THE DRAMATIC ART OF LOPE DE VEGA

TOGETHER WITH

LA

DAMA BOBA

EDITED, FROM AN AUTOGRAPH IN THE BIBLIOTECA NACIONAL

AT MADRID, WITH NOTES

RUDOLPH SCHEVILL

UNIVERSITY OF CALIFORNIA PRESS

BERKELEY
191S

Jj^

'

i.^

TO

JUAX
SOX
OF
SPAIX,

C.

CEBEIAN

OP THE UNITED STATES. BOTH COUNTRIES FOR HIS SINGLE-MINDED DEVOTION TO EVERY NOBLE CAUSE.
CITIZEN

HONORED AND LOVED

IN

PREFACE
The large amount which Lopt' de Yega wrote
justice.

for the stage

manifestly demands a voluminous study of his art to do him full

The limited essay here presented may consequently be

considered inadequate, and

many
Of

points which could or ought

that I

to be included will be missed.

am

aware.

But withindetailed

the confined scope of this attempt

first,

my

object

became twofold

to indicate

by brief hints along what

lines a

more

investigation could be instituted by someone better fitted than

myself, and second, to have, at a future date, some justification

for continuing an examination of the

many

items of interest

which Lope constantly suggests.

the obvious reason that
line first

have refrained from comparing

the great Spaniard with other master writers for the theatre, for
it

seemed to me more important

to out-

an objective presentation of the material derived from

Lope himself.

Comparative studies in literature are

futile
all

and
the

unprofitable to the reader

who

is

not well acquainted with

elements compared.

Moreover, comparisons frequently lead to

unjust conclusions whenever they attempt to prove that one

writer
is

greater than another instead of analyzing in an unbiased

manner how their delineation and interpretation of life are related. The offhand assertion is frequently to be met with that Moliere and Shakespeare are much greater than Lope de Vega, and yet the writers of such statements too often repeat merely a traditional catch phrase they do not prepare the ground by add;

ing a just and indispensable picture of the economic and social

background which accounts for much that

Vega's
art.

is

unique in Lope de

The most satisfactory studies of Aristophanes, Shakespeare, Moliere and other master playwrights are those based on direct objective analysis of their productions, and the principles or formula of their art. With these before us, a comparison
their

may

profitably be instituted which will further illuminate

methods of composition or reveal the extent to which they held a mirror up to the form of society in which they moved.

A
Lope

comparative study

may

also be attempted,

which relates
His

to his predecessors in the national theatre of Spain.

is

indebtedness in this connection

not excessive, but a careful

comparison makes evident the continuity of a number of features

in

Spanish dramatic

art, features related, first to

the technical

side of composition,
acterizes

ample scope which charthe popular dramatic formula of the sixteenth and
to the
I

and second,

seventeenth centuries.
tradition

refer especially to the break with classic

and precept, and the gradual disappearance of the prinmatter

fit

ciple of limitation in subject

for the stage.

The

final

progrannne of the drama of the Golden Age included every conceivable plot taken

from

history, fiction, legend,

the like.

Lope

is

a lineal descendant of a
is

mythology and more primitive and a

cruder art and nothing

features in which he

vations for which he alone

more astonishing than the many innois responsible. But in spite of all the

may

be compared with earlier playwrights to

his decided advantage, one stands out preeminently, his undeni-

able superiority in poetic

tion
is

endowment.

The key-note
;

to his crea-

freshness and constant inspiration

is

the prominent trait

:

of the majority of his precursors

their lack of originality

they

could not lose sight of something to imitate, they seem too often
forced to
toil

and keep

vigil in the

hope that some divine

afflatus

may
like

raise their efforts above the

common
la

level.

In short,

men

Bermudez, Argensola, Juan de

Cueva, Virues, Miguel

Sanchez and Cervantes seem to be feeling their way, attempting

forms of dramatic expression unrelated to any well-conceived
artistic formula.

Their theatrical

gifts,

though very pronounced

in isolated details, never crystalized into

any well-rounded conIt

ception

they were generally overwhelmed by a lack of restraint

and

nullified

by disregard of balance and form.

would be

futile here to point out the

noteworthy exceptions among Lope's

predecessors, those playwrights

trait the evidence of

who

revealed in an occasional

genuine

artistic gifts.

study of their

l)roductions could present with

much

profit not only the

flexibility of the

growth

of

numerous metrical forms and technical

drama

of the Renascence, but the origin of various elements which

portray the outward aspects of Spanish

tures,

poetic

life. In these two feacharm and sparkling popular dialogue, Lope's

Lope de Rueda. No comparative study would be complete which does not exhaustively
worthiest ancestors were Gil Vicente and
deal witii these two prominent names.

The main difference

former
is

be-

tween the featro antiguo of the sixteenth century and the work of

Lope may thus be said

expression, Lope's
is

to be this, that while the

char-

acterized by a constant striving toward

more adequate dramatic

There
vast

work represents
in

fullest achievement.

hardly a feature in the drama of his contemporaries or suc-

cessors,

which cannot be found

embryo, at

least, in his

formula.

In giving excerpts from Lope's plays,

ages which would best illustrate

strove to select passif

my

argument, even

taken

from condias not unknown

to readers of

Spanish literature. The

majority of citations were taken from the accessible collection in

the Biblioteca de Autores Espanoles, unsatisfactory as this
is,

because the reader

who approaches Lope

as a

new
I

field of

study

could more easily obtain and read those plays.

effort to be consistent in the

have made no

matter of accents on vowels, because

my

quotations, taken from a variety of texts printed in

many

different epochs, could not be standardized.

My

thanks are due to Dr. Hills of the Hispanic Society of

America, who with unfailing courtesy sent

me

transcriptions of

items to be found in the library which he directs; to Mr. F. E.

Spencer and Miss Patricia Moorshead, former students of the

University of California, for collating plays and passages for
in the Biblioteca Xacional at ^Madrid,

me

fessor

and to my colleagues. ProHerbert Cory, Professor Jaen, and Mr. Eugene Joralemon

for their valuable assistance in reading proofs.

Berkeley, Califorxia, January, 1918.

CONTENTS
I.

Tlic

dramatic art of Lope de Vega

1

lutroduetioii

Lope's dramatic art: the formula of art Versus the forimihi of

human

life

10 17

Inheritance and tradition manifest in the characters^ Inheritance and tradition manifest in specific traits of Lope 's plots Artificial devices in the technique: balance, the duplication of

26
3i

groups or combinations of personages

Poetic language and thought: Conceptismo and

CuUo

46

Lope's learning: the influence of the classics 67 Lope's acquaintance with contemporary literature 71 Some technical features of Lope's art: exposition, plots, recurring themes 74' Dialogue, monologue and narrative 80 Characters and customs 101 Two examples of Lope's Comedia: a tragedy and a comedy 113
II.

La Bama Boba
The autograph
Variants of the
first

117

12i
edition of Madrid, 1617

129 141 143

La

Versificacion

Acto I Acto II Acto III Xotes Index

179

212
,

251
339

BIBLIOGRAPHY
Lope Felix de Vega Carpio.
Obras, edition of the Eoyal Spanish Academy, Madrid, 1890-1914, 15 vols.; vol. I, with a biography by la Barrera, and vols. II-XTII,

with prefaces by Menendez y Pelayo.

Restori, a.
Critical reviews of the preceding edition in Zeitschrift fiir romanisclie

Philologie, 1898-1906.

Renxert, H. a. The Life of Lope de Vega, Philadelphia, 1904.

Rennert, H. a.
Bibliography of the Dramatic Works of Lope de Vega Carpio, based upon the catalogue of John Rutter Chorley, in Revue liispanique, 1915.

Rennert, H. a. The Staging of Lope de Vega's Comedias, in Eevue hispanique, 1906.

Eennert, H. a. The Spanish Stage

Mobel-Fatio, a.

in the

Time

of

Lope de Vega, New York, 1909.

siecle, Paris, 1885.

La "Comedia"

espagnole du

XVII

Morel-Fatio, a. Les origines de Lope de Vega, in Bulletin hispanique, 1905.

Chorley, J. R. Athenaeum, November, 1853; and Eraser's Magazine,

1859.

vols.

59 and 60,

Okmsby, J. Lope de Vega,

in

Quarterly Bevieiv, 1894.

Fitzmaurice-Kelly, J. Lope de Vega and the Spanish Drama.

1902.

(Taylorian Lecture) Loudon,

Fitzmaurice-Kelly, J. Chapters on Spanish Literature,

(Chai).

VII), London, 1908.

BoNiLLA Y San MabtIn, A.

Introduction to his edition of Peribdnez y
el

Comendador de Ocana,

Madrid, 1916.

Buchanan, M. A., At a Spanish Theatre

VON SCHACK, A. F.

in

the Seventeenth Century,

The University of

Toronto Monthly, 1908.

Geschichte der dramatischen Literatur und Kunst in Spanien, 2nd edit,
enlarged, Frankfurt

This work has been translated into a. M., 1854. Spanish by E. de Mier, Madrid, 1885-1887.
Geschichte des spanischen Nationaldramas, Leipzig, 1890.

Schaeffer, a.
Farinelli, a.

Grillparzer und

Lope de Vega, Berlin, 1894.

Klein,

J. L.

Geschichte des Dramas; Das spanische Drama, vols. A"III-XI, Leipzig,

1871-1875.

This work

is

unfortuuately written in an involved and

repellent style.

For

full lists of titles cf.: J.

Fitzmaurice-Kelly,

Historia de la literatura espanola, Madrid, 1916, pp. 358, 436.

Cejador y Frauca, Julio.

Historia de la lengua y literatura espanola, vol. IV, Madrid, 1916,
pp. 69ff.

THE DRAMATIC ART OF LOPE DE VEGA

INTEODUCTION
The opinion
art of
is

widespread that

it is

impossible for any

human

being to reach a fair and comprehensive estimate of the dramatic

Lope de Vega on account of the unlimited number of

In other words, one of his

comedias which he has produced.

chief claims to enduring fame, his

superhuman productivity,

turns out to be the main obstacle to any satisfactory study of

his plays.

He

frightens students away. Nevertheless, this alleged

is,

reason for neglecting Lope and his art

am now

convinced,

merely one of several minor ones, which hardly w^eigh in the

balance against a single overw'helming cause:
unattractive state of his printed works.
the incredibly

And

this fact touches

luiman nature in

its

most vulnerable spot.

After

many

years

of fruitless effort to interest

my

students in Lope in any per-

manent or productive
this not

sense, I hesitate to send

them any longer to

Is

our libraries to consult the available editions of his plays.

an inexplicable fault in the record of Spanish studies

the world over?

Can we

point to the works of any truly great

is

playwright of other nations, and affirm that the same

true?

Are not

scores of editions of Shakespeare, Goethe, ]\Ioliere or

men

of less fame, to be

case of Lope, on the other

had in various acceptable forms ? In the hand surely one of the world's most

fascinating geniuses

the

record shows chiefly biographical or

bibliographical studies and, as regards the plays themselves,

either intermittent series of collections, or
of a single comedia.

an occasional reprint The volumes of the former are for the

slielved.

greater part misguided efforts which have been highly successful

in keeping his

works peacefully

Take, for example, the question of Lope's autograph manuscripts,

which under

all

circumstances must form the beginning

Is
it

of any conceivable investigation of his dramatic art.

not

natural to suppose that they would

all

be accessible in critical

'2
\

\,'\

%^^l'\']lpnAMdTW d^T OF LOPE DE VEGA

some form of adequate reprint?
Yet in

editions, or

tlie

face

of this crying need our efforts have been spent, for the most part,

on plays already printed in a form which does not give us the

fundamental conception of
sion of regret

his

manner

of creation.
;

This implies

no criticism of the results already offered

that the limited

it is

rather an expres-

energies

and enthusiasms of

Spanish scholars should be thus scattered, and not directed to a

single end.

We

shall never
if

have even a working edition of any

great Spanish writer,

these disconnected

methods of study perlife

The task judgments are

sist.
it is

is

enormous, to be sure, and

very brief; our

tell

erring,

and

critics ever

ready to

us

so.

Yet

inconceivable that so wealthy a literature as the Spanish

stir us up to ever increasing efforts in order that its and its master minds may be illuminated but we are hindered by the imperfect state of our tools, and a lack of courage and concerted energy to make them better without delay.

should not
history

It

is'

with trepidation that one begins to speak of any of the

printed versions or collections of Lope's comedias.

easily accessible collection, the four

The most

volumes contained in the

Bihlioteca de autores espanoles, cannot be passed without praise

in so far as
it

represented a commendable effort to gatfier his

Nevertheless, this edition cannot

widely scattered productions.

be recommended to the average student.

The diminutive type,

the brittle paper, the crowded page in triple column, the

erous inaccuracies, which are apparent especially

numwhen compared

with autographs or early editions,

to

all

seem to have been devised

make Lope

repellent.

In the case of the plays included in the

has the disadvantage,

Ohras Sucltas, printed by Sancha in the eighteenth century, we

have a more acceptable format; this
of containing
set

however, not only of being relatively scarce in our libraries, but

absolute trustworthiness of text.

dramas which manifest no judicious selection or And what can be said to con-

done the mountainous edition begun by the Academy?

Much

has
its

already been written concerning the defects of the collection,

untoward

size, its

heavy, thick paper,

its

inaccuracies even where

an autograph could have served as a

basis.

(Compare, for

ex-

DBAMATIC

AJiT

OF LOPE BE' VEGA

ci

ample, the printed version of

original.)
I shall, therefore,

Bastardo Mudarra with Lope's

add no additional, gratuitous word of blame and indeed were it not for the unequalled and immensely stimulating introductions by the late jMenendez y Pelayo,
;

one would be tempted to pass over the edition in silence.

As
and

regards the continuation of the Academy's project the volumes

which have appeared up

regret.

to date only

awaken
it is

feelings of pain

No

principle can be falser than that enunciated by the

editor

Academy's

when he
;

says that

essential to publish alJ

the works of unreliable one

;

Lope
;

no text can be more unwelcome than an no edition of twenty plays per volume can be
little

manageable no volume can be of as

never be read.

service as one that will

Does

it

not seem that

we

are face to face once

more with an amateurish project, which, if not modified at once, will again miscarry, and leave only the discouragement which There are thus problems which follows every abortive effort? always confront the Spanish student and which deserve a prompt
solution.
Is this collection to be forever a torso
; ;

can the latest

to receive,

venture be carried to a successful issue

if

is

Lope never

only in part, what

is

his

due 1

Perhaps

may
la

be forgiven for inserting at this point a plea

to the distinguished

members who compose the Royal Spanish

urge upon them that
I

Academy (de my name may

lengua) and wdth such authority or prestige as

possess, be these ever so slight,

something fruitful be determined at once.

speak out of

my

great love for Spanish letters and because, as scholars are aware,
the steps already taken to bring out some of Lope's works have

Why not
in

been singularly potent in killing any latent interest in his art. proceed forthwith to make good this lamentable defect ? Surely Lope has precedence over

many

other literary matters

which the Academy has shown great generosity and upon A committee wdiich it is no doubt willing to spend its funds.
could be
first

appointed to examine very carefully the actual

it

condition of atfairs;

could then

make

a practical report on

what must be done to assure students of Lope that a readable working edition of his comcdias will see the light. The basis of

;f

Dl{.AMAriC

ABT OF LOPE BE VEGA

to

any successful project should be easy

determine since

it

depends entirely on a judicious selection of plays

reprint of that selection,

sufficient to

give a comprehensive idea of his dramatic art, on a painstaking

and on a form simple and

it

attractive.
is

As regards

a careful selection of his best plays, this

since
clears

feasible

and highly desirable

art,

away much dead weight.

After reading available plays and forming an opinion of Lope's

no new play which

have been able to tind and read, has

This must also be the experience of

modified
others,

my

conclusion.

and means that the large number of Lope's plays is no drawback to printing an edition of his best comedias. Perhaps
the suggestions of those

an admirable

list

of plays.

who know Lope may aid in making out At all events, would not thirty or

forty small volumes, each containing at the most three plays, carefully reprinted, and, if need be, without notes or introduction,

be a greater
devise
?

monument

to

Lope than any other that

critics

could

In connection with the manner of reprinting his works,

it

must be remembered that no arbitrary procedure can ever again make Lope a modern, that the body of readers who will study him
intelligentlj^

and sympathetically must ever remain small

no
all

unusual fate for the greatest of our writers

that can be asked.
Finally, the format of the edition
if its

and that

dependis

able reprint of the best available texts, not modernized,

may

be easily determined,

main purpose be never

lost

from view, namely, to place a

scliolarly selection within reach of

any student of Spanish

letters

the world over.

May

this ardent

hope be realized in the near future

Various editions of single plays need not be mentioned here

as they hardly change the facts presented regarding the lack of

opportunity to study Lope's

art.

Moreover, when we come to

examine into the state of Lope

off.

criticism,

The reader who

gift,

hesitates to

form

his

we are but little better own opinion of Lope's

hunt for
aid,

dramatic

invariably goes

off

on a

still

and

presently returns with the opinions of Schaek, or Ticknor. or

DEAMATIC ABT OF LOPE BE VEGA

Chorley, or Menendez y Pelayo, or of some author

who

derives

from

these.

Nothing can be more disheartening

to a teacher,

and
ex-

when

recently a student returned with a

revamped opinion

tracted from the above critics, I determined to lay aside for a

little wliile all

other work begun, in order to ease

my

troubled

soul in this matter.

I

Let

me

begin by stating very clearly that

belittle the great work of these men, notably Menendez y Pelayo whose unfinished series of essays on Lope will ever make evident to us how irreparable is the loss of his uncompleted studies. But some of the criticisms referred to above were set down three-quarters of a century ago, and many

have no desire to

that of

of our points of view, as well as our information, have greatly

changed since then.

I

Perhaps

should be

less

weary

of

it all, if

had not had

it

served

up

to

me

in various

forms with rarely a

August Wilhelm von Schlegel and from generation to generation, and we are taught to believe that through them the last word on the Spanish drama has been said. Indeed the world knows how many admirable things these eminent judges have set down, and that their praise of the classic Peninsular theatre far outweighs any adverse criticism they may have uttered. But the motive power which formed their opinions was not infreof

new point of vicAv. In Germany the words

Schack are
still

religiously repeated

quently an uncritical enthusiasm. This had its roots in the romantic movement and leaves us unconvinced today. As regards Schlegers dicta especially I recall an experience of my student

days in Germany which shows how deeply fixed a point of view may become even among scholars. When I ventured in class to
express my doubts about an assertion which Schlegel had made concerning the nature of the Spanish drama, I received the cold reprimand "An der Kritik dieses Mamies ist nicMs zu riitteln."
:

Perhaps

so.

But

to give the reputation of that

have ever since been possessed by the desire worthy old gentleman a little shak-

ing down,

if

only to help in destroying forever the principle of

Nachheterei.

Schack, for his part, set

up a comprehensive system

of dramaturgj^ inspired by a comparative study of the world's

DEAMATIC AET OF LOPE BE VEGA

theatre and colored by his ardent love for those principles of the

romantic movement which were in vogue during his youth.

Hav-

ing gathered innumerable dramatic elements or formulae, represented by specific phrases such as the drawing of characters, the

development of

plot, truth to

nature and actual society, psycho-

logical excellence, careful execution of details, variety of moods,

Lope into the system. from the beginning that Schack has set up specific standards and that he is going to adapt his favorite authors to
scores of others, he thereupon fitted
It is evident

and

his idealized scheme.

cially for students

In the case of Lope this

is

misleading, espeIt is

who

are not acquainted with his art.

certainly an illogical procedure to conceive an ideal

dramaturgy

and then look about and

of the formula.

see

which authors satisfy most elements

Lope's individuality, his inspiration, were so

peculiar and so original that to grasp

start, if

him

in his entirety

we must

we wish

to explain him, not

from a general scheme, but

:

with a purely objective analysis of what he wrote

ceiving principles which he never

not by -con-

had

or,

at least, never lived

up

to,

but by noting the specific elements or phenomena which

constitute the unwritten formula of his art.

In America we point with pride to Ticknor, our

scholar,

first

Spanish

who wrote

at

about the same time that Schack produced

his history of the Peninsular

drama.

Ticknor 's analysis of the

still

Spanish stage, notably of Lope's art and works,

readers.

finds manj^

But

his presentation could not exceed in quantity

what

seemed compatible with the entire history of a nation's literature

and consequently

is

very inadequate, especially today.

fine

Nor

have we in this particular followed up the

a comprehensive study of Lope's dramatic art.

tradition of

Spanish studies which he established by making any attempt at

We

have

beside

Mr. Rennert's excellent biographical and bibliographical works

a number of brief monographs to our account which, however,

do not claim to do him
full justice.

Ticknor, too, measured Lope

by the conventional rod of his day.

his

Owing

to his sane

tempera-

ment, his poise, he never reached out for glowing colors to express

sympathy, nor did he ever exceed the bounds of cool and

fre-

DFAMATIC ART OF LOPE DE VEGA

qiu'iitly

very dry exposition

hut

lie

none

tlie less

shows every-

where that

his vast early reading reposes

on romantic founda-

tions, that his

sympathies are with such elements of dramatic art

as have been customarily emphasized by the chief exponents of

This is all quite logical. Ticknor wrote when England and especially in America had not yet drifted away from romanticism, and literary criticism frequently held up standards based upon "the warm and passionate productions of southern Europe." A Petrarch, or a Calderon especially, seemed to vindicate these standards, and the romanticists were
that movement.
literature in

able to turn to account in their theories of Italian

many

of the salient traits

and Spanish literature. It would be absurd to deny that Lope has any of the qualities which found an echo in the romantic movement. But to explain Lope's dramatic art in the light of romanticism would be equally so. In Ticknor 's opinion
a

number

of the plays

which he discusses, present a faithful

]ucture of Spanish society.

I shall

When
is

come

to speak of Lope's art

so,

try to show that this

not convincingly

and that such

assertions
ing.

made without

qualifications are exceedingly mislead-

But

this opinion was,

and

still

is,

one of the hobbies of

dramatic criticism, to find wherever possible "a delicate observation of local or national customs."

England has given us Chorley's admirable exposition

character of the Spanish stage
;

of the

few scholars have labored over

Lope and

his bibliography as sympathetically as he

many

of his affirmations are, therefore, highly suggestive.

and a great But

I nuist

emphasize again, that

is

am

speaking from the point of

view of the teacher who

to the average student.

attempting to make Lope attractive

this point of view Chorley's atti-

From

tude

is

often a poor guide because he reaches back altogether too

far to explain matters directly before him.

is difficult

For
It

this reason

it

to agree with those

is

who think
discussed.

it

necessary to quote

Chorley whenever Lope's art

has from time to

in

time been the habit of English critics

who have followed

("horley's footsteps to call Spanish society "essentially superficial,"

one to which "the occasional moment of philosophic

re-

DRAMATIC ABT OF LOPE BE VEGA

is

flection

uncongenial."

By

these

and similar assertions the

critics

Spaniard naturally gets the impression that such foreign

are chiefly impressed with the fact that they themselves, on the

other hand, belong to a society essentially profound, and the

modern student
also constitute

is

thus introduced to those unfortunate antagon-

isms which go back to the days of Queen Elizabeth.

Such phrases

an easy way of explaining our inability to do

justice to the principal features of

an art as peculiar as that of

to the beginner

Lope de Vega.

Chorley, moreover, applies methods of historical

and philosophical analysis which seem top-heavy

because he reaches back to the earliest crude phases of Spanish

culture to explain a great art of the seventeenth century.

No

one

today

is

seriously inclined to base his

of the Peninsula on Buckle's brilliant

judgment of the culture chapter on Spain, to be

found in

his

History of Civilization.

And

yet a great deal of

Chorley has the ring of Buckle, for however true the latter

may

be here and there he has for the most part become old-fashioned

he presents an attitude which we can no longer accept unless

renovated by a few
explain best what I

new ideas. The following quotation will mean by Chorley 's reaching back too far to

explain the character of the Spanish drama.

He

is

talking of

the "intensely self-conscious individualism" of the Spaniard,

and continues:
In the earlier times
it

presents itself without disguise in the form of

its

personal independence and fiery self-assertion; and from

action on the

general ideas of worth and duty diffused throughout Europe, by the

development, on the feudal basis, of the institution of Chivalry, may be deduced the qualities involved in the Castilian type of honor ovei'weeuing self-assertion, punctilious resentment of offence, jealous maintenance of privilege in title and office, the importance attached to purity of

blood and the high sense of the obligations annexed to the claims of nobility. On this ground, the mighty influences, political, social and moral, let loose by the turn in Peninsular affairs that began in the days of Ferdinand and Isabella, have, at the period which concerns us, now

been working for more than a century; and a strange work they have made! What was once rude, simple and vigorous, has become in some respects fancifully refined, in others altered or weakened, in all vastly complicated. It is a combination in which relics of the ferocity of warlike ages, and of the wild ways of personal independence, are mingled

DliAM.iTIC Airr OF

LOPE BE VEGA

with the courtesies and caprices of a time of luxury and ostentation, au<l forced into unnatural shapes by the high pressure of despotism in State

and riuirch.

Pare ustfd

la

hurra,

we unconsciously exclaim

at this

point,

come back
all is

to our

own days and

own

the matter in hand.

For after

said

and done, to have Lope's

to his

art thoroughly illuminated,

we need go only
tlian the

comedias.

Lope explains Lope better

days of

Wamba

explain him.

In Spain the criticism of the late Menendez y Pelayo, to be

found in
of the

his Historia de las ideas esteticas en

Espana, and in

those essays on individual plays which he prefixed to the volumes

Academy's

edition, has

no equal.

These scattered utter-

ances are throughout inspiring, and coming from one whose

understanding of Lope was so profound, whose taste was so unerringly sound, should be gathered at once

and reprinted

in a

form accessible to
I

all.

may

be pardoned for not mentioning

all of

the recent critics

nor the monographs which are related to Lope's work.

that they deal largely with bibliographical matter
their exclusion
lest

The

fact

must justify

from my argument. The fear expressed above we accept too lightly current Lope criticism will meet with opposition on the part of many conservative readers. Of that

But perhaps a defence of these giants of old I am well aware. on the part of others will bring out something new, and that is all The very best criticism is bound to grow musty and I desire. stale unless ventilated and renewed from time to time the difference between certain books on shelves and men in their graves
;

is
i'

not very great after

all.

Hamlet 's

' '

How

long will a

man

lie

the earth ere he rot?" also applies to the criticisms of bygone

days.

What we say today ought of right to be replaced tomorrow by something more illuminating, more comprehensive, more true.

10

DEAMATIC ART OF LOPE DE VEGA

LOPE'S DRAMATIC ART: THE FORMULA OF ART VERSUS THE FORMULA OF HUMAN LIFE

The
essay
el

first

tendency of the average student who desires to

is

dis-

cover Lope's principles of composition

to search tiiroiigh his

Arte nuevo de hacer

to

co'i/nedias,

and the numerous proeditions of his plays.

logues and dedications prefixed to the

first

This

is,

me

at least, a fruitless

academic procedure.

Lope
dis-

writing a coniedia, and Lope trying to explain

how

it is

done, are

two absolutely different men, two minds working in wholly

tinct fashion
is

and on different

levels.

The Arte nuevo especially

is

no clue

to

what we

desire most to know, but pedantic ill-com;

bined material drawn from his reading

it

the acceptance in
life

theory of dramatic principles to which the work of his

the
lie,

gave

an uncritical repetition of traditional phrases concerning

tree, a

the units of time, place and action, rarae aves which never lodged

on Lope's

naive explanation of the differences apparent

old,

between his own creation and the standard works of

theatre-goer.

coupled

with excuses for catering to the poor taste of the contemporary

Nor do

his prologues

and

his casual definitions of

the comedia lead us out of the woods and into the sunshine.

Indeed,
art
is

when all is said and done, the Lope who tells us of his mind circumscribed by accepted academic teachings to

which any deliberate opposition would have been unpardonable

heresy.
gift,

Cervantes, with his meagre dramatic and slight poetic and the various mediocre contemporaries of his early efforts,
all their lives

jogged

through in these trammels, and

if

Lope's
his

original genius

had not broken the academic bonds which

uninspired self-criticism tried to accept,

we would have had no

monstruo de

la naturaleza ;

Spain could not point with pride to

his repertoire

which furnishes an example of every note, or com-

bination of notes, struck by any of the playwrights destined to

follow in the steps of this master composer.

DRAMATIC ABT OF LOPE BE VEGA

11

Take, for example, the foreword of the Dorotea, a work always

dear to Lope's heart.

Although
it

it is

written by Lope's friend,

Francisco Lopez de Aguilar,

presents a series of arguments

which unquestionably voice Lope's own opinions.

For they not

life
[la

only defend the prose form of the play, but insist that the poet

succeeded in making the language and the action truer to

than was usually the

case.

The writer says:

la

"Siendo

Dorotea] tan cierta imitaciou de

verdad,

le

parecio [a Lope]

que no que ha

lo seria

hablando
"

las

personas en verso como las demas

escrito.

Moreover, the stage demands expression in

not bound
' '
:

verse, a creation along accepted lines, while a play not intended

for the theatre,

is

que

el

papel es mas libre teatro

que aquel donde tiene licencia

el

vuglo de graduar, la amistad

Pareceranle vivos los

de aplaudir y la envidia de morder.

hipocresia de

afectos de dos araantes, la codicia y trazas de

una
if

tercera, la

una madre

interesable, la pretension de

un

rico,

la f uerza del oro, el estilo

de

los criados.
is

' '

And

the usual pro-

cedure
is

is

violated, the reader

life {la

asked to remember that the author

reproducing

verdad).

arte,

por ofrecerse precisamente

la distancia del

"Si algun defeto Imbiere en el tiempo de una

que mas quiso
el

ausencia, sea la disculpa la verdad;

seguirla,

poeta

que estrecharse a

las

impertinentes leyes de la fabula

porque

el

asunto fue historia y aun pienso que la causa de

haberse con tanta propiedad escrito."

Those who admire the

prominent characteristics of Lope's

academic discussions and
difificulty in

art,

who

prefer the charm

of his verse to the prosaic features of the Dorotea

its its

pedantic show of learning

disfigured by
perfeta, otra

^will

have no

finding "otra imitacion

mas

verdad afeitada de mas donaires y colores retoricos, la erudicion Indeed to me this foreword of Aguilar mas ajustada a su lugar.
' '

is

not far from verbiage and may, therefore, be misleading. Could

after laboring for years at his profession, within the limits
his art

Lope
acters

which the formula of

of real life by a

had

set

him, present speaking charall

and contemporary customs with

mere

the unartificial colors

act of volition, if he

had not already done

12

DRAMATIC AST OF LOPE BE VEGA

through the dictates of his own genius?

SO

He

certainly could

not,

and the Dorotea

is

there to prove

it.

We

are told in the

foreword that the sentiments of the lovers are presented mas vivos
because of the prose.

As

a matter of fact, their conversation

it is

seems much more stilted and unnatural by the very fact that
in prose.

Take, for example, the dialogue of Act

I,

scene

v.

Could two lovers ever speak as do Fernando and Dorotea here,

and be considered sane?

and other
verses,

Such overdone exclamations,

so

many

references to the classics, such patent imitations of the Celestina

novelistic works, such readings of letters

and reciting of add that

what are they but the usual combination

Renascence dialogue?

of features char-

acteristic of

It is gratuitovis to

there are also mingled qualities of great,

undying charm, that a

poet who had drunk so deeply of life as Lope could not fail to add genuine notes. Thus Dorotea 's words to Celia, defending herself for having yielded to Fernando 's personality and genius, she would live forever through his have an exquisite touch mayor riqueza para una mujer que verse eterniverses. Que ^ zada? Porque la hermosura se acaba, y nadie que la mira sin
: ' '

ella cree

que

la

tuvo; y los versos de su alabanza son eternos

testigos,

que viven con su nombre."

On

the other hand, the

traits

formal conversation of lovers

expressed in verse, and
if

may

lose all

unnatural

when
him

the reader wishes to see an example

not unworthy to be set by the side of

Romeo and

Juliet, let

read some scenes in

el

Cahallero de Olrnedo, notably the third

scene of the second act.

I

have mentioned Lope's casual definitions of the comedia, of

his plays,

which there are several examples in

they too
little

and asserted that

tell
is

us but

little

that

is

illuminating about Lope himself,

that
el

distinctive about his

own

peculiar art.

Thus we are

told in

Acero de Madrid:

No eu balde se inveutarou las eomedias, primero en Grecia que ^n Italia y Roma. AUi se ven ejemplos y consejos, porque sou de la vida los espejos.

VUAMATK ART OF LOPE

And
again, at greater length, in
cl

1)E

VEGA

13

Castigo sin Vcnganza:

^Ahora

sabes, Eicardo,

que es la comedia un espejo, en que el necio, el sabio, el viejo, el mozo, el fuerte, el gallardo, el rey, el gobernador,
la

doncella, la casada,

siendo al ejemplo escuchada

de la vida y del houor, retrata nuestras eostumbres,

o livianas 6 severas,

niezclando burlas y veras, donaires y pesadumbres?

Basta que
el

oi del

papel

de aquella primera

dama
el.

estado de mi fama:

bien claro me hablaba en jQue escuche me persuades

la seguuda? Pues no ignores que no quieren los sefiores

oir tan claras verdades.

According to

this

we

are to see in the comedia

'
'

a mirror of actual

human
used
so,
it

'

life,

'

a phrase, not so

new but
it

that other playwrights have

frequently with slight variations.

In theory this

may

be

but

how Lope has

modified

in actual practice

we

shall see as

we

proceed.
If,

therefore, Lope's art

was not

intrinsically one of deliberate

premeditation, one that he could reason about, can

less successfully

we none

the

analyse the complicated nature of his vast crea:

tion

believe so
is

for the conclusion which I have gradually

reached

that Lope's

handiwork

is

a combination of tangible

elements, conceived by his imagination and modified only in particular

p hase s by the facts of human life. The formula of Lope's comedia is tnus one oi rne purest art, which does not by any
least,

means, consciously at
and, consequently,
of
it

always hold a mirror up to nature,

creative genius has ever expressed

makes a sharp contrast with the formula

human

life.

But no great

himself wholly in one or the other, and while a

drama which

more

fully satisfies the latter formula, like that of Shakespeare,

14

DEAMATIC AST OF LOPE BE TEGA

also

must embrace

many

elements of the former, so the art of

Lope betrays increasingly a tendency to reduce tHe scope of his artistic formula and to extend and make more his own the formula which is always true to human life. If he was not wholly successful in this effort, if posterity, generally unbiased in those

judgments' which concern literary immortality, has allowed his plays to become literary and artistic treasures open to the few,
he nevertheless represents the highest point reached by any ex-

ponent of the formula for which he stands.

his great contemporary, Shakespeare,

And by an
little

even

stranger decision of posterity, he has suffered but

more than
of

whose works are apparour

ently becoming less

and

less

the spiritual possession

younger generations.
Before we begin to analyze in detail the artistic formula of Lope and present its living qualities as well as its defects, we pause to ask ourselves in what atmosphere his type of play could be perfected. This question, however, is best answered by the whole of the exposition which follows. Yet it may not come amiss
to speak briefly here of

two things:

the attitude of

mind

of

Lope's public toward the comedia, and the kinship of other

Spanish works beside which Lope's productions as children of

the inventive faculty take their place.

The Spaniard
Weltanschauung

of the Renascence couples with his unsurpassed

a gift of self-delusion

power of imagination

and a simplicity of
of the people
litera-

speaking of the average man

I refer

which have made possible the creation of unique types of

ture of peculiar artistic inspiration.

in fiction to the

romances of chivalry and similar

toral novels,

stories of adventure, the pas-

and in

verse, to the great

body of

lyric poetry

and

the comedia.

Li immediate connection with this very statement

into consideration not only the abyss

we must take

which

exists
fiction

between the relatively much smaller body of

ings),

realistic

(such as the Celestina books, the rogue stories, the satirical writ-

and

all

of Spain's imaginative prose literature, but also

the abyss existing between the relatively

realistic

much

smaller bod.y of

drama (represented by the

farces of

Lope de Rueda,

DRAMATIC ART OF LOPE BE VEGA

15

the cntrcmcscs of Cervantes, Lope and others), and the highly

poetic comcdia.
If

we

are to judge by bulk alone

tliis

literature

of the imagination looms very

much

larger in the history of the

Spanish people than their realism, extraordinary as the latter

is.

AVorks of pure invention appealed longer and had a greater

Tf Lope's

hold on their artistic intelligence than any other type.

comedia
of view
artistic

is

here classed with the great types of literary invention

its

an analysis of
;

chief elements
his creation

may

presently justify this point

like

them

is

an extraordinary tribute to the

powers of appreciation of the Spanish people whose con-

stant favor alone vitalized his works

and allowed them

to hold the

stage in uninterrupted popularity throughout his long career.

Yet we

shall later feel inclined to

gence, this boundless love of a poetic

wonder at this artistic intelliwork of the imagination,

when we come
features,

to learn that Lope's comedia represents a rare

composite expression which mingles reality with various idealized

found any parallel

"We
its

and not seldom with unrealities for which I have never in contemporary documents, nor any foundahave to state the chief reason

tion in reliable pictures of Spanish society of his time.

still

why
life
:

the comedia takes

place beside works of the inventive faculty rather than those

inspired by the unadorned actualities of

that reason

may

be found in Lope's concessions to tradition, not infrequently at

the expense of a closer observation of contemporary manners and
of psychologic accuracy.
tivity, his variety

In spite of his overwhelming produc-

and

originality, Lope's inventive genius

was

never free from the grip of literary, academic and stage traditions,

and the reader

will see

from what follows

art.

to

what extent
presence of

they determined the formula of his

It is the

these traditions, the acceptance or imitation of specific, inherited

features, the inability to shake off the influence of something

already printed, the assimilation of traits of style or of currently

used material which compel us to class the comedia with Avorks

of the imagination rather than with those which held a mirror

up

to nature.

The influence exerted by the former

is

will be

appar-

ent from what

said hereafter.

16

DRAMATIC ART OF LOPE BE VEGA

The scope
of
tliis

any consideraprogramme. I refer to such works as the comedias de Sa)dos and to those which deal with peculiar legends, mythological subjects and semihistorical
essay obliges
to discard
tion of the less vital themes of Lope's vast
tales.

me

The

first,

indeed, are not remote from Spanish culture of

the epoch under consideration, but they are farther removed,

as a rule, not only

from the dramatic formula

of

human
all

life

than any plays we choose to include, but often do violence even

to Lope's purely artistic achievement.
latter type, they indeed increase the

As regards

of the

bulk of his output but add

;

practically nothing vital to the great elements of his art

they
is

give certain arbitrary principles, such as that every subject

fit

for theatrical presentation, a wider range, but

owing
I

to the

vague dramatic application of these principles they add no important or illuminating feature to our analysis.
only with those plays through which the

am

dealing

name

of

Lope has any

hope of surviving, in which he presents actual, living themes

in an infinite variety of form,

and on a canvas which has not

of his day.

wholly paled as have so

I

many comedias

In short,

am drawing my
of
its

inferences chiefly from those plays which

present Lope's nearest approach to the

all

comic or tragic aspects.

our common,

game of life and love in For we can retain an abiding

which reveal the

interest only in those children of Lope's fancy

traits of
all

human

heritage, the wiiims

and passions of

men and women

I shall

clothed by

him

in the living colors of his

unparalleled poetic

gift.

now

take

up

the chief elements of his literary inherit-

ances and the tradition which forms a part of the foundation on

which

his

comedia was raised.

BE AM AT IC AET OF LOPE BE VEGA

17

INHERITANCE AND TRADITION MANIFEST IN THE CHARACTERS

Let US go back
seated
tliree

hundred years and imagine ourselves

among the spectators at various representations of Lope's comedias. As we try to seize and hold the images that stand
out from the wliirl of rapid action passing before our eyes, numerous indelible impressions are stamped upon our memories.

The

foremost of these

is

that

we have

seen the

work of

a master hand,

which, after fashioning a certain

number

of characters, has, with

magic
in
is

skill,

given them motion, presenting them day after day

an unlimited number of different combinations.

Their speech
fail

never the same, never monotonous, their witticisms cannot

;

to arouse the laughter of the audience

their emotions of pain,

all

anguish, hatred, jealousy, and love awaken in

response.

a sympathetic

Yet in spite of the incredibly rapid action which

formula
the outward manifestations of
in
is

characterizes the great majority of Lope's comedias and lends

his artistic
all
life,

spite of the large

amount
and

of pure stage business, Avhich, as

apparent

at

every turn, permitted talented actors and actresses

to

to hold the attention

win the favor of the

and again,
is

public,

we

are

bound
take
it

to ask ourselves again

this the perfect

image

of actual contemporary Spanish society Avhich so

to be
?

many

writers

The answer must be in the negative. Let us look at some of the phenomena which pass before us. No art which professes to pictiire human society, family life, daily episodes of the average man or woman, can set itself any
restrictions
;

it

cannot omit arbitrarily nor overemphasize a cer-

tain

number

of facts or (dements.

Thus we are impressed with

the fact that

human

society in the comedia has with rare ex-

ceptions no mother.

All reasons given in defense of this omis-

sion but emphasize the fact that

we

are not dealing so

much

with a limitation imposed upon a great art by etiquette or current

tion

manners as with a silent acquiescence in a literary tradiwhich goes back through centuries of the life of Rome and

18

DBAMATIC JET OF LOPE BE TEG A

it

the Latin nations, a tradition none the less fixed because

occasional exceptions.

shows

We may

presume that the mother has

always played an undramatic, a passive part in actual

society
;

human
:

her duties and her influence have been circumscribed

she might be seen but not heard, and even that only in her

own

home.
of

The usual appeal makes

a

to

Moorish influence on the seclusion

women cannot
it

be disregarded altogether, to be sure, yet by

itself

weak argument, because the daughters would

have to be included in the elimination and we sliould have no

corncdia.

Moreover, exceptions explain this phenomenon which

all

was accepted by the Renascence drama

lead us even farther

over Europe and

make

us realize that the introduction of a mother into the plot

may

away from the picture

all

of actual society
la

than her customary omission.

duenna,
courts

Take, for example,

discreta

Enaniorada, in which the mother has

all

the gross traits of a

the undignified weaknesses of a silly old

woman who

tlie

advances of

young

gallant,

and participates in
which mother
lover, in

rendezvous and other conventional episodes designed for conniving old females
;

or Quien

ama

no haga

fieros, in

and daughter are

rivals intriguing to

win the same

which race the logical victory of the young daughter leaves the

mother angry and shamed, and the play

invencion.''

closes with the latter

reproaching her daughter for her cunning,

"Tu

has hecho esta

Or take

los

Melindres de Bclisa. in which the wid-

husband.
hold,

owed mother, Lisarda, is depicted as ready to accept another She falls in love with a supposed slave of the house-

who has

already taken the daughter's fancy, while the son

also falls in love with a

fore, impresses one

supposed female

slave.

Lisarda, theretitle of

merely as a duenna with the

slie,

mother,
dis-

but without sweetness or dignity, for

comfiture and ridicule at the close.

too,

meets with

mother of
critics see

and gentle Spanish society ? Finally, in Lope 's Dorotea, in which more personal history than is justifiable to assume, we
Is this the retired
is

find

tlie

repulsive extreme of a mother, Teodora, wlio

willing
if

to sell lier daughter's

honor

to a

nabob for gold.

Even

wr

grant the possibility of an individual case of such depravity in

BEAM AT IC AET OF LOVE

liimiaii society

I)E

VEGA
model
in

19

and

adiiiit

lliat

Lope had

a living

mind,

we need only eonii)aie Teoclora with the go-between of fiction and drama in Italy and Spain to see that she speaks the language of literary tradition. The plot, according to which the reader
is

permitted to see the interior of Dorotea's home, represents

the latter with no spotless character, and imposes the conclusion

that her conniving mother offered no objections to the life which

her daughter has

led.

In

brief, the omission of the motlu^r

was

a novelistic element which the comedia had inherited, and as long

as the majority of plots in novel

and play

alike

turned on secret

intrigues of amorous passion, games of hide-and-seek, honorable

or otherwise, lackeys' tricks and rendezvous, the mother could

play no dignified part without bringing

like a liouse of cards
;

down

the poet

's

scheme

if

included at
witli

all,

she naturally assumed

a role by no

means

in

keeping

her sacred position and name.

it

The absence of the mother made

to introduce

imperative for the poet

this

an elderly female w^ho would lend authority to

picture of society, and at the same time be a conceivable part

of the plot.

We,

therefore, have either the aunt or simply a

character not related to the household, very often depicted as a

widow and partaking

between.

also of the character of

duenna and
its

go-

That the

latter

personage existed in Spanish society

reasonable

as elsewhere
limits.

we cannot doubt, but everything has

In this particular case we are once more dealing with

a character on which novelistic

and dramatic episodes have turned upon a main axis, and, however much poets abused the type and distorted the actual figure of reality by
for centuries as

adding the traditional touches, copied through centuries of

erary imitation,
it

lit-

never

lost

its

vogue or failed to occupy a

Spanish literature of the

prominent place in novel and theatre.

Renascence made

many

contributions to that long line of able

females beginning with the old hag of the classics and running

down through
The duenna

the trota-convcntos, the Celestinas and the duennas.

especially

became an obsession of numerous writers

set

of the Golden Age,

social manifestation,

who
and

her up as an omnipresent, perverse

so

found a pretty opportunity to

rail

20

DFAMATIC AST OF LOPE BE VEGA

manner.
In the elderly

at her in the best literary

woman

of

Lope's comedia, we are consequently dealing with an inheritance

skillfully modified

by the facts and made acceptable to the public

by

his

incomparable wit and graceful verse.

theatre-goer of Lope's day would be impressed in the next

place by the

numerous

figures of the disguised or

wandering

damsel, the maiden who, deceived or abandoned by her lover,

hides her identity under the garments of a servant, a slave, or

even a lackey or a young gallant.

This

is

a puzzling element in

Lope's formula.

How many young women

cities in
its

were wandering
disguise?

through Spain or the streets of Spanish

did the public accept this figure in

Why

never-ending variety, and

why was
tury?
audience

it

copied by

all

the playwrights of the seventeenth cen-

It

cannot be explained, unless we admit that a whole

may become

hypnotized by a literary type.

is

That the

disguised damsel was nothing else

manifest not only from her

great age in fiction and legend but by the rather unoriginal

in

way

which she reappears in the history of the comedia.

spectators find in the contrast between the restraints

tions of reality
artistic

Did the and limita-

and the freedom of

I

fiction a

kind of esthetic or

satisfaction?

have searched through matter-of-fact

books and documents and yet never ran across the unrecognizable, disguised

maiden.

Does not Shakespeare make

Night
is

it

evident

as only he could that Viola of Twelfth

his poetic

but a child of

fancy?

