Chapman, Charles E. A History of Spain. New York:" The 2'Iacmlllan Co., 194-8. Comparetti, Domenico. Researches Respecting the Book of Sindload. London: Elliott Stock, 1882. Cotareio y Mori, Emilio. Coleccion de entremeaes, loas, balles, .âcaras y mo.llgangas desde fines del slglo XVI a mediados del XVIII ordenada por .... 2 v. Madrid: Bailly-Bailliere, 1911. Curtius, E. R. "Calderon und die Malerei," Romanische Porschungen, L (1936), 89-136. Duran, Agustlm. Romancero general . . .. T° 1. In BAE, X, 2-Iadrid: Edlciones Atlas, 1945. - 248 - Empson, 'Jllliam. English Pastoral Poetry. New York: W. Yf. Norton and Co., 1938. La Estrella de Sevilla, ed. Frank Otia Need and Esther 1-1. Dixon. Boston: D. C. heath and Co., 1939. Farinelli, Arturo. La Vita & un Sogno. 2 v. Torino: Fratelli Bocca, 1916. Elelschhauer, 'Jolfgang. "The Old Man of the Mountain: The Growth of a Legend," Synroosium, IX (1955). 79-90. Gayangos, Pascual de, ed. Castlgos e documentos del Rey don Sancho. In BAE, 51. Madrid: Edlciones Atlas, 1952. ______. Libro de las consolaclones de la vlda humana. In BAE, 51. Madrid: Edlciones Atlas, 1952. ______. El libro de los enxemplos. In BAE, 51. Madrid: Edlciones Atlas, 1952. ______. El libro de los gatos. In BAE, 51. Madrid: Edlciones Atlas, 1952. Gerhardt, Mia Irene. La Pastorale: Essal d'Analyse Litteraire. Assen: Van Gorcum, [1950 J. Glaser, Edward. "A Biblical Theme in Iberian Poetry of the Golden Age," Studies In Philology, LII (l955), 524-548. Gracian y Morales, Baltasar. El critic<5n, ed. M. Romera- Navarro. 3 v. Philadelphia: University of Penn sylvania Press, 1938-1940. Halstead, Frank G. "The Optics of Love: Notes on a Con cept of Atomistic Philosophy in the Theatre of Tirso de Molina," PMLA, LVIII (1943), 108-121. Herodotus. The History of Herodotus, trans. George Rawlinson, ed. E. H. Blakeney. 2 v. Everyman's Library, 405, 406. New York: E. P. Dutton and Co., 1910. Hill, John M. and Mabel M. Harlan. Cuatro comedlas. New York: W. tf. Norton and Go., 1941. Huarte de San Juan, Juan. Examen de ingenios uara las clenclas; . . ., ed. Rodrigo Sanz. 2 v. Madrid: Imprenta la Rafa, 1930. - 249 - Justin. Justin, Cornelius Hopos; and Eutroplus, Liter ally Trans lated~ [ I [by ] John S. ',/a13on. London: Creorgo Bell and Sons, 1886. Keniston, Hayward. The Syntax of Castilian Prose: The Sixteenth Century. Chicago: The University of Chicago Press, 1937. Lauchert, Friedrich. "La estoria del rey Anemus e de Iosaphat e de Barlaam," Romanische Forschungen, VII (1893), 33-402. - Leavitt, Sturgis 3. "Motes on the gracloso as a Dramatic Critic," Studies in Philology, XXVIII (1931). 847-8 5 0. ______. "Some Aspects of the Grotesque in the Drama of the Siglo de Oro," Hisoania, XVIII (1935). 77-86. ' Ley, Charles David. El gracloso en el teatro de la peninsula (Slglos XVI-XVHT7 Madrid: Revista de Occidente, 1954. Lopez Estrada, Francisco. "Sobre la Fortuna y el Hado en la literatura pastorll," BRAE, XXVI (1947), 431-442. Lucan. The Civil ifar [Pharsalia], trans. J. D. Duff. Cambridge: Harvard University Press, 1943. Maurlceau, Franpois. The Diseases of Women with Child, and in Chlld-Bed:~ I [ 8th ed., . [ trans. by Hugh Chamberlen, M. D. London: R. i/are [etc.], 1755. Menendez Pidal, Ramon. "El dialecto leones," Revista de Archlvos, Blbllotecas y Museos, X (1906), 128-172, 294-311. ______* Flor nueva de romances viejos. 