In both Lope and Tirso examples of this

disguised damsel are fairly common, so that I need not pick out
particular characters, nor
that she must have been a

make

the futile effort to demonstrate

common

occurrence in actual society

because she
to be fair to
;

is

so

thoroughly at home in novel and comedia.

Yet

Lope the runaway maiden is frequently charmingly drawn she shows all the wit, pathos, and poetry with which his
genius was so abundantly endowed.

On

one occasion, at

least, in

Mas pueden
eye, but to

celos

que amor, act III, scene xiv. Lope appears not

a character inherited

only to regard the disguised maiden with a twinkle of fun in his

admit frankly that she

is

from

books.

DRAMATIC ART OF LOPE DE VEGA

Coiide.

21

j,Habraiise en

el

numdo

visto

Mcndoza.

mujeres que disfrazatlas hayan hecho extrafias cosas? Quien duda que ban sido tantas ^ que ban ocupado los libros,

y de

la

fama

las alas?

Another puzzling feature of Lope's stage

presence of courtesans of the better class
;

is

the occasional

these stand out in

all

glaring contrast with the refined girl hedged about by

restraints of her position.

the

This feature gives rise to striking

contrasts in stage pictures because

we have

the freest morals

by the

side of seclusion

and modesty.

In this type of woman,

fact,

however, Lope combined literary imitation with

to us vivid local color in poetic guise.

presenting

in

mind now and then

the type of

He unquestionably had woman presented with great

freedom in the Celestina

morals and customs.
This
is

literature, and, less frequently, that of

the Italian novelle, mingling with this imitation a stud}' of local

not the place to speak at great length of the manners

of the Latin capitals of the Eenascence, especially the larger

cities
:

Paris,

Rome, Madrid,

Seville

and

others.

But a few words

may

serve to throw some light on the characters of the go-between

and the courtesan.

Most accepted narratives of moral corruption

Innumerable writers have indulged
unsavory morsels have
Glaring pictures

are always to be discounted to a certain degree, because they bear

many

signs of exaggeration.

their fancy in scandalous tales because

always made attractive and salable reading.

entire society of a city, have always caused

of incredible freedom, descriptions of the immoral life of the

an agreeable shudworks especially

After sifting
critic forgets that

der in the credulous reader.

In

this, novelistic

have contributed their share, and the modern

he
all
is

taking highly colored entertainment for fact.

the evidence

and building rather on

are, to

silent archives

and uncities

adorned history, we
Avhich

be sure, face to face with a condition

Seville
especially,

unlike anything today.

Madrid and
in

combined many cultures,

which

Roman and

Moorish

customs dominated, present a freedom of manners excellently

22

DBAMATIC AST OF LOPE BE VEGA

The existence of

depicted in some of Lope's vivacious scenes.

slavery, the democratic spirit of the servants, the quest of sex

M'hich

is

always in the atmosphere, the limitations of a society

its

thrown entirely upon

restricted

own

resources for

communications practically isolated

amusement because it from the rest

an un-

of the world, the animation of street life developed to

paralleled degree, and, finally, the unrestrained manifestations

of the southern temperament, all these facts

and many more

gave her an
therefore, clear

made

possible the presence of the free

woman and
It
is,

established prominence in life

and

in art.

that Lope introduced a very

human element

into his comcdia.

But the remarkable

life

fact remains that he presented this side of

with an unusual delicacy of touch.

it

Since comparisons are

often helpful,

is

interesting to point out

his tone

how much

cleaner

and purer he has kept

than the Elizabethan and JaLope's art con-

cobean dramatists did in England, for these latter often sink

into unspeakable depths of filth

and indecency.
its

sciously sought to attain a high level in

w^e also

moral tone, for which

slight, to the official

owe a debt of gratitude, however

censor,

who

protected public morals from the evils of literature.

In short, we are dealing with a condition common to Latin society, and reaching far back into the classical age, which prohibited the
virtuous maid from taking part in the social gatherings of men,

and
ness,

so

brought about the substitution of the courtesan.

The

latter

combined with her freedom of manners beauty and cleverand became in life a visible part of society, and in literature
the novelistic characters to

the admitted companion of men.

Among

whom Lope
is

has given

traits of endless variety

and

originality

the

spirited, alive

and consequently
he
is

full of action.

young gallant, The type is not

in all literature

distinctively a Spanish creation, for

we

find

him

of the Renascence

prominent in novel and memoir, but

his

especially on the stage,

first place.

where

dashing qualities give him the

Yet in the comedia of Lope he seems to me to suron account of the astounding diversity given to
moods, his impulses, his whims, his virtues and

pass

all otliers
liis

his speech,

DBAMATIC
his follies.

AL'T

OF LOPE DE VEGA
all

23

^-

Logically a character
set

action

must have

foil.

and

so

Lope

by

his side another traditional figure

which he

presents with no less variety, the attending servant or lackey.

This inseparable appearance of master and servant easily be-

comes dull and mechanical in the hands of an inferior genius,

and

so betraj's the fact that

we

are dealing with a stage device

of

rather than a

common phenomenon

human

society.

Lope

has managed to put into the servant the unbounded resources

of his wit

and made him one of

his chief claims to

rank among
for the ex-

the world's great comic playwrights.

istence of a

The reason

companion for the gallant derives

chiefly

from

his

appearance in centuries of novel and drama.

to the plot

He was

necessary

and assumed diverse forms, such

as that of advising

friend, guardian, aijo, teacher, but esiDccially that of servant,

slave

or lackey.

On comparing
we
find

Lope's gallant with

all

the

types which preceded him

wright improved his literary

how much this versatile playmodels, how he managed to make

a dangerously stereotyped character alive.

How

he succeeded
Indeed,

in creating a never-ending series of comic scenes involving master

and servant
that

will

always appear a miracle of invention.

he has so accustomed his reader to look for these witty scenes

any play without them causes genuine disappointment. But let us see to what extent the servant is an invention
Real
life,

of

Lope's mind.

as contrasted with literature, reveals

the presence of the commonplace rather than the witty servant.

and

in

Spanish society no doubt could be found numerous exslave, the lackey, the

amples of the attending maid servant, the

lady's escudero and the rest.

But we are now dealing with a personage endowed with far more than the average traits. The latter are not conceivable as dramatic possibilities. Even the average literary models, the servant that can be bribed or won
over, the serious guardian, the grave/ aijo, the sentimental com-

panion, or the mixture of messenger and go-between, these and

others would have failed to

add the vivacious, living touch necesLope, therefore,

sary in plots based almost entirely on action.

conceived a character to the flexibility of which there are no

24

DRAMATIC ABT OF LOPE DE VEGA

His attending servants embrace
every
conceivable

bounds.

quality: they are shrewd

and witty

advisors, they invent tricks

and discover remedies, they overcome obstacles, they are full of delightful saws, they draw on a vast amount of human experience, they are filled with ready information, and not infrequently
with substantial learning and classical instances, they are loyal, devoted and self-sacrificing friends, they
the perennial resourcefulness of Lope's
is

may even
gifts.

be excellent

philosophers, they represent in the most comprehensive sense

own

And

all this

true, although to a

much

lesser degree, of the criada

who

at-

tends the heroine.

In

this

very fullness and completeness of mental traits in

the servant lies one of his chief defects,

ask ourselves
existed

how

likely

it

and we quite naturally was that such attendants or lackeys

fertile brain.

anywhere outside of Lope's

Readers of

the comedia get the impression that innumerable gallants walked the streets of the Spanish cities

and that each was favored by

heaven with a servant in some way extraordinarily endowed. If we may consider the best part of this figure as Lope's creation

we
the

are nevertheless dealing with an inherited type modified by

demands

of the stage into a personage to

life.

whom
own

his genius
ser-

gave the breath of

It is

apparent that he kept actual

vants and lackeys sufficiently in

acceptable possibilities.

mind

to

make

his
if

characters

They are

alive,

even

they move in

what seems now and then an imagined form of society, raised above actual life, just as was their poetic speech above the prose They are alive because Lope borrowed with of common day.

consummate

skill

the color, the movement, the kaleidoscopic ani-

mation of the world about him, giving his handiwork

warm

blood

and poetic existence. I do not presume to mention

I shall limit myself to giving a

all

the characters of Lope's

plays Avhich would ordinarily find a place in this discussion;

few more which

may

be of interest

to the reader.

They are the

father, occasionally replaced

by the

uncle, as the aunt so frequently took the place of the mother.

Here Lope again exceeds mere

tradition, betraying in these per-

DRAMATIC AET OF LOPE

I)E

VEGA

2o

sonages a more paiiis-takiiig observation of current manners.

men are amongst the greatest creations To one traditional figure the rich, old suiter Mho bases his advances on the power of gifts and gold Lope has given an original turn by presenting him in the guise of a familiar,
Indeed, some of his old
of his stage.

contemporary character, the Indiano or nabob.

The novelty and

romance which attached

to

an adventurer returning from the

Indies laden with riches and boasting of strange experiences

nmde
all

fruitful

addition to the dramatic possibilities of the

fail to
life.

coimdia. antl Lope could scarcely

the interest he

give

him on the
is

stage

awakened

in real

He

a part of the

adventure element of the comedia, and takes his position by the

side of the soldier
Italy, that

every

i)lot

who returns from campaigns in Flanders or much traveled, wandering personage who injects into new elements of intrigue, trickery and romance.
a

In speaking of the influence of inheritance and tradition

upon the characters

word must be

said about the poetic

nomen-

clature of the dramatis personae.

We

deal here with one of the

stereotyped features which characterizes not only the Spanish

drama
v\-here.
is

of the

Golden Age but the whole Renascence drama everyThe reason for the existence of these stereotyped names
:

not far to seek

they were adopted under the influence of the

fiction

sources of the drama, coupled with the exigencies of

dialogue in verse.

They seem

especially suitable in a

drama

which

is

not entirely an image of contemporary conditions, but

the picture of an idealized form of society.

Lope presented on

the stage between seventeen thousand and twenty thousand characters, for

whom

he devises a surprisingly wide range of names.

Their drawback will of course always be their inevitable repetition,

lists

and the reader

is

sometimes hopelessly

lost in the

long

of Dorotea, Teodora, Belisa, Fenisa, Feniso, Finea, Fineo,

Laurencia, Laurencio, Turin. C'hapin, Batin, Chacon, and endless scores of others.
art,

They form one

pale, but

of the elements of Lope's

to

which has grown

which we must learn

endure

as

an inoffensive feature of the poetic language of the comedia.

DRAMATIC AET OF LOPE BE VEGA

INHERITANCE AND TEADITION MANIFEST IN SPECIFIC TRAITS OF LOPE -S PLOTS

The rapidity of action which characterizes practically
all of

Lope's plays has been touched upon above and will be discussed
in connection wdth the chief features of his dramatic technique.

At

this point, however,

it

leads

me

to

draw attention

to the in-

evitable result of constant forward motion in the plot.

logical changes

Psycho-

due

to meditation, delay

and repose are replaced

in the majority of cases

by stage devices of an external character,

admirably conceived by impulses, whims and passions which
in the characters.

novelistic episodes, striking theatrical effects

to surprise the spectators,

do not represent any spiritual growtli

of the excellent traits of
restraint, the

One

manner

in

Lope in this connection is his selfwhich he has refrained from overdoing

Critics of past generations,

this side of his

dramatic formula.

having taken for a starting point the work of Calderon, who used
all

these features with

more mechanical

skill

than Lope and per-

fected his technique, at times to the point of rigidity, have seen

fit

to include

Lope

in their schemes of classification,

and made
This

liim,
is

because of these outward signs, a romantic dramatist.

misleading and inadequate, because no other fact stands out so

it is

clearly after a prolonged reading of his plays as this, that

impossible to find any pigeonhole into which his vast genius

The and permits the reader

can be compressed.
activities; it

spirit of his art

has a thousand windows

to look

upon

a wide range of
all

human

shows a comprehension of

that goes on in the

hearts and brains of men, of which romantic dramatists and even

Calderon had an inadequate conception.

His
to

gift of invention

was

so

enormously taxed that

it

had

make

concessions to

and academic traditions in certain elements of his plot material which do not represent profound aspects of human
literary
life
;

tlierefore critics

have singled out these external

traits
is

and
that

branded them as signs of the romantic drama.

The

fact

DRAMATIC ABT OF LOPE BE TEG A

Lope
lias

27

romantic features as he has characteristics of every

school, if one chooses to search

them

out,

but more light

is

thrown

upon
of his

his art if they are considered only

from the point of view

own day and

treated as accepted elements of an inheritance

M'hich he received in

common with

the whole Renascence.

What

are some of these tangible outward stage devices or

They are those which novel and drama have Indeed, some of them have their roots in folk-lore themes and are as old as the imagination of man. Lope used them in his usual impressive manner, giving them. a novel turn again and again. Among them are disguises of all kinds: women as men and less frequently the
plot episodes?

assimilated practically the world over.

other

way

about, maidens as servants, doctors or even college

professors, deceptions, feigned relationships, lies ranging

from

white to black, incredible experiences and adventures exempli-

fying the delightful saying de luengas vias luengas mentiras, the

substitution of one person for another, concealments which lead
to comic or tragic ends

and many other

novelistic motifs.

Among

the

common

devices which help the plot forward are the bribery

of servants, the exchange of the usual lover's tokens such as

handkerchiefs, letters, rings, messages and the

like.

The

tricks

employed to open a conversation, to obtain an interview or send a bit of news include such methods as opportune stumbling and
falling on the part of the girl, the lover hastening to extend a

helping hand;

tlie

use of the holy water font at church, where

a glove or letter
girl's

may

be left; the traditional entrance into the

house of the vendor of knickknacks or ladies' articles of

apparel, a personage

who

goes back to the institor of the classics,

;

and the trota-conventos of early Renascence literature and the protected rendezvous carried out under the aegis of some servant,
friend, or relative.

Possible meeting places are of course limited

to accepted custom, the

most common being the streets or public

if

promenades, or the reja of the woman's house,

interlocutors are unobserved.

the lovers or

Servants are not as a rule considis

ered intruders.

Next in importance

the church, to which

every

woman would

repair daily as surely as the sun rises in

28

DBAMATIC ABT OF LOPE DE VEGA

Frequently inns are successful meeting places.
of the lover into the very

the morning.

The unheralded entrance

beloved

room

of the

may

be taken as an amusing, although arbitrary, breach

of custom on the part of the poet, since it is always greeted by an exclamation of fear and disapproval on the part of the girl.

As
it

a purely novelistic episode

it

is

an inheritance out of the

into the
to make woman's house by the Italian

classics, for

we may

recall that

Ovid advises the lover

one of his principles to force his

possible,

way

if

a principle .made use of especially

The proximity signs exchanged from

novel.
local conditions, but are

of the houses of the lovers, the possible

balconies,

were no doubt applicable to

less

none the

common

to all novels deal-

ing with episodes of

life in cities.

"We are bound to view any great liberty of action on the part young women, who are otherwise depicted as refined, and educated according to the retired position occupied by the average mother and daughter, as a stage device by which the poet
of

broadened the actual conditions.

In those female personages

who show independence

than colorless reality
This
;

of both thought

and action Lope pre-

sented characters and conditions which gave his wit freer play

he entertained his audience by means of

a picture frankly intended as an exception rather than the rule.

is

one of the features which makes certain writers voice

their enthusiasm over the lifelike descriptions of Spanish morals

and customs

to be

found in the comedia, but, as

already stated

above, their assertions seem based on statements

and pictures

which in their turn are founded on inferences drawn from these

very plays.

As an argument

this

procedure involves us in a

vicious circle, the probability being that in this whole matter

Ave are

dealing with another clever fusion of fact and fiction.

it

Considering the wide range of poetic license,

criticize

is futile

to

Lope for occasionally reducing the whole world to a small stage. Thus the mention of a personage living far away may prompt some one present to claim him as a relative, friend This theme of universal acquaintanceship is or acquaintance. a part of the artistic formula which found no obstacles in dis-

DRAMATIC AUT OF LOPE

taucos,

1)K

VEGA

29

and took for granted that the imagination of the spectawas equal to any rapidity of action, to a flight over any The devices according distance, or to a removal to any place.
tors
to

which characters in

localities

widely apart are

known

to one

another are thoroughly accepted as stage

possibilities,

and are

necessary to connect scenes in plots which rejected the unity of

place,

and which

are, after all, only a

mixture of reality and

in-

fancy.

In connection with this fusion and the presence of

evital)le artificial

elements not only in the Spanish but in every

national drama,
life in

we are apt to overlook that a detailed study of European capitals at the period under consideration makes evident a number of truths concerning human existence The abwidely diifering from the facts of modern city life. sence of newspapers, of communication with the outer world to which I referred above, the lack of all modern inventions, gave vast importance to the arrival and departure of all mail, to messengers and couriers it increased the carrying pow^ and
the
;

vitality of gossip, conceding

undue prominence

to all local occur-

rences,

however

slight, to scandals, accidents,

like.

rumors, placards,

pamphlets, letters and the

Therefore individuals dependent

upon

their

own

resources lived a life measured by standards

wholly different from our own.

inence were widely acquainted

We may
among

thus assume

it

to be

extremely likely that individuals in families of reasonable promthe inhabitants of the

same
by an

city.

But

city life,

however circumscribed, can never be dominated

society.

artificial

formula in every phase or level of

Even

formal court manners have never meant that a whole city led

an existence of pure etiquette. The court life of monarch and aristocrats maintained its course on one side of a cleavage, on the other side of which the masses of the people pursued their
sane and commonplace ways.
It

must have been

with

so with the

society of the Phillips, or the actual Spanish world

would never

have survived.

It

seems more

critical to accept

many

quali-

fications the peculiar point of

traits

view which makes the

artificial

found in the comedias of the seventeenth century a mirror

30

DBAMATIC AET OF LOPE BE VEGA

This conclusion
facts.
is

of reality.

hardly borne out by objective

of the Spanish

documents dealing with

The vast majority

men and women who

lived during the reign of the Phillips did

:

not constitute an unnatural or a non-moral community

they

were a mass of sound beings with red blood and sane thoughts. Yet we read of vogues in dress, for example, and imagine the
whole Spanish people pursuing the
collar or a roiMid-toed shoe
;

idle fashion of a

Walloon

we

are told of rascals

and picaros

in the streets of Spain,

and

so believe that

every city swarmed

with them

we

are impressed by theatrical duels, and therefore

imagine that the streets rang at night with the clashing of swords,

and we
certain

visualize the processions of alguaciles dragging culprits

to prison;

we recall the intriguing, adventure-seeking career of young women, but fail to remember that the cities were
normal, secluded
life.

full of virtuous girls living the

We

have

heard repeatedly of the severities of the Inquisition, and picture

Contemporary and usages of human society are worthy of the most careful scrutiny, but they are, it must be remembered, almost invariably aimed at abuses, misguided efforts and sporadic A playwright may draw follies, and not at normal conditions.
Spain tormented by a blind, inhuman tribunal.
criticism of the actions

certain pictures of society on the admitted principle that a comic,

a pathetic, or a tragic scene need not be taken as a direct

critiis

cism or

fixed

image of contemporary

life.

In short,

it

question of the balance he

dramatic poet may and the formula of put on the stage episodes or events not because he considers them frequent occurrences, but isolated happenings worthy of record. This is especially so with tragedy. The conclusion drawn from

may strike between actual human life. The

the artistic formula

an Oedipus Tyrannus
a

is

not that this character or his career

is

is

common

occurrence

Electra

a unique creation of the poetic

mind.
is

We

cannot infer from Shakespeare's art that the Avorld

full of foolish old

men

like

erty according to the hollow protestations of love

King Lear, who divide their propmade by their

daughters.
there
?

How many Macbeths or Othellos or Falstaffs are Descending into the realm of comedy, the principle hokls

DEAMATIC AET OF LOFE DE VEGA

with a somewhat wider range of application.
of

31

Specific events

common

life

are duplicable, but successive series of artificial

so,

combinations verj^ rarely

and that only when we are dealing

with arbitrary modifications of local customs or literary imitation

and inheritance. Of poetic abuses,

that
plot

artificial or

stereotyped language, of the

speech of love, courtship and intrigue I shall write below, as

demands a special chapter. Having mentioned devices of and elements of plot-content, a few additional words will
touching upon the repetition or limitation evident in the

suffice

range of thought of the personages, a quality to be attributed

not only to the rapidity of action which hinders a philosophic

treatment of
is

life

but to Lope 's artistic formula in general, which

devoted to an infinite number of combinations of the themes

of love, jealousy

and honor.

Lope undoubtedly recognized the

inadequacy of
activities,

this

formula when applied to the fullness of

in his tragedies he

human

and notably

knew how
stir

to descend

to the depths of all emotions

which may

the heart.

dis-

cussion of the variety of motive forces in his mighty themes of

self-sacrifice,

duty, infidelity, revenge, his highly diversified pic-

tures of inner struggles can hardly find

of this essay,

room within the scope and the reader will be best rewarded by studying them in Lope himself. Of the prominent tliemes of love and
jealousy
little

need be

said.

No

other poet of the world's liter;

ature has sounded their sombre depths more skillfully

no one

has given them more graceful, witty or humorous turns and

them in more different moods. But we must dAvell a moment upon the theme of honor, expanded into a veritable code which dominates all other sentiments. It was, like few other dramatic motives, the happy huntdefinitions, or presented

ing ground for every dramatist.

it,

IMuch has been written about

and

it is

therefore trite to add a disquisition on the Spaniard's

character, showing that he was "jealous in honor, sudden

and
the

quick in quarrel."

Indeed,

we know from formal works on

subject that there were well defined grades of grievances, affronts

and

insults, as there

were also principles governing the amends

32

DEAMATIC AST OF LOPE DE VEGA

In other worlds, the Spaniard
all
is

which could be exacted.

sented as meticulous in

pre-

matters concerning his honor.

so were all peoples of the South: the Greeks, the Italians,

But and

the French.
tional

Even

the colder northern races rehearse this tradi;

theme in novel and drama

its

effectiveness

was
it

so

apparent
stage.
Is

that
it

it

was seized and repeated for decades on every

is

therefore a specifically Spanish theme, or

not the fact

that the Spaniards have merely written

sively about it?

After comparing a great

is,

more and more impresmany writers and

to

plays, I find that the treatment of honor

no small extent,

a matter of formal phraseology, together with constant imitation

and copying which gave unoriginal minds a welcome opportunity

to deal with a lofty subject.

Consequently the reader will

fre-

quently come across a stilted disquisition on honor in the

ature of the Renascence, which
is

liter-

generally in keeping with an

accepted, contemporary point of view.

To resume, no
which
I

analysis of the elements of Lope's formula,

have just treated, can be as illuminating as his own

all,

words, for he has, after

an inimitable way of describing the

set up.

world which his fancy has

The traditional

lines along

which so
verses

many

of his plots

move

are best given in the following

Fenisa.

clestos

Que maucebo me pasea que van dando el talle? gQue guijas desde la calle
4

me

arroja,
sefia

porque

le

vea?

^Que

me

has visto hacer

^Quien me sigue, que a estar celosa te obligue? vino a ver? I Que vieja me billetes me has hallado I Que con palabras deshonestas? Que pluma para respuestas, J que tintero me has quebrado? Que cinta, que no sea tuya I o comijrada por tu mano? ^Que chapin, que toca?
en la iglesia?
Belisa.

En vano
quieres quo mi honor te arguya.

La

discreta

Enamorada.

DEAMATIC ABT OF LOPE DE VEGA

Or
the following: jQuien ha hecho
niilagro tan notable en tu sentido?

33

Hernando.
Lucindo.
^

La coufianza de que soy

;Bendiga
la hora, el
el cielo la

querido.

invencion, la traza,
el

movimiento,

manto,

el

Prado.

los celos, los disgustos!

Hernando.

Y ^no dices que bendiga tambien a Estefania ? La discreta Enamorada.

34

BEAM AT IC ART OF LOPE BE VEGA

ARTIFICIAL DEVICES IX THE TECHNIQUE: BALANCE, THE

DUPLICATION OF GROUPS OR COMBINATIONS OF PERSONAGES

In speaking above of certain characters in Lope's comedia

who may
to the

be considered as taken in part from tradition, bnt

I

modified by the poet's art,

gave one of the prominent places

young gallant and

his servant,

and

to the heroine or

dama

with her attendant, combinations or pairs repeated in infinite

ways and presented

in such a

manner

tliat

either master or servant existing without the other.

we cannot conceive We now

go one step further and examine the artificial result obtained by balancing these pairs one against the other. This device has already been spoken of by writers on the comedia, and its It, therefore, requires a unnatural character condemned. defence or an explanation only if we cling to the untenable idea But if we that everything in the comedia reflects real life.
keep in mind certain wholly
artistic

elements of Lope's stage,

and get
find in

his

own

point of view on the dramatic interaction, the

theatrical effectiveness of these

games of duplication, we

shall

them a conscious development of infinite possibilities in It is apparent that the situation, humor and comic confusion.
servant

may

not only duplicate the master's love affair

el

(see,

for example,

Accro de Madrid, Act

III, scene vii)

but he

may
situ-

also find himself involved in the

same predicament

as his em-

ployer and frankly burlesque, by the absurdity of his

ation, the mock-serious plight of his master.

own

These possibilities
ser-

Lope recognized
el

as a source of

comedy, and occasionally a

vant makes plain the object of this invention.

Thus Fisberto

in

Ausente en

el

Lugar

tells

us:

Sabina, ya tu sabes que danzamos los criados al son de nuestros dueiios. El vuelve a Elisa, y yo me vuelvo a Paula;

Dios sabe que

me

pesa.

DHAMATIC ART OF LOPE BE VEGA

35

And
must

in los

Come udadores de Cordoba, the

servants,

we

are told,

(luplieate the relationship

between master and mistress:

Luego, ilonde vm amo honrado tiene alguna prima honrada,

la

iwo viene a ser la criada prima de su criado?

Were
tions

it

not for lack of space

Avittv

many examples
In
el

of

amusing
el

situa-

and

dialogues arising from this invention might be

sufifice.

given.

single one will

Ausente en
is

Lugar

Carlos tries to

make

Elisa believe that he

obliged to absent

himself while in reality he does not leave town.

Esteban, the

servant of Carlos, has in the meantime agreed to have a ren-

dezvous with Paula, Elisa \s servant, and the following comic

scene takes place
Estehan.
Carlos.

iQue
^

es lo

que habemos de hacer?

No

dices que has concertado

hablar eon Paula?

Estchaii.

Carlos.

Esteban.
Carlos.

He peusado que te j^odran conocer. No haran: que estare escondido; aunque mucho mejor fuera que yo ser tu me fiugiera, J hablara a Paula atrevido. deeirle yo i No podre lo que tu le has de deeir? No
lo

sabras tu sentir.
?

|Abri(3 la veutana

Esteban.
Carlos.

Abrio.

Apartate, como que eres yo, que estoy alii arrimado.

Esteban.

Habla como yo, embozado, ya que ser lo que soy quieres. (Emb6~anse.) Carlos y Esteban, (Elisa y Paula, que salen a una ventana.
en la calle embozados.)

Eliza

Aqui dijo que vendria Esteban a hablarte agora?

I

Paula.
Eliza

Paula.

Esto me dijo, Seiiora, hoy; que le hable a mediodia. Gente a nuestra puerta veo. Que soy tu quiero fingir. No le sabre yo deeir I lo que til tienes deseo?

36

BBAMATIC AET OF LOPE BE VEGA

Eliza
Carlos.

Desviate; que ya llega.

|,Es

Esteban?

Y
eres Paula?

tii

acaso

Elisa. (Ap.)

iExtrano caso! jOh cuanto amor puede y ciega! En la voz he oonocicio

a Carlos.
Elisa es esta;

Carlos. (Ap.)

que la voz

lo manifiesta,

aunque

la

voz ha fingido.

The

lovers

now

quarrel and the rest of this scene as well as the

subsequent ones are among the best comedy that we have from

Lope's pen.

For another example

viii,

of this

humorous balance

see

Act

I,

scene

of this play.

Technically the close interinflu-

ence of master and servant has the drawback of making them

too dependent

upon one another,

But
it

their exits

and entrances are

generally simultaneous, and the individuality of one overlaps

that of the other.
is

an element of Lope's formula to

as one does to a peculiarity of a

which one grows accustomed

great painter, and the fact remains that the servant has not
deteriorated into a mechanical attendant as in the hands of less

ingenious playwrights.

The juxtaposition on the stage of groups or pairs of personis logically accompanied by a duplication in situation. Of this many examples could be cited, but an excerpt or two must suffice to illustrate this phenomenon introduced by Lope into
ages

both tragedy and comedy.

In

el

Castigo sin Vcnganza the car-

riage which brings Casandra

and her attendant has been over;

turned at the crossing of a stream

both are rescued by Federico

and

his servant
Sale Federico con Casandra oi los hrazos
Federico.
los

Hasta poneros aqui, brazos me dan licencia.

Casandra.
Federico.

Agradezco, eaballero,
vuestra mucha gentileza. Y yo a mi buena fortuna

traerme por esta selva, casi fuera de camino.

Casandra.

^Que gente,

Sefior, es esta?

DEAMATIC AST OF LOPE BE VEGA

Federico.

37

Criados que nie aeompanan. No tengais, Senora, pena:

todos vienen a serviros.
Sale Batin con Lucrccia en Jos irasos

Baiin.

Lucrecia.
Bai'in.

Mujer, dime, ^como pesas, dicen que sois livianas? Hidalgo, |d6nde me llevas? A sacarte por lo menos de tanta enfadosa arena, como la falda del rio en estas orillas deja. Pienso que fue treta suya, por tener ninfas tan bellas,
si

volcarse

el coche al salir; no fuera tan cerca, corrierades gran peligro.

que

si

The same play

offers

an example of duplication in dialogue which

In Act
I

could easily pass unnoticed as such.

servant, Lucrecia,

Casandra asks her

what she thinks

left the

of the

young count, Federico

asks Batin, his seral

when Casandra has

we have

room Federico
In

vant, to give his opinion of Casandra.

a typical duplication of situation

Pasar del Arroyo and language. The

is

action of Jacinta in taking leave of her lover Carlos,

followed

by a similar decision on the part of her maid Isabel who bids farewell to Mayo, the servant of Carlos. (See Act II, scene xxiii.) The repetition of similar sentiments or phrases may assume a poetic form of great charm, found especially in scenes in which only the lovers and no servants take part. Thus the dialogue
between Sancho and Elvira in
el

mejor Alcalde

el

Rey

is

in

Lope 's

best vein

Sanclw.
Elvira.

Sal,
sal,

Sancho; despues, Elvira hermosa prenda mia;

Elvira de mis ojos. {Sale Elvira) jCon euantos enojos jAy, Dios!

(Ap.)

Sancho.

teme amor y deseonfia! Que la esperanza prendada, presa de un cabello esta. Tu padre dice que ya tiene la palabra dada a un criado de don Tello. jMira que estranas mudanzas!

38

BEAM AT IC AET OF LOPE DE VEGA

Elvira.

Sanclio.

Elvira.

No en balde mis esperauzas colgaba amor de un cabello. I Que mi padre me ha casado, Sancho, con un escudero? Hoy pierdo la vida, hoy muero. Vivid, mi dulee cuidado; que yo me dare la muerte. Paso; que me burlo, Elvira. El alma en los ojos mira, dellos la verdad advierte; que, sin admitir espacio, dijo mil veces que si. Sancho, no lloro por ti,
sino por ir a Palacio;

que

el

eriarme en

la llaneza

desta humilde caseria,

era cosa que podia causarme mayor tristeza. Y que es causa justa advierte. [Que necio amor me ha enganado! vivid, mi necio cuidado; que yo me dare la muerte. Enganos fueron de Elvira, en cuya nieve me abraso. Sancho, que me burlo, i)aso. El alma en los ojos mira; que amor y sus esperanzas me han dado aquesta licion.

Sancho.

Elvira.

es
SancTio.

Su propia definiciou que amor todo es venganzas. Luego ^yo soy tu marido?
dices que esta tratado?

Elvira.

jNo

Again the

spirit of duplication

and balance of cross-purposes

may

deal only with groups of lovers as in Quien

ama

no haga

fieros.

(Act

II,

scenes iv

and

v.)

cousins and lovers, but

secretly asks
also
her.

Juana is win him, while Count Octavio is in love with Ana and secretly asks Felix to help him win Thus each of the two lovers is supposed to lend a helping

Here Felix and Ana are both also in love with Felix and

Ana

to help her

hand

to a rival.

mony, can be found

good example of duplication in situation, this time matriin el Domine Lucas, a charming jeu d'esprit.

DBAMATIC ART OF LOPE BE VEGA

full of life

39

and action throughout.

The

chief characters

ai'e

two

students, Floriano and Alberto, cousins, balanced against Luerecia

and Leonarda,

also cousins, constituting a

formula accordis,

ing to which one pair of cousins marries another, that

Floriano

marries Luereeia while

/)/".s-

eousin, Alberto, nuirries her cousin.

Leonarda.
Alberto.
Si contigo

me

case,

no creo que te he engaiiado; que soy caballero honrado J alguua reuta herede. De Floriano soy primo; y asi, pues eras tu prima de Lucrecia, a mi me estima en lo mismo que la estimo.
Leonarda.

Digo que ya soy contenta de haeer tan buen casamiento,

y perdono

el

fingimiento.

In

/(/

Noclie dc Sa)i

Juan

artifice

dominates, although the

critics

romantic color and movement have made some

siastic

very enthuis

over the play.

An

occasional genuine note of real life

struck, but

many

of the themes lack true inspiration, possibly

them had been employed many times before by makes use of his well known devices of balance, cross-purposes and duplication, applying them to the gaieties of St. John's Eve. The play presents two groups, in each of which a brother and sister play the chief parts, each
because
all of

Lope.

He

especially

brother naturally loving the other brother's

sisters

sister,

while the

have secretly given their affections to two other men.

de su gah'ni presents a balance and crossing of
in-

La Esclava

upon the love of Don Juan and Elena for one another while at the same time Elena is loved by Ricardo and Don Juan by Seratina, constituting a kind of subplot. In comedy balance and duplication of intrigue are naturally far more at home than in serious drama or tragedy. Indeed in the first we find it developed to its highest complexity as may be seen from the following combination in la discrcta Enamorada.
trigues based

40

DRAMATIC AET OF LOPE BE TEG A

father, el Capitdn Bernardo,

Here a
set

and

his son, Lucindo, are

over against a mother, Belisa, and her daughter, Fenisa.

secretly lovers, but the plot really turns
is

Son and daughter are

on the father's desire to marry the daughter, while the son

supposed to be courting the mother, an example of amusing

cross-purposes which Lope himself has put into graceful verse
Capitan. [a Belisa]
V

Si yo estuviera avisado

que en opinion

de que Lucindo os queria

le

tenia

de hombre menos asentado

yo propio tratara aqui,

Belisa, del casamiento;

que es dar a mi bien aumento que nos troquemos ansi. Casado con quien es madre de mi bien, como confio de vos misma, el hijo mio vengo yo a tener por padre; y Fenisa, mi mujer y vuestra hija, tendra padre en Lucindo; y dara a todo el mundo placer
la discrecion del trocar
las

edades por los gustos.

Repetition in sentiment and verse form, a kind of poetic jeu

d' esprit,
is

a characteristic manifestation
it is

of Lope's

comeclia.

As

dialogue

wholly

artificial

although frequently saved by

his wit or graceful verse or both.

In el Acero de Madrid, Lisardo and Riselo together with the clever servant, Beltran, have agreed

to

meet Belisa and her aunt, Teodora, on the Prado.

Before

the latter appear Math their servant, Leonor, Beltran recalls

the verses of a popular cantar,

whereupon the idea is developed by each in turn (a romance in a-o), the lackey closing with a humorous burlesque of the culto sentiments of the other two
Paseo' del Prado

Lisardo y Riselo con capas de color, hizarros; y Beltran Lisardo. \0, como tardan, Riselo!
I

Que he de hacer?

Eiselo.

Amor

te valga.

DRAMATIC AET OF LOPE

Lisardo.
Teiiio

1)K

VEGA

que

<le

ouvidia saiga

destc mi sol el del cielo.

Siselo.

BeJtrdn.

Antes no saldra si sabe que es sol y que fuera esta. Las aves le cantau ya a Belisa en voz siiave: Mananicas floridas del vies de mayo, recordad a mi nifia, no duerma tanto.

Lisardo.

Campos de Madrid
si

dichosos,

soys de sus pies pisados;

fuentes, que por ver la huerta

del

Duque

subis tan alto

el cristal

de vuestros ojos, que asomais los blancos rayos

por las verdes eelosias, muros de sus verdes cuadros;

hermosa alfombra de flores, donde tejiendo y pintando

esta la naturaleza

mas ha de cinco mil

ruido sonoro

aiios;

arroyuelos cristalinos,

Hiselo.

y manso, que parece que correis, tonos de Juan Bias cantando, porque ya corriendo a prisa, y ya en las guijas despacio, parece que entrais con fugas, y que soys tiples y bajos; recordad a mi niiia, no duerma tanto. Aves que vais por el viento,
ya
del sol clarificado,

sobre sus plumas tendiendo

vuestros vistosos penachos;

que asomais por los nidos cabezas gorjeando, y las que ya en altas ramas dais buenos dias al Prado; trigos que con amapolas, y mil amarillos lazos sois un tapiz de verduras sembrado de papagayos; alamos verdes, a quien con tantas hojas y ramos vistio de alegre librea,
las
las

42

DRAMATIC ABT OF LOPE DE VEGA

a pesar
ile

octubre, mayo;

Belt ran.

para que la nina venga, que esta esperando Lisarclo, recordad a su tia, no duerma tanto. Tabeinas de San Martin, generoso y puro santo, que ya poneis reposteros eonio aeemilas de Baco; cajones, que ya os cubris con el pan de leche bianco; franceses, que pregonais aguardiente y letiiario; carretones de basura, que vais las calles liinpiando; roperos, que amaneceis con solicito cuidado,
sin ser procesion del Corpus,
las tiendas

entapizando;
aires frios,

y vosotros,

que dais tos y resfriado, romadizo y otras cosas a los que salen sudando; porque despierte a la tia, y
ella a Belisa, si

acaso

duerme descuidada agora de que la aguarda Lisardo, recordad mi fregona, no duerma tanto.

While

this is a striking

example of Lope's poetry and

,

wit. he

and we have another specimen of the duplication of sentiment and poetic form in an apostrophe to the winds of Madrid by Lisardo and Riselo (a
repeats the feat later in the play (Act II, scene xxii)

romance in
servant.
lants,

being again burlesqued by Beltr;'in, tlie Viuda valenciana Lope presents three young galwho generally appear together and on various occasions ina-e), the idea
la

In

dulge in a balance of dialogue with a repetition of verse form.

In

Act
rate

I,

scene

v,

each enters and recites a sonnet without being

tlie

aware of the presence of

others

thereupon

all

agree to nar-

what kind of favors they had enjoyed

at the

hands of the

young widow.

We

have three evenly balanced, amusing accounts

of their unsuccessful courtsliip told in varied romancf forms.

As

DFAMATIC

AliT

OF LOPE

J)E

VEGA

43

a piece of narrative written witli grace and spnrkle, nothing could

be better designed to amuse the audience.
find the three gallants together once
;

In a later scene

we

whereupon the three proceed

scene
vii.)

to

more one calls for a verse, compose a gloss on it. (Act III,
tliis

After

tliese

manifestations we are not surprised to

tripartite dia-

have the play close with another example of

logue.

The division and equal distribution

constitute a
cially that
ficial

of verses or parts thereof

phenomenon common in the later comedia, espeIt makes a highly artiof Calderon and his school.
effect

form of dialogue, capable of certain dramatic

is

on the

stage, but

easily exaggerated

in a comic vein

may

be found in
Dejaine,

and abused. A fair example cl Premio del him Jiahlar:

Don Juan.
Martin.

iiecio.
.'

Bon Juan.
Martin.

haoes | Que Que tengo de hacer? Morir.

|

]'ues

de esa nianera sales?

Leonarda.

/Que

es esto,

Don Juan?
Perdei-nie.

Don Juan.
Leonarda.

|,Ad6nde vas

Don Juan.
Leonarda.
Por que, senor
?

A
Gusto?

matarine.

Don Juan.
Leonarda.
^
/

Por tu gusto.

De que? De
casarte.

Don Juan.
Leonarda.
/Oiste a mi padre?

Don Juan.
I^eonarda.

Si.

Pues

que dijo?

Don

Jiian.

Que me mates.

Leonarda.

Yo

que respondi

Don Juan.
Leonarda.

Tibiezas.

|(lon

Pedro?
Neeedades.

Don Juan.
Leonarda.
Sosiegate.

Don Juan.
Leonarda.

|C'nmo puedo

/Di yo
Necdo

el si?

Don Juan.
Leonarda.
estas.

Basto

callarle.

Don Juan.
Leonarda.

Soy desdidiado.

yo mujer.

Don Juan.
Leonarda.

Eso baste.

Hablame

V)ien.

DEAMATIC AMI OF LOPE BE VEGA

Don Juan.
Leonarda.

Estoy muerto.
Escucha.
I,

Bon Juan.
Leonarda.

Que he de escucharte?
Es por
ti.

Eso

es locura.

Bon Juan.
Martin.

Pareceii representantes

que saben bien

el

papel. [^Ap.)

Act
And
para
another in a serious tone in
si:

II,

scene

ix.

la

Boha para

los otros

y discreta

Alejandro.

Escucha

Biana.
Alejandro.

|Yo?

|Para que?

Hasme

de escuchar.

Biana.
Alejandro.

No
Teodora me hablo
^Por que?
.

quieio.

Diana.
Alejandro.

No

hablalla.

Biana.
Alejandro.

Porque yo me ofendo.

lY

si

me detuvo?
Huir.

Biana.
Alejandro.

jHuir!

Biana.
Alejandro.

Y
Loea
estas.

fuera bien hecho.

^Como pude?
Con
los pies.

Biana.
Alejandro.

Biana.
Alejandro.

Como
jTanto rigor!

tii

necio.

Biana.
Alejandro.

Tengo amor.
Yo, mayor.

Biana.
Alejandro.

Yo no

lo creo.

Mas ^que

te pesa

Biana.
Alejandro.

No
Eso |es valor?

hara.

Biana.
Alejandro.

Biana.
Alejandro.

Tengo celos. |Morir me dejas? iQue gracia!

Ya me

enojo.

Biana.
Alejandro.

Y
Dire quien soy.

yo me vengo.

Biana.
Alejandro.
^

Ya

lo

has dicho.

quien?

Biana.
Alejandro.

A
jFuerte mujer!

quien aborrezeo.

Biana.

Esto soy.

Act

III, scene v.

DF AM A TIC
111

A FT OF

LOPE BE VEGA
boha
I

45

my

notes api)ended to la

Dama

had occasion

to speak of

an

artificial distribution of stanzas, verses

la

occurring in

Nochc toledana (Act

III,

and verse fragments scenes xi-xv), and repre-

senting the extreme to which this can be carried.

of this feature, taken

A final example

there

is

from a tragedy, and demonstrating that no characteristic of form or content for which a parallel
is

cannot be found in the original inventor. Lope,

of Act II of la Corona mcrecida:
Fey.

the last scene

Muy
Voy

bien venidos seals. a aeompanar a la Reiua;

despues.
Tiendjlo.

vedme
Bon 'inigo. (a p.) Bona SoJ. (ap.)
Leonor. (ap.)

Temo.

Yo me

abraso.

Fey. (ap.)
Leonor. (ap.)
Celos viven.

Yo me quemo.

Fey. (ap.)

Amor
Yamos,
Sol.

reina.

(vanse

Jos reyes).

Don Bon
Bon Bon Bon Bon

liiigo.

Alvaro.

Contento estoy.
El Eey

vanse

Bona

SoJ.

Bon inigo

Manrique.
Pedro.

y Bon AJvaro). se abrasa.

A
|

Sol mira.

Manrique. Pedro. Bon Manrique.

Que os ha dicho dona Elvira? Que muy eu su graeia estoy.

Bella es Sol.

Bon Pedro. Bon Manrique.

De un angel Mucho temo que este sol

copia.

a nuestro rey espanol nos le ha de hacer de Etiopia.

Even

in

los

hardly expect such

Comendadores de Cordoba, in which one would artifice, may be found a balance of three sonI,

nets and other verse pendants (Act

scene vi).

The mechanical features of the dialogue just discussed are by no means a characteristic to be found only in Lope's latest manner. Their presence in numerous plays mentioned in the list
of comedias first printed in 1604 proves that their rhetorical
effectiveness appealed to

him early

in his career.

46

DRAMATIC ART OF LOPE BE VEGA

POETIC LANGUAGE AND THOUGHT: CONCEPTISMO AND CULTO

It is a great

misfortune that the language of poetry has in

so

many

cases proved to be a barrier between a great writer

and

posterity.
is

That

this is so in the case of the

drama

especially

evident for two reasons.

First,
is

we do not speak

in verse,

and

the world of all verse-plays

therefore on a higher level and

moves

in a finer

atmosphere than that of common day.

is

Second,
a

the appreciation of verse

the gift of a few

it

demands

special attribute of spirit, an esthetic emotion or effort of which

only a small minority of

men

is

capable.

If

we add

to this the

passing moods, ,the temporary vogues, individual and national

peculiarities, to say
difficulties

nothing of the structural and mechanical

is

of which verse
is

capable, the average student

of
all
lie

literature
this
is

apt to find himself in front of a stone wall.

Lope's unlimited poetic gifts are no exception.

To While

unequalled in superior qualities of genius which will never

large part of his creation die, but will place

let a

him always

in

the forefront of the world's great poets, his poetic language

possesses to

no small degree certain elements of

a local or transi-

tory quality.

These demand in the reader not only an excep-

tional gift of esthetic appreciation but an intelligent grasp of

a peculiar type or of the past.

vogue of literary culture distinctly

a thing

The

difficult characteristics of

Lope's style which

less as the

the average student

may understand
all

less

and
as

years

go on are those of

poetry of his time, and are generally

of convenience,

designated, for the sake

culto.
1

concepfismo and

form instead of the longer cultcrcniismo since it is the one preferred by Lope himself. To stigmatize with these names everything poetic which has the earmarks of either quality is a mistake, for isolated conccptos, or an occashall use the latter

sional culto verse

it

by no means indicate a poet's manner.

Indeed

should be clearly understood in any criticism of Spanish

poetry of the Golden

Age

that the presence of these elements

DRAMATIC
would
it

ATxT

OF LOPE DE VEGA
ciilto

47

iicvci-

have created the names conceptismo and

had

not been for their abuse.

Poetic language has never been and

could never be devoid of either trait, and the centuries ininiediatcly

pi-eceding

Tjope
I

furnish

many

fine

and illuminating

exaiuph's of th(Mn.

sluill

j)resently

attempt to describe both

especially

conccplistno and culto a

tions

little in detail,

by giving

cita-

from Lope himself.

Nothing throws more

light

on his art

and

his woi'k than consideration of the growth of poetic language and of the universality of peculiar thoughts, figures and word
colors.

Poetry
it is

may
it

be the most assimilative and imitative, even

if

the most original form of expression which the

human
It

spirit

has.

To put

baldly everything

is

grist to its mill.

absorbs

and the whole thought-realm engendered by human experience it takes color from the arts and gets its voice from music itself. Ideas related to all these
science, philosophy
;

from nature,

are consequently present in

specific
its

all poets.

Let

me

be a

little

more

as regards Spanish literature.

Provencal poetry and

with concept os and

lineal descendants in

Spain are

filled

culto; the cancioneros, the chief poets of the fifteenth century,

whose name

is

legion, furnish excellent examples,

and the great

poets of the sixteenth century employ this form of language,

though in varying degree.

do not believe that any date can

or need be set for the earliest presence of conceptismo and culto;

nor need we be concerned with anything but their abuse, and that
falls chiefly

within the seventeenth century.

poets furnish abundant examples of this form
it

Our English

of expression, but

has passed without a particular designation

as only the exaggeration of the

phenomenon makes
a stage,

it

offensive.

Neither Spanish term as such can be related to Euphuism.

When
men

Shakespeare says:

"All the. world's

and

all

the

and women merely players," he puts a speech into the mouth of Jacques which is full of conccptos. "To take up arms against
a sea of troubles"
is

a concepto, as

is

also

Hamlet's

little

dog-

gerel

48

DBAMATIC AST OF LOPE DE VEGA

Imperious Caesar dead and turned to clay, Might stop a hole to keep the wind away: O, that that earth, which kept the world in awe Should patch a wall to expel the winter's flaw!

On

the other

hand
is

Now
Made

the winter of our discontent

glorious

summer by

this

sun of York, (Bichard III)

'

is

pure culto in

its

figures of speech

and
is

'

This to

me

in dreadful

secrecy impart they did" (Hamlet)

of the inverted syntax. Tennyson's

decidedly culto because

verses,

charming

Her

feet have touched the

left the daisies rosy,

meadows,

And

present a beautiful concepto for wliich

we have

a parallel in

Lope's

el

Acero de Madrid:
Nina
que, al salir el alba

dorando los verdes prados, esmaltan el de Madrid de jazmines tus pies blancos.

Lowell, so fond of over-fine writing,

culto,

is

full of concept os
tells

and

even in his prose.

soul,

"When Carlyle

us of Burns that

"he has a poet's Eternal, and soon

beautiful concepto.
spoil

and

strives
all

towards the Infinite and

is

feels that

this

but mounting to the

house-top to reach the stars," he indulges in a remarkably

But why

shall

we

give

it

this

name, and

what we are

in the habit of calling pure poetry

by an
little

absurd designation?
culto, that

Let us rather return to canceptismo and

then give some examples

abuse of legitimate, poetic language, and get a

I shall

clearer idea of their nature.

taken from Lope's comedia.

To begin

with, the

two phenomena are

closely related as are

most manifestations of darkness and obscurity in literature, and

the extended use of one was bound to involve the other.

As they

overlapped in their uses, so they strengthened one another in

DF AM A TIC ABT OF LOPE BE VEGA

49

that vogue which was successful, in part at least, in ruining

Spanish poetry of the seventeenth century.

to

make

a xevy clear distinction between them,

his

Lope hardly seems and when he

criticises

contemporaries he quite generally brands their

defects only as culto.

Cesar.

Thus he wrote
culto,

in the

Dorotea:

Aquel poeta es

Ludovico.
Cesar.

que cultiva de suerte su poema, que no (Teja cosa aspera ni escura, como un labrador uu campo; que eso es cultura, aunque ellos diran que lo toman por ornamento. La ley segunda de las cosas que no se tienen por eseritas dice, que son iguales lo no entendido y lo que no fue escrito. A mi me parece que al nombre culto no puede haber etimologia que major le venga que la limpieza j el despejo de la sentencia libre de la eseuridad; que no es ornamento de la oraeion la confusion de los terminos mal coloeados, y la barbara frase traida de los cabellos con metafora sobre
metafora.
Viciosa es
la

Lnclovico.

oraeion en buena logica, que se saca por terminos

escuros y improprios, y que mas eseurece que deelara la naturaleza de la cosa definida; y si las que entre si tienen
esencial correspondencia no se
otra,

pueden

definir la

una

sin la

^que relacion hara velera paloma a las naves para describirlas o definirlas por este termino, pues que lo mismo fuera velero cerniealo a un galeon, velera cigiiefia a una fragata?

This

justities the inference that a poet guilty of obscurity

and of
culto

using too

many

conccptos

is

plainly culto.

In

many ways

writing was an abuse and distortion of conceptismo, as gongor('.sr>o

was

a pathological

and

finally
is

an insane exaggeration of

culto.

CoDccptismo as such, that

at fine writing, the

as

an abuse, was a conscious

attempt

expression of a thought series in

peculiar figures, especially similes and metaphors which were, on

the whole, clear enough, but avoided normal denotations, descriptions or sentiments too directly
distinction of conceptismo
is

and baldly expressed. A marked decided leaning toward metaphysical expression. Culto involves the syntax and outer form first of all, then does away with all directness and makes it a rule never to call a spade a spade. While conceptismo may say
its

"the butterfly

is a winged flower." culto goes farther, drops any comparison which explains, and speaks only of winged

50

DBAMATIC AST OF LOPE DE VEGA

and stationary
butterflies;
is

flowers

from which absurdity the

other.

reader infers that cne

meant

for the

Conceptismo

involves the influences of philosophy

tion of

and

wit, culto, the inven-

unknown

latinized words, the transfer of the function of

parts of speech, nouns being tortured into verb forms, color

phrases taking the place of the noun, and inseparable words being
separated.
Ciilto is thus frequently a question of the

of speech, together with an abuse of poetic license

mechanism and the unwarCon-

ranted form of isolated and twisted expressions of thought.

ceptismo
is

and unwarranted phraseology, apparently intended to shock and impress by its originality. At their worst both are guilty of un;

based on clever ideas

culto

is

figured, obscured

natural, semiacademic phrase-making, influenced in

earlier expressions of the fifteenth

many

of

its

and sixteenth centuries by

misguided attempt to imitate the

itself

classics.

This effort concerned

not only with the elements of style, such as inversion, trans-

position,

and so

on, but also of content, the verbiage of classic

mythology, fiction and legend being especially responsible for

much

useless

lumber in the language of the Renascence.

little

Of

this
It is

I shall

have a

more

to say in a subsequent chapter.

impossible to overestimate the figures of speech which drew thinr

life's

blood from the classics.

We

need think only of Aurora,

Phoebus, Diana and the long

list

of personifications to get a faint

idea of this inherited vocabulary.

As

early as the Celestina

we

have a specimen intended to ridicule this growing mannerism.

Calisto exclaims

aunque primero sean los cauallos de Tebo apaeentados eu aquellos verdes prados, que suelen, quando hau dado fiu a su Jornada. Semprouio Dexa, seiior, essos rodeos, dexa essas poesias, que no es habla conueniente la que a todos uo es comun, la que todos no participan, la que poeos
.

entienden.

Di: aunque se ponga

el sol, e

sabran todos

lo

que dizes.

And how
upon
this

shall

we

estimate properly the influence exerted

language by works of the realm of religion and phil-

osophy?

The growth

of the poetic language of the sixteenth

century can be admirably studied in the writings of the most

prominent authors, beginning

unerringly good, Garcilaso de

witli the
la

one whose taste was always

Vega.

In him the classic char-

Di;

AM J TIC

Airr

of lope de vega
tlio

ni

aclcr iu.Sfd with

strongest, but as

IIk^ spii'it

of

Italian poets

is

noticeably the
iiiHuenee of

we adxance

in

the eentnry the

neoplatonism, foUowetl by that of the mystic and ascetic writers,

makes

itself felt

more and more,

spii-itual

so that before the close of the

century we have a fusion of the three.

mysticism furnished

their iihilosophic thought a

Both neoplatonism and and metaphysical conceptions and pleasing semiobsciirity which became
Imitation of vague imagery

the hall-mark of most conceptismo.

was, furthermore, justified on the ground that Plato himself

puso cortinas (veiled) his 'divine' writings.

such books as Leon Hebreo's Didlogos de

The philosophy of
spread over the
it

Amor

whole Latin world

in Italy

and Spain especially

found an

echo in works of a novelistic or seminovelistic character, in love

and adventure
lyric poetry.

stories, in the pastoral novel,

and

especially in

It is

small wonder, then, that

this philosophy and,

Spain the influence of

their poetic language.
as
all

among the poets of close upon its heels,

as long

that of mysticism should have added so greatly to the w^ealth of

Nor can there be any doubt that

it

imitation was kept within proper bounds

served to

develop

new

veins of exquisite expression.

The writings of the

remarkable poets enumerated by Lope in his Dorotea (act IV, scene ii) contain some of the best and some of the worst of

made
to

Spanish lyric verse; therefore a study of their speech could be in proper order from Garcilaso to Quevedo and Gongora

show the development

of all those poetic traits

which make
its

verse of the siglo de oro a liighly complex creation, and

reading
it

no unmixed enjoyment.
mentioned influences.
novel,

From what
This
is

has just been stated,

is

clear that prose fiction also contributed to strengthen the above

especially true of the pastoral

of the Dianei of

and careful consideration

Montemayor,
others,

particularly that of the great poet, Gil Polo, the Gcdateei of Cervantes, the Pastor de Filida
will bear

by Galvez de Montalvo, and

me

out.

All are full of innumerable specimens of this

language.

Lope, the greatest

member

of the brotherhood of poets as

versatile genius of

well as the most assimilative

and

them

all,

52

DRAMATIC ART OF LOPE DE VEGA

poetic speech of

naturally gave expression to every phase of

his day.

aifected

Examples of his lyric verse in its purest form, least by vogues or peculiarities of any kind, are known to all
His comedia furnishes examples from profoundly tragic passages which

lovers of Spanish literature.

of every conceivable vein

must have gripped

imaginable.

his audience, to the lightest

and gayest verse

There are models of every verse structure together

range in sentiment.
Passages with concessions to

with an

infinite

conceptismo and culto are found as well as every type of purely

popular poetry this

;

is

generally

marked by
as

exquisite local flavor,

it

and

is

as full of life

and sparkle today

M-as three

hundred

years ago.

Ballads, letrillas, glosas, cantares, fables, anecdotes,

notably romancillos, which are a pure jeu d' esprit, and

many
Of

other forms, are a part of the treasure which he has left us.
his popular verse practically untarnished

by culto innumerable
;

examples might be given of the flavor of the following here w^e have a picture which recalls scenes painted by Goya, so vividly

do we see the dancer Gil before

Musicos.

us.

(cantando)

(Oh que bien que baila Gil con los mozos de Barajas, la chacona a las sonajas

y el villano al iOh que bien,

taniboril!

cierto

y galau,

baila Gil, tanendo Andres!

O pone

fuego en

los pies,

o al aire volando van.

No hay mozo

que tan gentil

agora baile en Barajas, la chacona a las sonajas

y el villano al tamboril. ^Que moza deseeharia un mozo de tal donaire, que da de coces al aire, y a volar le desafia? A lo menos mas sutil, cuando baila se hace rajas,
la

chacona a

las sonajas,

el villano al

tamboril.

Al

pasar del Arroyo,

I,

xii.

DBAMATIC ART OF LOPE BE VEGA

Or
of
tlie followiiio', a

53

version of a well

known

fable

(uento viejo ha venido aqui a pedir de cogote. Jutaronse los ratones para librarse del gato, y despues de un largo rato de disputas y opiniones,
I'll

dijeron que acertarlan

en ponerle

iin

caseabel;

que audando el gato con el, guardarse mejor podian. Salio un raton barbicano,
colilargo, hociquiromo,

y encrespando

el

grueso

lonio,

dijo al senado romauo,

despues de hablar culto un rato: iQuien de todos ha de ser el que se atreva a poner ese caseabel al gato?

La

EscJava de su galdn,

I, x.

Nothing, however, equals Lope's lyric inspiration at

as,

its

best,

for example, the following:

Musicos.

(Canten y danzan)
garrido,

Dente parabienes
el

mayo

los alegres

campos,

las fuentes

rios.

Aleen las eabezas los verdes alisos, y con frutos nuevos almendros floridos. Echen las mananas, despues del rocio, en espadas verdes
guarnicion de
lirios.

Suban
por
el

los

ganados

monte mismo

que cubrio la nieve, a pacer tomillos.

(Folia)

a los nuevos desposados

eche Dioff su bendicion:

54

BE AM AT IC ABT OF LOPE BE
parabien les den los prados, pues hoy para en uno son. (vuelva a danzar)

J'

EG A

Montana s heladas y soberbios riscos,

antiguas encinas

y robustos pinos, dad paso a las aguas

en arroyos limpios, que a los valles bajan de los hielos frios.

Canten

ruiseiiores,

y con dulees

silbos

sus amores cuenten

a estos verdes mirtos.

Fabriquen las aves con nuevo artificio para sus hijuelos amorosos nidos.
(Folia)

a los nuevos desposados eche Dios su bendicion; parabien les den los prados,

pues hoy para en uno son. Perihdnez y el comendador de Ocana,

T.

spoke above of the barrier which verse forms

may

be to a

reader of subsequent ages.

How
culto.

true this

is

becomes especially
spoils the

evident from the passages where the language of genuine inspiration

is

marred by lapses into

Lope rarely

work of

his hand, but there are, nevertheless, verses in

which the logical

clearness

and simplicity receive an ugly and unnatural turn by Sometimes even the speech of characters supposed to be of the people is artistically endangered and
touches of the current vogue.

given an

artificial turn.

This, in

my

opinion,

is

the case with the

rustic Peribaiiez, otherwise one of Lope's great creations.

el

In

Anzuelo de Fenisa the language

life

is

not always satisfactory

soldiers,

because the characters of low

others at
of speech.

home

in a shipping port

bawds, and gamblers, indulge in a singular purity

We

have, however, another good bit of evidence here

of Lope's shrinking

from unveiled improprieties and indecencies

DBA MA TIC ABT OF LOPE BE VEGA

which compel his worst enemies to admit that in
he
is
liis

55

literary art

marked by a singular and pleasing fineness of feeling. He is always at his best when he gives us pictures in little, brief characterizations presenting an attitude of mind or a personal
trait in

which

his gift of succinct phrase is astounding.

can-

not refrain from quoting the following domestic scene, so that

the reader

may judge

for himself

how deep were Lope's sympa-

thies with the people

Ciiaudo se iiiuestra el luceio, viene del campo mi esposo,

de su cena deseoso; sientele el alma primero,

y salgo a abrille

la puerta,

arrojando el almohadilla; que siempre teiigo en la villa quien mis labores ooncierta. El de las mulas se arroja, y yo me arrojo en sus brazos;
tal

la bestia

vez de nuestros abrazos hambrienta se enoja,

gruiiir,

y sintiendola
dice:

dandole la cena al ganado, eara buena, volvera Pedro a salir.

'

"En

Mientras el paja les echa, ir por eebada me manda; yo la traigo, el la zaranda, y deja la que aproveclia. Eevuelvela en el pesebre, y all! me vuelve a abrazar; que no hay tan bajo lugar que el amor no le celebre. Salimos donde ya esta dandonos voces la olla, porque el ajo y la eebolla, fuera del olor que da por toda nuestra coeina,
tocan a la cobertera el villano de manera,

que a bailalle nos inclina. Sacola en limpios manteles, no en plata aunque yo quisiera; platos son de Talavera, que estan vertiendo claveles.

56

DFAMATIC AET OF LOPE BE VEGA

Avahole su eseodilla
de sopas con tal primor, que no la come mejor
el

senor de muesa villa;

el lo

paga j^orque a

fee,

que apenas bocado toma, de que, como a su paloma, lo que es mejor no me de.

Bebe y deja la mitad, bebole las fuerzas yo;

traigo olivas, y
si

no,

es postre la voluntad.

Acabada la comida, puestas las manos los dos, damosle gracias a Dios
por la merced recebida;

y vamonos a acostar, donde le pesa a la aurora cuando se llega la hora

de venirnos a llamar. Perihdnes y eJ comendador de Ocana.

The following
realistic

is

the portrait of a fortune-hunting Undo, with

touches not unworthy of Velazquez, while the satirical

wit reminds of the great Quevedo

jNo
con

sino

venga un mancebo

destos de ahora, de alcorza,

el

sombrerito a orza,
corta, cordon nuevo,

pluma

euello abierto

muy

parejo,

punos a
lo

lo veneciano,

de fuera limpio y sano, de dentro sueio y viejo; botas justas, sin podellas
lo

descalzar en todo un mes,

las calzas hasta los pies,
el

bigote a las estrellas;

jaboncillos y copete, cadena falsa que asombre,

guantes de ambar, y grande hombre de un soneto y un billete; y con sus manos lavadas los tres mil de renta pesque, con que un poco se refresque entre sabanas delgadas;

DRAMATIC ABT OF LOPE DE VEGA

y pasados ocho (lias, se vaya a ver forasteras,
o en aniistades primeras

57

No
Yo
si el

vuelva a deshacer las niias! tarde, yo estare celosa, dara mi hacienda, comenzara la eontienda desto de si fue o no fue. Yo escondere y el dara; buscara deudas per mi, entrara justicia aqui, voces y aun eoces habra; no habra noche, no habra dia, que la casa no alborote Daca la carta de dote. Soltad la hacienda que es mia. Entrad en esta escritura.

Vendra

quiero.

jAh

si!

|No

quereis?

OS hare, infame, que entreis,

brio de ahora os dura. que mientras mas me postro,

me haga muy mas

apriesa

de dos titulos condesa, Cocentaina y Punoenrostro. Yo he dicho.

La

Viuda valenciana,

I, iv.

The

soldier sketched in the following excerpt stands bodily

before the reader:

Los soldados no podemos

amar con

secreto,
el

ser

constantes en

querer;

que estas dos faltas tenemos.

Apenas entra

el

soldado

con las medias de color,

calzon de extrafia labor,

sombrero rico emplumado, ligas con oro, zapato bianco, jubon de Milan, cuando ya todos estan

murmurando

su recato.

Llevan colores y brio los ojos, y en galas solas mas jarcias y banderolas que por la barra el navio.

58

DBAMATIC AET OF LOPE DE VEGA

Pues |,constancia en el querer ? |como puede ser constancia? Ya esta en Flandes, ya esta en Francia, el ausente, ella mujer jBien haya mi condicion!
. .
.

La Noclie toJedana,

II,

i.

his

Or take an inimitable example of a servant's wit; he counsels master to steer away from the shoals of matrimony
Considera una mujer
a tu lado al acostar, a tu lado al levantar,

y
si si

al

mismo lado

al

comer;

luego otra noclie a tu lado,

el

pie alargas, mujer topa,

quieres tirar la ropa,

mujer te gana el cuidado; si echas un brazo, mujer; si miras, a mujer miras, en mujer das si respiras, y aun te sabra responder. Considerala tambien
con dos mil imperfecciones, que no caben en razones ni en boca de hombre de bien; y veras que esta Diana,

que hoy como el sol maravilla, por cualquiera fregoncilla querras trocarla manana. El Ausente en el lugar, III,

xvi.

In the latter passage we have the cynical attitude toward

womankind

of the delightful Esteban, one of Lope's most note-

worthy creations.
poetic speech.

But

these sparkling

and natural passages are

this, as

occasionally impaired by concessions to the current vogue of

Perhaps Lope yielded in

the

he did in his

assimilation of literary inheritances, to the spirit of contemporary

verse.

This

is all

more

to be regretted, because he

had per-

fected his gift of expression in

many ways

since his experimental

beginnings.
early verse
to a fine

The elaborate, less facile, less plastic style of his had given place to simplicity, grace and flexibility, sense of fitness in word and expression, to a variety of

DRAMATIC ABT OF LOPE BE VEGA

melody
short,
in wliicli sweetness alternates with force

59

and depth,

in

an abundance of qualities surpassed by no other Spanish

It
is,

poet and equalled by very few.

therefore, to be regretted

that he included the defects of conceptismo and culto.

of the abuse of the latter are

Examples
last

by no means
is,

excessive, although

they increase in his later

or fifteen years of his
life.

style, that

during the

twelve

One

of the most striking examples

of Lope's kind of culto may be found in la NocJie de San Juan, which has the excuse of having been written for a highly artificial

purpose, namely, a court festival.

this play
Phillij)

great

many

passages of
if

appear to have been designed for the royal box, but

and his court family understood them they should be given credit for extraordinary powers of divination. Una
mafiana de abril

cuando nueva sangre cobra cuanto en tierra, en aire, en agua, corre, o vuela o se moja; cuando por los secos ramos nuevo humor pimpollos brota, en cuyas pequeiias cunas estan los frutos sin forma; cuando Filomenas dulces cantan y piensan que lloran
haciendo musieos libros de los alamos las copas, con aehaques del calor (inveneion de gente moza que contra el reeogimiento tal vez por remedio toma)
baje a la casa del campo

cuando

la celeste

concha

abierto el dorado nacar

flores banaba en aljofar. Llevaba por compaiiia

esas dos esclavas solas

que por el color pudieran servir para el sol de sombra,

etc..

Act

II.

Since every defect

is

more
it is

fairly

judged by comparison with

the works of compatriots,

only just to say that

we may

find

examples

like the

above scores of times in Calderon and his con-

60

BEAM AT IC ART OF LOPE BE VEGA

temporaries when we should find but a single instance in Lope.

Let

me now

give a few

more examples

of Lope's conceptismo

and

culto, as they

may

aid in the necessary study of one of the features

of his art.

A good

example of conceptismo consisting of a clever

be found in the following characterization

series of figures

may
Y

of el

Amor:
es molineio el amor; que tambien deutro del pecho un niolino tiene hecho para moler mi dolor. La piedra del pensamieuto con el agua de mis ojos, moliendo trigo de enojos, liace harina de tormento. De aquesta se cuece el pan de dolor que me sustenta; que cuando mas me alimenta, es cuando menos me dan. El Molino,

II,

viii.

Or

the following from la Viiida valenciana; Leonarda receives

;

her lover in the dark, so as not to be recognized

Por Dios, que
es hecho cruel. enciende el corazon amor sin luz, pues no veo; que ha tocado en el deseo

he says

Ya me

como piedra el eslabon. Como el hombre que esta a

y,

escuras,

para encender

luz, toca,

fue en mi alma vuestra boca,

que ha dado centellas puras. Yesca ha sido el corazon, que era materia dispuesta, y el golpe fue la respuesta, y la lengua el eslabon. Teugo una luz encendida en el alma, que os ve y trata, si el aire no me la mata
de veros escurecida. No OS vea yo como eiego deutro en la imaginacion, porque pareee invencion

haber tinieblas y fuego.

BEAM J TIC AET OF LOPE DE VEGA

Si no es mi fianza buena, uo se comience la historia; y pues es limbo sin gloria, no sea limbo con pena.

61

Sed vos, para que yo os vea, como pintor extremado, que aunque la noche ha pintado,
deja luz con que se vea.

In these we find a relative simplicity of thought

but the

fol-

lowing forced play on the concept o, "ser", recalls the travesty

in

Don Quixote on "la razon de

is

la sinrazon.

"

The metaphysical

nature of conceptismo
i,

also evident in this passage

Creeras entonces, Senora,

lo

que estimo tu belleza f

Diras tu que es mas riqueza

ser, Elena, mi mujer; y sabre yo responder que aun el propio ser perdiera,

no siendo, ser pudiera que fuera tuyo sin ser. Pues quien dejara por ti el propio ser en que vive, no hara mucho en que se prive de lo que es fuera de si. La Esclava de su galdn,
si,

I,

i.

An

example of
la

mechanical heaping of brief conceptos

los otros

may

be found in

Boha para
la
lo

y discreta para

si:

El brio nace en las almas,

ejecueion en los peehos,

gallardo en

el valor,

lo altivo lo lo lo

en los pensamientos,
la esperanza,
el

animoso en
alentado en

deseo,

bravo en

el

eorazon,

lo valiente
lo cortes

lo
lo

lo

en el de.specho, en la prudencia, arrojado en el desprecio, generoso en la sangre, amoroso en el empleo,

temerario en la causa, apacible en el despejo, lo piadoso en el amor, y lo terrible en los celos.

lo
lo

62

DBAMATIC ART OF LOPE BE VEGA

most of the passages just cited the metaphysical character
is

111

of conceptismo

absent, but

it is

very frequently present in the

into his comedias
cases conceptismo

numerous sonnets which Lope has introduced in the form of letters or monologues. In many

may
wit.

be amusing and unobjectionable

when combined with Lope's

la

Take, for example, the following passage in

Esclava de

su Galdn:
Elena.

DFAMATIC AFT OF LOPE

Don
Felix

I)E

VEGA
.
.

63

Ojos, traieion es perderos

Mas
el

quedarme es quedarme dificulto,

si

traieion,

Chacon.

y el irme si ingrato soy. Para eonjurarte estoy,

Senor, en lenguaje culto.

Pop aquel candor brillante que viva luz y alma ostenta, aunque canoro se argenta
el

pielago naufragante,
sus, te duelas, ojos.

que de

And
who
culto.

ill

the

same play the servant burlesques the speech

of Ines

described her mistress as she rises and dresses, in exaggerated

Chacon.

En

efeto, Ines, ^esta

tocandose tu seiiora, "y es sol que los cielos dora?" Ines. |Pues no? Chacon. No.
Ines.

Chacon.

Pareeeme que
eofrecillos
ir

la

fcComienzas ya? veo

con cuarenta redomillas,

vajillas,

por extrailo rodeo en busca de la hermosura.

In
is

lo

Cicrto por

Jo

dudoso a very obscure sonnet of Don Enrique

ridiculed by the servant

Ramiro
^v'e

(act III, scene iv).

While

in Servir a

Solor discreto
it

find a characterization of culto

poetry which classes

Elvira.

as a disease

Oigo decir que a poetas

suele venirles furor,

])0r

Girun.
Elvira.

y mas en cosas de amor, ciertas causas secretas. Die en los libros verdad. Y aun un medico decia que era esta negra poesia especie de enfermedad. Sarna, dijo, a lo divino, que de uno en otro se pega, porque se rasca y se estriega, y es todo un puro venino.

Digame, senor poeta, ^Por mi ha heeho esta invencion.

64

BE AM AT IC ART OF LOPE BE VEGA

first
si

The
para

scene of act II of la

may

also interest the reader.

Boha para los But best

otros y discreta

of all

is

the fol-

lowing sonnet with which we close Lope's ridicule of the current

poetic fad
Conjurote, demonio culterano, que saigas deste mozo miserable, que apenas sabe hablar, caso notable, y ya presume de Anfion tebano. Por la lira de Apolo soberano
te conjuro, cultero inexorable,

que

le

des libertad para que hable

en su native idioma castellauo.

"fePor que
4

me

torques barbara tan mente?

Que cultiborra y brindalin tabaeo

ciistiano, perro.

caractiquizan toda iutosa frente?"

Habla Tenedle,
"
sueltame.

No que se va. Aqui de Apolo.

-

Soy polaeo. tente; me Aqui de Baco."

ates,

Eimas

del Licenciado BurguiUos.

of culto

The above examples may suffice to show that certain qualities and conceptismo are not to be wholly condemned, that they are capable of rising to genuine expressions of beauty and and that
their

wit,

danger lay not in their use but their exagattempting to give a brief outline

geration and abuse.

Inasmuch

as

am merely

of Lope's dramatic art I cannot do justice at this point to his

mind and thought, related and fascinating though they be. Indeed, Lope deserves to have a comprehensive work written on this subject on account of the richness and the wide scope of his
sympathies.
ist

It

would be strange were

it

otherwise in a dramat-

who has composed so many plays touching every human theme. This does not mean that Lope gives utterance to a distinct phil-

osophy any more than does Cervantes, unless unrebellious acquiescence in tlie constituted order of things makes one. His point
of view on a great variety of questions concerning the individual
society

and the

state

can be gleaned from his comedias.

His
is

loyal religious attitude, as expressed in words, at least,

as

normal and undisturbed as that of any man of the people; his ideas on politics and society throw a great deal of light on the

DRAMATIC AFT OF LOPE DE VEGA

current thought of his time.
a

65

In no other sense

is

his

comcdia
life.

more complete
is

or satisfactory picture of contemporary

This

the real, the unstudied

Lope who presents an image

his

of

his times in those highly diversified thoughts of his

innumerable

characters.

Although the elements of

dramatic formula
still

may
the

be circumscribed by tradition or stage limitations,

thought processes of the great playwright, consciously or imconsciously, filled his dialogue with

some of the best documentary

evidence that

we

possess on the mental

and

spiritual life of the

men and women of his day. As regards the political side, much may be gleaned from the comedia on monarchy, kingship and government in general, the utterance revealing now and then
a surprisingly frank criticism of the abuses

ent in sovereign power.

To be

sure.

etical cases, discusses ideal states,

and injustices inherLope usually sets up hypothand where he chooses to give

detailed examples of evil deeds or impulses in rulers, he places

his action in times long past

and presents a king of distant cen-

turies or foreign lands.

His attitude toward the power and

is

position of aristocracies

on the whole fairly illuminating, his

most convincing expressions being those in which he depicts

injustice, violence, depravity, or other vices of the selfish

grand

seigneur.

No more
is

striking condemnation than his can be found

of the undemocratic existence of the powerful lord whose chief

principle
his best

that might

makes

right.

But Lope

is

generally at

when he

presents the Spanish people, the middle and

lower classes as they thought, spoke and acted.

There can be no
he

doubt that his heart was with the great hourgeoisie in spite of
all his social

intercourse and friendliness with aristocracy

so well expressed in

too

would have voiced the sentiment

La

Bruyere's words, "Faut-il opter, je suis peuple."

One

of the most genuine notes in

Lope

is,

therefore, his

cham-

pioning of the democratic spirit of the Spanish people, manifest especially in his pictures of the
folk, his

lower

classes, his

country

sane t.ypes of the bourgeois, together with the simplicity

of speech

endowed.

and the sound common sense with which the latter are Very frequently we find a defence of the lowly, the

66

DRAMATIC ART OF LOPE BE VEGA

and disinherited members of a very imThis does not necessarily imply any incisive criticism directed against contemporary conditions, for, as stated above, Lope was not critical of his times, nor was he by nature or gifts a satirist in any profound sense. He also
poor, the unprivileged

perfect form of society.

championed a saner and if we may call it so, a freer position for women, he emphasized again and again the necessity of granting them greater liberty of choice in determining their own happiness in marriage or any other state. He justified their opposition to distasteful unions and their desire to see and speak
freely with the
sion chiefly

men

they are to marry.

"We reach this conclu-

by inference from many scenes in his plays. Perhaps the exaggerated liberties which some of his women characters take, quite contrary to local custom, also imply a desire
on Lope's part to see a greater freedom for womankind realized.
In this connection we

may add

that nowhere

is

the honor code so

overemphasized as in the cases in which arbitrary fathers or

brothers keep a hawk-like vigilance over the actions of daughter
or sister lest she bring discredit on their honor and name.

These

pictures frequently imply a criticism of the selfishness and arbi-

trary authority of the

position for the

man and

a plea for a more reasonable

woman.

'Or.AMATIC

AST OF LOPE BE VEGA

67

LOPE'S LEARNING: THE INFLUENCE OF TUp] CLASSICS

prominent feature of Lope's language

of his speech
little

is

tlie

constantly

recurring reference to classical authors and ancient themes.

No element
the

is

as antiquated as this, no note of

little

liis

dialogue finds as

response or awakens as

interest in

modern

reader.

It does not

mend matters

to be told that the

classics still

formed a part of the daily routine thought

in his

day, that the popularity of the ancients during the Renascence

represented a sympathy for antiquity of which we have no

The sound of the Latin language, although with a woman and child through sermon and ritual, and an occasional classical quotation on the stage would not be taken for an absurd piece of pedantry,
conception.

Spanish pronunciation, was familiar to man,

even

if it

passed over the heads of the listeners.

In spite of

the unsurpassed originality of the literature and philosophy of the

Renascence, imitation of standard classics was not only

taste.

countenanced but considered good

In

all this

the comedia

was no exception.
imitation produced!

But what
It is

a strange mixture this spirit of

fortunate indeed for our modern art

that these classic instances are no longer dragged in whether

they
if

fit

or not.

This criticism

is

not altogether fair, to be sure,

we judge

literary tastes in the light of Lope's times.

all

But

we
all

are attempting to present

the reasons

why

the comedia,

notably the creation of Lope, has features which will survive

changes of taste while certain others tend to reduce

it

to the

level of a literary curiosity.

It is

not

my

purpose to give more than the briefest outline of

the influence of the classics on Lope, as manifested in his plays.

volume.
if

The material available for such a purpose would fill many a But the character of his art will be better understood
the reader has an idea of this manifestation in his language.

The great body of

classical literature,

whether prose or verse,

reached the Renascence public of Spain through the

medium

of

68

BEAM AT IC ART OF LOPE BE VEGA

popularized versions, or undigested compilations

translations,

of learning of all kinds.

The

latter stricture

may sound

too

harsh until we wade through miscellanies, jest books, classical

commentaries,
fiction, or

philosophic discussions on the ancients,

whose utterances were now and then presented in a form hardly

verse, chronicles

The same is true of dramas, lyric and the rest, the authors of which seem impressed with the necessity of winning prestige by citing classical authors
recognizable by the authors.

when and wherever

Only in the rarer

possible.

In the majority of

cases, there-

fore, the influence of the classics reduces itself tcreemmon-places.

cases

of such profoundly learned

men

as

Quevedo, the most striking intellect of his time, we find a

thoroughly satisfactory acquaintance with the
classics.

Lope

stands halfway between Quevedo and the popular, superficial

presentation of classical material.

He

is

acquainted with every

is known to him. me to be the most

author of

old,

every type of ancient literature

direct reference to Plato seems to
this

Of the Greeks common, and

tors

must be due
its its

chiefly to the existence of neo-

and imitaOf the latter, Leon Hebreo is mentioned most frequently by Lope, and his works occupy a prominent place in any consideration of this influence. They
platonic literature, to
interpreters, commentators,

who gave

voice to

philosophy.

contributed to Lope's comedia a peculiar metaphysical language

evident in discussions of love, beauty, desire and the
totle, too, is
like.

Aris-

mentioned wdth reference to his Ethics, his treatise

on the soul and his work on animals.

Among

the historians

Herodotus occupies the

first

place, as far as I

am

aAvare, his

style of narrative, his fiction

and

folk-lore elements being

more

appreciated than the writings of more scientific historians like

Of the Greek dramatists I have noticed only occaThe writers of later and unimportant reminiscences. ages were also known to Lope, especially Plutarch, whose Moralia exerted an influence all through the Renascence not to be overThucydides.
sional
stated.
I

am

of the opinion that the influence of Plutarch's

Lives was not so great.

To us

it

may

be astounding that the

it

name

of this writer should have carried with

such extra-

BHAMATIC AST OF LOPE BE VEGA

oi'dinary weight
;

69

yet oven so great a thinker as Montaigne is

full of Plutarch's animadversions,

some of which have the stamp

of the commonplace.

But

it

must be remembered that the notein France and Diego Gracian in Lope must have known the latter
still

worthy translations of Amyot

Spain were much read books.
well.

Much more

recent, but

belonging to Greek literature,

are the Byzantine romances, Theagcnes and Karikleia. Klitophon

and Leukippe, and others which were known in Lope's day through Spanish and Italian versions. They are responsible for a
few romantic or episodic features in the comcdia.

By

constantly uniting the names of

Homer and

Vergil, the

fusion of the influence exerted by the Iliad, the Odyssey and the

Aencid, became inevitable.

It

would be

difficult to find a
is

promi-

nent character in any one of these epics who

Lope.

not mentioned by

and Rome, the adventures of Ulysses, and Dido, pathetic and semiscandalous, the charms of Circe, the youthful beauty and valor of Achilles, these and scores of other characters and episodes are mentioned again and again. The chief Latin poets, too, are well known to Lope, Ovid holding a very prominent place, followed by Horace,
The
stories of Ilium

the tales of Helen

Catullus, Juvenal, Martial

and

others.

spoke briefly of Ovid's

influence on
scence.
I

Lope

in

my

book on that Latin poet and the Rena-

I said there merely by adding show a very profound indebtedness to the thoughts, episodes and amorous principles of the Metamorphoses, the Ars Amatoria, the Remedia Amoris, and the

need supplement what

that scores of Lope's plays

Heroides.

The Latin poets proved a mine of information on the gods, and demigods, the heroes and heroines of legend and mythology. Venus and Adonis, Cupid and Psyche, Orpheus and Eurydice,
Jason and Medea, Perseus and Medusa, Pygmalion and Galatea,
the labors of Hercules and the stories connected with the Golden
Fleece, semihistorical heroes of Greek

and Roman

history, to

mention some instances disconnectedly and at random, these and

scores of others appear on Lope's pages again

and again.
classical antiquity.

The numerous anecdotes connected with

70

BEAM AT IC AST OF LOPE BE VEGA

men and
the like, were taken

biographical details of famous

chiefly

them from historians and biographers, such as Livy, Tacitus, Suetonius and others. One prominent work which furnished Lope with
in their turn extracted

from compilations Avhieh

innumerable
the animal
beast

bits of lore and nonsense concerning nature and kingdom was Pliny's Natural History. No bird or

was too strange or rare

his

to

have

its

existence vouched for

by Pliny or

Renascence commentators who have won an

fuego/'

immortal place among "the spinsters and knitters in the sun,"

or "las viejas que dicen consejas tras
el

The matter
would make
occupied by

available for a study on the influence of Pliny alone

several large

and entertaining books.

is

Among
vivacity
tists

Latin works of fiction the chief place

;

the Golden Ass of Apuleius

its novelistic

incidents are full of

and originality and prompted imitation among dramaalike.

and novelists

Reference to medical treatises, espe-

cially Galen, to

books on natural phenomena, superstitions and

the
this

like,

abound, but cannot be discussed now.

to determine.

How much
when
it

of all

was beyond the

intelligence of the audience

Suffice

recited

on the stage

is difficult

to say that ser-

vants, lackeys, ruffians

classic,

and courtesans are not ignorant of things

all this

and that we must take for granted that

material

and the common possession of all people. References to biblical characters and episodes, above all the Old Testament, are not uncommon, but by no means as frequent
was
in the air

as those just treated.

Their presence in plays of a religious

character

is

natural, but a discussion of

them

falls

without the

scope of this essay.

DRAMATIC

AL'T

OF LOPE DE VEGA

71

LOPE'S ACQUAINTANCE WITH CONTEMPORARY LITERATURE

Among
given
ITS

the meagre autobiographical details which

Lope has

in his

Dorotca a statement concerning his education, his

is

reading and literary taste in general

tells
tie

of interest.

He

there

us in the part of
la

Don

Fernandf)
la

edad que digo ya sabia yo

gramatica, y no ignoraba la retoriea

deseubri razouable ingenio, prontitud y docilidad para cualquiera ciencia; pero para lo que mayor le tenia era para versos; de suerte que los cartapacios de las liciones

me

muchas veces mas

eseribia

Servian de borradores para mis pensamientos, y Comeuee a en versos latinos o castellanos.

juntar libros de todas letras y lenguas; que despues de los principios de la griega y ejercicio grande de la latina, supe bien la toscana, y de la fraucesa tuve notieia.

This
that

tells

us three things in regard to Renascence literature:

to Lope, that he

French was not unknown

verse.

was well

ac-

quainted with Italian, and that he was ever occupied in reading

and writing Spanish

If

we

limit ourselves only to the eviis

dence of the comedia, this conclusion

everywhere corroborated.
lan-

Although Lope may have known something of the French

guage,
I find

practically

no evidence of any acquaintance with

contemporary French

literature.

On

the other hand, he must

col-

have read Italian extensively, while every Spanish poet or

lection of Spanish verse

must have been known

to liim.

With regard

to Italian literature, the novellicri

from Boc-

caccio on, including the extensive collections of the fifteenth

and

sixteenth centuries, were familiar ground to Lope.

Some

of his

plots are not only directly traceable to Italian novelle, but cer-

tain episodes of others betray all the

This__is logical, if
little in this style

marks of Italian

influence.

we

recall that

Spanish literature offered but

of fiction, that in the field of the short story

we have

to deal with hardly

Italian sources until

strike the first

more than third rate imitations of we reach the novelas of Cervantes, which
Italian litera-

independent note of importance.

ture of chivalry was also

known

to Lope, especially the epics

72

DRAMATIC ART OF LOPE DE VEGA

and Tasso, while Dante and Petrarch are
is

of Boiardo, Ariosto

frequently mentioned, or some thought of theirs

repeated.

Among

the poets the influence of Petrarch overshadows that of

all others,

not only because of the warm, living qualities of his

verse, but because his spirit

had already been assimilated by

All this deserves
it

so

many Spanish

poets before Lope's day.

an extensive, separate study in so far as

elements of Lope's artistic formula.

throws light not only

on the growth of Spanish lyric verse, but also on certain poetic

As regards Lope's extraordinary acquaintance with Spanish

verse the fact that the large body of Renascence lyrics

had become
his

bone of his bone and

flesh of his flesh

if

would be evident from

we chose to limit ourselves to the testimony of the comedia. Again and again he speaks of the chief poets, and a study of all the names mentioned would make As was a comprehensive history of contemporary literature.
works at every turn, even
the case with Cervantes, Lope's great model seems to have been
line and unerring good taste very him out of reach of any adverse criticism and made him the model for the sixteenth and seventeenth centuries. It would be futile to give most of the names which Lope mentions since his own fine tact and delicate touch made him appreciate the best which that astoundingly productive period had to

Garcilaso,

wiiose musical

justly placed

offer.

In prose literature Lope was no

less at

home than
it

in verse,

but the type AY^ich he mentions most frequently in the comedia

is

the pastoral romance.

His manner of referring to

it

leads

me

to believe that he considered

the only other type of literature

outside of verse production with artistic finish.

And

this is so.

The pastoral novel has paled

its artificiality is

after all these years, above all

it

evident to us, but the fact remains that

it

very

often reaches high poetic levels which rightly give

side lyric verse.

a place be-

Of

far greater importance

is

the Celcstina. and

is
it

Lope,

who no

less

than the author of that unique work

master

of dialogue
sciously

and of the expression of passion, imitates

in

both conRefer-

and unconsciously

many

scenes of his plays.

DEAMATIC AST OF LOPE DE VEGA

73

enees to the story of Calisto and Melibea and to the great figure
of Celestina herself are a
in
style,

common

occurrence, while similarities

witli

language and episodes can be pointed out

freis

quency.

The indebtedness of Lope

if

to

any

single creation

not vei-y pronounced, but

it is

an exception to this rule, the Celestina, which made a deep impression upon him as
there
is

well as

upon

all

the writers of the Renascence.

this

have

else-

where treated the influence of

Dorotea and his
of
el

remarkable book upon Lope's

in the

Caballero de Olmedo, which are good examples

how

the spirit of the whole

work manifested

itself

comedia.

As regards

the Dorotea, I

am

inclined to see in that

strange play an extremely artificial fabric in which Gerarda, a

wonderful imitation of Celestina,

is

practically the only living

character, the others being too often spoiled

pedantry, academic dulness and bad

art.

by a display of The romances of

chivalry, contemporary chapbooks containing such novels as la

Doncella Teodor, besides novels of love and adventure, were

known
and
late

to Lope, nor

need

speak of the chronicles, lives of heroes

plots.

saints

from which he borrowed ideas and

Finally, the

Menendez y Pelayo has on various occasions pointed out how unlimited is Lope's acquaintance with the great body of national romances or ballads. If any further evidence were required to prove that his memory was as prodigious as his inventive genius, his acquaintance with the popular and traditional poetry of his people w^ould more than prove his case.

74

DEAMATIC AST OF LOPE BE VEGA

SOME TECHNICAL FEATURES OF LOPE'S AET: PLOTS, RECURRING THEMES

Inasmuch
as Lope's inventive genius
is

EXPOSITION,

characterized by free-

dom and
hini

spontaneity, he was at his best whenever the plot was

wholly his own creation.

mere suggestion was enough

It is therefore clear that

to give

an idea for a whole play.

he must

have been hampered in his construction, in the sequence of his

conception of scenes and episodes,

when he undertook

to repro-

duce dramatically a ready-made story.

as his coniedia

In so vast a creation

we

are enabled to reach the good productions

only by an elimination of the inferior ones, and, to me, his least

inspired plays are almost always based on borrowed plots.

These

were, for the greater part, taken from fiction sources, chiefly
Italian, and, therefore, absorbed

many

episodic adventure ele-

ments which
an

strike a false note on the stage.

They represent
It

artistic blunder,

and

spoil a certain portion of his work.

would add but

little to

my

argument

to

mention here the many

plays related to stories of Boccaccio, Bandello and others, but

the influence of Italian novelle throws a certain light
plot construction.

upon

his

In certain plays which

as extravanganzas, or novels in dialogue,

hesitates to localize

may be characterized we may note that Lope

them
if to

in

Spain, for he gives the plot an

the spectator believe that the

Italian

background as

make

events of his play are more likely to take place outside of the

Peninsula.
to

I refer also to plays in

which Lope made concessions

ill-suited

improbable romantic themes,

to

any

stage,

and

though these
example,

may have

been acted in an amusing way, they add

artistic

nothing original or enduring to his

el

formula.

Take, for
is

Alcalde mayor in which the heroine's lover

im-

plicated in a

murder

plot

she flees to Salamanca disguised as a

man, attains the degree of doctor after years of study, and being considered worthy of higher honors she finally becomes "alcalde

mayor

of Toledo."

As such

she again meets her lover and

all

DRAMATIC ART OF LOPE DE VEGA

mysteries are cleared up.

75

Or take Servir a Serwr

an aged suitor of

discreto, in

which

a tyrannical father favors

his daughter.

The

latter

consequently throws herself into the arms of a

lover.

But the young man, of for Madrid in order to improve his j^osition, whereupon daughter and father follow him to the capital. In Madrid the young lover assumes the position and fortune of a certain "Seiior discreto" whose service he had entered, and thus he is enabled to win the lady of his affecyounger and more acceptable

humble fortune and

station, sets out

tions.

In

los

Emhiist(

.'^

de Celauro there
fiction

is

an

inartistic confusion

of themes taken

from

and

folklore, while even la Viiida

vcdenciana, one of the most charming, sparkling and poetic creations

from Lope's pen,

is

marred by an occasional jarring note

It is also of interest to

due

to concessions to these elements.

observe that Lope,

who did

not fail to touch every conceivable

dramatic note, suggests the lines along which the subsequent

drama
inal

was conceived.