6a ed. Buenos Aires: Espasa-Calpe, S. A., 1946. Menlndez Pidal, G., ed. Romancero. Blblloteca Lltera- rla del Estudlante, XXV. Madrid: Junta para amplia- . cion de estudios, 1933- Menendez y Pelayo, Marcelino. Crfgenes de la novela. 5 v. Buenos Aires: Editorial Glem, 194-3 . - 250 - ______. Sstudlos sobre el teatro de Lope de Vena. 6 v. Santander: Aldus/ S. A. de Artes Grafleas, 1949. Mira de Ames cm, Antonio. La rueda de la fortuna, ed. J m n Eugenio Hartzenbusch. In £AS, XLV. Madrid: Edlciones Atlas, 1951* ______. Teatro, I, ed. Angel Valbuena Prat. Clas. cast., 70. Madrid: Espasa-Calpe, S. A., 1943. CContains El esclavo del der.ionlo and Pedro Telo- narlo.] Moldenhauer, Gerhard. Die Leger.de von Barlaam und Josephat auf der lberlschen Halblnsel; Unter- suchungen und Texte von . I ^ Halle (Salle) : M. Nlemeyer, 1929- Morley, 3. Griswold. "Objective Criteria for Judging Authorship and Chronology In the Comedia," Hispanic Review, V (1937), 281-282. _ and Courtney Bruerton. The Chronology of Lope de Vega’s "Comedlas". Hew York: The Modern Language Association of America, 1940. "Addenda to The Chronology of Lope de Ve~ga 's 1 Comedlas 1, " Hispanic Review, XV (1947) , 49-71. Navarro-Tomas, Tomas. "Vuesasted-Usted," Revlsta de Fllologla Espanola, X (1923), 310-311. Northup, George Tyler. Three Plays by ■ Calderon. New York: D. C. Heath and Co., 1926. Olmedo, Felix G. Las fuentes de "La vida es sueno". Madrid: Editorial Voluntad, 1928. Palacios, Leopoldo Sulogio. "La vie est un songe: Essal sur le sens Philosophique du drame de Calderon," Laval Thôlogique et.philosoohlque, VII (1951), 123-149. — Pare, Ambroise. Les oeuvres de .... 9th ed. Lyon: Chez la veufue de C. Rigaud et C. Obert, 1633- Patch, Howard R. The Goddess Fortuna in Mediaeval Literature. Cambridge: Harvard University Press, 1927. - 251 - Perez y Gonzalez, -Felipe. "La Question de Albania en el teatro antiguo'espanol," La Ilustracion Esoanola y Americana, XLVII (1903), 95-99 and liS-119~. Plato. Apolory, Crlto, Phaedo, Symposium, Re nubile, trans. B. Jowett, ed. Louise Ropes Loomis. Lew York: 7/alter J. Black, 194-2. Pliny. Natural History, trans. a. Rackham. 2 v. Cam bridge: Harvard University Press, 194-2. Poema de mj]o Cld, ed. Ramon Menendez Pidal. Clas. cast., 24. Madrid: "la Lectura", 1913* Ptolemy, Claudius. Tetrablblos, ed. and trans. F. S. Robbins. Cambridge: Harvard University Press, 1940. Quevedo y Villegas, Francisco de. Los suenos, ed. 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AUTODIOGRAPIir I, Charles Frederick Kirk, was born in Steubenville, Ohio, June 12, 1916, and attended the public schools of that city for nine years. My secondary education was received at Shady Side Academy in Pittsburgh, Pennsyl

vania. I received my undergraduate training at The College of booster (Ohio), which granted me the Bachelor of Arts degree in 1939. From The Ohio State University I received the Has ter of Arts degree in 194-0. in 194-1 I Joined the faculty of Kent State University (Ohio) as Instructor of Spanish, and have been a member of that faculty continuously since then. From 194-2 to 194-6 I served in the United States Army Signal Corps, both in this country and in Europe. For several months prior to discharge from the army I was an instructor of Spanish at the Shrivenham American University in England. In the summer of 194-8 I resumed part-time graduate study at The Ohio State University, where I have subsequently been engaged in completing the requirements for the degree Doctor of Philosophy.