Germans called the Schicksalsdrania, Comcndadores de Cordoha the two crimlovers are warned of their impending fate by unexpected
of fate, which the

In

los

occurrences, and in

cl

Cahallcro de Olmeelo, one of the great

is

masterpieces of the siglo de oro, don Alonso

tragic

forewarned of his

end in a profoundly impressive manner. On the whole Lope's great comedies are those which deal with a simple theme,

handled with extraordinary lightness and grace, a theme which plays flexibly and quickly with an idealized form of Spanish
society, while his best tragedies are

based on subjects so intense

and

so

overwhelming that there

is little

room

for the accessories

of unrelated novelistic material.

One
art
is

of Lope's chief claims to being a complete master of his

his exposition.

In most of his plays the opening could

not be improved upon.

too

But
is

Ave realize that

he wrote altogether
plot,

much

to carry this perfection to the

critical

end of every

and

no special
proceed.

acumen

necessary to note that some of his

off in

plays betray a distinct falling

the construction as they

its

Having conceived

his

formula with

dominating

ele-

ment

of rapidity of action, the great simplicity of almost every

76

DRAMATIC ART OF LOPE BE VEGA

is

exposition

normally modified as we move forward by the addi-

tion of subplot, secondary action or explanatory scenes,

and

when

the audience possesses all the factors necessary to underis

stand the story. Lope

process, with

merely concerned with his forward

weaving

in

and out

action, counter-action, senti-

ments, cross-purposes, and impulses until he comes to the logical

end of

his various threads, or chooses arbitrarily to cut his skein.

The usual analysis

of Lope's characters fails to lay stress

fact that in rapidity of action impulses

on the must dominate over

reason and deliberation because the latter

delays to
fit

demand

too

many

into his formula.

is

Another mistaken procedure pointed out above

that of

applying the principles of other national dramas to the comedia.

No

other type of play in the world

is

so thoroughly

an improvised
sit

creation as that of Lope.

As

a highly

endowed musician may

any seeming

down

at

an instrument and compose without premeditation,

at his disposal, without

so

Lope always had

him.-^It

effort, all

the unusual gifts which nature had so generously bestowed on

is,

therefore, futile to look for deliberate

processes,
artistic

mechanical construction or a conscious rearing of his

edifice.

Careful scrutiny of the majority of Lope 's plays reveals

that he had no fixed conception of dramatic steps purely by acts

and

scenes,

and only a sense of forward movement, of progressive

its

exits

and entrances, which carry the game through

is

successive

steps until an end satisfactory to the author

reached.

In

many
the

cases the solution could be attained earlier in the play, but

the fanciful creation of

new impulses bridges every gap

to

until

improvisor sees

fit

stop.

InasQiuch as the

dramatic

formula of Lope depends entirely upon a successful opening,

and thereafter upon rapidity of procedure, he was wont to

observe carefully what kind of exposition

won

his hearers, nor

did he hesitate to repeat such scenes

of this repetition can be

if

popular.

A
ii)
;

good example
(Act
I,

found in

la discrcta
I,

Euamomda
in the

scene

i),

and

cl

Acero de Madrid (Act

scene

former

mother and daughter enter followed by a young gallant, while in the latter it is an aunt with her niece. The dialogues are very

BEAM AT IC AET OF LOPE DE J' EGA

similar.

77

study of model expositions might also be made in

cl

such plays as

Quien ama no haga

Lucas, not to

Prcmio del hicn hahlar, la Moza dc Cdntaro, fieros, los MeUndres de Belisa, cl Domine mention scores of others like Fuente Oveju.na,
los

Perihdnez y

cl

Comendador dc Ocana, and

Comendadores de
for recur-

Cordoba of tragic content.

As

a consequence of all this

we must be prepared

ring themes not only at the opening of Lope's plays, but woven
into the bodies of the plots.

Although

this element of repetition

the

it was a logical result of superhuman amount which he produced. I have already touched on some of his more common stage devices, such as tricks

has been ascribed to popular applause,

which enable the lovers to converse, the stumbling theme,

dents upon the highway, disguises of
all

acci-

kinds, concealment, the

entrance of a messenger

who pretends
and the

to be a

hawker or vendor
which generally

of ladies' articles, or books

like, all of

produce light and sparkling episodes.

character

who enjoyed
do not mean

great popularity, whether male or female, was the simpleton

(hoho and hoha) either real or feigned, and by this

the gracioso, but one of the leading characters.
la

Dama

hoha-, la

Boha para

los

del Colcgio,

and many
is

others.

Examples are otros y discreta para si, el Boho Among the more serious themes
and morality.
Although

which recur

that of parental authority, or of that of uncle or

brother, involving questions of honor

Lope frequently praises modesty, humility and other domestic traits in woman, he also advocated, if not always by direct propaganda, a freer and saner social position for her. He presents his plea, as I have stated above, more by making plain the abuses
to

which the subservience of womankind may

lead.

A
by a

highly dramatic theme

relative of the

is

the protection of a murderer

is

murdered man who

ignorant of the nature

of the crime or not aware of the identity of victim

and murderer.
is

Again, in other dramas, in which some criminal plot

personage who
is

afoot, the

an obstacle

to the plotter

must be removed, and

to
official

this object is achieved in

an arbitrary manner by entrusting

the former some distant military post, or some

occupation

78

BEAM AT IC AET OF LOPE BE VEGA

may
take

which

him out
this

of the

way

for a sufficient space of time.

is

The

chief

theme of

kind of plot

the base desire of some

one high in authority to possess the wife, fiancee or sister of

a vassal or dependent, a

theme very old in

fiction, so that

many
que

examples could be

cited.

Among them

is

the well-known story

contained in Juan Manuel's Lihro de Patronio:

contescio a Saladin con

"De

lo

una buena

dueiia,

mujer de un caballero

su vasallo. "

Saladin wishes to seduce the wife of a vassal; he,

therefore, creates

but his evil scheme

him mayoral and sends him to distant lands, is frustrated by the wise conduct of the wife.
Bathsheba

The reader

will also recall that in the story of David,

and Uriah we have a variant of the same theme. We may summarize certain features of Lope's technique
follows
:

as

exits

and entrances are treated more arbitrarily and

less

whimsically than would be permissible in

the characters

spontaneous di-ama.
of Lope's

moving rather with the motive force

is

fancy.

His conception of time

so indefinite as to

make us

believe that in the vast majority of his plays the question of a

limited

regarded.

number of hours, days or even months was entirely disThe audience was transported into an idealized world
In a number of plays Lope
falls into the technical
act.

not confined by the limits of the stage nor controlled by the usual
flight of time.

error of leaving the stage

empty various times during an

Take for example,

la

Esclava de su galdn, in which on twelve

separate occasions every person quits the stage leaving the plot

disconnected and so interfering with smooth action.

Finally, as

regards the frequent interweaving of a subplot, this feature was

very often a necessary addition to the principal action, giving

more body
tent.

to the

main

plot

when

it

was thin and weak

in con-

It also

furnished matrimonial material for the secondary

characters.

Cervantes ridiculed this device of having everybody

the end of the play in his

married
in Lope, as in los

off at

comedy

la

Enir(i( nhht.
effect is rare

Exaggeration in the heaping of tone and color

and consequently his great themes are seldom marred, Comendadores de Cordoba where the spirit of vengeance

of the Veinticuatro consciously turns into a sanguinary chase,

niLlMATIC AFT OF LOPE DK VEGA

aiul the tragic close fails to

79

maintain the solemn grandeur of

of Lope's formula are

the rest.
excessive

The apparent defects

due to an

number

of combinations of recurring elements which

if

are entirely possible and acceptable,

resulting picture be not too closely

the probability of the

compared with actual human society. The technique, notably the structure of Lope 's comedia, has frequently been compared with that of less inspired but more
careful writers like Alarcon or Moreto to his disadvantage.

Yet

nothing can take from his art the claim to a unique charm of
presentation unlimited in
its variety,

a sound mixture of youth

age, a

and maturity which never knew the touch of old

of the depths of
their weight

knowledge

human

experiences without overemphasizing

sion w^hich

on the soul, a comprehensiveness of poetic expresmakes every attempt at comparison futile and every

effort of analysis unsatisfactory.

so

DRAMATIC AST OF LOPE BE VEGA

DIALOGUE, MONOLOGUE, AND NAEEATIVE

No

task seems more hopeless at the outset than a discussion

is its

of Lope's dialogue, so astounding

in tone, color, feeling, speech

variety, so vast its range

and

situation.

No

critical presen-

tation can embrace

more than

a part of his work, nor can a

limited

number

of examples hope to give

gestion of all the forms of emotion, thought

more than a bare sugand experience for

which Lope has found expression.

its

Any

specimen taken out of

content cannot give the full measure of the effect intended, a

thing especially so in the case of comedy.

which

have chosen
of his

number

But the examples The genuinely comic scenes cannot be counted, and no

may

suffice to

show

his masterly touch.

better reason could be alleged for giving unstinted praise to his

miraculous inventiye power than the hundreds of plays with

which he unceasingly amused the Spanish public.

In his tragedies Lope has shown a remarkable
the career of hero or heroine.
gift of impress-

ing the audience by the sudden and unexpected tragic turns in

This
is

the case where light

dialogue
things.

is

followed by an event entirely changing the face of

in la

Thus

Moza de cdntaro

the heroine
suitors

is

discussing

with her maid the qualities of her

father enters, and
tells

many

her of a mortal affront

when her aged inflicted upon him,

the result of which alters her whole career.

Luisa.

DFAMATIC ABT OF LOPE BE VEGA

Dona Maria.
Lnisa.

81

Volviose en llauto la

risa.

^No

es este

mi padre?
El
es.

(Don Bernardo, de

lidbiio de Santiago, con un

lienzo en los ojos.

Diclias.)

Don Bernardo. Dona Maria.

jAy de mi!
Senor, |que es esto
?

Yos llorando y descompuesto,

jy

yo no estoy a esos pies!

^Que teneis, padre y senor, mi solo y unico bien?

Don Bernardo.

Vergiienza de que me ven venir vivo y sin honor.

Dona Maria. Don Bernardo.

Dona Maria.

^Cumo

sin

honor?

No

se.

Dejame, por Dios, Maria. Sieudo vos vida en la mia, ^Como dejaros podre ? ^Habeis acaso caido?

Don Bernardo.

Que los alios muchos son. Cayo toda la opinion

y nobleza que he tenido. No es de los hombres llorar;

pero lloro un hijo mio que esta en Flandes, de quien fio que me supiera vengar.

Dona Maria.

Siendo hombre, llorar me agrada; porque los viejos, Maria, somos niiios desde el dia que nos quitamos la espada. Sin color, y el alma en calma, OS oigo, padre y senor; mas ^que mucho sin color,
si

ya me teneis sin alma? ^Que habia de hacer mi hermano? jDe quien os ha de vengar?

Ill ri

Cahallcro dc OJmedo extraordinary naturalness, vivacity

acts

and wit running through more than two

make

as delightful

comedy

Lope ever penned, the whole giving place suddenly to a brief and tragic close. The happy days of Don Alonso's courtship are gradually filled with a foreboding of his untimely end and few effects which Lope has devised are artistically more successful he is returning home at night after the crowning day
as
;

of his career

DBAMATIC AST OF LOPE BE VEGA

Don Alonso.
. . .

iQue eseuridad!

Todo

es

horror, hasta que el aurora

en las alfonibras de Flora

poiiga los dorados pies.
Alii cantan.

|,Quien sera?

Mas

sera algiin labrador,

que camina a su labor. Lejos parece que esta; pero acercando se va. Pues jcomo! Lleva instrumento, y no es rustieo el aeeuto,
sino sonoro y siiave.

iQue mal
si

la

musica sabe,
lejos y viene acercdndose.)

esta triste el pensamiento!

Una

Voz.

(Dentro.)

{Canta desde

Que de
la

noclie le

mataron

al caballero,

gala de Medina, de Olmedo.

j,Que estoy escuehando?

la flor

Don

Alonso.

iCielos!

Si es que avisos vuestros son,

ya que estoy en

la ocasiou,

^de que me estais informando? Volver atras |c6mo puedo? Inveneion de Fabia es, que quiere, a ruego de Ines, hacer que no vaya a Olmedo.

La Voz. (Dentro.)

Sombras

le

avisaron

que no saliese, y le aconsejaron que no se fuese

el

caballero,

la

gala de Medina,

la flor

de Olmedo.

Don

Alonso.

jQue de sombras finge el miedo! iQue de enganos imagina!

Oye, escueha. ^Donde fue, que apenas sus pasos siento? (Ah, labrador! Oye, aguarda. Aguarda, responde el eco. iMuerto yo! Pero es eaneion

que por algiin hombre hieierou de Olmedo, y los de Medina en este camino ban muerto.

la mitad del estoy: ^que ban de deeir si me vuelvo?

DBAMATIC ART OF LOPE DE VEGA

Gente viene.
{Doit EodrU/o,
. . .

83

No me

pesa.

Si alia van, ire eon ellos.

Dun Fernando, Mendo,

hombre.
^

Criados.)

Don Don Don Don

Bodrigo.
Alonso.

Quieii va

Un
Deteugase.

No me

veu?

Fernando.
Alonao.

Caballeros,
si

aeaso necesidad

fuerza a pasos como estos, desde aqui a mi casa hay poco: no habre nienester dineros;
los

que de dia y en la calle se los doy a cuantos veo que me hacen honra en pedirlos.

Don Bodrigo.

Quitese las armas luego.

Yo vengo a matar, no vengo

a desafios; que entonces
te
(a

matara cuerpo a cuerpo.

Mendo.)

Tirale.

(Dispara Mendo.)

Don Alonso.

Traidores sois;
pero sin armas de fuego no pudierades matarme.
i

Jesus!

(Cae.)

Don Fernando.

Don AJonso.

Bien lo has hecho, Mendo. (Vanse don Bodrigo, don Fernando y su gente.) jQue poeo eredito di
a los avisos del cielo!

Valor propio me ha engaiiado, y muerto envidias y celos. jAy de mi! |Que hare en un eampo
tan solo?
(Tello entra.)

TeUo.

Don AJonso.

Pena me dieron hombres que a eaballo van haeia Medina huyendo. Si a don Alonso habian visto, pregunte; no respondieron. Mala seiial. Voy temblando. Dios mio, piedad, yo muero! Vos sabeis que fue mi amor
estos
;

dirigido a casamiento.

[Ay, Ines!
Tello. r>e lastimosas

quejas siento tristes eeos.

Hacia aquella parte suenau.

84

DRAMATIC ABT OF LOPE DE VEGA

No
esta del camino lejos

No me ha qiiedado Pienso que el sombrero puede tenerse en el aire solo en cualquiera cabello. jAh, hidalgo!
quien las da.
sangre.

Don Alonso.
Tello.

Quien es?
jAy, Dios!

i,Por que

dudo

Es mi

senor.

que veo ? jDon Alonso!

lo

Don Alonso.
Tello.

Seas bien venido, Tello. j,C6mo, Senor, si he tardado jjComo, si a mirarte llego hecho un pielago de sangre?
Traidores, villanos, perros, volved, volved a matarme,

pues habeis, infames, muerto

el el

mas noble, el mas valiente, mas galan caballero

Don

Alonso.

que cino espada en Castilla. Tello, Tello, ya no es tiempo mas que de tratar del alma.

Ponme
Tello.

en tu caballo presto,

y llevame a ver mis padres. jQue buenas nuevas les llevo de las fiestas de Medina!
I

Que dira aquel noble viejo? ^Que hara tu madre y tu patria?

jVenganza, piadosos
cielos!

(Llevase a don Alonso.)

Fiiente Ovejuna presents the vigor of an untutored, democratic

overlord,

community standing out and we have side by

The peasants

for

its

rights against the vicious

side with rustic dialogue deeply

impressive tragic passages of which the following

may

serve as

an example.
appeal

sitting in council against the scoundrel

who has ruined

their lives are

moved

to action

by a woman's

Megidor.

Ya, todo

el

arbol de paciencia roto,

eorre la nave de temor perdida.

hija quitan con tan gran fiereza a un hombre honrado, de quien es regida la patria en que vivis, y en la cabeza

La

DFAMATIC ABT OF LOPE BE VEGA

la

85

vara quiebran tan injustamente.

jQue esclavo se trato con mas bajeza? Juan Hojo. J Que es lo que quieres tu que el pueblo intente? Begidor. Morir, o dar la muerte a los tiranos, pues somos muchos, y ellos poca gente. BarriJdo. Contra el seiior las armas en las manos!
i

El Key solo es senor despues del cielo, y no barbaros hombres inhuniaiios. Si Dios ayuda nuestro justo celo, ^que nos ha de costar? Mirad, seiiores, Mengo. que vais en estas cosas con recelo. Puesto que por los simples labradores estoy aqui, que mas injurias pasan, mas cuerdo represento sus temores. Juan Bojo. Si nuestras desventuras se compasan, para perder las vidas, |que aguardamos? Las casas y las vinas nos abrasan: tiranos son; a la venganza vamos.
Esfeban.
{Laurencia, desmelenada.
Dichos.)

Laurcncia.

Dejadme

entrar, que bien puedo,

en consejo de los hombres; que bien puede una mujer, si no a dar voto, a dar voces.
^,

Conoceisme?
i

Estehan.

Santo

cielo!

^No
Juan So jo

es

mi hija?
;;No conoees

a Laurencia?

Laurcncia.

Vengo

tal,

Esteban.
Laurencia.

que mi diferencia os pone en contingencia quien soy. jHija mia!

No me nombres
tu hija.

Esteban.
Laurencia.

^Por que, mis ojos? ^Por que? Por muchas razones,

y sean

las principales,

porque dejas que me roben tiranos sin que me vengues, traidores sin que -me cobres.
|Yosotros sois hombres nobles? ^Vosotros padres y deudos? ^Yosotros, que no se os rompen
las entranas de dolor,

86

DEAMATIC AET OF LOPE DE VEGA

de verme en tantos ilolores? Ovejas sois, bien lo dice de Fuente Ovejuna el nonibre. Dadme unas armas a mi, pues sois piedras, pues sois brouees.

**********
Los Comendadores de Cordoha represents, as far as
the extreme to which
I

know,

Lope has gone

in giving the whole play

an atmosphere of gloom, without attaining the tragic depth and

dignity either of the foregoing play or of that masterwork, la
Estrella de Sevilla.

No

tone in this mars the exquisite presenta-

tion of the character of the heroine,

and when we

see her over-

whelmed by

a course of tragic events

which take place inevitably

one after the other, we feel justified in claiming that no finer

example of a fearful peripeteia exists on any stage. Estrella is in the midst of her wedding preparations, when without warning the fateful hour
is

upon her
Estrella y Teodora.)

(Sala en casa de Busto.

Estrella.

No

se si

me

vesti bien,

conio
i

me

vestI de prisa.
ese espejo.
ti

~ili^^ni^> Teodora,

Teodora.

Verte, Senora, en

misma

puedes, porque no hay crista!

Estrella.

que tantas verdades diga, de hermosura tan grande haga verdadera cifra. Alterado tengo el rostro
ni

y
Teodora.
se

la color

encendida.
las mejillas

Es, Senora, que la sangre

ha asomado a

entre temor y vergiienza, solo a celebrar tus dichas.

Estrella.

Ya me
el

parece que llega,

banado de risa, mi esposo a darme la mano

rostro

entre mil tiernas caricias.

Ya me
m.il

parece que dice,

ternezas y que oidas

alma por los ojos, disimulando las niiias. jAy venturoso dia! Esta ha sido, Teodora, estrella mia.
sale el

1)1!

AM AT IC

A1!T

OF LOrK DE VEGA

87

Teodora.

Parece que gente suena.

Cayo

el

espejo.

De

envidia (dlzale),

el cristal,

dentro

la hoja,

EstreJId.

(le una luna hizo ^Quebrosef

infinitas.

Teodora.
Estrella.

Senora,

si.

Bieu hizo, })orque iniagina que aguardo el cristal, Teodora, en que mis ojos se miran. Y pues tal espejo aguardo, quiebrese el espejo, amiga; que no quiero que con el, este de espejo nie sirva.
(Clarindo,

muy

galdn.

Dichas.)

Clarindo.

Ya
que
los

aquesto suena, Senora,

las

a gusto

y volateria; plum as del sombrero

casamientos publican.

A
Estrella.

mi dueiio di el papel, y diome aquesta sortija

en albricias.

Pues yo quiero
feriarte aquestas albricias.

Damela y toma por

este diamante.

ella

Clarindo. esta por

Partida

medio

la piedra:

sera de melancolia;

que

los jacintos

padecen
le

de ese mal aunque

EsfrcUa.

quitan.

Partida por medio esta.

No importa que

este partida;

Teodora.
Clarindo.

Estrella.

que es bien que las piedras sientan mis eontentos y alegrias. jAy, venturoso dia! Esta, amigos, ha sido estrella mia Gran tropel suena en los patios. Y ya la escalera arriba parece que sube gente. jQue valor hay que resista
al placer?
(Lo.s dos Alcalde!^ mayore.<i, eon

de Busto.
Estrella.
.

Dichos.)

gente que trae

el

eaddver

Don

Pedro.

Pero ^que es esto? Los desastres y desdichas se hicieron para los hombres; que es mar de llanto esta vida.
. .

88

BE AM AT IC ART OF LOPE BE TEG A

El Senor Busto Tabera es muerto.
EstreUa.
es

jSuerte enemiga!
os queda que esta el fiero homicida, Sancho Ortiz de las Eoelas, preso, y del se hara justicia

Bon Pedro. El consuelo que aqui

manana
EstreUa.

sin falta.

Dejadme, gente enemiga; que en vuestras lenguas traeis

de los infiernos las
iras.

;Mi hermano es muerto, y le ha muerto Sancho Ortiz! |,Hay quien lo diga? ^Hay quien lo eseuehe \ no muera?
Piedra soy, pues estoy viva.

jAy riguroso
Pero

dia!

Esta, amigos, ha sido estrella niia.

si hay piedad humana, matadme.

Bon Pedro.
EstreUa.

El dolor la priva, y con razon. jDesdichada ha sido la estrella mia! Mi hermano es muerto, y le ha muerto Sancho Ortiz! jEl quien divida tres almas de un corazon! Dejadme que estoy perdida.
i

Bon

Pedro. Ella esta desesperada.

jlnfeliz beldad!

Farfan. Bon Pedro.

Clarindo.

Seguidla.

Senora ...

EstreUa.

Dejame, ingrato,
sangre de aquel fratricida. Y pues acabo con todo, quiero acabar con la vida.

jAy riguroso

dia!

Esta ha sido, Teodora, estrella mia.

Satisfactory selections from his comedies are, as I have stated,

extremely
attempted.

difficult to

make, but a survey of their variety

el

may

be
a

At

the opening of

Auscntc en

el

Lugar we have

delightful scene which repeats the characteristic gossip of ser-

vants

who meet on

the street

in los Melindres de Belisa

the whimsicality and capricious action of a

finds nothing to her liking,

we have young daughter who

who

ridicules her suitors, finds fault

DBAMATIC ABT OF LOPE BE VEGA

with
all lier

89

siirrouiulings

and makes

life
is

unbearable for

tliose

nearest to her.

La Noche de San Juan

an example of Lope's

ability to paint laughter, gaiety

and confusion, in which the

spectator follows a whirl of amusing, loosely connected scenes.

For wit and clever jcu de mots combined with admirably comic episodes la Viuda valcnciana and el Molino are noteworthy examples. Plays so uniformly good in their exposition must have held the attention of the public from the very outset, and Lope no doubt consciously put some of his most graceful verse, his finest wit and humor into the opening scenes. As it was also his purpose to capture the good will and enduring patronage of the
multitude, a large

number

of the expositions are filled with amus-

ing dialogues designed to appeal to the people.

In Quien ama

no Jiaga

fieros

we have

the following conversation between master

and servant
Gaston.
.

^Has algiina vez tenido dama con ounado?

Bon

Felix.

No.
jDichoso tu! porque yo

Gaston.

Bon

Felix.

desdichadisimo he sido en materia de cunados. Amor es siempre importuno,

y querria que ninguno

se metiese en sus cuidados.

Todo estorba a
hasta vecinos.
Gaston.

los

que quieren:

padres, hermanos, sobriuos,

I Vecinos? Esos son los que refieren toda una historia de amor;

que, no atendiendo a su casa,

Bon

Felix.

ven Eso

lo

que en

las otras pasa.

es general error.

se acostara un veeino hasta ver al otro entrar, si alii se pensase helar. Bon Felix. De cualquier desgracia es dino. Gaston. Yo conozco una mujer, adonde un galan hablaba,

Gaston.

No

que toda la noche estaba a una ventana, por ver

90

DEAMATIC AST OF LOPE DE VEGA

y por escuchar los toques; y obligole descompuesta, a traer una ballesta y disparalle bodoques.

Mas

ella, con la flaqueza de escuchar, o la porfia,

cada noche

se

ponia
la cabeza,
le

un caldero en

con que el galan que hacia tanto riiido,

tiraba

que despertaba al marido, y a la senora llamaba.

Bon

Felix.

Yo, por ver caza tan nueva, con arcabuz la tirara.

|,Que importa?

Gaston.

Tambien buseara

algun morrion a prueba.

Peribdiiez y cl

Comendador de Ocana

offers

an example of Lope's

rare gift of putting into facile verse a domestic dialogue in which

husband and wife demonstrate their mutual obligations and necessary qualifications by means of the alphabet
CatiiJda.

iQue ha de tener para buena una mujer?

Oye.
Di.

Peribdnes.
Casilda.

Peribdnes.

Amar y

honrar su marido

es letra deste abece,

siendo buena por la B,

que es todo el bien que Harate cuerda la, C,

la

te pi do.

dulee,

y entendida

la E,
iirnie,

en la ^dda fuerte y de gran

la

fe.

La G
la

grave, y, para honrada,

H, que con la I hara ilustre, si de ti queda mi casa ilustrada. Limpia seras por la L, y por la M, maestra de tus hijos, cual lo muestra
te

quien de sus vicios se duele. La N te ensefia un no

a solicitudes locas:

que este no, que aprenden pocas,

esta en la

la O.

DFAMATIC AUT OF LOPE BE VEGA

La
la
I*

91

te liara pensativa,
bieii quista, la

fou tal razon, que destierre

toda locura excesiva. Solicita te ha de hacer

de mi regalo la S, T tal que no pudiese hallarse mejor mujer. La V te hara verdadera,
la la

buena

cristiana,

letra que en la vida

humana

has de aprender la primera. Por la Z has de guardarte

de ser zelosa; que es posa que nuestra paz aniorosa

puede, Casilda, quitarte.

Aprende
tu seras

este canto llano;

cartilla,

que con aquesta

flor

y yo
Casihla.

el

de la villa, mas noble villano. de ese abece;

si

Estudiare, por servirte,

las letras

pero dime
otro,
si

podre
decirte,

mi Pedro,

Peribdnez.
Casilda.

no es acaso licencia. Antes yo me huelgo. Di; que quiero aprender de ti. Pues escueha y ten paciencia. La primera letra es A, que altanero no has de ser; por la B no me has de hacer burla para siempre ya. La C te hara compaiiero en mis trabajos; la D dadivoso por la fee con que regalarte espero.

La F de
la
la

faeil trato,

galan para mi,

sin

honesto y la' I pensamiento de ingrato.

la

Por

liberal

el mejor y por la marido que tuvo amor, porque es el mayor caudal. Por la N no seras necio, que es fuerte castigo; por la O solo conmigo

92

DBAMATIC ART OF LOPE BE VEOA

todas las horas tendras.

Por

la

P me

has de haeer obras

de padre; porque querernie

por la Q, sera ponerme en la obligacion que cobras.

Por

la

E
la

y por

regalarme S servirme,

por la T tenerte firme, por la V verdad tratarme; por la X con abiertos brazos imitarla asi {Ahrazalc),

J eomo estamos

aqui,

estemos despues de muertos.

been quoted above.

The pleasing description of Peribafiez 's home-coming has already A comic reversal of fortune may be found
which we have a delightful picture

in la Esclava de su galdn, in

of the sudden collapse of the son's position in his father's good

graces.

Don Juan

arouses the latter 's rage by confessing that

girl
;

he

is

engaged to be married to a poor but virtuous

the

father slams the door in the son's face and orders that his cloth-

ing and books be thrown out of the window.

Don Juan and

his

servant are left in the street stunned and disconcerted.

Pedro.

Bon Juan.

(Que cerca estas de llorar! Pues de eso, Pedro, te espantas? Ayer un coche y criados, casa, hacienda, padre y galas, y hoy jcerradas estas puertas!
|,

Then
sions

follows the comic anguish of the two, as the son's

come
Pedro.

flying through the

window.

BBAMATIC ABT OF LOPE DE VEGA

Pedro.
Cierto que hay almas buhoiieias, pues andan siempre eargadas de eiutas y de i>apeles. jAy, mi Elena!

93

Don Juan.
Pedro.

jAy, mi sotana!

Bon Juan.
Pedro.

jAy, papeles! jAy, gregiiesoos! jAy, mis

ciiitas!

Don Juan.
Pedro.

Don Juan.

lAy, mi camal Quien supiere que es amor, apruebe mis esperanzas; quien no, diga que estoy loco, pues quedo con sola el alma.

Indelicacy

is,

as I have asserted above, exceedingly rare in Lope,

and such a conversation as that carried on between the Countess and the escudcro Durango in las Flores de don Juan (act II,
scene xviii), during which he narrates a coarse anecdote, would

have to be curtailed on the stage of today.

It

may

be explained,

however, in view of the fact that throughout Europe society of

the Renascence indulged in topics of conversation not counte-

nanced today because we have become more reserved and

less

also

naive and less natural.

On

the other hand, broad

and

farcical play intended for the masses are fairly

humor common in
iohdana

the comedies and even in the tragedies.

offers

La

NocJic

an excellent specimen.

Florencio and his servant are

attempting to escape from an inn over a neighboring housetop,

in order to get

pursuit

the scene

away from the police whom they imagine must have delighted the populace.

in

(Vista de Tejados: Florencio y Beltrdn.)

Florencio.
^^

Haste heelio mal?

Beltrdn.
Florencio.

No
jAdonde
^
^,

tengo hueso sano.

estamos"?

Beltrdn.

^Puedo yo sabello ?

Hay mapas de Hay carta que

tejados en
seiiale

el

mundo

rumbo

6 linea

Florencio.

de chimeneas ni de caballetes? ^Hay Tolomeo ni otro algun cosmografo que trate de azoteas? Esta casa me parece meson.

DBAMATIC AST OF LOPE BE VEGA

Belfrdn.

Florencio.

Beltrdn.

Florencio.

Y eslo sin duda; porque lo son las desta acera todas desde la Concepcion al Carmen. Creo que es palomar aqiieste o gallinero. Yo pienso que eu algun tejado destos hay alguna colmena. Y no de abejas, sino de aleves zanganos o avispas, que la cara, las piernas y las manos me tienen hechas criba.
En las narices me ha dado un avispou un picotazo, que me ha hecho elefante, vive el cielo.
Si estaremos mejor con las gallinas? Dalas al diablo; porque entraba apenas, cuando cerro conmigo el seiior gallo, creyendo que robarle quise alguna, y me ha sacado un ojo con el pico. |Estoy muy sueio? Estas como un estiercol. I Que es aquello jirimero donde entramos ? Una pocilga, donde he sacado tal cantidad de pulgas que estoy muerto. Escapar de aquel perro fue milagro. Yo, a lo menos, no fui tan venturoso. ^ Mordiote 1 Traigo menos libra y media de carne desta izquierda pantorrilla. Morderte perro es seda sobre seda.
^,

Beltrdn.

Florencio.

Beltrdn.

Florencio.

Beltrdn.
Florencio.

Beltrdn.

Florencio.

Beltrdn.
Florencio.

Beltrdn.

Florencio.

Beltrdn.

No

quiso respetar al parentesco;

Florencio.

Beltrdn.

que perro soy, aunque parezco hidalgo. jCi'uel noche por Dios! Si yo ereyera al buen humor que tengo escarmentara
de en am or arm e.

Florencio.

Amor |que
si

culpa tiene?

Beltrdn.

Amores en Toledo son muy buenos,

son de dia, pero no de noche; que hay cuestas espantosas y ladrillos,

hombres
Voces.

del diablo, avispas, perros, pulgas,

tejados, gallineros

y alguaciles.
Esto es bueno.

(Dentro.)

Ladrones son!

jLadrones!

Beltrdn.
Florencio.

Una

Voz.

jOh, pesia tal! la casa se alborota. (Dcniro.) Dame aquese arcabuz, suelta ese perro.

DEAMATIC ART OF LOPE BE VEGA

Bcltrdn.

95

Por mi

lo dice;

ya me sabe

el

nombre;

conoeido uos han.

Florcncio.

Por aqui abajo, en la caballeriza nos entremos, y en saliendo algun luiesped nos iremos. (Vaitsc)

In
with

my

opinion, one of the comic masterpieces worthy to rank

tlie

best of
It
is

scene vi).

any stage may be found in la Dorotea (act II, a drinking scene in which Gerarda, an old and one of Lope's great
is

woman
is

of the Celestina type

creations,

seated at table with Teodora and the latter 's daughter Dorotea.
relative indifference to food

Here her

more than counter-

balanced by her fondness for the cup, and we are told that her
favorite philosopher
is

not Plutarch, but the more famous wine,

Alaejos.
scene, I

Since

it

is

futile to analyze all the features of this

let

have preferred to

the following extract speak for

me.
in

The reader

will note the spontaneous

humor, the richness

popular phrases, the

many

details of a domestic scene intime,

the light which some of the customs depicted throw on contem-

porary manners, and, above

all,

the art of the great dramatist

who has
sobriety,

laid bare the soul of the old

woman

Gerarda, by leading

her in the most subtle

manner out

of her first condition of witty

through

all

the subsequent stages of garrulous self-

confession, of heavy-tongued but

amusing nonsense

to the inevit-

able stupor of intoxication.

This scene, as well as others in which

Gerarda appears,

is

aot only the best portion of la Dorotea, but

shows Lope as a master of psychological analysis worthy of his

famous prototype, the comeelia de Calisto y MeUhea, the fountain

of his inspiration.
Teodora.
Dorotea.

No

tanta fiuta, Dorotea, qne estas

las uvas.

mny

(-onvaleciente.

Deja

|Que me han de hacer?

Que ya estoy

biiena.

Teodora.
Gerarda.

Toma
Por

estos higos, Gerarda.

ti tomare uuo, que no lo hiciera por el padre que me engendro; pero es nienester que sepas que con un higo se

Teodora.
Gerarda.

bebe tres veces. iQuien lo escribe? El filosofo Alae.ios: ^pensaste que era Plutarco ?
medio.
. .
.

Abrole

]ior

Dame,

Celia, la primera.

96

BE AM AT IC AET OF LOPE DE VEGA

^Sin comerle bebes? le echo im poco de sal. Dame la segunda. Ya tienes las dos aparte; ^que haras agora? Cerrar el higo. Dame la tercera. Bebe y buen provecho; pero mira que es fuerte.

Teodora.
Gerarda.

Agora

Teodora. Gerarda.
Celia.

Gerarda.

Mas

fuerte era Sanson, y le vencio el amor.

Bien haya quien

'

te crio!

Teodora.
Gerarda.

Pues

^El higo echas por la ventana, despues de tantas prevencioues ^el habia de entrar aca? No se vera en ese gozo.
agradas, Gerarda, que hablas y comes. me alaba, que come y mama.

Teodora. Gerarda.
Celia (Ap.)

Tu me
Ese

nifio

Gerarda.

Otro refrancito. jQue colorada esta la madre! Pareee madrono y la nariz zanahoria. Cuando yo me acuerdo de mi Nuflo Eodriguez a la mesa. jQue decia el de cosas! iQue gracias! jQue cuentos! Del aprendi las oraciones que se. Era un bendito, no hizo en su vida nial a un gato; que cuando le sacaron a la ver.

giienza fue por ser tan

hombre de

bien, que

deeir quien habla'tomado los platos del eanonigo.

nunca quiso Ahora

Teodora.

lo veo por esa calle Mayor; jque cara llevaba en aquel pollino! No dijeran sino que iba a casarse. Y como el tenia tan linda barba, agraciabale mueho el desenfado con que picaba aquella bestia lerda. Ya le decia yo que no saliera sin acicates. Gerarda, no bebas mas; que dices desatinos, y en otra parte pensaran que era verdad lo que dices. |Para que lloras?

pareee que

Gerarda.
Celia.

Porque fue crueldad llevarle a galeras.

Gerarda.

Teodora. Gerarda.
Celia.

Gerarda.

Ya lo enmienda. Dios manda que se digan las verdades. No en dano del projimo. ^Que dano es contar sus alabanzas, Teodora, ni refrescar la memoria del bien que se ha perdidof A lo menos refrescar lo bien que se ha bebido. La primera vez que me hallo en aquella niiieria del estudinte, fue notable su paciencia. Era invierno, y echonos a mi y a el un jarro de agua en la cama, diciendo con aquella
bondad de que
mojallos.
el

se

preciaba mucho:

"A

los

bellacos

Teodora.
Dorotea.

^No

Teodora.
Dorotea.

adviertes, Dorotea, la condicion del vino? Fiale tus secretos; que esa es la primera de sus faltas. jOh infame vicio, tan opuesto a la honra como aborrecido de
la templanza! Cuanto vino entra, tantos secretos salen. Desde que le pisaron, por huir de los pies, Para que me haces seiias, tia?
J,

Teodora.
Celia.

se

sube a

la cabe>:a.

BL'AMAriC AL'T OF LOPE BE VEGA

Gcrarda.
Celia.
I

97

I'nvii qiu'' 1110 lo

preguntas, uecia

^Cuaiito va que

iiio

levaiito,

pues no nie entiendes?

Gerarda.

Ha No

caido un mosquito.

hayais miedo que se descalabie; no

son los espiritus deste

le

saques, Celia, que

aire; el

licor, conio los

atomos del

vino los engendra y a nadie le pareeieron sus hijos feos. Y cuando dieres vino a tu senor, no le mires al sol.
Celia.

Gerarda.
Celia.

Gerarda.

Que quiera, que no quiera, el asno ha do ir a la feria. Pesa presto, Maria, euarteron por media libra. No eabe mas la taza, que no es saea de lana. La leche de los viejos es el vino: no se si lo dice Ciceron o obispo de Mondoiiedo. jAy mi buen Nuflo Rodriguez!

el

Teodora.
Gerarda.

A
En

la tenia vuelve.

su vida reparo en mosquito, todo cuanto venia colaba, que

era una bendicion.

bebiese, cuando

Llamaba grosera

al agua,

porque criaba

ranas; una de las cosas con que

me

vencio para que no la

me case con el, fue decirme que habian de estomago; y piisome tanto miedo, que desde Pues ya, entonees, sea Dios bendito, no la he probado. para lo que me queda, con su ayuda bien sabre salir deste
cantar en
el

peligro.
Celia.

Gerarda.

Mira que se duerme, tia. Vieneme el mal que me suele venir; que despues de harto me
suelo dormir.

Gerarda.
Celia.

Cuando dan por

sin

los aladares,

canas son, que no lunares.

Dame

que

lo

vean.

Gerarda.
Celia.

Gerarda.

Teodora.
Gerarda.

Nueve veces has bebido. Escuderos de Hernan Daza, nueve debajo de una manta. No la habras menester esta noche. No tiene mas frio nadie que la ropa que trae. Mira, Gerarda, que te hara mal, y que Celia y la negra se estan riendo, y con ser tu amiga Dorotica, no te la.perdona. Cuando el guardian juega a los naipes, ^que haran los frailes?
Quitale esas aceitunas, negra.

Teodora.
Gerarda.

Teodora.
Gerarda.

Celia.

Bien puede; que una hora habra que estoy con el hueso de una, pidiendo una consolacion. Alza esta mesa, y dale, nina, un poco desa grajea a Gerarda. Grajea a Guinea: reventado sea mi cuerpo, si en el entrare. No se hallara en todo mi linaje persona que haya comido dulce; en mi vida fui a bautismo, por no ver el mazapan y los almendrones, cuando voy por las calles, me voy arrimando a las tabernas y huyendo de las confiterias, y en viendo un hombre que come cascos de naranja, le miro si tiene los ojos azules. ^Pues pasas? maldito sea el corazon que las paso ni al sol ni a la lejia. Ande aca, tia; que no esta para firmar.

98

DBAMATIC AET OF LOPE DE VEGA

Si

Gerarda.
Celia.

como tiene orejas, tuviere boca, a muohos llamara Con buenas oraciones se alza la mesa.

la picota.

Gerarda.

No

quite los manteles; dare gracias, pues eche la bendicioii.

sea benedito,

Teodora.
Gerarda.

Di; veamos.

Quod habemus comido, de Dominus Domini

sautificetur.

y
el

a micos y a vobis nunca faltetur, y agora dicamus

Borotea.
Gerarda..

se le puede negar que tiene gracia, y yo conozco mucdios presumidos de ciencias que saben menos latin. Despues de comer siempre tengo yo mis devociones. Llevame

No

al oratorio, Celia.

Celia.

Tia,

mejor es

la

cama.

No

te cargues tanto,
el

que pesas muelio.

Gerarda.
Celia.

La puerta

pesada, puesta en

quicio no pesa nada.

Teodora.
Celia.

Topaste con la silla. Por aca, tia. jQue golpe que se ha dado! Llevala con tiento, ignoraute. no le tiene? {Vanse.) I Que tiento, si

must add a brief word on monologue and narrative.

is

The

former
hoha.

common

device or feature of Lope's formula, and I

it

had occasion

to speak of

in the notes

appended

to la

Dama

In so far as the soliloquy was intended solely to reveal the

it

inner self of the person speaking

ized

must be

logically character-

by

directness, sincerity

and

simplicity.

These qualities, how-

ever, are easily

marred by
is

artificial speech, wliile the success of

the play Avhose keynote

if

rapidity of action

may
It

be jeopardized
to

anything hampers

its

forward motion.
his successors,

must be said

Lope's credit that he recognized the soundness of this principle

far

more than did any of

and that

his monologues,

while not always free from the artifice of conceptismo and culto,
are generally well timed

and

in keeping with the plot.

is

The
that

conclusion which imposes itself upon the reader, however,

the soliloquy
is

artistically far

more satisfactory

in serious scenes

and
to la

in

tragedy than in comedy for the reason stated in

my

notes

Dama

hoha, namely, that the former normally contains

more

moments

of reflection

and
is

self-analysis.

Pure comedy, accord-

ing to Lope's formula,

based, as I tried to show, on impulse

rather than deliberation.

the glosa, used by

monologue are the sonnet, Lope with great variety and flexibility, the redondilla and quintilla, the octava and the romance. As far

The

chief poetic forms used in the

DRAMATIC ART OF LOPE BE VEGA

as
I

99

am

aware, practically

all of his soliloquies

are brief.

No

monologue of the length of those found in Shakespeare, Corneille,

Mctor Hugo and others has come to my notice in Lope. The purpose of the monologue in his comedia, when it has no
Schiller.

serious, introspective character,

is

one of the following:

it

creates

a pause between the exit of one personage and the entrance of another without leaving the stage empty
;

it
;

whose approach

is

inuninent time to arrive

it

may may

give a person

permit one or

more persons

to leave the stage for a brief time to accomplish

an

act or deed necessary to the plot (such as the fetching of a desired

object, the bringing in of another person, the

hindrance of some-

thing about to happen,

I

etc.)

it

may

serve especially,

and

in this

include the a parte uttered with others on the stage, to express

the emotions of surprise, anguish, joy,

all

and the

like.

In the

latter case it is

thoroughly justifiable as an

artistic device.

The narrative, varying

its

in length, is a device justified only

by

rhetorical qualities

certain types of
talent.

and because of the opportunities it gave actors and actresses to show their declamatory
it

But

it

can hardly be defended otherwise, as

is

lacks the

dramatic character of action, and

it

open to many abuses.

While

reminds one of the messenger's speech in Greek tragedy, there

no reason for believing that the narrative in the comedia was

is

in

any sense influenced by

to a
I

it.

As regards

its

use by Lope,

it is

one of the elements of his formula in which he

made

concessions
to gener-

more and more alize too much,

growing vogue.

Without wishing

venture to state that lengthy narratives are

plays, while his early
restraint,

more common in his latest period show greater artistic

and middle
keep the

and an

effort to

narrative within proper bounds.

We

cannot, however, take our

stand upon absolutely solid ground in this conclusion, because

the vast majority of texts which have come

down

to us are based

Wherever I have been able to make any comparison with an original it was noticeable Those that the narrative portions had been cut an'il modified. examples v,hich we possess must therefore almost always be
on badly mutilated prompters' copies.
considered shorter than the poet's

own

version.

100

DBAMATIC AET OF LOPE DE VEGA

The narrative serves various purposes, among them that of making the audience acquainted with the history of the narrator, or of some one of the characters of the play it is a device to connect past events with the present, and it serves in general While to make known what has happened behind the stage. the narrative was naturally intended for those persons not yet
;

acquainted with

its

content, there are cases in which

it

rehearses

what the audience already knows.

blunder, in so far as
the public yawn.
it is

This constitutes an inartistic

a hindrance to the action and

makes
in-

Lope's successors retained the narrative, but

still

increased the defects which in the great master were

offensive.

a single

They introduced a greater number of narratives in play and not infrequently made a single one several
in length,

hundred verses
tlie

thereby contributing effectually to

artificial

elements which caused the final decadence of the

art.

comcdia as a work of

DF AM A TIC AFT OF LOPE

])i:

VI-

1;

lOl

CHARACTERS AND CUSTOMS

The fabric of Lope's formula, so intricately woven with its mixed elements of fancy and reality, cannot be adequately analyzed and discussed in all of its details in a short space of
:

that I

am

aware.

But the

serious student

may

be able, by con-

tinual labor carried on in a sympathetic spirit, to master the

seemingly overwhelming material of Lope's creation.

is

His work

not characterized by a specific

manner

or method.

The great
little

improvisor was a tool in the grasp of an inventive, a creative

impulse over which the conscious reasoning processes had

control.

His dramatic technique, such as

it

is,

leaves the im;

pression of having been acquired by a hit-or-miss process it was constantly modified, we may presume, not in the midst of a creative mood, but after the author had seen his work as a

whole upon the stage and viewed

It

it

objectively for the first time.

must have been in those moments of quiescent reflection that Lope reached out beyond the limits of his artistic formula to that of actual human life; to those moments we undoubtedly
owe that continual broadening of the scope
terly delineation of various living types of
of his art,
tlie

mas-

men and women, and

the abiding results embodied in vivid pictures of contemporary

customs.
to

This particular phase of his creation reveals the height

attain.

which his dramatic genius could

One

of Lope's most enduring inspirations

was the type of

woman cast in a heroic and virtuous women has been

man
or

mould.
a

His conception of great

model for other playwrights,

and the history of the stage offers no loftier scenes than those in which are depicted the moral courage, the fearless self-sacrifice, the purity of heart, the unswerving devotion of such women as Estrella {la Estrella de Sevilla), dona Maria {la Moza de Ccintaro),

dona Sol

{la

Corona merecida), Dorotea

el

{la

Nina de

Plata), Elena {la Llave de la honra), Elvira {el niejor Alcalde

el

Key), Casilda {Perihdnez y

Comcndador de Ocana), Lau-

102

DEAMATIC ART OF LOPE DE VEGA

It is

reneia {Fuente Ovejuna), and others.

that the
list

worthy of note

also

contains

women

of

humble

as well as exalted station.

satisfactory presentation of all these characters,

who

deserve

to be better

known

to the reader, cannot be

undertaken here

their rare delineation has already been pointed out

by occasional

writers whose sincere admiration had been aroused by Lope's

plays of good women.

It will suffice to

add that they rank among

plot,

his greatest creations, that the

unusual spiritual dignity and

felt

nobility of these heroines

may

be

throughout the entire

ennobling

all

those

who come

into contact with them.

first

Among

his

prominent types of men, the

place

is

due to

those sterling old characters

who

incarnate the solid qualities

of rugged peasant simplicity, honor,

and loyalty

to inherited

standards of living, who, as enemies of sham and innovation,

embody the uncorrupted ancient Spanish virtues. There is no more inspiring reading in all Spanish literature than the sentiments of these high-minded characters, and the fact that they constantly found a response in the public is a high tribute to
the people of the Peninsula.
is

An

admirable example of this type

Tello el viejo, in los Tellos de Meneses, a rustic of the

moun-

tains of Leon,

whom Lope

places in the time of Ordorio I with

the apparent intention of

ners and morals of his

making the contrast between the manown day and those of an idealized old
The following passage gives
also

Spain very clear

to his audience.

in a nutshell the author's conception of Tello, his native dignity

and high personal character;

(qualities of
Ti'Uo
el

it

is

an example of Lope's rare

gift of presenting the choicest spirit of

Horace modified by the

Luis de Leon.
jCuan bienaventurado
piiede llamarse el

viejo.

hombre

que con escuro nombre vive en su casa, honrado

de su familia, atenta

mas le agrada y Sus deseos no buscan

a lo que
las cortes

le

coutenta!

de los reyes,

adonde tantas leyes

la ley priniera ofusoau.

DRAMATIC
y por
c'l

All!

OF LOPE DE VEGA

103

mievo traje
aiitigiiedad

la siiiii)le

padece ultraje.

No
que
la

obliga poca renta

al iiso

al costoso vestido,

conocido

novedad inventa,

y con pocos desvelos

eonserva la igualdad de sus abuelos. ve la loca dania que por vestirse de oro,

No
se

desnuda el decoro de su opinion y fania, y hasta que el arco rompa, la euerda estira de la vana ponipa. Yo salgo con la aurora por estos verdes prados, aun antes de pisados del bianco pie de Flora, quebrando algunos hielos
cuajados arroyuelos. cuidado que salen mis pastores; los ganados mayores ir retozando al prado, y humildes a sus leyes,
los

tal

vez de

Miro con

el

a los barbechos condueir los bueves.

Aqui

las

yeguas blancas

entre las rubias reses,

las emes de Meneses impresas en las ancas,

relinchan por los potros, viendolos retozar unos con otros. Yuelvo, y al mediodia
la comida abundante no me pone arrogante; que no pienso que es mia, porque mirando al cielo el duefio adoro con humilde Todos los alios miro la limosna que he dado y lo que me ha quedado,

celo.

y diciendo suspiro, viendo lo que se aumenta:

"Siempre me alcanza Dios en

esta cuenta.''

Voy

a ver por la tarde,

el sol se

ya cuando

humilla,

por esta verde

orilla,

104

DRAMATIC AST OF LOPE BE VEGA

el esmaltado alarde de tantas arboledas,

locos pavones de sus verdes ruedas;

y,

como en

ellos ojos,

frutas entre sus hojas,

blancas, palidas, rojas,
del verano despojos,

y en sus ramas

siiaves

canciones cultas componer las aves.

Cuando

la noclie baja,

y al claro sol se atreve, cena me aguarda breve,

de la salud ventaja;

aunque con menos sueiio, mas alentado se levanta el dueSo.

que,
lo que digo doy gracias al cielo, que fertiliza el suelo, tan liberal eonmigo; porque quien no agradece la deuda al cielo, ni aun vivir merece.
le

De todo

In Jnan Labrador,

el

Villano en su rincon,

we have another
loyal to

example of the peasant, single-minded,

church and
tiers.

self-sufficient,

state,

but fixed in his abhorrence of court and courin France, but in spite of this

Lope has placed the scene

all

the customs depicted are

those of Spain.

Juan Labrador

hopes to die without seeing the king, not because of any disdain

and the consciousness monarch and vassal. The king may be served without gazing upon him. This the latter, finds out
for the latter but because of his modesty,

of the abyss which separates

and, disguising himself, he visits the peasant in

liis

retreat.

There he

is

profoundly impressed by his host's splendid virtues

of his loyalty to the crown.

and convinced

The play
of

offers a

striking contrast between the point of view of the two

men with
station.

the advantage frankly on the side of the

man

humble

Some
The

of the scenes which unfold before the spectator resemble

details.

genre paintings, so carefully worked out are they in their

best ones depict first the hospitality of the peasant

life,

Juan

Labrador, the routine of his daily

his habits being minutely

drawn

the author then presents in amusing fashion the old

DEAMATIC AET OF LOPE DE VEGA

man's enforced
in generosity
visit to tlic king,

105

who

tries to vie

with his guest

finest things

and courtesy.

These are among the

and furnish many surprising items for a study of the manners and customs of the Spanish people. Only the chief scene can be quoted here, and as it is impossible to give only a part without marring it I shall reprint it entire.
in all the Spanish comedia,

Juan Labrador is entertaining the mere courtier from Paris.

Juan.
Bey.

king,

whom

he takes for a

Tomad

(El Eey y Juan Labrador.) esa silla, os ruego.

Juan.

Bey.

Sentaos vos; que tiempo hay luego. jQue cortesano de fama! Sentaos; que en mi easa estoy, y no me habeis de mandar; yo si que os mando sentar, que en ella esta silla os doy. Y advertid que habeis de hacer, mientras en mi casa estais, lo que OS mandare. Mostrais

un hidalgo proeeder.
Juan.

Hidalgo no; que me preeio de villano en mi rincou;

pero en
el

sera razon

que no
Bey.

me

tengais por necio.

Si a Paris vais algiin dia,

buen amigo, os doy palabra que el alma y la puerta os abra en amor y hacienda mia,
por veros tan liberal.
Juan.
Bey.
I
j

Paris!

Pues

que deeis?

No

ireis tal

vez a Paris
persuadis.

a ver
Juan.
Bey. Bey.

la

casa real?

Mai mi gusto
;Yo
a Paris!

No puede

ser?

De

ningiin modo, por Dies.

Si alia OS he de ver a vos,

en mi vida os pienso ver.

Bey. Juan.

Pues 4 que os enfada de No haber salido de aqui

desde
el

alia?

dia en que naci,

esta.

y que aqui mi hacienda

DEAMATIC AST OF LOPE BE VEGA

Dos camas tengo, una en casa, y otra en la iglesia: estas son en vida y niuerte el rincon donde una y otra se pasa. Segun eso, en Auiestra vida
debeis de haber visto al Key.

Bey.

Juan.

Nadie ha guardado su

ley,

ni es de alguno obedecida

Bey.

t'omo del que estais mirando; pero en mi vida le vi. Pues yo se que por aqui

Juan.

pasa mil veces cazando. Todas esas me he eseondido por no ver el mas honrado
de los hombres en cuidado, que nunca le cubre olvido.

Yo tengo
no
Hey.
se

en este rincon
bien.

que de rey tambien;

mas duermo y como mas

Pienso que teneis razon.
Junu.

Soy mas

rico, lo priniero,

porque de tiempo lo soy; que solo si quiero estoy,

y aeompanado si quiero. Soy rey de mi voluntad, no me la ocupan negocios, y ser

es

muy

rico de ocios

suma

felicidad.

Eey. (Ap.) jOh filosofo villano! mucho mas te envidio agora.

Juan.

Yo me levanto a la aurora, si me da gusto, en verano,

y a niisa a la iglesia voy, donde me la dice el cura; y aunque no me la procura,
cierta limosna le doy,

con que comen aquel dia los pobres deste lugar. Vuelvome luego a almorzar.
Bey.

Que almorzais?
Es uineria. Dos torreznillos asados, y aun en medio algi'm pichon, y tal vez viene un capon. Si hay hijos ya levantados, trato de mi grangeria
hasta las once; despues

Juan.

DRAMATIC ABT OF LOPF DE VKGA

I'Oiiieiiios

107

juntos
la

los

ti'es.
iiiia.

Bey.

Conozco

envidia

Juan.

Aqiii sale algun pavillo

Bey.

Juan.

que se crio de migajas de la mesa, entre las pajas de ese corral como un grillo. A la fortuna los pone quien de esa manera vive. Tras aquesto se apercibe (el Eey, Senor, me j)erdone) una olla, que no puede
comella con mas sazon;
((ue

en esto nuestro rincon

a su gran palaeio excede.

Bey. Juan. Bey.

i,Que tiene?

Vaca y earnero
y una gallina.

Y
De un
esto) verdura
lo

^no mas?

Juan.

pernil (porque jamas

dejan de saear primero

chorizo,

sazonado os alabo. En fin, de comer acabo de alguna caja que hizo mi hija, y conforme al tiempo, fruta, buen queso y olivas. No hay ceremonias altivas, truhanes ni pasatiempo, sino algun nino que alegra con sus gracias naturales; que las que hay en hombres tales
son como gracias de suegra.

Este escojo en el lugar, y cuando grande, le doy, conforme informado estoy,

para que vaya a estudiar,

o siga su inclinacion

de
Bey. (Ap.)

oficial o cortesano.

Juan.

he visto mejor villano para estarse en su rincon. Despues que cae la siesta, tomo una yegua que al viento vencera por su elemento,
dos perros y una ballesta; y dando vuelta a mis vinas, trigos, huertas y heredades

No

(porque estas son mis ciudades').

108

DRAMATIC ABT OF LOPE DE VEGA

mato en sus campiuas un par de liebres, y a veces dos per dices: otras voy a un rio en que diestro estoy, y traigo famosos peces. Ceno poco, y ansi a vos
corro y

Eey.

poco OS dare de cenar, conque me voy a acostar dando mil gracias a Dios. Envidia os puedo tener con una vida tan alta;

mas
en
el

solo os hallo

una falta

sentido del ver.

Juan.
Eey.

Los ojos ^no han de mirar? ^No se hicieron para eso? Que no les niego, os confieso, cosa que les pueda dar. importa? ^Cual hermosura I Que puede a una corte igualarse? |,En que mapa puede hallarse

mas variedad de pintura? Eey tienen los animales, y obedecen al leon;

las aves,

porque es razon,
rey,

a las aguilas caudales.

Las abejas tienen

y
el

cordero sus vasallos,

los ninos rey de los gallos;

es de alarbes

que no tener rey ni ley inhumanos.

Juan.

Nadie como yo

le

adora,

ni desde su casa ahora

Eey.

besa sus pies y sus manos con mayor veneracion. Sin verle, no puede ser que se pueda echar de ver.

Juan.

Yo

pero

soy rey de mi rincon; si el Eey me pidiera

estos hijos y esta casa, haced cuenta que se pasa adonde el Eey estuviera. Pruebe el Eey mi voluntad, y vera que tiene en mi; que bien se yo que naci para servirle.

Eey.
si

En

verdad,

neeesidad tuviese,

DEAMATIC ART OF LOPE BE VEGA

jprestareisle algim dinero?

109

Juan.

Cuanto teugo, aunque primero

tres mil afrentas

me

hiciese;

Hey.

Juan.

que del Senor soberano es todo lo que tenemos, porque a nuestro Rey debemos la defensa de su mano. El DOS guarda y tiene en paz. Pues |por que dais en no ver a quien noble os puede hacer? No soy de su bien capaz, ui pienso yo que en mi vida puede haber felicidad

eomo

es esta soledad.

Scattered through Lope's comedias

mirable examples, taken from

fine sense of

among

the

may be found other adcommon people, of this

traits.

honor and loyalty, of respect for high personal

In

las

Florcs de don Juan the Countess, secretly in love with

is

don Juan, who, though poor

at his expense

the soul of honor, amuses herself

articles of value far

by letting him buy for her

above his means.

and, telling
for

But she takes the merchant Laurencio

aside

him the truth of the situation, offers herself everything and to give him a diamond as surety.
(Laurencio, con unos papeles atados.)
Laurencio.

to

pay

Aqui viene todo, y bueno, si ha venido de Milan.

Oid.

Condensa.
Laurencio.

Decid.

Condesa. (Ap. a Laurencio.)

A don Juan que esta de vergiienza lleno, no pidais nada; que yo soy mejor que habeis pensado. Por probarle me he burlado.
|Sabeis de piedras?

Laurencio.

Condensa.
iMurencio.

Pues ^no? Guardad aqueste diamante; que yo os enviare el dinero. Xi vuestro diamante quiero
ni otia

prenda semejante;

que mas estinio servir a un hombre como don Juan que cuanto vale Milan;

si

volveis a pedir,

110

DRAMATIC AUT OF LOPE BE VEGA

he de fiar, la mujer; qiie la virtud ha de ser riqueza en cualquier lugar. ,^Hay cosa de mas estima
la casa le

los hijos

que ver este caballero

justar, o con el acero,

en

el

torneo, en la esgrima?

en los actos militares,

cuando en la plaza se ven, I hay cosa que no haga bien?

Gracias tiene singulares.

Mai he hecho en alaballe; que es ofieo de tercero.

In previous chapters other rare types created by Lope have been touched upon.

Among them

are monarchs

and noblemen,
soldiers

both good and base, whose delineation involves Lope 's conception
of righteousness

among men and

justice for society

who

combine valor and boasting and introduce features of comedy

the nabob
eyes,

who returns to Madrid to become the cynosure of all and thereafter the victim of money-seeking swindlers or
;

courtesans

the

endowed
lines

witli

many

young gallant portrayed with virtues M^ell summed up

ceaseless variety,

in the following

which refer to one of the characters of

d MoUno:

es un hombre tan bien hecho, que algunas veces sospecho que es persona principal. Buen rostro, gran eortesia, gran musico de vihuela. jPues danzar! como en escuela. Todo para envidia niia. Tira la barra una legua, que no hay senal que no borre, y si alguna yegua corre, parece viento la yegua. Tiene fuerza como un toro,
.
.

ligereza

como eabra,

y gracia que no hay palabra que no parezca de oro.

DEAMATIC ABT OF LOPE

Or he has every kind
tyiiieal
}i)>(h)

1)E

VEOA

111

of vice

and

defect, as, for example, the

la Vinda vaUnciaua. The Then we find Lope's heroine

so well described in

passage has already been quoted.

or ingenue no less diversified than the youthful gallant or lover,

and showing an astounding insight

tractive portrait gallery could be
lackeys,

into

woman's

soul.

An

at-

formed

of all the servants

and

among whom

are finely individualized types.

Many
to

other personages could be added, but I will mention only the

caricature or figiwon
ridicule the

whom Lope

presented

now and then

all.

many

foibles

and weaknesses of us

He

has given

us a resume himself of those characters which had served as models.

Fisherto.

Es aquel hombre de
que se llaniau en
figuras.

aqiiellos

la corte

Paula.
en

De hablar
que
le

acorte:

pareee dellos?

Fisberto.

Todo hombre cuya persona

tiene alguna garatusa,
o cara que no se usa,

habla que no se entona;

todo hombre cuyo vestido
es flojo

amunecado,

todo espetado o mirlado, todo efetero o fruneido;

todo mal cuello o cintura, todo criminal bigote,

toda bestia que anda es en la corte figura.

al trote,

El Auseute en
artistic

el

lugar, II,

viii.

In stating above wherein Lope's

formula did not

always

reflect the actual

world about him,

it

I tried to

make

clear

that he constantly modified

by mingling fact with

fiction,

by

copying contemporary manners, and thus approaching more

nearly the formula of

human

life.

Therefore, by carefully glean-

ing innumerable details here and there from his comedia. the
student of Spanish culture
picture of Spanish
life

may put

together an unsurpassed

during the
life

siglo

de oro.

Street scenes

and glimpses of domestic

furnish ample material, while the

112

DRAMATIC AST OF LOPE DE VEGA

men and men,
or

customs which controlled the relations between

men and women,

great a realist to

could be admirably illustrated.

let

Lope was too

the facts of life escape him, and

artificial

we may

thus sunder the more

genuine.
real

features of his creation from the

The reader will find his own effort to appreciate the Lope amply repaid he will find in him that rarest of rare combinations, the inspired poet and the unconscious chronicler
;

of his times.

DRAMATIC

AI^T

OF LOPE BE VEGA

113

TWO EXAMPLES OF LOPE 'S COMEDIA A TRAGEDY AND A COMEDY

:

It is

evident to any open-minded critic that so large a

of good plays as

prefer this

number Lope has written might easily make some readers play or that which others would set aside for a very
;

different choice

it is

also a vain task in so short a space to give

long

lists

of

my

preferences with the reasons therefor.

But

if

we keep

in view the chief elements of Lope's formula

it is

pos-

sible to pick out a

number

of plays which contain

them

in thei;;

most perfect form; that these

may

betray the defects of his

is

creation as well as his great qualities

illustrate

to be expected.

To

them here, let me select one tragedy and one comedy, Fucnte Ovejuna and cl Ausente en el Lugar, No better example of Lope's courage in attacking overwhelming themes can be found than Fuente Ovejuna. It is the history
of a village subjected to every conceivable base act of injustice

on the part of
military orders.

its

overlord, a

comendador

of.

one of the great

From

the

moment

the curtain rises

we

are

under the

spell of the sinister authority

which dominates the

whole play to the very end. a crude, primitive and mighty force, brutal and repelling, but wholly in keeping with the object which

Lope had

set himself.

This was none other than to depict a

primitive culture as exemplified by a naive, tolerant, unculti-

vated people in conflict Avith the injustice, animal passion and

base impulses of a powerful individual.

Lope's art never ex-

The prevailing theme, that might makes right, reaches so much farther, its meaning is made so much deeper than is evident from the character drawing
pressed itself in broader or bigger strokes.
of the brutish comendador, that the reader

may deduce
is

there-

from a veritable
coupled with a
for selfish

political philosophy.

The whole play

its

a plea

for liberty, for the rights of a

fierce

community and

individuals,

arraignment of inherited privileges used

Technically the play moves Avith

and wicked ends.

114

DRAMATIC ART OF LOPE DE VEGA

extraordinary rapidity from scene to scene, at times too fast

to let the spectator grasp the full

meaning

of

word

or action.

Nevertheless, a certain lack of smoothness which

to the play

may

be imputed

is in keeping with the impulses which dominate it. Here we behold a single being who has incessantly Avronged a whole community, and it is the community as a whole which takes vengeance on the fiend. Thus the village of Fuente Ovejuna is the chief personage of the play. The qualities which

stand out in this tragedy are the contrast between the terrorinspiring scenes

when

the

comendador

is

on the stage and the

simplicity of the pictures which present the people as they live,

the variety of poetic speech with which the author has painted
all

the passions of

men and women.

As an example

of Lope's
so-

genius in giving expression to widely differing elements of

ciety colored

by a note of primitive culture this play is unsurpassed. We have the terse utterances of the overbearing comendador, the natural and simple speech of the village folk, homely
wit, and,

above

all,

a popular element in song and public amusepeers.

ments in the delineation of which Lope has few

time are we permitted to shake
off

At no

the

power

of the monster,

we

are never free from his pursuit.

is

Repeatedly a pleasing rustic

scene

interrupted by his entrance, and the shadow hanging

over the community again darkens the whole picture.

Few
us.

plays of Lope present so

types of the Spanish people

many living characters, actual who have thus been preserved for
rugged

The alcalde and regidor

of the early days with their

honesty and frankness, village maid and rustic youth, besides

various other peasant types, are depicted on the same canvas with
the grim representative of despotic nobility. For there can be no doubt that the comendador, far from being a mere individual, represents the privileged class, which the sane and democratic

people of Spain have never thoroughly assimilated, the over-

bearing lord who, in the words of Lope, does not deign to take
his hat off to
all,

who

considers the lower classes merely as tools

to his
is

own

ends.

play with such a theme of crime and revenge

violence, such as

bound

to have

some scenes of unparalleled

DUAMATIC ART OF LOPE BE VEGA

tlu>

115

abduction of the
liy

followed

rioting

c(>))ifU(Iador's victims, floggings and cruelties and the summary revenge of the whole village,

the torture inflicted by the examining judge on those

whom

he

deems acquainted with the

esthetic

guilty.

Yet the whole

is

brought with

such mastery to a logical conclusion that the spectator finds every

and moral demand

is
is

satisfied.

The dialogue
on the whole
into acts

relatively free

from

artifice

and the language

is

simple.

As regards

the construction, any division

and scenes could

really be dispensed with, as there

plot.

no logical pause anywhere in the progress of the

There

are also passages with a distinct bearing on the culture of the

author's day. such as satire on false learning and the academic

spirit, or ridicule of certain insincerities of society.

One
el

of Lope's best comedies

If a

is,

in

my

opinion,

el

Ausente en

comedy has the good fortune not to have the traditional guns of heavy criticism trained upon it, it will suffice for it to have two fundamental qualities to insure its success a rapid forward motion from the first to the last scene, and the
Lugar.
ability of getting every reaction desired out

of the audience.

must not have the formality of tragedy which requires moments of repose and only one great reaction on the part of the audience at the supreme moment of tragic climax.

Above

all,

it

Comedy demands
it

a reaction, a stirring of the public's risibility

it

with every comic incident, or

is

a failure as
fills

comedy.

To me
fall of

seems that

el

Ausente en

el

Lugar
is

these prerequisites

admirably.

This play, too, should be presented with no

it

curtain from start to finish;

bit of royal fooling

an unbroken jeu eF esprit,

dominated by the wit and resourcefulness of

a personage

Esteban, a servant, one of Lope's most delightful and tangible

creations.

Here

is

who
it

lives

and breathes, and

incidentally lends the vigor of real being to his master.

No
game make

simpler plot could be devised, since

of hide-and-seek, in which the

is

in reality a naive

young

gallant Carlos tries to

others believe that he has left town

when he

is

actually present,

thereby getting into a network of contradictions and difficulties. The necessity of amusing stage business, of varied gifts and

116

DHAMATIC AET OF LOPE DE VEGA

is apparent everywhere, hands of a good company must have delighted the audience and justified the current opinion that to

resourcefulness on the part of the actors,

and the play

in the

attract the public there

was no inventor

like the inimitable

Lope.

The play has

verbiage.

all his

predominant qualities of

facile verse, sim-

plicity of dialogue, and, to a

marked

extent,

freedom from poetic

There

is

no great motive force behind the incidents,

and the coming and going of the characters are not based on reason, as may be expected in a play of pure fanc}' and wit. The element of balance also is present, the young lover and his

dama being

offset

the lady's servant; incidents and ideas

by the servant Esteban, who is attached now and then run

to
in

pairs, traditional novelistic features are not lacking, such as con-

cealment, deception, and the like. But the author's invention moves with such smoothness, even stereotyped elements are han-

dled with such a light touch, the traits of surprise in incident

and sparkling dialogue are so

the verse
is

lavishly spread over the whole,

so admirable throughout, that fault-finding is dis-

armed

at every turn.

Superficial
it

the public of Lope's day

of gratitude for

it all may seem now, but to was for the hundredth time a source

two hours delightfully spent.

Few

comcdias

retain such vitality after so great a lapse of time.

In both of these plays we thus find Lope's great qualities as

well as the defects of his artistic formula.

But many others

could be selected to demonstrate with equal clearness

quently and successfullj^ he approached the formula of

life.

how frehuman

his poetic creation

The reader may then fairly see how in the vast range of Lope carried his audiences from utterances of the merest amusement and gaiety, which represent the passing phases of life, to the deep and genuine voice of tragedy and pain which must always endure.

LA DAMA BOBA

117

II

LA UAMA BOBA
The fundamental idea of our play, that love makes the simpleminded clever, is an old one, having been best voiced by Ovid, The far-reaching influas I have had occasion to state before.
ence of the Latin poet carried this conception of the passion of
love over all parts of Europe, where
it

found highly diversified

earliest narratives of in-

expression in fiction and drama.

terest to us, because they

The
this

embody

power

of love over the

rude or untutored mind,

may

be found

among
and

the Italian novclle,

whence

it spread into amorous The principal conception is so

literature
flexible

of other countries.
so easily used in

scores of different plots or stories that the presence of the idea

any literary work by no means always implies indebtedness This is markedly so in the case of Lope and of the play of la Doma hohci which rests on a very meager idea, namely, that the mind of a silly girl may be improved by love.
in

to other material.

This could well have been considered a classic commonplace in

the author's day, but he amplified
it

in his

own

peculiar way,

conceiving a complete plot to serve as a frame.

of la
facile

The comedia
to end.
is

Dama

hoha

is,

therefore, a noteworthy specimen of Lope's

It is his

play of fancy.

own from beginning

main idea

An-

other example of play embodying the

Calderon's

De una causa dos

sons, of

efectos.
is

Here we have the contrast of two

is

whom

the one

given to learning and serious living with

light-headed and irre-

a touch of pedantry, while the other

sponsible.
sciences,

Here love, depicted as containing within itself all the also works a cure, teaching and ennobling the inferior

character.

As

is

the case with Finea of Lope, the regenerate

Fadrique confesses his transformation gratefully, paying to love

the following tribute

118

LA DAMA BOBA
De
gala, ingenio
es

y valor

dueuo; pues fuera cierto, que ingenio no hubiera, gala y valor sin amor. El hombre que con mayor perfeccion lucir desea, y en solo salir se emplea mas galan que el mismo Apolo,

amor

amor lo hace, pues es solo porque su dama le vea. El que mas ansia ha tenido
de mirarse senalado

por su ingenio y celebrado de cortesano entendido,

la principal causa

ha sido

amor, para que pretenda en una y otra contienda de ingenio, por varies modos, verse aplaudido entre todos, porque su dama lo entienda. El que mas vanaglorioso, coronado de victorias, en las humanas historias hizo su nombre famoso, amor es el poderoso
afecto, que a ellas le llama,

las

no es solo opinion y fama que le ilustran valiente, pues lo hace solamente, porque lo escuche su dama. Yo asi, como nunca he amado hasta ahora, ni he tenido dama, ni galan he sido,
ni entendido, ni atentado;

pero ya que enamorado sigo la imposible estrella

los

de la hermosura mas bella, medios he de buscar; que con nadie quiero estar
airoso que con ella.

mas
It is

more than

likely that Caldei'oii

had

la

Dnma

hoha in miiul

when he conceived

his play

De una causa
two

dos cfectos, for in

spite of the vast difference in the

stories the

fundamental
sisters)

contrast between two brothers (in Lope

we have two

and

IXTBODUCTWiV
a

119

few details of the action make a

sli<i,-lit

connection in the plots

prohable.

The exposition of la Dama hoba is excellent. It is spirited and leads the audience at once into the story. Nor does it lack
in immediate comic effect, for Liseo,

who

is

presented at the rising

of the curtain as a self-contident, eager lover, filled with high

hopes as regards his fiancee, no sooner learns the real state of her

mind from

the newly arrived Leandro, than his marital project

ears.

comes tumbling about his

cannot be broken.

He

finds that his family has

contracted him to a simpleton.

Yet the word of a gentleman

So, leaving the audience expectant as to the

solution of his difficulty, the exposition closes.

We

are then

introduced into the home of Octavio, the father of Nise and Finea,

and the main

Octavio
little fit

plot,

an exceedingly simple one, begins to unfold.

perplexity regarding his two daughters,

tells of his

how

they are in their extremes of ignorance and learning

to enter into the married state.

As

this introductory scene is

omitted in

all

printed versions the structure of the play has

been greatly marred.

quaintance,
first,

In the following scenes we make the

ac-

of the blue-stocking Nise,

and then

of the silly

Finea, each being admirably portrayed with her characteristic

qualities.

In subsequent entrances we meet a number of young

gallants, especially one Laurencio,

circle of Nise.

who

all

belong to the culto

The

latter

seems deeply interested only in Lau-

rencio, but here, too, the course of true love does not

run smooth.

For presently

w(^ find

Laurencio abandoning the clever Nise for

the simple Finea, whose

dowry has been greatly increased over

prospective suitor.

that of her sister by an indulgent uncle in order that her defects

of

mind may prove

less repellent to a

The

latter has

been found in Liseo, who now enters, and, having been

In despair he decides to break
the

introduced to his novia in an amusing domestic scene, he finds

his worst fears realized.
off

engagement and

to turn his attentions to the

more clever

sister.

In the second act Nise has learned of Laurencio 's perfidy

and a quarrel ensues between the two

lovers.

Liseo, for his part,

now thoroughly

interested

in Nise, finds

Laurencio guilty of

120

LA DAMA BOBA

double-dealing in so far as he makes love to Finea, and also leads

Nise to believe that he

is still is

courting her.

He

challenges

him

to a duel, which, however,

ciliation

subsequently avoided by their recon-

and the arrival of Octavio.

The gradual improvement

all,

of Finea 's

mind

is

also

shown; she acquires some independence

she becomes
act,

of thought, wit and resourcefulness, and, above

conscious of the influence of Laurencio's suit.

In the second

however, she

is still

a hoha, unacquainted with the wiles of love

or the dangers of her ignorant state.

As

a consequence
lover,

we have
finds
it

some amusing scenes betwen her and her

wooing.

who

necessary to explain to her every step taken in the course of his

The

father, for his part,

is

filled Avith

great anxiety

when he
folly

learns from her

own

lips of the

new

courtship, lest her

and ignorance mislead

is

her.

Liseo and Laurencio have in

the meantime agreed to help one another in their respective suits.

But Nise

not at

all

inclined to listen to Liseo 's unexpected

is

advances, while Laurencio

more

successful,

having received

Finea 's promise of marriage in the presence of various witnesses.

In the third act Finea 's regeneration
is

almost complete; she

commends
Liseo,

the

power

of love as does

Fadrique in Calderon's play.

having been rebuffed by Nise and finding such marked

in Finea, determines to return to the latter,

improvement
rencio,

and

thus live up to his contract with the father.

This places Lau-

whose

suit has

met with violent opposition on the part

of the girl's family, in a difficult situation,

and he and Finea

is still

devise a trick to deceive Liseo into believing that she

as

simple as ever.

In this

effort

Finea succeeds by playing the

pref-

fool in her next interview with Liseo, and, the latter completely

hoodwinked, again plans to woo Nise, whose intelligence

erable at
all costs to

is

the follies of Finea.

At

this juncture the

father decides to refuse Laurencio further admittance into the

house,

and

whereupon Finea and her servant Clara conceal the lover Pedro in the attic. There the four are discovered enjoying a fine spread, and Octavio, seeing that further opposition to Finea 's union with Laurencio is useless, gives liis
his servant

consent

Nise also yields to the suit of Liseo.

INTRODUCTION
Tlu' close is less al)rupt than usual, because

121

Lope brings

his

main
all

idea, the cure of

Finea and her victory over the others as

well as herself, to a logical conclusion.

The
is

fact that the lovers

change their allegiance at

least

once

not surprising in a

play dependent, as a game of chess, on a series of moves and

countermoves which are born of rapid decisions and impulses.

Many
hoba.
love,

of the elements of Lope's formula are present in la

Dama
Li

We
as
is

have duplication in the criada hoha, who

is

cured by

her mistress, clearly a theatrical combination.

addition to the contrast between the two sisters, a clever touch

is

added

in the ditferentiation of the characters of

Laurencio and
in his

Liseo.

The former displays a frankness almost brazen

preference for

money over

wits, while the latter prefers intelli-

gence to wealth.

Therefore each forsakes his original choice,

Laurencio abandoning Nise for Finea, and Liseo turning from

Finea,
is

who was contracted

to

him by

his relatives, to Nise.

There

no reason for shaking the head over this code of ethics which
fact that
reflects the cold

emphasizes the superior attraction of a larger dowry.

from the

it

Apart and calculating attitude on

over, the contrast of the

the part of certain

young men the world

two young gallants afforded Lope an occasion for satirizing the

ways of human society. The play also voices an amusing criticism of poetic fads, of stilted speech, and ridicules what our modern slang would designate as high-brow affectation.
in such scenes as that in

This

is

delightfully accomplished

which the servant Celia brings the blue-

stocking Nise a copy of Heliodorus, and the latter remarks

.
.

Es Heliodoro

griego poeta divino.

and the prosaic servant asks:

^

Poeta?

Plies pareciome

prosa.

and Nise characteristically answers:

Es que hay poesia
en prosa.

and Celia replying on behalf No

of

common

sense says

lo sabia.

122

LA DAMA BOBA
Inasmuch
as the

power of love may make the simpleton wise

Not only Finea, but her servant Clara
live

and

clever,

it is

not astonishing to find the miracle of learning

without study added.

refer to the classics,

and thereby
is

up

to the tradition of the

critics

stage language

and demonstrate

to the

most exacting of

that the reform of their wits

complete.
plot,

There are interesting popular elements added to the

such as singing and dancing.
reflected a feature in the education of
families,

"We are led to infer that the latter

young women
it

of good

who

took lessons in these arts from professional teachers.

this,

We

have other evidence for

and may consider

in aristocratic

an imita-

tion of practices at court

and

families,

where

singing and dancing were a

Finally,
it

common

diversion.

would be

difficult to find a play, in

which there
is

are

greater

opportunities for talented

actors.

It

evident

throughout that Lope had in mind

those

specific players,
list

presumably

whom

he himself affixed to the

of dramatis personae.

The title-role above all others demands a nicety of interpretation and refinement of action which would make the actress strike a happy mean between exaggerated imbecility and unwarranted
intelligence.

My

notes to the play are intended especially for the average

is

student of Lope, whose native language

not Spanish.

I
is

am
per-

aware that so extensive a commentary as

to criticism,

have added
long as
I

open

and

am no

less certain that as

am

mitted to labor at these choice tasks,

my

results

may
it

contain

some grave misjudgments.

In this particular case

was not

my

intention to overwhelm a simple

It

comedy by

floods of use-

less erudition.

was

my

desire not only to illustrate various

points of the play, but to illuminate Spanish culture of the

Golden

Age by quoting
detail of the play

interesting

contemporary
I

evidence.

Every

which

tells

us something of Spanish

life as it

once was

is

worthy of careful consideration.

view of the average person w^ho
as

have tried
be interas that

to take the point of

may

ested in

Lope do Vega and the Spanish drama

much

INTEODUCTION
of the scholar

123

who

is

apt to be better informed than the erring

eomnieutator.

It is also undeniable, that

mere references without

to.

extensive quotations do not impel the reader to take the trouble

of informing himself in the matter referred
therefore, that
I

must repeat,

many

a note

may seem
may
not

gratuitous to a Spaniard,

but that

none the

less entertain the

fall

hope that

my

effort to

stimulate the study of Lope

on barren ground in

my

own

country.

124

LA DAMA BOBA

THE AUTOGRAPH
The autograph manuscript
insignificant erasures

of the

Dama
himself,

hoha has been pre-

served in an unusually good condition.

There are only a few

made by Lope

and these concern

and then rewrote in a slightly different form. I have included them in the text in parenthesis because they throw some light on Lope's manner of composition. The excellent state of preservation of this manuverses which the author crossed out,
script, as well as the

few

licenses to act (often

appended

in large

numbers
original

to the last pages of manuscripts), indicate that this

was carefully kept by

its

owners from the very beginclear

ning.

We

know

that the
it

play was written for the actress

is

Jeronima de Burgos, but

by no means

how long

she

had the autograph

letter to the
la

in her possession.

All that Lope says (in a

Duke

of Sessa, date? 1617) is:

"nunca V. Ex. tubo

dama

hoha, porque esta es de Jeronima de Burgos, y yo la

imprimi por una copia, firmandola de mi nombre," which may

be interpreted to

mean
still

that since the play belonged to the actress,

Lope (whether he
it

had the autograph or not) could not send Be all this as it may, suffice it to add that the original finally got into the famous Osuna Library and is now a precious possession of the Biblioteca Nacional at Madrid, vitrina 21, no. 5. The old number has been
either to the

Duke

or to the printer.

discarded.

In the Catdlogo de
el

las piezas

de teatro que se conla

servan

en

departamento de manuscritos de

Biblioteca
it is

Nacional, compiled by A. Paz y Melia (Madrid, 1899),

no.

810(1).

comparison of the autograph with the

it

first

printed edition

hard to believe that Lope examined with any great care the copy which was given to the printer. He says, as we have

makes

seen, that he signed

it,

and

so

makes himself responsible for

the form in which the play has hitherto been known.

How

many

omissions and discrepancies there .are in the early editions

INTRODUCTION

125

may

be seen from the a{)pended

list

of variants (p. 129).

am
was

inclined to believe that a fairly acceptable prompter's co])y

handed

to

Lope
it

to sign,

and that he glanced

at

it

very hastily

before sending

to the printer.

The
the

chief passages omitted are

precisely such as might have been cut

the parts were distributed

among

by the manager before company but to this loss

;

must be added not only the changes for the worse in occasional phrases, which surely could not have been countenanced by the
author, but also a large

number

of typographical errors, so com-

mon

in the printed comcdias.

A great many stage

all exits

directions had

to be

added as Lope does not indicate

an unnecessary device although
saiga

and entrances, was

to him, of

and the modern division of each

course,

act into scenes

it is

a helpful one to us.

is

Generally, but not always, any entrance or exit

cross

indicated by a
en-

(*)

and cntre are used interchangeably for

exits.

trances,
I

and entrese despidasc or vdyase for

have ventured to add a

minimum

of stage directions in
in

order- to

make
;

these exits

and entrances clearer than they are

is

the original

in every ease the addition

enclosed in brackets.

Any

superfluous letter, syllable, or word has been left in parenis

thesis or indicated in the notes, but this occurrence

I have, of course, left

very rare.
in

untouched the many discrepancies

;

spelling, such as ynteres, interes

hombre, onbre

casa, cassa

hablaban, hablauan; dijo (very rare) dixo; and

many

others.

The

original, with negligible exceptions, omits all punctuation.

first

This necessitated the capitalization of the

sentence,

word of every

and brought me face

to face with Lope's arbitrary use

of capitals in general, a feature which has been modified, since

it

seemed absurd to retain capital

letters in the

middle of a word,

or proper

names with
tell

a small letter,

Planeta, with a capital.

and such words as Rayo, These phenomena only annoy the averThe very few
ac-

age reader, and

the scholar nothing that he does not already

know
terite,

of seventeenth century manuscripts.

cents of the original, chiefly forms of the third singular pre-

have been retained.

is

Wherever the name

of the person
it

speaking

indicated by only a letter or two, I have written

126

LA DAMA BOBA
;

ill

full

abbreviations in the text are exceedingly rare, and have

;

been written out

they embrace such forms as qu, or q for qur,

like.

nro for nucstro; palmat"^ for palmatoria, and the

I

In short,

have tried to present a careful edition of Lope's text which

manuscript and manner of com-

will give a faithful idea of his

posing,

and yet not frighten

off

anyone about to begin a study

of this great dramatist.

Only two other methods of reproduction

remained

either a complete modernization of the spelling, which

would

spoil

my main

purpose

to present

an edition of one of

Lope's autographs; or a photographic reprint, which would

reach only a few interested ones.

In the latter case the study of

I

Lope's art might not be furthered as

am

anxious

it

should be.

There

exists also in the

Biblioteca Nacional a manuscript

copy of the
editions,
it

Dama
;

hoha in
has

hand
set

of the

first

third of the seven-

teenth century

it

many

characteristics of the first printed

and

my

judgment,

down
a

several years ago,

was that

is

an unimportant copy of

stage version, but nearer the

autograph than the known versions.

fact that
it is

This

is

borne out by the

apparently a copy made by Luis Ramirez de Are-

llano who, according to both Cristobal Suarez de Figueroa

and

Vicente Espinel, had the reputation of being able to reproduce

a play which he had heard but three times in the theatre the plays he
hoha.
is
;

among

reported to have thus reproduced was the

:

Dama
manu-

Compare Rennert
is

The

Spanisli Stage, p. 176.

Such a

copy

scarcely calculated to tlirow light on an autograph

script,
It,

even

if

therefore,

we needed seemed more

it,

which

is

fortunately not the case.

profitable to

show the relation between

is,

the two versions directly connected Avith Lope's name, that

the
first

printed form which he signed for press, and the autoless

graph, than the variants of a manuscript of

importance

than either of these.

Printed copies, in general, scarcely do more than a very poor
reproduction of a great painting might do, that
serve, if the original is lost, to give
tion.
is,

they

may

an idea of the author's creaIndeed, the only lesson.

But

since

we have

the original in this case, the copies

seem pale and unsatisfactory withal.

INTEOnrCTION
and that
a i)atlietic one, whit-h a careful

127

comparison of the origis

inal with the printed vei'sions teaches,

that our loss in the

disappearance of the autographs of Spanish writers, such as

Lope, Cervantes, and others,
to express.
is

beyond the power of any words

The

relation between autograph

a.

and printed

versions.

Autograph
1613).

]\IS.

(Osiina Library.
(cf.

Acting versions or prompter's copies; in the case of a large

The Eamirez
Printer's

Lope)

above). copy (signed by generally destroyed

so in

MS

number of plays

these copies

or lost,

and presumably

were preserved and exist in the Biblioteca Municipal of Madrid. I have seen none of
la

this case.

Dama

hoha.

[g.

Madrid, suelta of 18th century, entitled

la

Boha

discreta]

i'
li.

Biblioteca de autores (spailoles, vol. 1 of Lope's works (with slight arbitrary changes).

i.

Teatro Relecto

(segunda parte)

128

LA DAMA BOBA
editions

The

known

to

me may,

therefore, be considered in the

following order
e.

Doze comedias de Lope de Vega sacadas de sus originales per

mismo.
Dirigidas
al.
.
.

el

Ano
f.

1617.

Con

privilegio.
p. 283).

Duque de Sessa. Noveua parte, En Madrid. (Cf. La Barrera, Nueva

. . .

biografia, op.

cit.,

The same volume reprinted

g.

at Barcelona, 1618. It improves some typographical errors, changes the punctuation here and there together with half a dozen single words. Madrid suelta of the eighteenth century with the title la Boha

h.

discreta, based on the printed versions. Hartzenbusch 's edition of Lope's Comedias, in BibUoteca de autores
I, 297-316. As this version is accessible to all, its imperfections can be studied by the reader without any comment. Eeprinted from e or f.

espafioles,

i.

reprint
I

by Francisco Jose Orellana

. . .

in his teatro seJecto antiguo y

moderno nacional y extranjero.

(pt.

(Barcelona, 1866-68), 8 vols.

pp.

759-786. Eeprinted from Hartzenbusch with very little change. The play entitled la Boba discreta by Cahizares has nothing in common with our play. A very unsatisfactory translation of the play into French under the title: La petite Niaise can be found in the following volume: Les Chefs- d'oeuvre du Theatre Espagnol ancien et moderne ; traduction de Clement Rachel, vol. I
in

2 vols.);

cf.

I,

vol.

2,

(Paris, 1900), p.

5ff.

INTEODVCTION

129

VARIANTS OF THE FIRST EDITION OF MADRID,

The

1617

edition of Barcelona, 1618, reprinted this version with

very few discrepancies, emending some typographical errors and

The differences worthy of note are marked (B). The disagreements between the autograph manuscript and the first edition, 1617, as listed below, clearly prove that Lope sent The changes and to the press a very defective acting version. cuts which were made are of an arbitrary character having, no
punctuation.
doubt, been hastily adopted either during rehearsal, or while the

play was being acted.

As

it is

humanly impossible

to note every

insignificant variant, I have tried to limit myself to such as

may

have some importance.

All differences in spelling have been

;

noted but are not given to avoid useless repetition

be illustrated by the following examples
nacen, nazen
; :

they can

inuencion, inuenzion
;

piezas,

piecas
;

licencia,

lieeneia

igual,

ygual

ygnorancias, inorancias prouisiones, probissiones

oficios, offizios

cosa, cossa; fe, fee; enriquece, enrriqueze; traes, trahes; creer,

creher

nombre, nonbre, nobre

jamas, xamas
;

entranbas,
;

entrabas

tejado,

texado
Otabio.

deben,

deuen

habra,

aura

Octauio,

Words which may

;

indicate a popular pronunciation

:

have been added.

cion,

objecdiscipulo, dieipulo Examples are objecion darle, dalle. I must emphasize again, that where
;

we
first

possess the autograph, these differences in spelling of the

edition have

no

scientific value.

Misprints such as numeto

like

for numero, fingas for finjas,

and the

have been omitted.

version.

The numbers indicate the verses of the manuscript

LA DAMA BOBA
Comedia famosa de la Dama boba de Lope de Ycga Hablan en ella las personas siguientes
Laurencio
Car{)io.

Pedro

Duardo
Feniso Liseo

Vn

estudiante

Finea Nise
Celia

Miseno
Octauio

Clara

Lope
Turin
Salen Liseo, y Turin criado (s) (B) de camino
1.

Vn

maestro de dan(;:ar Otro de escriuir y vn roble

de discurso v de razon

120.
124.

IXTRODUCTIOX
'616.

Ai^si.

ya, ya, ya. ya

460.

319.

K
Letras sou estas tambien
le dire

325.
328.

329.
331.

Esta?

no se
Fin.

estotra?

AquoUa

redoda
333.
336. 343.

letra.'
si

Assi,

si,

Esta
omits
dize

es r

Ya

niiro; reads:
e, n.

Di

aqui, be.
346. 347. 350.

ben

precedes 346

omits saca vna palmatoria

(351)
353.

355.

Dale nna palmeta y ella echa a eorrer tras el 0. perro, aquesta Celia. Ella le mata. Ma.

Ya
357.
357.

omits [Ay, que

me mata
? i

Nise

tu maestro

Que

es esto?

358.
360. 362. 368.

Ma. Tenganla
Dilo

ay.

K
gentil

369.
370.

luego que
la

la

toma, y eas
assienta

tomo ma no

372.

abraso
discipulo ignora
dalle

373.
378.

(379)
384.
398.

Vase

el

maestro

dizen ban
Sale Clara criada de Finea

405.

407.

Que ya pario ^Quando Clara?

omits pues

425-428. omitted
441.
443. 444.

hablan
girigonca entre ellos (B)
ni es espanol

445.

viuda

446-448. larga, y compuesta <le ozico, sospecho que era su

abuela, de negro, y bianco vestido

449-452. omitted

132

LA DAMA BOBA

619.

INTEODUCTION
960. especie, es linda cosa

133

1001.
1012.

Quando
y con
esse.
.

(961)
961.

Sale Celia con una eaxa, y

tal
.

censo se cobra
.

agua Cel Aqui

corned.

1017.
esta
el

pues vemos

agua

1018.

experieneia notoria

1021.
1030. 1031. 1032. 1035.

Es verdad
las palabras se

962.
964.

El agua sola prouooa omits direction Beba

rompan

rompanse
cobra

letras

969.

Aguardad
tu te

970.
971.

dizen que vn hombre eno-

lleuado

jado
1037.
si le

973.
978. 979. 980. 981.

Ay

padre mas desdichado Entrad adentro vosotras

ponen

1038-1039. transposed
1038.

a prevenirle la

cama

La mia pienso Octab: Tu no ves

que aun no estan heehas
entra adentro.
Fin.

1039.
1040. 1043.
1044.

en el su imagen que represente su sonibra

Templa
cristal del

982.
983.

Que
Fin.

libertad pregona

me
984.

plaze

1045. 1046.

tu yra,

Xi.

Vamos hermana.
Dios, ola.

Es verdad
trocar

A
(985)

1051.

134

LA

DAM A BOB A

1191.

ISTIiODUCTION
l.lO.l.

135

136

LA DAMA BOBA
O que bien Vanse Laureneio, j Xise de
las

1765.

1907.

(1779)
1784.
1786.

manos

propria voluntad mi padre viene

Sale Octauio yo agora

(1788)
179.3.

1796.

Ay

ignorancia

tal,

pues

dime bestia
1798.
al principio

fue hecho

1799.

aquel abraqo alto el bra^o derecho de

Laureneio
1802.

luego desabraqada quedo

agora
1803. 1806. 1809. 1812.
1813.

piensa
se
Si, tu

llama no ves del que

ya, por cierto

tomaudo
creo

1818-1819. omitted
.1820.

(1825)
1828.

donde tu hermana esta? Vase Octauio

omits me Sale Laureneio
escusase

(1831)
1834.

1838.

Porque

te fuyste

1841-1844. omitted
1846.
1847. 1851.

(B) omits lo dino nombre

1856.

(1859)
1860.

1873.
1878.

y assi podre Otro mejor puede auer. Salen Duardo, Feniso, y Pedro. Dua. y el. Yo voy aqui eon mi iugenio
.
.

casarte

1883-1888.
1895. 1896.

omitted Duardo, Feniso, Pedro Finea continues: yo doy aqui la palabra

1898. 1899.
1900.

Fen:
Todos.

cosa, etc.

Si

Haz
Dua:

cuenta que ya estas

sana
1906.

Pues

casas

INTRODUCTION
1998.

137

Hanme
. .

dieho que
lo c'leo

2019-2022. omitted
2023. 2032.

1999.

yo no

200S. 2011. 2013.

que de manera destos fauores

me

Es

Liseo aquesta es discreta la mayor alabanqa

No puedo menos
Vase Nise

(2013)

Omits: Fin del segundo acto de la Dama boba.

Acto Tercero de la Dama Boba

Omits: Los que liablan en
Sale Fiuea sola con otro vestido.
(Directions like this indicate that
el

tercero acto

13) Sale

we

are dealing with stage coj^y.)

acidente, o elecion

2213.

2036.

(2221)

2051. 2058.

omits en

un criado, y los musicos ya los musicos venian Cantan los musicos, y bayIan Nise, y Finea lo que
quisieren;
this
direc-

En

el

lugar en que estoy

estoy 2063-2072. omitted

2062.

tion indicates that the

(2073) Sale Clara 2077-2080. omitted

2081. Atribuyen

printed copy was independent of the autograph.

2221-2318. omitted
2320. 2321. 2322.

(2091)
2109.
2121.

Salen Octauio, y Miseno

la

a Dios
este -agrauio

Zamoes; Zamores (B)

Tratemos nuestro concierto

(2125-

138

LA DAMA BOBA
Sale Finea
2590.

(2405)
2406.
2413.

Porque

nueua en mi niemoiia
cubierto

2610-12. given to Liseo

(2613)

Vanse
salen
dro.

Liseo,

Turin,

2416.
2420.

Laurencio; y Pete pareee? Lau.

y
tu

si

a otra parte

2425.
2426.
24.34.

2613.
bella mira 2614. 2617. 2622. 2629.

Fin.

Que

y tu imagen
consejos

Muy

bien

que has dado

omits a
a un espejo

2442.

traerle al cuello

2443-2446.
2455.

Mira

omitted lo que ha resultado

2459. 2461. 2465.

Liseo te quiere bien, plegue

partes
la tierra

(2630)
2633. 2638.

despicarme Salen Nise y Celia

engaiias
el

alma

2469-2470. omitted
2489. 2490. 2494. 2498. 2505. 2510.

2651-2654. omitted
2655.
2657.

donde nacen

Fin.

Ay

cielos

andarla

voyme.
reporta

Nis.

Los pasos

ya

con zelos Ya estoy atento a su regalo

a sus desseos
esso
si

ya

2511.
2512.

pensaron

hijo varoii, y
seiiora

2516. 2519.
2520.

Lau. Que quieres? las que trato son 2663. Querraste casar ansi 2664-2667. omitted 2668. leuantando 2669. y de aqueste
2658.
2660. 2670.

Aqui me quiero

2521. 2522.

Ya llega En grandes
aun no lo siento Escondense Laurencio, y Pedro, salen Liseo, y
Turin.

2672.

(2672) (2676)
2677.
2683.

la culpa a mi omits a mi. Que bien Vase Laurencio

hecharme

Vase Pedro
aquello

(2528)

buena
Cel.

2691-2694. omitted
2700.

2523.
2524.

Yo

lo

dexo concertado

Que

es esto?

Ni.

2528.
2533. 2541.

Al fin ha querido me ha dicho luna nueua

tonta se buelue
2707.
2708.

quieres

con quien

el

alma viuia

(2719)
2723. 2725. 2730.

2542.

tal locura? Tur. given to Liseo 2544-2547. omitted

Ay

Salen Octauio, Miseno, Duardo, y Feniso

2543.

No me

direys

la

ocasion

del saber

Creo given to Turin 2561-2568. omitted

2548. 2560.
2582.
le

pienso quo tu

la

2731-2734.
2739. 2744.

omitted

vemos
el

expresamente Como? ... ha tracado

2583.
2584.

eon alas pero

es

en

fin

2747. os
2748.

mas

facil

espiritu.

Fin.

Yo

En paz

tu casa tendras

creo
2585.

(2749)
2749.

Andan

Salen Laurencio, y Pedro en estremo

INTRODUCTION
2757.

139

140

LA DAMA BOBA
Fen.

Y yo

sion
tido.

que en esta ocaaya perdido el senen-

3112.
3113.

given to Feniso
Lis. Siempre Duar. De esso os podreys Salen Laurencio con la espada desnuda, y Finea a sus espaldas, Pedro y Clara, y Octauio detras de todos. Dua. Teneos, Ocauio: es Laurencio?
,

3115.

Oct.

Que ya era cuerda

(3118)

tendi y estaua loco de

vella.

Mis.

Que

lastima.

Dua.
3123.

Nise bella con Liseo viene

aqui.

(3027) Salen Liseo, Turin, y Nise. 3027-3072. cut to the following:

3127.

Nise: Es doblar la volun-

tad de mi aficion.

Lis.

Templa agora,

bella Nise,

tus desdenes, que se

va

amor por

la

posta a la

casa del agrauio.

(3072) Sale Celia 3072-3075. omitted
3076.
Cel. Seiiora?
Cel.

Nis. que ay?

una

cosa.

3077. 3078. 3081. 3084. 3086.

causar espanto Di lo que es

dos conejos

caminauan
given to Turin omitted
corri

3087-3090.
3093. 3104.
3107. 3108. 3109.

given to Nise
Sefior tu furia los dos
lo

veremos

injuriado

(3110)
3110.

Vase Octauio given to Duardo

INTEODUCTION

141

LA VERS1FICACI6N
ACTO
I.

Redondillas

verses 1 to 184 verses 185 to 272 verses 273 to 412

i-o)

Octavas Redondillas

Romance

(en

verses 413 to 492 verses 493 to 524

Redondillas

Soneto Redondillas Soneto Redondillas

verses 525 to 538 verses 539 to 634 verses 635 to 648 verses 649 to 888
verses 889 to 1062

Romance
ACTO
II.

(en o-a)

Redondillas
Quintillas

verses 1063 to 1154

verses 1155 to 1214

Redondillas

verses 1215 to 1230 verses 1231 to 1364

verses 1365 to 1484
.

Romance

(en a-e)

Redondillas

Endecasilabos sueltos y algunos pareados aconsonantados

verses 1485 to 1540

Redondillas

verses 1541 to 1580

Pareados, aconsonantados y versos sueltos, todos endecasilabos

Redondillas

verses 1581 to 1667

verses 1668 to 1787

verses 1788 to 1824

Pareados, aconsonantados y versos sueltos, todos endecasilabos

Redondillas

verses 1825 to 1860 verses 1861 to 2032

Romance
ACTO
III.

(en a-a)

Quintillas

verses 2033 to 2072

verses 2073 to 2220

Redondillas
Baile y cantar con estribillo* Redondillas

verses 2221 to 2318

verses 2319 to 2426

verses 2427 to 2634

Romance Romance
Romance

(en e-o)
(en e-e)
(en o-a)

Redondillas Redondillas

verses 2635 to 2870 verses 2871 to 2930 verses 2931 to 3026 verses 3027 to 3184

142

LA DAMA BOBA

* It is a great loss to the history of Spanish music and of the dance that in the great majority of cases these cantares are omitted in the printed versions of the comedias. Even where they are preserved, they are so much curtailed that we get no clear idea of their complete form. Lope has written a large number of these compositions, and yet how pitifully small is our record of them! The following scheme may be of assistance in studying their structure. This one manifestly has five main divisions separated by a single verse with refrain. I. (o) 20 verses without refrain, the even ones being assonant in a-a; they are of unequal length, from five to eight syllables. This division forms a kind of prelude or preface without refrain, and may well have been sung by both girls, or by the musi-

cians,

and perhaps without dance accompaniment.

(h)
IT.
(rt)

(b)
III.

()

{h)

IV. (a)

verso suelto con estribillo (2241-2). 14 verses, the odd ones of eight syllables being assonant in e-o; the even one is the refrain (estrihillo) If this dance had the character of a mudanza, we may imagina the girls dancing or singing in turn, and this division may have been sung by one of them, all the musicians and even the spectators joining in the refrain. verso suelto con estribillo (2257-8). 20 verses, the odd ones of eight syllables being assonant in a-o; the even verse is the refrain; danced and sung presumably by one of the daughters, the rest joining in the refrain. verso suelto con estribillo (2279-80). 12 verses without refrain, the even ones being assonant in a-a, and thus corresponding to division I; presumably again sung
.
.

by both
V.

girls,

(b) verso suelto con estribillo (2293-4). {a) 22 verses, the odd ones of eight syllables

being assonant in o-o; the even verse is the refrain; danced and sung by both girls, the rest joining in the refrain. (b) verso suelto con estribillo (2417-8).

special study in these cantares with their dances would be of the greatest interest. A similar composition can be found in Velez de Guevara 's la Serrana de la Vera (cf. the edition of Professor Menendez Pidal and Seiiora de Menendez Pidal (Madrid, 1916), p. 151) and in the same poet's Sosa de Alexandria, II, fol. 189 v.

Los Labradores cantan: Esta nouia se lleua la que las otras no

flor,

Copla. Lupino y Tierrena, para en vno son su gala y belleza, para en vno son
el sol

la estrella,

para en vno son

etc., etc.

The popular character of these songs and dances is so pronounced that they have a special charm, even after this great lapse of time. As in the case of Lope's songs, traditional coplas, or verses, were absorbed bv them (cf. for example, vs. 2313-2315).

LA DA MA BOB A

LA DAM A BOB A
COMEDIA DESTE ANO DE 1613
PeRSONAS DESTE ACTO
Lissco, cauallcvo

Ortiz

Turin, lacai/o

Caruajal
_

?)*

Leandro, cauallcro
Otahio, vie jo

Almonte (?)*
Quinones Villanueba Guebara
Benito

Misscno,

sii

amigo
f
1

Duardo
Feniso

Laurenzio \caualleros
[

> J

Rufino, maestro
Nise,

dama

Simon Aguado Jeronima

MxVRIA

Finea, su hermeina
Qclia, criaela

Clara, criaela{s)

Ysabel Ana Maria

Pedro, lacayo * The name Almonte has been scratched

so as to be scarcely legible and Caruajal written directly over it, as though the latter were intended to take the part of Leandro. Lope's intention, however, may have been to assign the part of Turin to Caruajal (cf. also the note on the actors and actresses).

ACTO p[rIMER0]^
\Salgan] Lisseo, cauallero, y Turin, laeayo.
Liseo.
I

Los dos de comino.

*

Que

lindas possadas

Turin.
Liseo.

Frescas.

No ay
tienen

calor.

Turin.

Chinches y ropa

fama en toda Europa.

*

Liseo.

Faraoso liigar Yllescas

no ay en todos
quien
1

los

que miras

le

yguale.

An

asterisk in the margin indicates tliat the

conesponding verse has

note.

144

ACTO PBIMEBO

Turin.
la causa.
. . .

Ann
I

si

supieses

Liseo.

Qual

es

Turin.

Dos messes
de guindas y de mentiras.
*

Liseo.

Como

aqui, Turin, se juntan

10

de la Corte y de Sebilla, Andaluzia y Castilla, vnos a otros preguntan,

vnos de

las

Yndias cuentau,
15

y otros con discursos largos de probissiones y cargos,

cossas que el vulgo alimentan.
l

Turin.
Liseo.

No tomaste las medidas ? Vna dozena tome. lY ymagenes?

20

Turin.

Con la fee que son de Espana admitidas,

por milagrosas en todo

quanto en qualquiera ocasion

les

pide la debocion

y
Liseo.

el

nonbre.
Pues, dese

modo
25*

lleg[u]en las postas y vamos.

Turin.
Liseo.

^No has de comer?

Aguardar
a que se guise, es pensar

que a media noclie llegamos y vn despossado, Turin, ha de llegar quando pueda

luzir.

30

Turin.

Mui
con
el

atras se queda

repuesto Marin

pero yo traygo que comas.

Liseo.
i

Que

trahes

Turin.

Ya

lo veras.

LA DAM A BOB A
Lisco.
Dilo.

145

Turin.
Liseo.

Giiarda.

Neeio

estas.

35

Turin.
Liseo.

^Desto pesadumbre tomas?

Plies para dezir lo

que

es

Turin.

Ay

a quien pesa de oyr

;

su nonbre

bast a deeir
40

que tu
Liseo.

lo

sabras despues.

Eiitretienese la hanbre

eon saber que ha de comer.

Turin.
Liseo.

Pues sabete que ha de

;

ser.

Presto
tozino fianbre.
45

Turin.
Liseo.

Pues ^a
Turin?

cpiien

puede pessar
has de dar algo,

de oyr nonbre tan hidalgo,

Si

me

^que eossa me puedes dar,

que tenga ygual a esse nombre?
Turin.
Liseo.

Esto y vna hermosa caxa.

'50

Dame

de queso vna raxa

el

que nunca
Turin.

dulce es

mui

onbre.

Esas liziones no son

de galan ni despossado.

Liseo.

Aun

agora no he llegado.

55

Turin.

Las damas de Corte son

todas vn fino eristal: trasparentes y diuinas.

Liseo.

Turin, las mas cristalinas

comeran.
Turin.

Es natural;
pero esta hermosa Finea,

60

con quien a cassarte vas,

comera.
Liseo.
. . .

Dilo.

Turin.

no mas
de azucar,

mana y

xalea.

146

ACTO FFdMEBO
Pasarase vna semana
con dos puntos en
de azuear.
el

ayre

Liseo.

Gentil donayre.

Turin.
Lisco.

Que piensas dar a su hermana ? A Nise, su hermana bella,

I

vna rosa de diamantes

que
asi

70

tengan

los

amantes
ella.

tales firmezas

eon

Y
Turin.
Liseo.

vna cadena tanbien

la rossa. es

que conpite con

Dizen que

tanbien hermossa.
bien,

Mi esposa pareze
si

doy credito a la fama. De su hermana poco se

pero basta que
lo

me de
y ama.

que mas

se estima

Turin.
Lisco.

Bello golpe de dinero

Son quarenta mil ducados.

i

Turin.
Liseo.

Brabo dote
Si contados

los llego a

ver corao espero.

Turin.

De vn macho con
se

guarniziones

85

verdes y estribos de palo

apea vn hidalgo.
Malo,

Liseo.
si la

merienda me pones.
[Saiga] Leandro, de camino

Leandro.
Liseo.

Huesped,

^,

habra que comer?

90

Seays, seiior, bien llegado.

Leandro.
Liseo.

Y vos en la misma A Madrid?

I
. . .

hallado.

Leandro.

Dexele ayer,

cansado de no

salir

LA

DAM A BOB A

con preteiisiones cansadas.

Lisro.

Essas van adjetiiiadas

95

con espcrar y sufrir.

Holgara
Lfcnidro.

poi-

yr con vos:

llebaranios vn cannno.
Si vays a lo

que yniagino,
100

nunca
Lisro.

lo

permita Dios.

No

llebo

que pretender

a negocios echos voy.

I,

Soys de esse lugar

Leandvo.
Lisfo.

Si soy.

Luego podreys conozer

la

persona que os nonbrare.

105

Leandvo.

Es Madrid vna talega de piezas donde se anega

quanto su niaquina pare:
los reyes,

roques y

arfiles

conozidas cassas tienen,

110

que van y vienen son conio peones viles

los denias

todo es
Lisco.

alii

confussion.
vil.

No

es

Otabio pieza

Lcaxdro.

Si es quien yo pienso, es

arfil,

Liseo.

y pieza de estiraacion. Quien yo digo es padre noble

de dos hijas.

Lea lid ro.

Ya
pero dixerades bien

se ([uien

que de vna palma y de un

Liseo.
;,

roble.

120

Conio

Leandro.

Que entranbas
pues Nise bella
es la

lo

son

palma,

Finea vn

roble, sin

alma
125

y discurso de razon. Nise es muger tan discreta,

sabia, gallarda, entendida,

148

AC TO PRIMEEO
qiianto Finea encogida,

boba, indigna y ynperf eta

y aun pienso que ohi tratar que la easauan.

Liseo.
[a

Turin]
es

^No escuchas?
que no habra muchas

Leandro.

Verdad
que
en
la
el
i

puedan ygualar

riquissimo dote.

Mas ay de aquel desdichado

que espera vna bestia
a codicia del dinero
al

lado

135

Pues mas de algun marquesote

pretende la boberia
desta dama, y a porfia
140

hacen su
Liseo.
[a

calle terrero.

Turin]

Yo

llebo lindo concierto

a gentiles vistas voy.

Turin.
Liseo.

[a Liseo]

Disimula.

Tal estoy,

que apenas a hablar acierto.

[a Turin'
145

En
Lcanclro.

fin, seiior,
.

i
.

Nise es bella
.

y discreta?

Es celebrada
per vnica, y desseada
por
las partes

que ay en

ella

de gente mui principal.

Liseo.
I Tan necia es esa Finea ? Mucho sentis que lo sea.

Leandro.
Liseo.

Contenplo de sangre ygual

dos cosas tan desiguales

mas ^.como en dote lo son? Que hermanas fuera razon

que
Leandro.
los

tubieran yguales.

Oygo

decir que

vn hermano

de su padre la dexo
esta hazienda,

porque vio

LA DAM A BOB A

149

160

150

AC TO P EI ME BO
bien es que Fabio, y que no sabio sea. Si en dexaros hazienda os hizo agrabio,
vos propio lo juzgad.

3Iiscno.

Otahio.

Dexo

a Finea,

190

a titulo de sinple, tan gran renta,

que a todos hasta agora nos sustenta.

Miseno.

Dexola a

la

que mas

le

parezia

de sus sobrinas.
Otahio.
A" OS

andais discrete;
195
effete.

pues a quien heredo su boberia,

dexo su bazienda para

Miseno.

el

niismo

De Nise
OS
I

la

diuina gallardia,

las altas esperanzas,

y el coneeto deben de tener apasionado.

le

Quien duda que

soys
;

Otahio.

Mis hijas son entranbas

que

mas inclinado ? mas yo os juro,

200

me enfadan y cansan cada vna

por su camino, quando mas procuro

mostrar amor y ynelinacion a alguna. Si ser Finea sinple es caso duro,

205

ya

lo

suplen

los bienes
le

de Fortuna

y algunos que
sienpre

dio naturaleza,

mas

liberal de la belleza.

Pero ver tan discreta y arrogante a Nisse mas me pudre y martiriza, y que de bien hablada y elegante el vulgazo la aprueba y soleniza. Si me eassara agora y no te espante esta opinion, que alguno la autoriza

210*

215

de dos estremos, boba o bachillera, de

Miseno.
la

boba eleccion sin duda

tal,

hiziera.

No
a

digays

por Dios

que estan sujetas

es engaiio;

no aeertar en nada.

Otahio.

Eso
que yo no trato aqui de

las discretas;

solo a las bacliilleras desengafio.

220

LA DAM A BOB A

1.'31

De vna
virtiid

eassada son partes perfetas

y onestidad.
Parir cadano,
lual, si es

Mismo.
no dixeradc's Esta

argumento
225

de que vos no quereys entendimiento.

Otahio.
la discrecion

de vna eassada

en amar y servir a su marido,

en vivir recogida y recatada,

honesta en
el

hablar y en

el

vestido

en ser de

la

familia respetada,

en retirar
en ensenar

la vista

el

oydo,

230

los liijos

cuidadosa,

preciada mas de linpia que de hermosa.

i,

Para que quiero yo que bachillera

que
es

la

propia muger concetos diga

Esto de Nise por eassar

lo

me

altera

235

mas como
la

lo

menos me

fatiga.

Resuelbome en dos eosas que quisiera,

pues
virtud es bien que
el

medio siga

que Finea supiera mas que sabe,

y Nise menos.

Mis f no.
Otahio.
Si,

Hablais cuerdo y grabe.

todos los estremos tienen vizio

240

yo estoy con justa causa discontento.

Miscno.
Otahio.

^,

que ay de vuestro yerno!

Aqui
de padre y dueiio alarga
el

el ofieio

pensamiento.
245

Casso a Finea, que es notable yndieio

de las leyes del

mundo

al

oro atento.

y entendida, apenas halla vn onbre que la pida

Nise, tan sabia, docta

y por Finea simple, por instantes

me
que
Miseno.

solicitan tantos pretendientes,

250

del oro mas que del yngenio amantes

me eansan amigos y
al

parientes.

Razones ay

parezer bastantes.

152

ACTO FEIMEEO

[Otahio.]

Yna
y
lo

hallo yo, sin

muchos aparentes,
255

es el

buscar vn onbre en todo estado

le falta

que

mas, con mas cuidado.

bien.

Miseno.
Otahio.

Eso no entiendo

Estadme

atento.

Ningun honbre nacido

que
le falta

a pensar viene
*

Miseno entendimiento,
lo

y con

esto

no busca

que

tiene.

260

Ve que el oro le falta y el sustento, y piensa que busealle le conuiene pues como ser la falta el oro entienda,
dexa
Miseno.
I

el

entendimiento, y busca hazienda.

cielo

Piedad del

que ningun nazido

-65

se

quexe de faltarle entendimiento

lo

Otahio.

Pues a muchos, que nunca

les falta,

han

crehido,

y son sus obras argumento.

Miseno.
Otahio.

Nise es aquesta.

Quitame
su desbaneeimiento.

el

sentido

Miseno.
OS

Yn
traygo yo.

casamiento

270

Otahio.

Casemosla

que temo

alguna necedad de tanto estremo.

[Entrense Otahio y Miseno, y salgan] Nise y Celia,

criada

Nise.
Celia.

Diote

el libro

Y
a

tal,

que obliga

no

abrille ni tocalle.

Nise.
Celia.

Pues, ^.porque?

Por no
si

ensucialle,

275

quieres que te lo diga

en candido pergamino
vienen muchas flores de oro.
Nise.

Bien

lo

mereze Eliodoro,
280

griego poeta diuino.

LA DAMA BOBA
Cclia.
^,

153

Poeta?

Pues parezioiue
Tanbieu ay poessia

prosa.
Nisc.

en prosa.
Cclia.

No
mire
el

lo sabia

principio,
se

y causome.
285*

Nise.

Es que no
eon
hasta
el

da a entender
griego
libro,

el artificio

quinto

liiego

todo se viene a saber

quanto precede a
Celia.

los quatro.
?

En

fin,

es

poeta en prosa

290

Nisc.

de vna historia amorosa

*

digna de aplauso y teatro.

Ay

dos prosas diferentes,

poetica

historial

la historial, lisa

leal,

295

cuenta verdades patentes

con

f rasi

y terminos

claros

la poetica es

hermosa,
^00

varia, culta, liceneiosa

y escura, aun

a ingenios raros;

tiene mil exornaciones

Celia.

y retoricas figuras. Pnes de cosas tan escuras

[.

juzgan tantos?
Nise.

Xo
pero
del
asi corre el

le

pones,
;

Celia, pequeiia objeceion

305

engano

mundo.

'^[Salgan] Finca, dama, con vnas cartillas,

y Rufino, maestro.

Fine a.

Xi en todo
saldre con essa lizion.

el aiio

Celia.

Tu hermana

eon

sii

maestro,

[a Xise]

irji

ACTO FEIMERO
I

Nise.
Celia.

Conoze

las letras

ya

310

En
l

los prineipios esta.

Rufino.

Paeiencia, o no letras muestro.

Que

es esta

Finca.
Rufino.
I,

Letra sera.

Letra

? I

Finea.
Rufino.
j

Pues

es otra cosa
!
;

No

sino el alba

Que hermosa
si,

315

bestia! [apatite]

Finea.
el

Bien, bien

ya, ya

alba debe de ser,

las coles.

quando andaua entre

Rufino.

Esta

es ca

los espaiioles

no

la

solemos poner

en nuestra lengua xamas.

Usanla mucho alemanes

y flamencos.
Finea.
i

Que galanes
325

van todos
Rufino.

estos detras

Estas son letras tanbien.

l

Finea.
Rufino.

Tantas ay

Beyntitres son.

Finea.

A [o] ra bay a de licion,

que yo
lo dire
?

mui

bien.

Rufi.no.

I Que

es esta

Finea.
Rufino.

Aquesta

No

se.

i,

esta

Finea.
Rufino.

No

se

que responda.
Esta redonda

330

i,

esta

Finca.
letra
?

Qual

[.

Rufino.

Bien.

Finea.
Rufino.
i

Luego
Linda bestia
i

acerte

Finea.

Assi, assi

Bestia, por Dios, se llamaua

LA DAMA BOB A

ACTO PRIME BO
Nise.

LA

DAM A BOB A

157

que apreiulamos.
Finca.
el

Ya yo
Padre Nuestro.

se

Nise.

No
sino
el iiuestro,

digo,

390

el

castigo

por darte memoria fue.

Finea.

Pongame vn ylo en el dedo, y no aqnel palo en la palma.

Cclia.

Mas que
si lo

se te sale el alma,
.

395*

sabe

Finea.
j

IMuerta quedo.
Celia
!

no

se lo digas,

y veras que te dare. * [Saiga] Clara, criada

Clara.
Nise.

Tope
se

contigo, a la fee.
las

[a

Finea]
400

Ya, Celia,

dos amigas

ban juntado.

Celia.

A
mas en todas
;

nadie quiere

las criadas.

Clara.

Dame

albricias, tan bien dadas,

!

Finea.
Clara.

eomo el suceso requiere Pues ^ de que son ?

Ya
nuestra gata
la

pario

405*

romana.
Esta maiiana.

Finea.
Clara.

^Cierto, eierto?

Finea.
Clara.

^Pario en

el

tejado?

No.

Finea.
Clara.

Pues ^.donde?

En
que cierto
se

el

aposento
410

echo de ber

su entendimiento. Finea.
notable.

Es muger
Escucha vn momento.
Salia por

Clara.

donde suele

ACTO PBIMEEO
el sol,

miii galan

rico,

con la librea del rey,

Colorado y amarillo

415*

andauan
que da
la

los carretones
el

*
*

quitandole

romadizo
quien

noche a Madrid.
se

Aunque no
que era
el

me

dixo

420

la calle

Mayor

soldado mas antiguo,

el

pues nunca

mayor de Flandes
*

presento tantos seruizios.

Pregonauan agua
los

ardiente,

425*

agua viznieta del vino

honbres carnestolendas,
*

todos naranjas y gritos. Dormian las rentas grandes,

despertauan
tocauan

los offizios,

430*
*

los boticarios

sus almirezes a pino,

quando
a dezir

la

gata de cassa
435

comenzo eon mil suspires

: ;

Ay, ay,

ay, ay,

que quiero parir, marido

Lebantose Oziquimocho,
*

y fue corriendo a dezirlo

a sus parientes y deudos,

que deben de ser moriscos,

440

porque

el

lenguage que hablaban

* *
*

en tiple de monazillos,
si

no

es

gerigonza entrellos,
445

no

es espailol, ni latino.

Vino vna gata biuda,

con bianco y negro vestido,

sospecho que era su aguela

gorda, y conpuesta de ocico

si

lo

que arrastra onrra,

'LA

DAM A BOB A

159

como

dizeii los antiguos,

la cola

450

tan onrrada es por

como

otros por

siis ofieios.

Trnxole cierta manteca,

desayiinose,

y prebino
el

en que reeeuir

parto
gritos

455

hubo temerarios
no

es biirla, pario seys gatos

tan remendados y lindos,

que pudieran, a ser

llebar el coche

pias,

*
460

mas

rico.

Regozijados baxaron de
los

texados vezinos,

eaballetes

y terrados,
465

todos los deudos y amigos

Lamicola, Aranicaldo,

Marfuz, Marramao, Mizilo,

Tiimbaollin, Mico, Miturrio,

Rabicorto, Zapaquildo

vnos vestidos de pardo,

otros de bianco vestidos,
470

y otros con forros de martas,

en cueras y capotillos.

De negro
el

vino a

la fiesta

gallardo Golosino,
475

Into que mostraua entonzes

de su padre,

el gaticidio.

Qual
qual

la morzilla presenta,
el pez, el el

qual

el

cabrito,

qual
qual

gorrion astuto,
sinple palomino.
480

Trazando quedan agora,

para mayor regozijo,
en
el

gatesco senado,

correr gansos cinco a einco.

Yen

presto

que

si los

oyes,

485

360

AC TO FBI ME BO
diras que parezen niiios,

y daras a
el

la

parida
los hijos.

parabien de

Fini

No me

pudieras contar

cossa para el gusto

mio

4'M)

de mayor contentamiento.
Clara.

Camina.
Tras
ti

Finea.

camino.

[Ent reuse Finea y Clara]

Nise.
Celia.

feAy locura semejante?

I

Clara es boba tanbien

esso la quiere bien.

Nise.
Celia.

Por

41)5

Nise.

La semejanza es bastante aunque yo pienso que Clara es mas bellaca que boba. Con esto la engana y roba.
;

[Salgan] Duardo, Feniso, Laurenzio, cahalleros

D liar do.
Feniso.

Aqui como

estrella clara

500

a su hermosura nos guia.

Y aun es
i
i

del sol su luz pura.

la

Laurencio.

reyna de
Nise
i

hermosura
senora mia

Duardo.
Feniso.
Nise.

Caballeros

Laurencio.

Esta vez,
por vuestro yugenio gallardo.
de vn soneto de Duardo
OS

505

hemos de hazer

juez.

Nise.

^A

mi, que soy de Finea

hermana y sangre?
Laurencio.

A
que soys Sibila
espaiiola,
eritrea,

vos sola,

510

no eumana, ni

a vos, por quien ya las Graeias

LA

DAM A BOB A

161

son quatro y las Miisas diez,

es jnsto liazeros juez.

515

Nise.

Si ygnoranzias,

si

desgracias

triixerades a jiizgar,

era justa la eleccioii.

Feniso.

Vuestra rara discrezion,

ynposible de alabar,
520

fue justamente elegida

oyd, senora, a Ediiardo.
Nise.

Baya

el

soneto

ya aguardo,
525*
*

aiinqiie

de yndigna corrida.

Duardo.

La

calidad elementar resiste

mi amor que a
y en
las
la

la virtud celeste aspira, se mira,

mentes angelicas

donde

ydea del calor

element
el

consiste.

No ya como
el

fuego viste

alma cuyo buelo

el serafin

al sol

admira
se retira,
asiste.

530

que de ynferiores mundos

adonde

ardiendo

No puede elementar fuegb abrasarme. La virtud celestial que viuifica,

enuidia
el

verme a

la

suprema alcarme

535

que donde
I

el

fuego angelico

me

aplica,

como podra mortal poder tocarme,

Nise.

que eterno y sin contradiceion inplica? Ni vna palabra entendi.

Duardo.

Pues en parte
por arroganzia

se leyera,

540

que mas de alguno dixera

:

Yo
el

si.

La yntencion,
libre del

argumento,
545

es pintar a quien

ya llega

amor, que ciega

con luz del entendimiento,

a la alta contenplacion

de aquel puro amor sin

fin,

donde

es

fuego

al serafin.

1C2

ACTO PEIMEEO
Argumento y yntenzion
queda entendido.
Profundos
esconden.
*

Nise.

550

Laurencio.
coneeptos
Feniso.

Mucho

la

Duardo.

Tres fuegos que correspondeu,

hermosa Nise, a tres mundos, dan fundamento a los otros.

Nise.

555

Bien

los

podeys declarar.

Duardo.

Calidad elementar
es el ealor en nosotros
la celestial es virtud

y
Nise.

que ealienta y que reerea, la angelica es la ydea

560

del calor.

Con ynquietud
escucho lo que no entiendo.

Buardo.
Nise.

El elemento en nosotros
es fuego.
I

Duardo.

El puro
en

sol

Entendeys vosotros ? que estays viendo

es,

565

el cielo
el
;

fuego

y fuego
serafico

entendimiento

pero siento
570

que

asi difieren los tres

el

que

que elementar

se llama,

abrasa quando se aplica

el celeste viuifica,

y
Nise.

el

sobreceleste ama.
575 *

No

discurras, por tu vida

vete a escuelas.

Duardo.
lo son.

Donde

estas,

Nise.

Yo no
Escriue facil
.

escucho mas,

de no entenderte corrida.
.
.

LA DA MA BO HA
a lo ((uc en cosas diuinas

163

580

Duardd.
escriuio,

Platon,

puso cortinas

que

tales,

como

estas,

son

matemathieas

figiiras

y enigmas.
Nisc.

Oye, Laurenzio.
Ella os ha puesto silenzio.
[a

Fcniso.

Duardo\

-J^^

Duardo.
Fcniso.

Temio las cosas Es mnger.

eseiiras.

'Duardo.

La
que
se escriua, o

claridad

a todos es agradable,

que

se liable.

* Nise aparte
Nisc.
I Como va de voluntad ? Como quien la tiene en ti. Yo te la pago mui bien. No traygas contigo quien me eclipse el hablarte ansi. Yo, seiiora, no me atrebo

^^0

Laurcncio.
Nise.

Laurcncio.

595

por mi humildad a tus ojos

que dando en
se af renta el

viles despojos

rayo de Febo
600

pero,

si

quieres passar

al alma, hallarasla rica

de
Nise.

la fee

que amor publica.

te

Vn

papel

quiero dar
ser,
?

pero ^conio podra

que destos visto no sea

Laurencio.
Si en lo que
el

alma dessea

605

me mano y
como
Nise.
i

quieres faborezer,

papel podre aqui

asir juntos atreuido,

fin j as

que has

call id o.

Jesus!

\cae]

164

ACTO PBIMEEO
iQne Con
es eso?

Lmirencio.
Nisc.

Cahi.
las obras respondiste.

610*

Lmirencio.
Nise.

Essas responden mexor

que no ay sin obras amor.

Lmirencio.
Nisc.

Amor

en obras eonsiste.
615

Laurencio mio, a Dios qiieda.

Duardo y Feniso,
Duardo.

adios.

tanta ventura a vos,

[entrcnse Nise y Celia]

como hermosura os coneeda. I Que OS ha dicho del soneto

Nisse?

Laurencio.

Que
Habreys
los

es

Duardo.
Laurencio.

dos

mui estremado. murmurado;

efeto.

620

que hazeys versos en

Ya no
que

es

menester hazellos
625

para saber murmurallos

se atrebe a censurallos,

quien no se atrebe a entendellos.

Feniso.

Los dos tenemos que hazer;

licencia nos podeys dar.

Duardo.
Laurencio.
Feniso.

Las leyes de no estorbar

queremos obedezer.
Malicia es esa.
630

No
La diuina Nise
0,

es tal.

es vuestra,
lo

por

lo

menos,

muestra.

Laurencio.

Pudiera, a tener ygual.

*
Laurencio.

Despidanse, y quede solo Laurencio.

635* Hermoso soys, sin duda, pensamiento, y aunque honesto tan bien, con ser hermoso,
si

es calidad del bien ser probeehoso,

vna parte de
Nise, con

tres que os falta siento. vn diuino entendimiento,

OS enrriqueze de

vn amor dichoso

640

LA DAM A BOBA
mas
soys de dueno pobre, y es forzoso,
la neeessidad falte el eontento.

165

que en

Si el oro es bianco

y centro del descanso, y el descanso del gusto, yo os prometo, que tarda el nauegar con viento manso.

645

Pensamiento,
si

mudemos de
vos,

sujeto
nie canso,

voy necio tras

y en yr

quando vengays *
Pedro.

tras mi, sereys discreto.

Entrc Pedro,
i

lacaijo

de Laurenzio

Que necio andaua en buscarte

^^^
liallar

fuera de aqueste lugar Laurencio.

Bien me pudieras
con
el

alma en otra parte.

/,

Pedro.
Laurencio.

Luego

estas sin ella aqui?

Ha

podido vn pensamiento
^^^

reducir su mobimiento

desde mi, fuera de mi.

^No has

visto que la saeta

del relox en

vn lugar
esta quieta,
660

firme siempre suele estar,

aunque nunca
y
tal vez esta

en la vna,
esta
?

y luego en las dos Pues assi mi alma

sin hazer

ya,

mudanza alguua

de la cassa en que

me

ves,

665

desde Nisse que ha querido

a las doze se ha subido,

que
Pedro.
Laurencio.

es

numero de
la saeta soy,

ynteres.

^Pues como

es essa

mudanza?

Como
por
lo

que desde

la
el

vna voy
circulo aleanza.

que

Seiialaua a Nise.

Pedro.

Si.

AC TO PEIMEBO
Laurencio.
Plies

ya

seiialo

en Finea.
te crea?
?

Pedro.
Laurencio.

^Esso quieres que

i,

675

For que

no,

si

ay causa

Pedro.
Laurencio.
Nise es vna sola hennosa,

Dl.

Finea
ora de

las

doze son

mas

bendizion,
copiosa.

mas descansada y

En

las doze el ofizial

descansa, y bastale ser

ora entonzes de comer

tan precissa y natural.

Quiero decir que Finea

ora de sustento
es,

685

cuyo descanso ya ves

quanto
el

lioubre le dessea.
las

Denme pues

doze a mi,

que soy pobre, con muger, que dandome de comer,

es la

mexor para mi.

Nise es ora ynfortunada,

donde mi planeta ayrado

de
sestil

me mira
Finea

y de quadrado con frente armada.

695

es ora dichosa,

donde Jupiter benigno

me

esta

mirando de

trino,
700

con aspecto y faz hermosa.

Doyme

a entender, que poniendo

en Finea mis cuidados,

a quarenta mil ducados
las

manos voy preuiniendo.

705

Esta, Pedro, desde oy

ha de ser enpressa mia.

Pedro.

Para aprobar tu

ossadia,

en vna sospecha estoy.

LA
Lannncio.
Pedro.
Qiial?

DAM A BOB A

167

Que

tc

li;is

de anvpentir
710

por ser sinple esta inuger.

Laurcncio.
^,

Quieii has visto de comer,

de descansar y vestir
arrepentido xamas
?

Pues
Pedro.
I,

esto viene con ella.

715

Nise discreta y bella,

Laiirenzio, dexar podras

por Vila boba ynoraiite?

Laurencio.
\

Que ynorante maxadero!

^,

No

ves que

el sol

del dinero
720

va del yngenio adelante?

El que
por

es pobre, ese es tenido

siiiple, el rico

por sabio.
agrabio,

No ay
que
el

en

el iiazer

por notable que aya sido,

dinero no
le

encubra

725

ni ay falta en naturaleza,

que eon

la

mucha pobreza

aumente y se descubra. Desde oy quiero enamorar

no
se

a Finea.

Pedro.

He
que a
vii

sospechado

730

yngenio tan cerrado,

no ay puerta por doiide entrar.

Laurcncio.

Yo

se qual.

Pedro.
Laurencio.

Yo
Sospecho que
es

no, por Dios.

Clara, su boba criada.

Pedro.

mas taymada
los

735

que boba.
Laurcncio.

Demos
en enamorarlas.

dos

Pedro.

Creo

que Clara sera terzera

mas

facil.

168

ACTO PBIMEEO
Desa manera,
segiiro va

Laurencio.

mi

desseo.

740

*
Pedro.
Laurencio.

[Salgan] Finea y Clara

;

Ellas vienen
Si

disimula.

Pedro.

mi mano. Que ha de poder vn cristiano enamorar vna mula

puede
ser en
i

Laurencio.

Linda cara y
i

talle tiene.

745

Pedro.
Laurencio.

Asi

f uera el

alma

Agora
eonozco, hermosa senora,

que no solamente viene

el sol

de las orientales
750

partes, pues de vuestros ojos

sale

con rayos mas rojos,

y luzes piramidales. Pero si, quando salis,

tan grande fuerza trahej^s,
al

mediodia

que hareys ?

Finea.

Comer,. como vos dezis,

no piramides ni peros,
sino cosas probechosas.

Laurencio.

Esas

estrellas hermosas,

esos nocturnes luzeros

me
Finea.

tienen fuera de mi.

Si vos andays con estrellas,

^que mucho que

os
?

traygan

ellas

arromadizado ansi

Acostaos sienpre tenprano,

y dormid con tocador.

Laurencio.
I

No

entendeys que os tengo amor

puro, onesto, linpio y llano?

Finea.
Ljaurencio.

^Que

es

amor?
I,

Amor ?

Desseo.

Finea.

^De que?

LA DAMA BOBA
Laurcncio.
Final.

16

De vna
^Es oro?
destas que

cossa ermosa.

''''^

^es diamante?

^es cosa

mui

lindas veo?

Laurcncio.

No, sino de la hermosura

de vna muger eonio vos,
que,
''''^

como

lo

ordena Dios,
procura

para buen

fin se

y esta, que vos la teneys, engendra desseo en mi.

Finca.

yo |,que he de hazer aqui, que vos

^.

si se

Laurcncio.

Quererme.

me quereys? No habeys oydo

se

'^SO

que amor con amor

Finca.

paga?

No

se

yo como

se baga,

porque nunca yo he querido,

ni en la cartilla lo vi,
ni
''^^

me

lo enseiio

mi madre.
.

Preguntarelo a mi padre
Laurcncio.
Finca. Esperaos, que no es ansi.

^Pues como?
Destos mis ojos
saldran vnos rayos vivos,
"^"^

Laurcncio.

como
que
Finca.

espiritus visiuos,

de sangre y de fuego rojos,

se

entraran por
;

los vuestros.

No, seiior

arriedro baya
795

cossa en que espiritus aya.

Laurcncio.

Son

los espiritus nuestros,

que juntos

se

ban de encender,
el sosiego,

y causan vn dulce fuego,

con que se pierde
hasta que se viene a ver
el

alma en

la posicion,

que

es el fin del cassamiento;

que con

este santo

yntento

justos los amores son,

170

ACTO FBI ME BO
porque
el

alma que yo tengo

se cassa

805

a vuestro pecho se passa.

Finca.

i,

Tanto pasa quien

el,

Pedro.

como os digo, vengo tan muerto por vuestro amor,

que aquesta ocasion busque.
[a

Con

Clara

810

Clara.

Pedro.
Clara.

Que es amor 1 que no lo ^Amor? loeura, furor.

se.

^,

Pues loca tengo de estar?

815

Pedro.

Clara.

Es vna dulee loeura, por quien la mayor cordura suelen los hombres trocar. Yo lo que mi ama hiziere,
eso hare.

Pedro.

Cieneia es amor,

que

el

mas rudo labrador

820

a pocos cursos la adquiere.

En comenzando
enferma
Clara.
la

a querer,

voluntad

de vna dulce enfermedad.

No me

la

mandes

tener,
825

que no he tenido en mi vida

sino solos sabaiiones.

Finea.

Laurencio.

Agradanme las lieiones. Tu veras, de mi querida, como has de quererme aqui,

que
es luz del

entendimiento

830*

amor.
Finea.

Lo

del cassamiento

me
Laurencio.
Finca.
i,

quadra.

Y me
y tendrame

inporta a mi.
cassa,

Pues llebarame a su

alia tanbien?

Laurencio.
Finea.

Si, seiiora.

Y
Y
mui

eso es bien

835

Laurencio.

justo en quien se cassa.

LA DAM A BOB A
Yuestro padre y vuestra cassados fueron ansi
deso
nacjistes.

171

iiiadre

Finea.

fcYo?
Si.

Laurencio.

Fine a.
Laurencio.

Qiiando
I,

se casso

mi padre,
tan poco ?

840

no estaua yo

alii

Ay

seme j ante ygnoranzia

[aparie]

Sospecho que esta gananzia

caraina a bolberme loco,

Finca.

Laurencio. Finea.
Clara,

Mi padre i)ienso que viene. Pues voyme acordaos de mi. Que me plaze. [cntrese Laurenzio]
:

Fuesse.
Si.

Pedro.

Y
Clara.

seguirle

me

eonviene.

Si OS vays

Finea.

Tenedme en vuestra memoria. [entrese Pedro] como ? Has visto, Clara, lo que es amor ? Quien pensara
i,

?50

^,

[.

tal eosa?

Clara.

No

ay pepitoria

que tenga mas menudenzias

de manos, tripas y pies.
Finea.

Mi

padre,

como

lo ves,

855

anda en mil inpertinenzias.

Tratado me ha de cassar
con vn caballero yndiano.
seuillano o toledano.

Dos vezes me vino

y

a hablar,

860

esta postrera saco

de vna carta vn naypeeito

mui repulido y bonito, y luego que le miro, me dixo: "Toma, Finea;

ese es tu marido.

"

fuesse.

172

ACTO PEIMEEO

Yo como
tome
el

en

fin

no supiesse
*
^"'^'

esto de eassar que sea,

negro del marido,

que no tiene mas de cara,

cuera y ropilla
I
;

mas, Clara,

que ynporta que sea pulido

quien
es,

este marido, o
si

todo

el

cuerpo no passa

de la pretina?

Que en

easa

875

ninguno
*Clara.

sin piernas ves.

Pardiez, que tienes razon.

^Tienesle ay?

Finea.
Clara.
i

Vesle aqui.

Saca vn retrato

Buena cara y cuerpo

Si.

Finea.

Mas no passa
Clara.

del jubon.

880

Luego
i

este

no podra andar.
que tiene
. !

Ay,

los ojitos

Finea.
Clara.

Seiior con Nise

i,

Si viene

a casarte?

Finea.

No ay
que
este

eassar
885

que

se

va de aqui

tiene piernas, tiene traza.

Clara.

mas, que con perro caza

el

que

mozo me muerde a

mi.

*
Otahio.

Entre Otabio con Nise

de Toledo
890

Por

la calle

dizen que entro por la posta.

Nise.
I

Pues como no

llega

ya

Otabio.

Algo por dicha acomoda.

Tenblando estoy de Finea.

Nise.

Aqui

esta, senor, la nobia.

Otabio.
Nise.

Hija, ^no sabes?

No
que esa
es su

sabe;

895

desdicha toda.

LA DAM A BOB A
Otabio.

173

Ya
I

esta en

Madrid tu marido.
es

Finca.

Sienpre tu raemoria

poca:
?

no me

le diste

en vn naype

Otahio.

Esa
que

es la figura sola,
el

900

que estaua en
lo

retratado

viuo viene agora.

*
Cclia.

CcJia cut re

Aqui

esta el seiior Lisseo,

apeado de vnas postas.

Otahio.

Mira, Finea, que estes

905

mui prudente, y raui sefiora. Llegad sillas y almohadas.

*
Lisco.

[Solgan] Lisseo, Turin y criados

Esta licencia

se

toma
910

quien viene a ser hijo vuestro.

Otahio.
Liseo.

Y
I

quien viene a darnos onrra.

seiior,

Agora

deeidme

quien es de las dos mi esposa

:

Finea.
Liseo.

Yo

no

lo

ve

Bien merezco
los brazos.

Finea.
Otahio.

^Luego no inporta?
Bien
le
.

puedes abrazar.
.
.

015

Finea.
Clara.

Clara

Senora

Finea.
biene eon piernas y pies.
Clara.

Ann agon
Esto
^

es burla o xerigonza

Finea.

El verle de medio arriba

rae

daba mayor congoxa.

euiiada.

920

Otahio.
Liseo.

Abrazad vuestra

No

fue la fama enganosa,

que hablaua en vuestra hermosura.

Nise.

Soy mui vuestra servidora.

Liseo.

LA PA MA BOB A
Fiutd.

17-

A
que
si

fee,

coino viene agora

el

fuera

sabado passado,
3^0
. . .

que hizimos,

y esa moza,
Calla, nezia.

vu menudo
Otahio.

Finca.

]\Iucha espeeia, linda cossa.

960

*
Cdia.
Otahio.
IJsco.

Entrcn con agua,

El agua esta aqui.

toalla, salha

v)ia caxa.

Corned.

El

verla, seiior, proboca,

risa dize

porque con su

*
Finca. Turin.
Otahio.

que

y que no coma. El bebe como vna mula.

la beba,

Bcha.

Buen

requiebro.
I

[ajxirtc]

Que enfadosa

que estas oy
Finca.

Calla, si quieres.

Aun no
Esperad
Pues

habeys dexado gota.

:

os linpiare.

Otahio.

fctu le

linpias?
^,

Finca.
Liseo.

Que ynporta ?
[apartc]

Media barba me ha quitado

lindamente

me enamora.
es razon.

Otahio.

Que descanseys

Quiero, pues no se reporta,

llebarle de aqui a Finea.

Liseo.

Tarde
que en

el

deseanso se cobra, desdicha se pierde.

[apart e]

tal
:

Otahio.

Aora bien

entrad vosotras,
980

Finca.

y aderezad su apossento. Mi cama pienso que sobra

para
los dos.
I,

Nise.

Tu no
las

ves

que no estan echas

Finea.

bodas?

Pues

|,que

ynporta?

176

LA DA MA BOB A
si
I

111

bien es hennosa y moza, que piiede parir de mi,

ltl-'

sino tigres, leones

y onzas?

Turin.

Eso

es engaiio

que vemos

por esperienoias y historias

mil hijos de padres sabios,

que de necios
Liseo.

los

desonrran.

^020

Verdad

es

que Cioeron

tubo a Marco Tulio en Roma,

que era vn caballo, vn eamello.

Turin.

De

la

misma

suerte consta
1*^25

que de neeios padres suele

salir

vna

fenis sola.

Liseo.

Turin, por lo general,

y
lo

es consequenzia forzosa,

semejante se engendra.
la

Oy

palabra se ronpa,

if^o

rasganse cartas y firmas;

que ningun tesoro conpra

la libertad.

Aun,

si

fuera

Nise
Turin.

que bien
a

te reportas

Dizen que

si

vn honbre ayrado,

1035

que colerico
le

se arroja,

pusiessen vn espejo,
el la

en mirando en

sonbra
1040

que representa su cara,

se tienpla

y desapasiona.

Assi tu, como tu gusto

miraste en su hermana hermosa,

que
Liseo.

el

gusto es cara del alma,

se

pues su libertad
luego tenplaste

nonbra
1045

la

tuya.

Bien
el

dizes, porcine ella sola

enojo de su padre,

que,

como

ves,

me

alborota,

me puede

quitar, Turin.

178

ACTO FBI ME MO
^

Turin.
Lisco.

Que no ay que
la

tratar de esotra
la

1050

^Pues he de dexar
por

vida

muerte temerosa,
la

y por
el sol

noche enlutada
los cielos dora,

que

por
por

los aspides las aves,

1055

las espinas las rosas,

Turin.

y por vn demonio vn angel ? Digo que razon te sobra:

que no esta
el

gusto en

el

oro
lOtJO

que son

el

oro y las oras

mui
Liseo.

dibersas.

Desde aqui
renunzio

Fin del

dama boba. primero ado de la Dama hoba

la

LA DAMA BOBA

179

SEGUNDO ACTO DE LA DAMA BOBA

PERSOXAS DEL SEGUXDO ACTO

Duardo
Laurenzio
Feniso
Lisseo

Nisse
Celia

Clara

Finea

Pedro
Turin
Otauio
Vii maestro de danzar

Rfihrica de

Lope de Vega

AcTO Seguxdo
Duardo, Laureneio, Feniso
Feniso.

En
No
el

fin

ha passado vn mes,

y no
Duardo.
Laureneio.

se cassa Lisseo.

sienpre

muebe

el

desseo

^^^^

codizioso ynteres.
la

De Nise
Ver

enfermedad

ha sido causa bastante.

Feniso.
a Finea ignorante
I'^'O

tenplara su voluntad.

Laureneio.

]\Ienos lo esta

que

solia.

Temo que amor ha

artificioso a

de ser

enzender
fria.
1*^"-'

piedra tan elada y

Duardo.

Tales milagros ha hecho

en gente rustica amor.

180

ACTO SEGUNDO

Feniso.

No

se

tendra por menor

sii

dar alma a
Laurencio.

rudo pecho.
ha sido
1080

Amor,

seiiores,

aquel ingenio profundo,

que llaman alma del miindo, y

la

es el dotor

que ha tenido

catreda de las ciencias,

1085

porque solo con amor

aprende
el

honbre mexor

sus diuinas diferenzias.

Assi lo sintio Platon;

esto Aristoteles dijo,

que como del

es

cielo es hijo,

todo contenplazion.

1090*

(El desseo de saber,

que

es al

honbre natural,
admirarse,

ensena con fuerza ygual)

Delia nazio
el

y de admirarse nazio
el

filosophar que dio

luz con que

pudo fundarse
artificial.

toda ciencia

1095

amor
el

se

ha de agradezer

que
es al

desseo de saber

hombre natural.
con fuerza suaue
el

Amor

dio al honbre

saber sentir,

1100

dio leyes para viuir,

politico,

honesto y graue.

Amor
que
la

republicas hizo

concordia nazio
1105

de amor, con que a ser boluio

lo

que

la

guerra desizo.

Amor

dio lengua a las aves,

vistio la tierra

de frutos,

y como prados enxutos,

LA DAMA BOBA
ronpio
el

181

mar con

fnertes naiies.

Amor
altos

enseiio a escriiiir

y dulees eoneetos,

como de su causa effetos amor enseno a vestir al mas rudo, al mas grosero de la eleganzia fiie amor
el

1115

maestro,

el

ynbentor

f ue
la

de los versos primero

se le debe,
;

musica

la pintura

pues,

qiiien

1120

dexara de saber bien,

como sus effetos pruebe? No dudo de que a Finea, como ella comienze a amar, la dexe amor de ensefiar,
por ymposible que
Fcniso.
sea.

1125

Esta bien pensado ansi,

y su padre lleba yntento

por dicha en
Diiardo.

el

cassamiento

que ame y sepa.

Y
ynfamando amores

yo de aqui,

1130

locos,

en linpio vengo a sacar,

que pocos deben de amar

en lugar que saben pocos.
Fcniso.
;

Linda malieia
Estremada.
1135

Laurcncio.
Feniso.
Difieil cosa es saber.

Laurcncio.

Si

pero facil creher

el

que sabe
Fcniso.
i

que poco o nada.

Que diuino entendimiento

Celestial.

tiene Nise

Duardo.
Fcniso.
I

Como, siendo necio

el

mal,

ha tenido atreuimiento

182

ACTO SEGUNDO
para hazerle estos agrabios,
de tal yngenio desprecios
?

Laurencio.

Porque de sufrir a necios

suelen enferinar los sabios.
Ella
vieiie.

lU')

Duardo.
Feniso.

Y
se alegra

con razon
la mira.

quanto

[Salgan] Nise y Qclia

Nise.
Celia.

Mucho

la historia

me

adraira.

[a Celia]

Amores pienso que

fundados en
el

son,

1150

dinero.

Nise.

Nunca fundo
que busca
el

su balor

sobre dineros amor,

alma primero.
1155

Duardo.

Seiiora, a vuestra salud

oy quantas cosas os ven

dan alegre parabien,

y tienen vida y quietud que como vuestra virtud
era
el sol

que
el

se la dio,
le eclipso,

mientras

mal

tanbien lo estuuieron ellas

que hasta ver vuestras

fortuna
el

estrellas

tiempo
la

corrio.

Mas como
sale

primavera

H65

con pies de marfil,

vario velo sutil

el

tiende en la verde ribera

corre el agua lisongera, y estan riiiendo las flores sobre tomar las colores.

Assi vos
el triste

sails,

trocando

tiempo, y senbrando

en eanpos de almas, amores.

Feniso.

Ya

se rien estas fuentes,

LA DAMA BOBA
y son perlas
las

183

que fueron

lagrimas, con que sintieron

esas estrellas ausentes

a las aues sus corrientes

hazen instrunientos claros

con que qiiieren eelebraros.

1180

Todo

se antieipa a veros.

y todo yntenta ofrezeros con lo que puede alegraros.

Pues

si

con veros hazeys

11 ''S

tales effetos agora,

donde no ay alma,

sefiora,

mas de
en mi
^

la

que vos poneys,

de alegria
H^'O

que muestras hareys,

que
este

seiiales

venturoso dia,

despues de tantos enojos,

siendo vos sol de mis ojos,
siendo vos alma en la mia?

Laurencio.

A
el

estar sin vida lleg[u]e

H^-J

tiempo que no os serui

lo

que fue

aunque

sin

mas que senti, mi culpa fue.

1200

Yo

vuestros males pase,

como cuerpo que animals

vos mouimiento

me days

yo soy instrumento vuestro,

que en mi vida y salud muestro todo lo que vos passays.
Parabien me den a mi
de
la

1-05

salud que ay en vos,

pues que pasamos los dos

el

mismo mal en que

oflPendi,

os vi

solamente os

aunque
en que

la disculpa os

muestro,

1210

este

mal que fue nuestro,

ACTO SEGUNDO
solo tenerle debia,

no
yo
Nise.

vos,
si,

que soys alma mia

1215

que soy euerpo vuestro.

los tres parabien.

Pienso que de oposieion

me days
Laurencio.

es bien,
los

pues

lo

soys por quien

viuen
Nise.

que vuestros son.

Diuertios, por

mi

vida,
fiores

cortandome algunas
los dos,
la diferenzia os

pues con sus colores

conuida

deste jardin, porque quiero

hablar a Laurenzio vn poco.

Duardo.
Feniso.

Quien ama y sufre, o

necio.

es loco,

Tal premio espero.

Duardo.
Feniso.

No

son vanos mis recelos.

le

Ella

quiere.

Duardo.

Yo

hare
1230

vn ramillete de fee, pero sembrado de celos.

[Entrense Feniso y Duardo]
Laurencio.

Ya

se

ban ydo.

^Podre

yo,

Nise, con mis brazos darte

parabien de tu salud?
Nise.

Desbia, fingido, facil,

lisongero, engaiiador,
loco, inconstante,

1235

mudable

honbre, que en vn mes de ausencia,

que bien mereze llamarse

ausenzia la enfermedad
el

pensamiento mudaste.

1240

Pero mal dixe en vn mes,

porque puedes disculparte
con que crehiste mi muerte,

LA DAMA BOBA
y
si

185

mi miierte pensaste,
1245
el

eon graeioso sentimiento

pagaste

amor que
el

sabes,

miidando
Laurcncio.
Nise.
til
^,

tuyo en Finea.

Quedizes?
Pero bien hazes
eres pobre, tu discrete,

ella rica

y ygnorante;

1250

buscaste lo que no tienes,

y
la

lo

que tienes dexaste.

Discrezion tienes, y en mi

que celebrauas antes

1255
;

dexas con mucha razon

que dos yngenios yguales

no eouozen superior.

&por dieha, ymaginaste

el

que quisiera yo que a

los

ynperio
?

honbres debe darse

tenias,

1260

El oro que no

tenerle solicitaste

enamorando
Laurcncio.
Nise.

a Finea.

Escucha.
I i

Que he de escucharte ?
1265

Laurencio.

Quien

te

ha dicho que yo he sido

en vn mes tan inconstante?

Nise.
I

Parezete poco vn mes

te diseulpo, la

Yo
que

no hables
el cielo

luna esta en

sin intereses mortales,

1270

y en vn mes, y aun algo menos, esta creziente y menguante.

Tu en la tierra, y de Madrid, donde ay tantos vendabales

de ynteresses en
los honbres,

12"5

no fue milagro mudarte.

Dile, Celia, lo

que has

visto.

186

ACTO SEGUNDO
Ya, Laurenzio, no
de que Nise, mi
desta
te espantes,

Celia.

seiiora,

manera

te trate.

Yo
Laurcncio.

se

que has dicho a Finea

requiebros.
l

Que me

lebantes,

(^elia, tales

testimonios

Celia.

Tu

sabes que son verdades

1285

y no solo tu a mi dueiio yngratamente pagaste,

pero tu Pedro, de tus secretos
el

que tiene

las llabes,

ama a Clara
I,

tiernamente.
?

Quieres que mas te declare

sido, (^elia,

1290

Laurencio.

Tus eelos ban y quieres que yo los pag[u]e. Pedro a Clara, aquella boba ?
i,

Nise.

Laurenzio,
i,

si le

ensenaste,
i-^-^

por que te af rentas de aquello

?

en que de ciego no caes Astrologo

me

parezes

"^

que sienpre de agenos males,

sin reparar

en

los suyos,

largos pronosticos hazen.

;

1300

Que

bien enpleas tu ingenio

"De
el
i

Nise confieso

el talle,

mas no

es solo el esterior
los

que obliga a

que saben.

quien os oyera juntos

Debeys de hablar en romanzes, porque vn discreto y vn necio

(hablando son-sonantes
al fin?

tendreys correspondenzia)

no pueden ser consonantes. Ay, Laurencio, que buen pago

1

de fee y amor tan notable

LA DAM A BOB A
l^ien dizeii,

187

quo a

los ainigos

priieba la caina

la carzel.

Yo enferme

de mis tristezas,
1315

y tie no verte ni hablarte, sangraronme miichas vezes.

J

Bien rae alegraste

la

sangre

Por regalos tuyos tube mudanzas, trayciones, fraudes,

pero, pues tan duros fueron,
di

que

me

diste diamantes.
:

Aora
Laurencio.
Nise.

bien

esto cesso.

Oye, aguarda.
l

Que

te

aguardt

Pretende tu riea boba,

aunque yo hare que

se easse

mas
Laurencio.

presto que tu lo piensas.

. . .

1325

Senora

Entre Liseo, y asga Laurenzio a Nisse

Liseo.
los

Esperaua tarde
dessenganos
;

mas ya
engaiie.

no quiere amor que me

Nise.
I

[apart e]

Suelta

Laurencio.
Liseo.

No

quiero.
I

Que

es esto

Nise.

Dize Laurenzio que rasg[u]e

vnos versos que

de cierta

me

dio

dama

ynorante,

Laut

y yo digo que no quiero. Tu podra ser que lo alcanzes

de Nisse.

Ruegalo

tu.

Liseo.

Si algo tengo que rogarte,

haz algo por mis memorias,

y rasga
Nise.

lo

que tu sabes.

Dexadme

los dos.

Laurencio.

[Vayanse Nise y Celia] Que ayrada

188

LA DAMA BOBA
Finca.
Poi- i)oeo diera de ocicos

189

saltaiido
I

enf adada veiigo.

teiigo

1370

Soy yo urraca que andar por cassa dando salticos?

Vn paso,
;

otro contrapaso,
.

floretas, otra floreta

Que locura
Que ynperfeta vn hernioso vasso
i

Maestro.
cossa, en

1375

poner
licor

la

naturaleza

de vn alma tan ruda

salgo de

Con que yo
que no
es
.

duda
[apart e]
1380

alma
. .

la belleza.

Fine a.
Maestro. Finca. Maestro.

Maestro

I,

Seiiora

mia ?

Trae raaiiana vn tanboril.

Esse
es

instrumento

vil,

aunque de mueha
Fine a.
Maestro.
Finea.

alegria.
138;:

Que soy mas

Es mui de Hazed vos
que no
es
el trahellos

afiziouada

al easeabel, os confiesso.

caballos esso.
lo

que

me

agrada,

mueha

rustiqueza
1390
es

en los pies.

Harto peor pienso que

trahellos en la cabeza.

Maestro.

Quiero seguirle

el

humor,

[apart e]
1395

Finea.

Maestro.

Yo hare lo que me mandays. Yd danzando quando os bays. Yo OS agradezeo el fabor,

pero llebare tras mi

mueha
Finea.

gente.

Vn
vn
sastre,

pastelero,

y vn capatero
?

felleban la gente tras si

1400

190

AC TO SEGUNDO

Maestro.

No
sus

pero tan poco

la calle
officios.

ellos

por

haziendo van

Finea.
si

^No podran,
quieren
?

Maestro.

Podran
Pues no entreys
ni en

hazellos;

(y yo no quiero danzar.
[Fiueo.]
aqui.

Maestro.

No
mi vida
bolvere.)

hare,

Finea.

y yo no quiero danzar. Pues no entreys aqui.

1405

Maestro.
Finea.

No
Ni quiero andar en vn Ni yo enseiiar
las
pie,

hare.

ni dar bueltas ni saltar.

Maestro.

que sueiian
1410

disparates atrevidos.

Finea.

No ynporta; que
i

los

maridos

son los que mexor enseiian.

Maestro.
Finea.

Han

visto la mentecata

^Que

es mentecata, villano?

Maestro.

Seiiora, tened la

mano.
trata

1415

Es vna dama que

a quien la sirbe.

eon grauedad y rigor

Finea.

[,

Eso

es

Maestro.

Puesto que buelbe despues

con mas blandura y amor.
1420

Finea.

^Es

eso cierto?

Maestro.
Finea.

^Pues no?

Yo

os juro,

aunque nunca ingrata,

yo.

que no ay mayor mentecata

en todo
Maestro.
el

mundo que
es cortesia

El creher
adios,

que soy mui

cortes.

LA DAM A BOB A
*
Clara.
Vaijasc.
i,

191

ij

enfrr Clara
?

Danzaste

Finea.

^,

Ya no
todo

lo ves?

Persig[u]

eiiine

el

dia

con

leer,

eon escriuir,
es

con danzar, y todo

solo

nada

Laurenzio
te

me

agrada.

Clara.

^Como

podre decir

vna desgracia notable?

Finea.

Hablando porqne no ay cosa

;

de decir dificultosa

1435

Clara.

muger que viua y liable. Dormir en dia de fiesta

a
I

es

malo ?
Pienso que no

Finea.

aunque
buena
Clara.

si

Adan

se durniio,

costilla le cuesta.

1440

Pues

si

nacio la

muger
costilla,

de vna dormida

que duerma no
Finea.

es marauilla.

Agora vengo
solo

a entender,

con esa aduertenzia,

se

porque
los

andan

tras nosotras

bombres, y en vnas y otras

aquesto no es

hazen tanta diligenzia

que
su

si

asilla,

deben de andar
costilla,

a buscar

y no ay parar
costilla.

hasta topar su
Clara.

Lnego si para el que amo vn alio y dos, harto bien

le

diran los que

le

ven,

1455*

que su
Finea.
Clara.

costilla topo.

lo

menos
estas.

los cassados.

Sabia

192

ACTO SEGUNDO
Aprendo ya que me enseiia amor quiza
con liciones de cuidados.
1460

Finea.

Clara.

Boluiendo

al cuento,

Laurenzio
ti.

me

dio vii papel para

ylar.
;

Pusseme a
Meti en
el

Ay

de mi,

quanto proboea
copo

el silenzio el

papel,

1465

y como ylaua
y
es la estopa
el

al eandil,

tan

sutil,
el.

aprendiose

copo en

Cabezas ay diseulpadas quando duermen sin cogines,

1470

y sueiios como rozines, que vienen con cabezadas.

Apenas

el

copo ardio,
el

quando, puesta en

de pies,
1475

me chamusque, ya
Finea.
Clara.
i,Y el papel?

lo ves.

Libre quedo,

como

el

santo de Paxares.

Sobraron estos renglones

en que hallaras mas razones

que en mi cabeza aladares.

Finea.
Clara.
j,Y

1480*

no

se

podran leer?
lee.

Toma y

Finea.
Clara.

Yo
la estopa

se poco.

Dios libre de vn fuego loco

de la muger.

Entre Otabio
Otahio.

Yo

pienso que

me

canso en enseiiarla,

14S5
*

porque

es querer labrar

con bidro vn porfido

ni el danzar ni el leer aprender puede,

aunque

esta

menos ruda que

solia.

LA DAM A BOB A
Fi)U(i.

padre nu'iiteeato y generoso,

bien seas venido

Ofahio.
(.

Finea.

Aqui

el

maestro de danzar

Como mentecato'? me dixo

mas

que era yo mentecata, y enojeme el me respondio que este vocablo

1495

signifieaua vna mnger que riiie, y luego buelbe con amor notable, y eomo vienes tu riiiendo agora, y has de mostrarme amor en brebe

rato,

quise tanbien llamarte mentecato.

Otahio.

Pues

hija,

ni digais esse nonbre

no crehays a todas gentes, que no es justo.

;

1500

Finca.

No

lo

hare mas.

Mas

diga, seiior padre,

^sabe leer?
Ofahio.
^.

Pues

esso

me preguntas?
lea.

Finca.
Otahio.

Tome por
I,

vida suya, y este

?

Este papel

Finea.
Oidbio.

Si,

padre.

Oye, Finea.

Lea ansi
Agradezco mucho
mosura.
Finea.
Otahio.
I,

la

merzed que me has echo, aunque toda

pensando en tu her-

esta noche la he passado con poco sosiego,

No ay mas ? No ay mas que

;

esta

quemado
Finea.

lo

demas.

Quien

te le

mui justamente ha dado ?

1505

Laurenzio, aquel discreto caballero

de la academia de mi hermana Nise,

que dize que

Otahio.

me

quiere con estremo.

De

su ignoranzia

mi desdicha temo.
el

1510

Esto truxo a mi casa

ser discreta
el

Nise, el galan, el musico,

el lindo, el el

poeta,

que

se precia de oloroso,

afeytado,

el loco,

el oeioso.

[apart e]

194

AC TO SEGUNDO
^Hate passado mas con
este,

acaso?

1515

Finca.

Ayer, en

la escalera, al

primer paso
buenos pasos anda

me
Otahio.

dio vn abrazo.
I

En

mi pobre honor por vna y otra vanda

La
y

disereta con neeios en concetos,

la

boba en amores con discretes.

1520

esta

no ay
lo

llebarla por eastigo,

y mas, que

podra entender su esposo.

[apart e]

Hija, sabed que estoy

mui enojado.
,

No
Finea.

OS dexeys abrazar.

Entendeys, hija?
1525

Si, seiior

padre

y cierto que me pesa,

Otahio.

aunque me parezio mui bien entonzes. Solo vuestro marido ha de ser digno
desos abrazos.

*
Turin.
Otahio.
I

Entre Turin

En
De que

tu busca vengo.
?

es la prisa tanta

Turin.

De que
van a matarse mi senor Lisseo y Laurenzio, ese hidalgo marquesote, que desbaneze a Nise con sonetos.

al

canpo
1530

Otahio.

Que ynporta que

los

padres sean discretos,

?

si les f alta

a los hijos la obedienzia

Liseo habra entendido la inprudencia

deste Laurenzio atreuidillo y loco,

1535

y que sirbe a su esposa. ^Por donde fueron?

Turin.

Caso

estrailo

Van,

si

no me engaiio,
1540

hacia los Kecoletos Agustinos.

Otahio.

Pues ven tras mi.

Que

estranos desatinos
ij

Vayanse Otahio
Clara.

Turin

Pareze que
tu padre.

se

ha enojado

LA DAM A BOB A
Fin CO.
Clara.
^

195

^,

Que puedo hazer?

a leer

Por que
papel
?

le diste

el

Fine a.
Clara.

Ya me ha pesado. Ya no puedes proseguir

la

1545

voluntad de Laurenzio.

Finca.

Clara, no la diferenzio

con

el

dexar de

viuir.

Yo no
porque
el

entiendo como ha sido

el

desde que
si

honbre me hablo, que siento yo,

el sentido.
el,

1550

es

me ha
como,
si

llebado

Si duermo, sueiio con

si

le

estoy pensando,

bebo, estoy
la

mirando
del.

1555

en agua

ymagen

^No has
muestra

visto de que
el

manera

espejo a quien mira

1560

su rostro, que vna mentira

le

haze forma verdadera

lo

Pues
que
Clara.

mismo en vidro miro

el cristal

me

representa.

tus palabras atenta,

de tus mudanzas

me

admiro.
1565

Pareze que
en otra.
Finea.
Clara.

te

transformas

En
para aprender

otro diras.

Es maestro con quien mas

te

conformas.
1570

Finea.

Con todo

esso sere

obediente al padre mio;

fuera de que es desbario

quebrar
Clara.

la

palabra y

fee.

Yo
el

hare

lo

mismo.

Finea.

No ynpidas
camino que llebauas.

396

ACTO SEGVNDO
^No
ves que

Clara.

ame porque amauas,

1575

Finca.

y oluidare porque oluidas? Harto me pessa de amalle,

pero a ver mi daiio vengo,

aunque sospecho que tengo

de oluidarme de oluidalle.
at

1-580

Vayanse, y entren Lisseo y Laurenzio.

Antes, Lisseo, de sacar la espada, quiero saber la causa que os obliga.

Laurencio.

Liseo.

Pues bien sera que

Lisseo,
si

la

razon os diga.

Laurencio.

son celos de Finea,

sea,

mientras no se que vuestra esposa

1585

bien puedo pretender, pues fui primero.

Liseo.

Disimulays, a fee de caballero;

pues tan lexos llebays

el

pensamiento
1590

de amar vna muger tan inorante.

Laur

Antes de que

la

quiera no os espante

que soy tan pobre como bien nazido,

y quiero sustentarme con el dote. Y que lo diga ansi, no os alborote,

pues que vos, dilatando
el

casamiento,
3595

haueys dado mas fuerzas a mi yntento

y porque, quando llegan obligadas a desnudarse en canpo las espadas, se ban de tratar verdades llanamente
que
Liseo.
es

honbre

vil

quien en

el

cgnpo miente.

(Y)

feluego

no quereys bien a Nise?

Laurencio.

A
yo no puedo negar que no
la quise,

Nise

1600^

mas su dote seran

y de quarenta a

diez mil ducados.

diez,

ya beys, van treynta.

creo,
160.5

Y
Liseo.

pase de los diez a los quarenta.

ansi,

Siendo esso

estad seguro que

como de bos lo xamas Lisseo

de Finea

OS quite la esperanza

LA DAM A BOB A
que auiKine no
es la

197

ventura de

la fea,

sera de la ygnorante la ventura,

que
Laurencio.
Liseo.

asi

Dios

me

la de,
la vi

que no

la qiiiero,

1^10

piles
i

desde que

pnr Nise muero.

For Nise ?
Si,

por Dios.

Laurencio.

Pnes vuestra
y con la antiguedad que yo la quise, yo OS doy sus esperanzas y fabores.

es Nise,

Mis desseos os doy, y mis amores, mis ansias, mis serenos, mis desbelos,
mis versos, mis sospechas, y mis
celos.

1615

y dalde pique que no hara mucho en que de vos se pique.

Entrad con

esta rumfla,

* *

Liseo.

Aunque con
que yo soy

cartas tripuladas jueg[u]e,

1620*

aceto la merzed, serior Laurenzio,

rico,

y eonprare mi gusto.
el

Nise es discreta, yo no quiero

oro

hazienda tengo, su belleza adoro.

Laurencio.

Hazeys mui
el

bien,

que yo, que soy tan pobre,

16^5

oro solieito que

me

sobre

que aunque de entendimiento lo es Finea,

yo quiero que en mi casa alhaja sea. ^No estan las escrituras de vna renta
en vn caxon de vn escritorio, y rinden
aquello que se come todo
el

1630

ano;

no esta vna casa principal tan firme

como de piedra, al fin, yeso y ladrillo, y renta mil ducados a su dueiio? Pues yo hare cuenta que es Finea vna cassa, vna escritura, vn censo, y vna vifia,
y serame vna renta con vasquifia. Demas, que si me quiere, a mi me basta que no ay mayor yngenio que ser casta.
Liseo.

1635

Yo

os

doy palabra de ayudaros tanto,

creo.

1640

que venga a ser tan vuestra como

198

ACTO SEGUNDO

Laurencio.

Y
lo

yo con Nise hare, por Dios,

que vereys.

Lisseo,

Liseo.

Pues demonos
sino

las

manos
1645*

de amigos, no fingidos cortesanos,

eomo

si

fueramos de Grecia,
el

adonde tanto
Laurencio
Liseo.

amistad

se precia.

Yo

sere vuestro Pilades.

Yo
*
Entre Otahio y Turin
estos?

Orestes.

Otabio.

I,

Son

Turin.
Otahio.

Ellos son.
I,

esto es

pendenzia

Turin.
Otahio.
Liseo.

Conozieron de lexos tu pressenzia.

Caballeros
. . .

Seiior, seays bienvenido.

I

1650

Otahio.
Liseo.

Que hazeys aqui ?

Como Laurenzio ha
tan grande amigo mio desde
el

sido

dia

que vine a vuestra

cassa, o a la mia,

venimonos a ver
Otahio.

el

canpo

solos,
16.55

tratando nuestras cossas ygualmente.

Desa amistad me huelgo estraiiamente.

Aqui vine a vn jardin de vn grande amigo,

Liseo.

y me holgare de que bolbays eonmigo. Sera para los dos merzed notable.

Laurencio.
Otahio.

Vamos

aconpaiiaros y seruiros.

Turin, ^por que razon

me

has enganado?

Turin.

Porque deben de haber disimulado,

y porque, en fin, las mas de las pendenzias mueren por madurar que a no ser esto,
;

no hubiera mundo
Otahio.
se

ya.

Pues

di, ^.tan

presto

pudo remediar?
&Que
nias remedio
reiiir,

Turin.

de no

que estar

la

vida en medio?

LA DAM A BOB A
*
Nise.

199

[Vcnjause,

>/

sdlgan] Nisc y Finea.

De
que

siierte te

has oiigreydo,
1670

te

voy desconoziendo.

Finea.

Nisc.

De que eso digas me ofendo. Yo soy la que sienpre he sido. Yo te vi menos disereta.

Finea.
Nisc.

Y
^:,

yo mas segura
te te

ti.

Quien Quien

va trocando ansi?

^,

da lieion secreta
es hi tuya.

1675

Otra memoria
/,

Tomaste

la

anacardina?

Finea.

Ni de Ana ni Catalina
he tornado lieion suya.

Aquella que ser

soy,

solia
e

1680

porque solo

mudado

Nise.

j,No sabes que es

vn poco de mas cuidado. prenda mia

Laurenzio
?

Finea.
a

[.

Quien

te enpeiio

Laurenzio?

Nise.

Amor.

Finea.

&A
Pues yo y
el le

fee?

1685

desenpeile,
le dio.

mismo amor me

Nise.

Quitarete dos mil vidas,

boba dichosa.
Finea.

No
que
si

creas
1690

Laurenzio desseas,

de Laurenzio te diuidas.

En mi
de
lo

vida supe mas

el

que
se,

me ha

dicho a mi.
1695

Nise.

y eso aprendi. Mui aprobechada estas. Mas de oy mas no ha de pasarte

Esso
por
el

pensamiento.
I

Finea.

Quien ?

200

ACTO SEGUNDO

Nise.

LA DAMA BOBA
Finea.
i

201

Yesle tu

Laurencio.
Finea.

Yo

no, xainas.

Mi hermana me dixo
por
el

aqui,

1725

que no has de passarme a mi pensamiento mas.

alia te desbia,
el. el,

Por esso
Laurencio.

y no me passes por

Pieusa que yo estoy en

1730

Finea.

y liecharme fuera querria. Tras esto dize, que en mi

pusiste los ojos.

[apart e]

Laurencio.

Dize

verdad
el

no

lo contradize
ti.

alma que vine en

que
si

1735

Finea.

Pues tu me has de quitar luego

los ojos

me

pusiste.

Laurencio.
Finea.

^.

Como,

en amor eonsiste?
1740
ojos.

Que me
si

los quites, te ruego,

con ese lienzo de aqui,

yo

los

tengo en mis

Laurencio.
Finea.

Nomas:
^No

cessen los enojos.

estan en mis ojos?

Si.

Laurencio.
Finea.

Pues linpia y quita los tuyos; que no han de estar en los mios.
;

1745

Laurencio.
Finea.

Que

graciosos desbarios!

Ponlos a Nise en los suyos.

Laurencio.
Finea.

Ya
^

te linpio

eon

el lienzo.

Quitastelos?
^

Laurencio.
Finea.

No loves?
1750
;

Laurenzio, no se los des

que a sentir penas comienzo.

Pues mas ay; que

el

padre mio
dado.
[aparte]

brabamente
Laurencio.

se

ha enojado

del abrazo que

me has

Mas ^que ay

otro desbario?

ACTO SEGUNDO
Finca.

Laurencio.
Finea.

Tanbien me le has de No ha de reiiirme por Como ha de ser ?

fe

quitar.
esto.

Siendo presto.

^No
Laurencio.

sabes desabrazar?
alee,

El brazo derecho

tienes razon, ya me aeuerdo

y agora aleare
el

izquierdo,

y
Finea.

el

abrazo desare.

|,Estoy ya desabrazada?
l

Laurencio.

No

lo ves

*
Nise.

Nise entre

Y
Huelgome, Nise, tan
que ya no
por

yo tanbien.
bien,
;

17(55

Finea.

me

diras nada

ya Laurencio no me passa
el

pensamiento a mi
1770

ya

los ojos le bolui,

pues que contigo

se cassa.

En
Laurencio.

el

lienzo los llebo,

y ya me ha desabrazado.

Tu

sabras lo que ha passado

risa.

con harta
Nise.

Aqui no
bamos
los

1775

dos

al

jardin

que tengo bien que riiiamos.

Laurencio.

Donde tu

quisieres bamos.

*
Finea.

Vayanse Laurcnzio y Nise

Ella se
i,

le

lleba en fin.

Que

es esto

que me da pena
el 1
el.

1780

de que se baya con

Estoy por yrme tras

^Que es esto que me enagena de mi propia libertad ?

LA DAMA BOBA

No me hallo Mi padre es

sin Laiirenzio.
este
;

1785

silenzio,

eallad, lengna

ojos, liablad.

*
Ofabio.

Otabio entre

^Adoiide esta tu esposo?

Finca.

Yo
que
lo

pensaiia

primero en viendorae que hizieras,

si

fuera saber de mi
Otdbio.

te obedezco.
?

Pues

I,

eso a que proposito

Finea.

Enojado

no me dixiste aqui que era mal echo

abrazar a Laurenzio?

Pues agora
le

que me desabrazasse
y
Otabio.
^,

he rogado,
quitado.
di, bestia,

el

abrazo passado

me ha

Ay

cosa semejante?
le

Pues

^otra vez

abrazauas?

Finca.
fue la primera vez alcado

Que no
el

es eso

brazo
1800

derecho de Laurenzio aquel abrazo,

y agora lebanto, que bien me acuerdo, porque fuesse al rebes, el brazo yzquierdo.
Otabio.

Luego desabrazada Quando pienso que

naturaleza.

estoy agora.
sabe,
lo

mas ygnora.
que no quiso
1805

Ello es querer hazer

[apart c]

Fini

Diga, senor padre,

^como llaman aquello que

se siente, se

quando
Otabio.

se

va con otro

lo

que

ama?

Esse agrauio de amor celos se llama.

^Celos?

Finea.
Otahio.

Pues ^no y

lo ves

que son sus hijos?

Finea.

El padre puede dar mil regozijos,

es

mui onbre de bien

mas desdichado
pienso,

en que tan malos hijos ha criado.

Otabio.

Luz va tiniendo ya pienso que bien

;

204

ACTO SEGUNDO
si amor la enseiiase, aprenderia. Con que se quita el mal de celosia ? Con desenamorarse, si ay agrabio,

que

[o parte]

Finea.
Otahio.

i,

1815*

es el remedio mas prudente y sabio; que mientras ay amor ha de haber celos, pension que dieron a este bien los eielos.

que

.Adonde Nise esta?

Finea.

Junto a

la fuente.

Con Laurenzio
Otahio.

se fue.
i

Cansada eosa

Aprenda normala

a hablar su prosa

dexesse de sonetos y eanziones.

Alia voy a rronperles las razones.

Vayasc
Finea.

^.

Por quien en

el

mundo
? ?
^

passa

1825

esto
I

que passa por mi

vi denantes

Que

Que

vi

que

assi

me
;

eneiende y

me

abrasa

Celos dize

el

padre mio
!

que son.

Braba enfermedad

1830

*
Laureticio.

Entre Laurenzio

Huyendo

su autoridad,

de enojarle

me

desbio,
le

aunque en parte
que estorbasse
a euyos rayos
Seiiora
. .

agradezco

los enojos los ojos

[a parte]

de Nisse. Aqui estan

1835

me

ofrezco.

Finea.
i,

Estoy por no hablarte.

Laurencio.
Finea.
Laiirencio.

Como te f uiste con Nise ? No me fui porque yo quise.

Pues
^.por

que?

Por no enojarte.

1840

LA DAM A BOB A
FitH

Pesame
que

si

no

te veo,

y en viendote ya querria
te fuesses,
el

anda

y a porfia temor y el desseo.

ti

Yo

estoy celosa de
se lo

que ya

que son

celos,
;

que su duro nonbre

ay

cielos

me dixo mi padre aqui. Mas tanbien me dio el remedio.

Laurencio.
Finca.
I

Qual

es

Desenamorarme
porque podre sosegarme,
quitando

1850

Laurencio.
Finca.

Pues

amor de en medio. como ha de ser ? El que me puso el amor

el
i,

esso

me
Laurencio.
Finca.

le

quitara mexor.

1855

Vn
[.

remedio suele haber.

Qual ?
Los que vienen aqui
remedio avudaran.

Laurencio.
al

*
Pedro.

Entren Pedro, Duardo y Feniso

Finea y Laurenzio estan
juntos.

Feniso.

Y
Seays
a
la ocasion

el

fuera de

si.

1860

Laurencio.

los tres vien

benidos

mas gallarda
ofrezer.
el

que

se

me pudo
los

pues de

dos

alma
1865

a sola Nise discreta

ynelina las esperanzas,

oyd
Duardo.

lo

que con Finea

para mi remedio passa.

En
que

esta cassa pareze,

los

segun por
te

ayres andas,

1870*

ha dado echizos Qirce.

206

ACTO SEGUNDO
Niinca sales desta cassa.

Laiirencio.

Yo voy
para

con mi pensamiento,
1875

haziendo vna rica traza

liazer oro

de alqiiimia.
gastas.

Pedro.

La salud y el tiempo Ygual seria, seiior,

caiisarte,

pues todo cansa

de pretender ynposibles.
Laurencio.
Calla, necio.

Pedro.

El nonbre basta. para no callar xamas

1880

que nunca
Laurencio.
a Finea.

los necios callan.

Agiiardadme mientras hablo

Parte.

Duardo.
Laurencio.

Hablaua,

Finea hermosa, a
para
Finea.
el

los tres,

18S5

remedio que aguardas.

el

Quitame presto

amor
mata.
1890

que eon sus eelos

Laurencio.

me

Si dizes delante destos

como me das la palabra de ser mi esposa y muger,

todos los celos se aeaban.

Finea.

^Eso no mas?
Pues tu misma
Seiiora

Yo

lo hare.

Laurencio.

a los tres llama.

.

*Finea.

Feniso, Duardo, Pedro

. . .

Los Tres.
Finea.

Yo doy
de ser esposa y muger
de Laurenzio.

palabra

Duardo.
Laurencio.
^,

Cosa

estraiia

Soys testigos desto?

Si.

Los Tres.
Laurencio.

Pues haz cuonta que

del

estas sana

1900

amor y de

los celos

que tanta pena

te

daban.

LA
Finca.
Laiircncio.

DAM A BOB A

207

Dios te

lo pag[ii]e, Lanreiizio.
;

Venid
Pues
Si,

los tres a ini casa

vii

que tengo
Feniso.
(.coii

notario

alli.

1905

Finea

te eassas?

Laurencio.
Feniso.

Feniso.
^,

Nise bella
plata.

Laurencio.

Troque discrezion por

[Vayansc Laurcnzio, Feniso, Duardo y Pedro, y]

quede Finea
sola,

y entren Nisc y Otahio

Nisc.

Hablando
]\Iira, hija,

estaiia

con

el

cossas de poca inportanzia.

1910

Otahio.

que estas cosas

Nisc.

mas desonor que onor causan. Es vn onesto mancebo

que de buenas letras
trata,

Otahio.

y tengole por maestro. No era tan bianco en Granada

1915

Juan Latino, que la hija de vn Beyntiquatro ensenaua

y siendo negro y esclauo, porque fue su madre esclaua
del claro

duque de

Seso,

honor de Espaiia y de Ytalia, se vino a cassar con ell a

que gramatica estudiaua,

la enseiio a

conjugar

en llegando al amo, amas;

que

asi

llama

el

matrimonio

el latin.

Nisc.

Deso me guarda
ser tu hija.

Finea.

^i

]\Iurmurays

de mis cosas?
Otahio.
esta loca
?

^Aqui estaua

1930

208

LA DAM A BOB A
Finca.
Otahio.
I

209

Bamos.
Yen.

Que descanso de mis canas

[Vauansc Oiahio y Finra]
Nise sola

[anarie

Nise.

Hame

contado Laurenzio

que han tornado aquesta traza

Lisseo y
si el,

para ver
1965

aquella rudeza labraii,

y no me pareze mal.

*
Lisco.
I

Lisseo cntre

Hate contado mis ansias

?

Laurenzio, discreta Nise

Nise.
Lisco.
I,

Que me

dizes

Sueiias o hablas

Palabra

me

dio Laurenzio
1970

de ayudar mis esperanzas,

viendo que las pongo en

Nl^e.

ti.

Pienso que de hablar con tu espossa, o que

en
el

te se

cansas

enbota
197

la

dureza que labras

cuchillo de tu gusto,

Liseo.

y para bolber a hablarla, quieres darle vn filo en mi. Yerdades son las que trata
contigo mi amor, no burlas.

Nise.
Liseo.

Estas loco

Quien pensaua
cassarse con quien lo era,

19S0

de pensarlo ha dado causa

yo he mudado pensamiento.
Nise.
i

Que necedad, que ynconstanzia,

que locura, error, trayzion
1985

mi padre, y

mi hermana

Yd

en buen ora, Lisseo.

210

ACTO SEGUNDO
^Desa manera me pagas
tan desatinado amor?
Plies
si es

Liseo.

Nise.

desatino, basta.

1990

*
Laurcncio.

Entre Laurenzio

Hablando estan

los

dos

solos.

Si Liseo se declara,

Nise ha de saber tanbien

que mis lisonjas Creo que

Nise.
i

la engaiian.

me ha

visto ya.

[ajjartc]

1^95

gloria de

mi esperanza

*
Liseo.

N'isc dize
^,

como que hahla con Lisseo

Nise.

Yo vuestra gloria, sefiora? Aunque dizen que me tratas

con trayzion, yo no
lo creo
el

que no
Liseo.
I

lo

consiente
?

alma.

2000

Trayzion, Nise

Si en

mi vida

mostrare amor a tu liermana,

me mate vn rayo
Laurcncio.

del cielo.

Es conmigo con quien habla Nise, y presume Liseo

que
le

2005
[a parte]

requiebra y regala.

Nise.

Quierome quitar de aqui,

que con
tal

fuerza

me

engaiia

amor, que dire locuras.

Liseo.

No

os bays,

Nise gallarda
los

2010

que despues de

fabores

quedara
Nise.
Liseo.

sin vida el alma.

Dexadme

passar

[Entresc Nise]
I

Aqui

estauas a mis espaldas?

Laurcncio.
Liseo.

Agora

entre.

Luego
te hablaua,

ti

2015

aunque me

y te requebraua, miraua a mi

aquella discreta yngrata.

LA DAM A BOB A
Laurcncio.

211

No

tengas i)ena
el

las piedras

ablanda

curso del agua.

2020

Yo

sabre hazer que esta iioehe

puedas en mi nonbre hablarla.

Esta
es discreta, Lisseo
si

no podras,

no

la engafias,

quitalla del pensamiento

el

2025

ynposible que aguarda

porque yo soy de Finea.

Liseo.

Si

mi remedio no

trazas,

cuentame loco de amor.

Laurcncio.

Dexame

el

remedio, y calla

2030
;

porque burlar vn disereto,

es la vitoria

mas

alta.
la

Fhi del scgundo ado de

Dama

boba

Rubrica de Lope de Vega

212

ACTO TEECEEO

TERCERO ACTO DE LA DAMA BOBA

Rulrica dc Lope de Vega

LOS QUE HABLAN EN EL TERCERO ACTO

Finea
Clara
Nise-

Liseo

Pedro
Laiirenzio

Turin
Misseno

Duardo
Fenisso
gelia

Otabio

Los Musicos
Ruhrica dc Lope de Vega
ACTO TERCERO

Finea sola
[Finea]
;

Amor, diuina inuenzion

de conseruar la belleza

de niiestra naturaleza,
o accidente, o eleccion

2035

Estrafios effetos son

los

qne de tu eiencia nazen,

pues las tinieblas desazen,

pnes hazen hablar
los

mudos,

2040

pnes

los ingenios

mas rudos
cpie viuia

sabios y discretos hazen.

No ha

dos messes

LA BAMA BOBA
a las bestias tan ygiial,

213

que auu

el

alma razional

"045

pareze que no tenia.

Con
y
la

el

animal seutia,

erezia con la planta

razon diuina y santa

2050
vi,

estaua eelipsada en mi,

hasta que en tus rayos
a

euyo

sol se lebanta.

Tu

desataste y ronpiste

la eseuridad de

mi ingenio,
2055

tu fuiste

el

diuino genio

que

me

enseiiaste,

y me

diste

la luz
el

con que
ser en

me

pusiste

nuebo

que estoy.
te doy,

Mil graeias, amor,

pues

me

enseiiaste tan bien,

2060

que dizen quantos

me ven

que tan diferente soy.

A
de

pura ymaginazion
la

fuerza de vn desseo,

en

los palacios

me

veo

2065

de la diuina razon.
i

Tanto

la

eontenplazion
!

de vn bien pudo lebantarme

Ya puedes
dandome

del grado onrrarme,

2070

a Laurenzio, amor,

con quien pudiste mexor

enamorada enseiiarme.

Clara.

En

grande co[n]uersaeion
2075

estan de tu entendimiento.

Finea.

Huelgome que este contento mi padre en esta ocasion.

Hablando
esta con

Clara.

Miseno

214

AC TO TEECERO
de como
lees,
;

eseriues

y danzas dize que viues con otra alma en cuerpo ageno.

Atribuyele
al

2080

amor

de Lisseo este milagro.

Finea.

En

otras aras consagro

mis botos, Clara, mexor. Laurenzio ha sido

Clara.
el

maestro.

2085

Finea.

Como Pedro lo fue mio. De verlos hablar me rio

en este milagro nuestro.

Gran fuerza

tiene el amor, 2090*

catredatico diuino.

*
Miscno.

[Salgan]Miscno y Otaiiio

Yo

pienso que es

el

camino

de su remedio mexor.

Y ya,

pues habeys llegado

2095

a ver eon entendimiento

a Finea, que es contento

nunca de vos esperado,

a Nise podeys cassar

con este mozo gallardo.

Otahio.

Vos solamente

Duardo
2100

pudierades abonar.

Mozuelo me parezia
destos que se desbanezen,
a quien agora enloquezen
la

arroganzia y

la poesia.

No

son gracias de marido

2105

sonetos; Nise es tentada

de academica endiosada

que a casa
l

los

ha trahido.
2110*
*

Quien

le

mete a vna muger

con Petrarca y Garcilaso,

siendo su Virgilio y Taso

LA DA MA BOB A
ylai-. labi-ar

215

y eoser?

Aver

siis librillos vi,

papeles y escritos varies

pense que debozioiiarios,

2115

y desta snerte

lehi

Historia de dos amantes,

saeada de lengua griega

Rimas de Lope de Vega,

Galatea de Cerbantes,
el

2120*
*

Camoes de Lisboa,
de Belen,

los Pastores

*
*

Comedias de don Guillen

de Castro, Liras de Ochoa,

Canzion que Luis Velez dijo

en la Academia del duque
'

2125*
* * *

de Pastrana, Obras de Luque,

Cartas de don Juan de Arguijo,

cien Sonetos de Lilian,

Obras de Herrera
el

el

diuino,

2130*
* *
;

Libro del Peregrino,

el

Piearo de Aleman.
os canso,

Mas que
que
Miscno.

por mi vida

se los quise

quemar.
2135

Cassalda, y vereysla estar oeupada y diuertida

en
Otahio.
i

el

parir y

el criar.

Que gentiles debociones Si Duardo haze canziones,

2140

bien los podemos cassar.

Miseno.

Es poeta
versos.

caballero;
:

no temays
Ofahio.
los

hara por gusto

Con mucho disgusto

de Nise considero.
2145

si

Temo, y en razon lo fundo, en esto da. que ha de liaber

216

ACTO TERCEEO
vn don Quixote niuger
que de que reyr
al

mundo.

*
Liseo.

Entren Lisseo y Nisc [y Turin] Tratasme eon tal desden,

que pienso que he de apelar
2150

adonde sepan tratar

mis obligaziones bien.

Pues aduierte, Nise

que Finea ya
es

bella,

sagrado
2155

que vn amor tan desdeiiado

puede hallar remedio en

ella.

Tu desden que ymagine

que pudiera ser menor,
ereze al passo de

mi amor,
2160

niedra al lado de mi fee.

su corto entendimiento
tal

ha llegado a

mudanza,

que puede dar esperanza

J

mi

loco pensamiento.
2165

Pues, Nise, tratame bien,

o de Finea
el

fabor

sera sala, en que

mi amor
fieros

apele de tu desden.
Nise.
Lisseo, el

hazerme
te

fuera bien considerado,

2170

quando yo
Liseo.

hubiera amado.

Los nobles y caballeros como yo se han de estimar,

no
Nise.

lo

yndigno de querer.
se

El amor

ha de tener
puede hallar
es eleccion,

2175

adonde

se

que como no
sino solo
tienese

vn accidente,
se siente,

donde

no donde fuera razon.

2180

El amor no

es calidad,

LA DAM A BOB A
sino estrellas que conciertaii
las

volimtades que aeiertan

2185

a ser vna voluntad.

Liseo.

Esso, sefiora, uo es justo,

y no lo digo con zelos que pongays culpa a los

de la baxeza del gusto.

cielos

A
no
Nise.

lo

que

se

haze mal.
:

es bien dezir

"'fue

mi
ella,

estrella.

2190

Yo no pongo

culpa en

ni en el curso celestial,

porque Laurenzio

es

vn horabre

tan hidalgo y caballero

que puede honrrar

Liseo.

218

ACTO TEECEBO
desde vn desden a vn fabor.
[apart e]

Cclia.

Los musicos v

el veiiian.

Entren

Jos

musicos

LA DAM A BOB A
Las (lamas, como
Jr via)i,

2U

dfsia tnaiKi'd h hablaii:

2240

^De do

viene, de do viene?

Viene de

Panama
[11]

^De do

uiene

d
el

cahallerof

Viene de
Tranzelin en

Panama

sombrero,

2245

Viene de Pa)tama

cadenita de oro al cuello,

Viene de
Viene de

Panama
el

en los hrazos

grig[u]iesco,

Panama

2250
^

las ligas eon rapazejos,

Viene de Panama
^

capatos al uso nueho,

Viene de Viene de

Panama
Panama

2255^

sotanilla a lo turquesco.

^De do

viene, de do viene

Viene de

Panama
[III]

iDe do

viene

el liijo

Viene de

Panama

de (dgo?
-260
^

Corto cuello, y punos largos, Viene de Panama

la

daga en vanda colgando,

Viene de Viene de

Panama Panama

guante de anhar adohado,

gran jngador del vocahlo,
Viene de Panama

2265

220

ACTO TERCEBO
no da dinero, y da manos, Viene de Panama

2270

enfadoso y mal criado;

Viene de
es

Panama
Panama

Amor, llamase Yndiano,

chapeton castellano,

es

Viene de Panama
Viene de

2275*

en criollo disfrazado.

Viene de

Panama

^De do

viene, de do viene?

Viene de

Panama
[IV]

2280

jO que Men pareze Amor

con
las

que solo

cadenas y galas! el dar enamora,

de
las gragias.

porque

es gifra

Ninas, donzellas, y viejas

2285

van a huscarle a su

casa,

mas ynportunas que moscas,

en viendo que ay miel de plata.

Sohre qual

le

ha de qucrer,
2290

de viuos gelos se ahrasan,

y al rededor de su puerta vnas tras otras le cantan:

jDexa las auellanicas, moro! Que yo me las vareare

[V]

El Amor se ha huelto godo: Que yo me las vareare

2295*

punos

largos, cuello corto.

las

Que yo me

vareare

LA DAMA BOBA
sotaiiilla,
ij

221

liga de oro,

*
2300
*

Que

)j()

me

las

vareare

sonhrcro, y qapato romo,

Que yo me las vareare manga ancha, calzon angosto. Que yo me las vareare El hahla mucho, y da poco, Que yo me las vareare

2305

es vie jo,

y dize que
las

es

mozo,

Que yo me
es

vareare

*
2310

coharde y matamoros.

Que yo me

las

vareare

Ya
I

se desciibfio los ojos.

Que yo me

las

vareare

loco, y amor loco! Que yo me las vareare jYo por vos, y vos por otro! Que yo me las vareare

Amor

2315

jDcxa

las auellanicas,

moro!

Que yo me
Miseno.
;

las vareare.

Gallardamente, por cierto!

graeias al cielo, Otauio,
2320

Dad
que
Otahio.

OS satisfizo el agrauio.
este concierto
*

Hagamos

de Duardo con Finea.

Hijas, yo tengo que hablaros.

Finea.
Otahio.

Yo
^,

naci para agradaros.

2325

Quien ay que mi dicha crea?

Lisseo y Turin

*
Liseo.

Entrense todos, y c/ueden

Oye, Turin
.

alii

Turin.
Liseo.

[,

Que me quieres ?

Quierote conumicar

vn nuebo

gusto.

ACTO TEECEEO
Turin.
sobre tu
biisca

Si es dar

amor

parezeres,

2330

vn letrado de amor.

Lisco.

Yo

he

mndado
el

parezer.

Turin.

ser

dexar de querer
raexor.
2335

a Nise, fuera
Liseo.

El mismo

porque Finea
su agrabio.
sabio,

Turin.

me ha de vengar de No te tengo por tan

que

tal discrezion te erea.

Lisco.

De nuebo quiero
mi eassamiento
;

tratar
2340

alia voy.

Turin.
Lisco.
'Turin.

De tu parezer estoy. Oy me tengo de vengar. Nunca ha de ser el (de)

que nunca
quien
se caso bien

casarse

por vengarse de vn desden

2345*

se casso

por vengarse.

Porque

es gallarda Finea,
el

y porque

seso cobro,
se

pues de Nise no

yo
2350

que tan entendida sea

sera bien eassarte luego.
Liseo.

Misseno ha venido aqui

algo tratan contra mi.

Turin.
Lisco.

Que
*

lo

mires bien,

te ruego.

No ay mas;

a pedirla voy.

2355

[Vayase Lisseo]
eielo tus passos guie,

Turin.

El

del error te desbie

en que yo por Celia estoy.

Que enamore amor vn onbre como yo Amor desatina. Que vna ninfa de cozina,
j ! i

2360

para blasson de su nonbre

LA
l)onga

DAM A BOB A

223

"Acini mnrio Turin,

entre sartenes y cazos!"

224:

ACTO TEBCEBO
del no saber al saber,

y con saber
Laurencio.
[Turin.]

le obligo.

feMandays otra cosa?

No.

Pnes

adios.

[vayase Turin]
i Que puedo hazer ? Lo que temi,

Laurencio.
i

Ay Pedro

2395

y tenia sospechado del yngenio que ha mostrado Finea se cunple aqui.

Como

la

ha

visto Lisseo
la aficion la discrezion.

tan discreta,

2400

ha puesto en
Pedro.

Y en

el

oro algun desseo.

Cansole la boberia;
la discrezion le

animo.

*
Finea.
\

Entre Finea
Clara, Laurenzio,

me

dio
!

2405

nuebas de tanta alegria

Luego

mi padre dexe,

y aunque ella me lo callara, yo tengo quien me auisara,

que
es el

alma que

te

vee

2410

por mil vidros y cristales, por donde quiera que vas,

porque en mis ojos estas

con memorias inmortales.

Todo

este

grande lugar

2415

tiene colgado de espejos

mi amor, juntos y
Si buelbo el rostro

parejos,

para poderte mirar.

alii,

veo
2420

tu

ymagen
;

si

a estotra parte,

y ansi viene a darte nombre de sol mi desseo;

tanbien

LA DAM A BOB A
que en quantos espejos luira

y fnentes de pura plata,

su bello rostro retrata,
2425

y su luz diuina
Laurencio.

espira.

jAyFinea!
llegara,

Dios pluguiera

que nunca tu entendimiento

a la

como ha llegado, mudanza que veo

2430

Neeio

me tubo

seguro,

y sospechoso porque yo no

discrete,
te

queria

para pedirte consejo.

I

Que

libro esperaua yo
^,

2435

de tus manos?

En

que pleyto

hauias xamas de hazerme

ynformacion en derecho?

Ynocente

te queria,

porque vna muger cordero

es tusson de su

2440^

marido,
al pecho.

que puede traherla

Todas habeys

lo lo

que basta
menos,
2445

para eassada, a

no ay muger nezia en el mundo, porque el no hablar no es deffeto.

Hable
en
la

dama en

la rexa,

escriua, diga coneetos

el

coche, en el estrado,
2450

de amor, de engailos, de eelos

pero la casada sepa de su familia
el

gobierno,
*
2455

porque

no

es

mas disereto liablar sancto como el silenzio.

el

Mira

el

daiio que

me
;

vino

de transformarse tu ingenio,

pues va a pedirte,

ay de mi

para su muger Lisseo.

226

ACTO TEECEBO

Ya dexa

a Nise,

tii

hermana

el se cassa,
i

yo soy muerto.

2460

Finca.

Nunca plega a Dios hablaras ^De que me culpas, Laurenzio?

A
de
el

pura ymaginacion
prendas aprendi
24G5

del alto merecimiento

tiis

que tu dizes que tengo. Por hablarte supe hablar,

venzida de tus requiebros

por leer en tus papeles,

libros difficiles leo

2470

para responderte escriuo.

No

he tenido otro maestro

Laurencio.

me ha enseiiado. Tu eres la cieneia que aprendo. De que te quexas de mi? De mi desdicha me quexo.
que amor, amor
^,

2475

Pero, pues ya sabes tanto,

dame,
Finca.

seilora,

vn remedio.

El remedio

es facil.
i

Laurencio.
Finea.
Si,

Como ?
2480

porque mi rudo ingenio,

que todos aborrezian,

se

ha transformado en

discreto,

Liseo

me

quiere bien,

con bolber a ser tan necio

como primero

le tube,

2485

me
Laurcncio.
Finca.
i

aborrezera Lisseo.
fingirte

Pues sabras
el

boba

Si; que lo fui

mucho

tiempo,

lugar donde se naze

los ciegos.

saben andarle

Demas

desto, las

mugeres

naturaleza tenemos
tan pronta pai-a fingir,

LA

VAMA BOB A

o coil amor, o con miedo,

t

que antes de
;

iiazer fingiinos.

Launncio.
Finca.

Antes de iiazer?

Yo
que en tu vida
Escucha.
lo

pienso

has oydo.

Lauvfncio.
Finea.

Ya
Quando

escucho atento.

estainos en el bientre

de nuestras madres, liazenios

entender a nuestros padres,

para enganar sus desseos,

que somos hijos varones,

y assi veras que contentos acuden a sus antojos

con amores, con requiebros.

2505

esperando

el

mayorazgo

tras tantos regalos hechos,

sale
la

vna henibra que corta

2510

esperanza del suceso.

esto, si

Segun

pensaron

que era varon, y henbra vieron.

antes de nazer fingiinos.
Laiircncio.

Es euidente arguiuento.
Pero yo vere
si

sabes

^^^^

hazer, Finea, tan presto

mudanza de
Fined.

estreiuos tales.

Passo; que viene Lisseo.

Alii

Lanroicio.
Finea.

me voy
presto.

a esconder.

Ve

Laurcncio.

Sig[ujeme, Pedro.

2520

Pedro.
Leiurencio.

En muchos

peligros andas.
los siento.

Tal estoy. que no

* [Esconelcnse Laurencio
Liseo.

ij

Peelro]

Entre Lisseo con Turin

Turin.

En En

fin

queda conzertado.
estaua del cielo

fin

que fuesse tu esposa.

228

ACTO TEECERO
Aqui
esta

Liseo.

2525

mi primero

diieno.

[ajxirte]

^No sabeys, seiiora mia, como ha tratado ]\Iisseno cassar a Duardo y Nisse, y como yo tanbien qniero
que
Finea.
se

2530

hagan

niiestras
?

bodas

con las suyas

No

lo creo

que Nise ha dicho a mi, que esta eassada en secrete

con vos.
Lisco.
I

Conmigo ?

Finea.
si

No
erades vos, o Oliberos.
sois

se,

^Quien
Liseo.

vos?
I

Ay

tal

mudanza ?

Finea.

Quien dezis ?

que no me acuerdo.
2540

Y si mudanza os pareze,
[,

como no veys que en

el cielo

cada mes ay nuebas lunas ?

Liseo.
i

Valgame
le

el cielo

/,

Que

es esto

Turin. Finea.

^Si

buelbe

el
:

mal'passado?
si

Pues decidme

tenemos

luna nueba cada mes,

^adonde estan?
las viejas

^que

se

han echo

de tantos aiios?

^Daysos por venzido?

Liseo.

Temo
que era locura su mal.
[a parte]

Finea.

Guardanlas para remiendos

de
las

2550

que salen menguadas.

Lisco.

Seiiora,

Veys ay que soys vn nezio. mucho me admiro

de que ayer tan alto yngenio

mostrassedes.

LA DAM A BOB A
Finca.
Pues, senor,

229

2555

agora ha llegado al vuestro

que
es

la

mayor
el

discrezion
al

acomodarse

tiempo.

Liseo.

Eso dixo

Pedro.
Liseo.
Fineet.

Y esto
No
;

mayor sabio. eseucha el mayor iieeio. [cscondido]

2560

Qiiitado

me habeys
se

el

gusto.

he tocado a vos, por eierto

mirad que
Liseo.

habra caydo.
2565

Linda ventura tenemos

a dezirle

Pidole a Otabio a Finea,

y quando
el

vengo
[a pa He]

cassamiento tratado,

hallo que a su ser se ha buelto.

Bolbed, mi seiiora, en vos,

considerando que os quiero

2570

por mi duefio para sienpre.

Finea.
Liseo.

^Por mi
^.

dueiia,

maxadero?

Assi tratays vn esclauo

OS

que
Finea.
Liseo.

da

el

alma

Como
Que

es esso

Que

OS

doy

el

alma.
l

Finea.
Liseo.
I

es

alma ?

Finea.
LAseo.

Alma ? El gouierno I Como es vn alma ?

filosopho

del cuerpo.

Sefiora,

como
Finea.

puedo
que en
pesso
2580*

difinirla,
I

no pintarla.
la
el

No

es

alma

le

pintan a san Mig[u]en

Liseo.

Tanbien a vn angel ponemos

alas
es

y cuerpo, y, en fin, vn espiritu bello.

las

Finea.
LAseo.

^Hablan

almas?

Las almas
obran por
los instrumentos,

2585

23a

ACTO TEBCEEO
por
los sentidos

y partes
el ciierpo. el
?

de que se organiza

Fine a.
Turin.
Liseo.

^Longaniza come
l

alma?

En

que

te cansas

No puedo
pensar, sino que es locura.

2590

Turin.

Pocas vezes de
se

los necios

hazen

los locos, seiior.

Liseo.

i,

Pues de quien ?

Turin.

De
nazen
effetos diuersos.
!

los discretos

porque de diuersas causas

2595

Liseo.

Ay

Turin
quiero
la

Buelbome
el

a Nise.

Mas

entendimiento,
2600

que toda
Seiiora,

voluntad.

pues mi desseo,
el

que era de daros

alma,
effeto,

no pudo tener (en)

quedad con Dios.

Finea.

Soy medrosa
de las almas, porque temo

que de tres que andan pintadas

2605

puede

ser la del ynfierno.

los diffuntos

La noche de
la

no saco de puro miedo

cabeza de la ropa.
2610

Turin

Ella es loca sobre necio,

que
Liseo.

es la

peor guarnizion.

Decirlo a su padre quiero.

Vajjanse [Liseo y Turin, y salgan] Laurenzio y Pedro

^,

Laurencio.
Finea.

Puedo

salir?

/.Que te dize?

Laurencio.

Que ha
Si

sido

el

mexor remedio
2615

que pudiera ymaginarse.

Finea.
;

pero siento en estremo

LA DAMA BOBA
bolbei'inc a boba,

231

aim

fliigida.

Y
los
I

pues fingida

lo siento,

que son bobos de veras

1

C'onio viiien

Launnvio.
Pedro.

No
Pues
si

sintiendo.

2620

vn tontover pudiera

su eutendiinieuto en vn espejo,

pio fuera huyendo de

si?

La razon de

estar contentos
2625

es aquella confianza

de tenerse por discretos.

Fined

Hablame, Laurenzio mio,

sutilniente,

porque quiero

desquitarme de ser boba.

*
Nise.

Entre Nise, y Qelia

Sienpre Finea y Laurenzio
juntos:
sin

2630

duda

se tienen

amor
Celia.

no

es posible

menos.

Yo

sospecho que te engaiian.

los

Nise.

Desde aqui

escuchemos.
2635

Laurencio.

&Que puede, herniosa Finea, decirte el alma, aunque sale

de
si

misma, que

se j^guale

a lo que

mi amor dessea?
2640

Alia mis sentidos tienes:

escoge de lo sutil,

presumiendo que en abril

por amenos prados vienes.
Corta
las diuersas flores,

porque en mi ymaginazion
tales los desseos son.

2645

Nise.

^Estos, Qelia, son amores,

o regalos de cuiiado?

Celia.

Regalos deben de

ser,

pero no quisiera ver

232

ACTO TEBCEBO
2650

LA DAMA BOBA
y
es
aqiii viene bien

233

que Pedro
2680

tan ruin como su anio.

le

Nisc.

Ya
i

aborrezco y desanio.
las

Que bien con

quexas medro

Pei'o fue linda

ynbenzion
vio yr
?

antieiparse a
Celia.

reiiir.
i,

el

Pedro,

quien

le

2685

tan vellaco y socarron

Nise.

tu,

que disimulando que has

heclio,

estas la trayeion

lleno de engaiios el pecho,

con que

me

estas abrassando,

2690

pues como sirena fuiste

medio

pez,

medio muger,

pues de animal a saber

para mi daiio veniste,

|,piensas

que

le

has de gozar?

2695

Finea.

i Tu me

has dado pez a mi,

ni sirena, ni

yo

fui
la

Nise.
Celia.

xamas contigo a Anda, Nise que ^Que es esto?

;

mar?

estas loca.

A A
vna cosa
el

tonta se buelbe.

2700

Nise.

te resuelbe

tanto

furor
te

me

proboca,
*

que
Finea.
Nise.
^.

el

alma

he de sacar.
2705

Tienes cuenta de perdon?

Tengola de tu trayeion,
pero no de perdonar.
I,

El alma piensas quitarme

el

en quien

alma tenia?
solia,

Dame
Mucho
Finea.

el

alma que

traydora hermana, animarme.

debes de saber,

2710

pues del alma

me

desalmas.

Todos me piden sus almas;

234

ACTO TEECEEO
almai'io debo de ser.

Toda soy hurtos y robos. Monies ay donde no ay gente

yo me yre a meter serpiente.
Nise.

Que ya no

es

tiempo de bobos.

Dame

el

alma.

[Entren] Otahio con Feniso y Duardo

Otahio.
1?

LA DAM A BOB A
y aunqiie en
piles tu

235

todo, en esto mas,

lo consiente,

onor no

que Laiirenzio no entre aqui.

Ofahio.
Nisc.
(,

Por que?

Porque
que esta no
se

el

ha cansado
2745

aya cassado,

Otahio.
Nise.

y que yo te enoje a ti. Pues eso es mui facil eosa.

Pues tu cassa en paz tendras.

*
Pedro.
Laurencio.
Celia.

[Enfroi] Pedro y Laurenzio

Contento, en efeto, estas.

Ynbenzion marauillosa.

2750

Ya Laurenzio
esta cassa,

viene aqui.

Otahio.

Laurenzio, quando labre

no pense
eriaua,
2755

que academia institui

ui

quando a Nise

pense que para poeta,

sino que a

muger perfeta

con las letras la enseilaua. Sienpre alabe la opinion de que

la

muger prudente,

2760

con saber medianamente,

le

sobra la discrezion.

No
y

quiero

mas

poessias,

los sonetos se

acabaron,
2765
dias.

las

musicas eesaron

que son ya brebes mis

Por
si

alia los

podreys dar,
*

y rasos que no ay tales Garzilasos

OS faltan telas

eomo dinero y callar. Este venden por dos reales,

y
tiene tantos sonetos

2770
*

eligantes

discretos.

233

ACTO TEBCEHO

LA DAMA BOBA
*
Nisc.
Yai/asi

237

Otabio
el
;

Yen, Celia, tras

eelosa

que estoy

y desesperada.
y
Nisc-

*
Laurcncio.

y Celia
el los

Yd, por Dios, tras

dos

no me sueeda vn disgusto.
Fcniso.

Duardo.
Feniso.

^.

Por vuestra amistad es justo. Mai echo ha sido, por Dios. Ya hablays como despossado
Pieiisolo ser.

2805

de Nise?

Duardo.

*
Laurencio.

y Duardo y Fcniso

Todo

se

ha hechado a perder.
le

Nise mi amor
i,

ha contado.
haber,

2810

Que remedio puede

a verte no

si

puedo entrar?

Fcnia.

2815

238

LA DAM A BOB A
y por milagros de ainor
dexaste
el

239

passado error,
2850

^como
Fi)U(i.

el

yngenio perdiste?

^Que

quiere, padre?

la fee,

de bobos no ay que
Otahio.

fiar.

Yo
i

lo

pienso remediar.
si el

Finea.
Otahio.

Como,

otro se fue

Plies te engaiian facilmente

los honbres,

2855

en viendo alguno,
;

te has de esconder
te

que ninguno

ha de ver eternamente.
^,

Finea.
Otahio.

Piies

donde?

En
donde
I

parte secreta.
2860

Finea.

^Sera bien en vn desban,

los gatos

estan?
alii

Quieres tu que

me meta ?

Otahio.

Adonde te diere como ninguno te

Pues
alto,

gusto,
vea.

Finea.

en

el

desban sea
has mandado.

2865

tu lo mandas, sera justo.

Y aduierte
Otahio.

que

lo

Vna y
*

mil vezes.

Entren Liseo y Turin.

Si quise

Liseo.

con tantas veras a Nise,

Finea.

mal puedo haberla oluidado. Hombres vienen. Al desban,

padre, yo voy a esconderme.
Hija, Liseo no ynporta.

2870

Otahio.

Finea.
Otahio.

Al desban, padre ombres vienen. Pues I no ves que son de eassa 1

;

2875

Finea.

No yerra No me ha
sino quien

quien obedeze.
de ver hombre

mas

mi esposo Vayase Finea

fuere.

ACTO TEBCEEO
Lisco.

LA DAM A BOB A
liasta

ma nana

a t'stas oras
lo pieuses,

te

doy para que

porque de no
por

te cassar,

para que en tn vida entres

las

puertas de mi cassa
tienes,

2915

que tan enfadada

haz ciienta que eres poeta.

*
Liseo.
I Que

Vaijasc Otahio
te dize
?
. . .

Turin.

Que
y eon Finea te easses porque si beynte merezes
porque sufras vna boba,
te

te aprestes,

2920

anaden

los otros beynte.

Si te dexas de cassar,
te
'
' i

Miren

ban de decir mas de la bobada

'
!

siete

Lisco.

Yamos
que mi temor
de no
se resuelbe se cassar a bobas.

2025

Turin.

Que

se cassa

me

pareze

a bobas quien sin dineros

en tanta eosta se mete.

Buhrica

de.

Lope de Vega

*
Finea.
Clara.

Yenjansc,

ij

oiirui Finca y Clara

va.

Hasta agora bien nos

No
\

ayas miedo que se entienda.

Finea.

quanto a mi amada prenda

deben mis sentidos ya

Clara.
\

Con
el

la

humildad que

.se

pone

2935

en
Finea.

desban

No
que
es

te

espantes;

propia cassa de amantes,

242

ACTO TEECEBO
aunque Laurenzio perdone.

Clara.

quien no viue en desban

2940

de quantos oy han nacido

Finea.

Algun humilde que ha

de
los
el

sido

que en

lo

baxo
el

estan.

Clara.

En
que

desban viue

hombre

se tiene

por mas sabio

que Platon.
Finea.

Hazele agrabio;

2945

que fue diuino su nombre.

Clara.

En
en

el

desban

el

que anima

a grandezas su desprecio
el

desban mas de vn necio

se estima.

que por discreto

Finea.

2950

^Quleres que

te

diga yo

como
de
Clara.
si

es falta

natural

de necios no pensar mal

mismos?
i

Como no ?
.

Finea.

La

confianza secreta
el

2955

tanto
que,

sentido les roba,

quando era yo mui boba,

es

me

tube por mui discreta.

tan semejante
2960

Y
el

como

saber con la humildad,

ya que tengo habilidad,

me
Clara.

tengo por incrante.

el

En

desban viue bien

2965

vn matador criminal, euya muerte natural

ninguno, o pocos
la ven.

En
y

el

desban de mil modos,

sujeto a mil desgracias,

aquel que diziendo gracias

es desgraciado

con todos.

2970

En

el

desban vna dama,

LA DAM A BOB A
que creyeiulo a
(luieii la

243

yiKiuieta,

por vn ora de discreta,

pierde mil afios de fama.

En

el

desban vn proeiado

2975
*

de Undo, y es vn cayman pero tienele

el

desban
que canta
2980
*

eomo

el

espejo enganado.
el

En
y
el

el

desban

con voz de carro de bueyes,

que viene de Muleyes, desban que escriue

a Ids godos se lebanta.

el el

En
y
el

versos legos y donados,

*
2985

que por vanos cuidados

sujeto a peligros vine.

Finalmente
Finca.

Espera vn poco;
que viene mi padre aqui.

*
Miseno.
Otahio.

[Entren] Otahio. Miseno, Duardo, Fcniso

&Eso
que a

le

dixiste?
Si

tal

furor

me
;

proboco.
vine
el eielo

2990

No ha de quedar
en mi cassa quien
Fcniso.

me

enoje.

es justo

que

se

despoje

de tanto nezio mozuelo.

Otahio.

Pidiome graciosamente
que con Nise
dixele que
le

2995

cassase

no pensase
eternamente,

en

tal cosa

Miseno.
Otahio.

y asi estoy determinado. 0yd; que esta aqui Finea.

Hija, escueha.

3000

Finea.

Quando

vea,

244

ACTO TERCEEO
como me
lo

habeys mandado,
solo.

que estays
Otabio.

Espera vn poco
que
te

he eassado.
i

Clara.

Que nonbres
3005

casamieuto donde ay honbres?

OtaMo.
Finea.

Otahio.

Feniso.

Luego ^teneysme por loco? No, padre mas ay aqui honbres, y voyme al desban. Aqui por tu bien estan. Vengo a que os sirbays de mi.
;

3010

Finea.

[Jesus, seiior
lo

^No sabeys que mi padre ha mandado?

!

Misciio.

Oye; que hemos conzertado

que
OS caseys.

Finea.

Graeia teneys.

No ha
Miseno.
Finea.

de haber hija obediente

3015

como yo: voyme al desban. Pues no es Feniso galan. Al desban, sefior pariente.
Vaija[n]se Finea [y Clara]

Diiardo.

^Como
que de

vos
los

le

habeys mandado
se

honbres

esconda?

3020

Otal)io.

No
Con

se,

por Dios, que os responda.

enojado,
estrella.

ella estoy

con mi contraria
Miseno.

Ya

viene Lisseo aqui.

Determinaos.
Otahio.
1

Yo

por mi,
ella
?

3025

que puedo dezir sin

[Entrcn] Lisseo, Nise y Turin

Liseo.

Ya que me
solo quiero
lo

parto de

ti,

que conozcas

que pierdo por quererte.

LA
Nisc.

DAMA BOB A

245

Conozco que tu persona

inereze ser estiraada,

3030

y como mi padre agora venga bien en que seas

que en
es la
los

niio,

yo me doy por tuya toda

agrauios de amor
3035

venganza gloriosa.
Nisse,

Liseo.

Ay

nunea

te

vieran

mis
que

ojos,

pues fuiste sola

de mayor yncendio en mi,

f ue

Elena para Troya

3040

Vine a cassar con tu hermana, y en viendote, Nisse hermosa,

mi
del

libertad salteaste,

alma preciosa joya.

el

Nunca mas

oro pudo

3045

con su fuerza poderosa,

que ha derribado montaiias

de costumbres generosas, humillar mis pensamientos
a la baxeza que doran
los resplandores,

3050

que a vezes

ciegan tan altas personas.

Nise, duelete de mi,

ya que
Turin.

me

voy.

Tienpla agora,
bella Nise, tus desdenes:

3055
*

que
Nise.

se

va amor por

la posta

a la cassa del agrauio.

Turin, las lagrimas solas

*
el

de vn hombre ban sido en

mundo
3060

veneno para nosotras.

No ban muerto

tantas mugeres

de fuego, yerro, y ponzona, como de lagrimas vuestras.

246

ACTO TEECERO
Pues mira vn honbre que
i,

Turin.

llora.

Eres tu barbara tigre

3065

^Eres pantera?
^Eres duende?
feEres Circe?
I

^Eres onza?
j,Eres lechuza?

^Eres pandorga'
eres,

Qual de aquestas cosas

que no estoy bien en historias ?

Nise.
j

3070

No

basta dezir que estoy

rendida ?

LA DAM A BOB A
Celia.

247

248

AC TO TERCEEO
*
Saiga con
la

espada desnuda Otabio siguiendo

a Laurenzio, Finea, Clara y Pedro Otabio.

Mil vidas he de quitar

a qiiien el onor

me

roba.

3120

Laurencio.

Detened

la espada,

Otabio

yo soy, que estoy con mi esposa.

Fcniso.

^Es Laurenzio?

Laurencio.
Otabio.
l

^No
Quien pudiera
sino Laurenzio,

lo

veys?
3125
?

ser agora,

mi ynfamia?
qvie se

Finea.
Otabio.

Pues, padre,
i

i ^

de

enoja

ynf ame
el

No me

dixiste

que
Finea.
si

dueno de mi desonrra
Padre,

estaua en Toledo?

aqueste desban se nombra

le

Toledo, verdad

dixe.

Alto

esta,

pero no ynporta
estaua
el

que mas

lo

Alcazar
3135

la

puente de Segobia,

y hubo juanelos que a el subieron agua sin sogas.

El
I

no me mando esconder ?
es la

Pues suya
i

culpa toda.

Sola en vn desban, mal aiio

sabe que soy medrosa.

Ya
Otabio.

Cortarele aquella lengua,

rasgarele aquella boca.

Miscno.
Turin.

Este es casso sin remedio.

^Y

la

Clara socarrona
los

que llebaba
Clara.

gazapos?
seiiora.

3145^

Mandomelo mi

Miseno.

Otabio, vos soys discreto

ya sabeys que tanto monta

cortar
Otabio.
I,

como

desatar.
?

Qual me aconsejays que escoja

3150

LA DAM A BOB A
Miscno.
tab 10.
si la

249

Desatar.

Seuor Feniso,
voluntad
es obra,

reciuid la voluntad,

vos, Diiardo, la propia

se

que Finea

ha eassado,

315o

y Nise, en
que
Fcniso.
la

fin, se

eonforma
dicho

eon Lisseo, que

quiere y

me ha
que

la adora.

Si fue, seiior, su ventura.

paeieneia

que

el

preraio gozan

de sus justas esperanzas.

Lauren cio.
Otahio.
Liseo.

Todo corre viento en popa. Dare a Finea la mano.

Dadsela, boba yngeniosa.

yo a Nise.

Otabio.

Yos tan
pues
le

bien.

3165

Laurcncio.

Bien merezco esta vitoria

he dado entendimiento,
la

si ella

me da
i

memoria
que coma
3170

de quarenta mil ducados.

Pedro.

Pedro,

no

es bien

algun guesso como perro

de la messa destas bodas?

Finea. Turin.

Clara es tuya.

Y
donde a
y rien
los

yo,

naci

que nazen lloran,

que mueren
?

a los

3175

Nise.

Celia, que fue tu debota,

sera tu esposa, Turin.

Turin.
Feniso.

Mi bota
Yos y yo

sera,

y mi nobia.
3180

solo faltaraos.

Dad
Duarelo.
si

aca esa

mano hermosa.

Al senado

la pedid,

nuestras faltas perdona

250

ACTO TESCEBO
que aqui para
los discretes

da

fin la

Comedia hoha.
el

Loado sea

santisimo sacramento

Amen
En
Madrid, 28 de Ahril, de 1613

Lope de Vega Carpio (ruhrica)

Additions in connection with the license to act

Vea

esta

comedia

el

secretario

Thomas Grazian Dantisco, y

vista,

me

la traiga.

En

Madrid, a 26 de otubre de 16

(rest illegible

near the edge of the page).

Esta comedia intitulada

La Dama hoha

se

podra representar,
se offreciere,

reservando a la vista lo que fuera de la leetura

lo

mismo en

los cantares

y entremeses y bayles.

En

Madrid, a 27

de 8bre 1613.

Thomas Gracian Dantisco.

Dasse lizencia para que
se

pueda representar

esta

comedia con-

forme a

la censura.

En

Madrid, a 30 de otubre de 1613.

la

Podesse representar esta comedia intitulada

Dama

hoha con
illegible).

entremes y bailes honestos [y buenos?] (no date, rest

LA DAMA BOBA

251

NOTES
ACTORS AND ACTRESSES

On

the actors and actresses whose

opposite the various dramatis personac,

names Lope himself wrote cf. H. A. Rennert, The

Spanish Stage

in the

Time

of

Lope de Vega (New York, 1909).

This volume contains on page 409ff. an alphabetical "List of

Spanish Actors and Actresses, 1560-1680."

them

little

or nothing

is

known.

The

chief

Of the majority of names in our list are

(cf.

the actor Cristobal Ortiz de Yillazan,

famoso representantc
either

Rennert,

p.

545), and the actresses Jeronima de Burgos (pp. 268,

438), and jMaria,

(p.

who may have been

Maria de Argiiello

423) or the able and skillful Maria de Cordoba (p. 456).

The latter was especially famous as a comedienne, and in this comedy (if she really appeared in it), had the hardest part to play, namely the title-role. Jeronima de Burgos, on the other hand, who played the part of Nise, was no less famous, being favored by the devotion of Lope, who wrote the Dama toha for her. The preservation of the manuscript may be due to this fact. Cf. La Barrera, Kuevet hiografia de Lope de Vega (Madrid, 1890), p. 271 Rennert, The Life of Lope de Vega (Philadelphia, 1904), pp. 172 and 244.
;

The

first

scene opens at an inn of the village of Illescas

(note 4).
lindas:
all

1.

editions

known

to us print hiK nas.

Lope un-

questionably abused the adjective Undo which occurs

frequently enough on some pages to justify an apology

which he printed
ciana:

"Muchos
los

perdonen

Viuda valenhan de oponer a tan linda catedra criticos esta voz linda; que Fernando de
in the dedication of la
se

Herrera, honor de la lengua castellana y su

primero, no
la

Colon

desprecio jamas ni dejo de alabarla,

como

252

NOTES
se ve

en sus Comentos, etc."

la

The reference

is

to

Ohras

de Garcilasso de
1580)
.

Vega, con anotaciones

(Sevilla,

Cf

also

Fernando de Herrera, controversia sohre

etc.

sus anotaciones,
1, vol.

(Sevilla, 1870), especially p. 7, ser.

2 of the Bihliofilos andaluces.

cf. also, la

possadas:
{el

Noche toledana,
el

I,

xii:

Capitdn Acehedo y
despues
el

Alferez Carrillo, de camino;

huesped.)

"Alferez.
Capitdn.
Alferez.

Buena posada.

Y
Manana
lo

quieta.

estara mas.

..."

Lope frequently places the opening of an act, or a scene, in a hostelry or inn. Cf. el Boho del colegio, II, iv.
2.

chinches: Hartzenbusch, por huenos respetos,

we may

pre-

sume, changed this word to cnartos.

4.

Yllescas:

The place

of this scene

way house" between Madrid and

Ausente en
el

was once a popular "halfToledo, and is freCf.

quently mentioned in Spanish plays.

lugar, II,
i:

Lope,

el

"Mas, por Dios, que aunque vestido ya de camino te vea,

yarn! con

esta librea

a lo flandesco lucido,

que no creo que de Illescas

has de pasar."

In the play Entre hohos anda el juego by Francisco de Rojas Zorrilla, the second act opens in el meson de
Illescas.

Covarrubias (in Tcsoro de

la

lengua castellana) says,

under

Illescas:

"De

esta Villa hizo donacion el

Key

Don
y

Alonso, cerca de los aiios de mil y ciento y setenta a la Santa Iglesia de Toledo, que segun parece

seis

aula buelto a ser de la Corona Real, para que los Santos

patronos della alcancassen de nuestro Seilor vitoria, y

LA DAMA BOBA
prospero sucesso de
Moros.
la

253

guerra que pretendia hazer a

los

Oy

dia

(Covarrubias wrote this only a few

years previous to the date of our play) esta ilustrada

esta Villa eon el Santuario,

Imagen de

la

Virgen, y

Madre de

y easa de oracion de vna Dios, que comunraeute

Paseual Madoz (in

llaman nuestra Seiior de Illescas."

Diccionario geogrdfico-estadistico-historico de

E span a,

Madrid, 1847, IX, Nuestra Seiiora de

p. la

421) says:

"En
las

el

santuario de
la

Caridad
es

se

venera

imagen de

Nuestra Seiiora (que

pueblo por

una de

que San Ildefonso

tenia en su oratorio) y fue construido a espensas del

los aiios

de 1600

fue trazado por Domenico

Teotocopuli, conocido por El Greco, quien ademas hizo

para

el

dos escelentes cuadros que aun se conservan en

.

sus altares eolaterales

esta
fieles

la

fama de
grado
. . .

los

milagros de
los

imagen ha fijado en
; .
.

alto

la

devocion de

nuestros monarcas

han hecho muehos

regalos a esta Senora."

Although

this village has lost its foi-mer prosperity,

it

deserves a visit today.

guindas:

cf.

Cervantes: Persiles y Sigismunda, III, xxi;

vistes vos, seiiora

edition Schevill-Bonilla, II, p. 194

feDonde dixo Marulo a mi Andrea? ^Fue en Madrid, o en Salamanca? No fue sino en dixo Ysabela cogiendo
"
,
,

hijo

Illescas

guindas
;

la

maiiana de San Juan,

si

al

tiempo que albomilagro que yo

la

reaua mas,

va a dezir verdad, que

es

y siempre le tengo en el alma. Aun bien replico Marulo que este mi hijo cogiendo guindas, y no espulgandose, que es mas propio de los

diga, siempre le veo,

estudiantes." Cf. also Covarrubias, under guindas.

mentiras:

"travelers' yarns"; the reader will recall the

vias,

Spanish saying, de luengas

are

luengas mentiras; there

many

fiction, in

drama and which we find travelers of everv rank and

scenes or episodes in Spanish

3-4

NOTES
station

exchanging their experiences, both true and

Inns would be especially suitable for such

otherwise.
scenes.
17.

mcdidas: "Se llama assimismo

la cinta,

que

se corta igual

a la altura de la imagen o estatua de algun Santo, en que

se suele

plata u oro.
toridades.

estampar su figura, y las letras de su nombre con Usase por devocion." Diccionario de Au-

Bartolome de Villalba y Estaiia, in

tells

el

Pele-

grino curioso, printed in the Sociedad de BiNiofilos

Espauoles, Madrid, 1886
us

how

pious pilgrims were

cura-

wont
Jiahcr

to

buy

these medidas:

"Despues de haber
alii

plido con lo que es de esencia en la pelegrinacion,

y
el

tornado medidas de imagenes que

dan,

Pelegrino se despidio de aquellos padres etc."

refers to Nuestra Seiiora de la

This

Pcna de Francia, casa

devotisima,
19.

I, p.

280.

Ymagenes: Alonso, mozo de muchos amos (cf. el Doctor Jeronimo de Alcala Yaiiez y Rivera: El Donado hahlador,
I,

chap. 5)

tells

us:

"Llegue con no pequeiia

sin irme

pesadumbre a
devoto

Illescas,

meson de puro

me
de

fui derecho a visitar el sagrado santuario

de tanta estima, y con

Castilla,
la

sagrada imagen de

Seiiora nuestra.
la

much a razon tan famoso en toda la Madre de Dios, Adore en aquel suntuoso templo de
los cielos, considere sus

Caridad a

la

Emperatriz de

riquezas, visite su grandioso hospital, remedio de tantos

pobres necesitados del favor humano; y habiendome

eneomendado

al Seiior

y a su divina providencia,

sali

buscar un pedazo de pan."

25. pastas:

"Los

cauallos que de publico estan en los caminos

cosarios para correr en ellos,

y caminar con presteza

estar

.... Dixeronse
que
las

postas

por

expuestas,

venidas para qualquier hora y tiempo.

corren se llaman correos
'
:

y preLos cosarios
ellas

los

que guian con

Postillones.

'

Covarrubias.

LA DAM A BOB A

255

' '

Ay

Paula

mi

bieii se va.

^Estara en

las pastas

ya?"
pasar
las

"Carlos

se fiie:

yo

vi

pastas"

"Con

dolor pico la pasta,

el

de suerte que paso cual suele

rayo,

que apenas de la vista

se percibe.
el

Lope
For
la

el

Ausente en

lugar, II, ix,

xiii.

pasta has also acquired the meaning "without

' '

"Pues pierdan,
que par

delay, " " post-haste

Celia, el pesar;

la pasta

en un coche

conmigo entonces vendran." Alarcon: las Paredes oyen,

I, xi.

Cf
39.

also below, verses 890, 904.

nanhre: Lope also writes nomhre (49)

fianhre

hamhre (41) and

in their
all

(44)

as rime

words merely represent

different spelling a very

common

inconsistency in

of

Lope's autograph manuscripts.

44. tozino fianhre:

"fiambre, quasi friambre, la carne que

fria,

despues de asada, o cozida, se come

man jar que

:

el

estomago

le

abraca

muy mal."

Covarruhias.

This

may

account for Turin 's statement, verse 38

ay a quien

pesa de oyr su nonbre.

.30.

vna hermosa caxa: a box of some conserve, possibly of

quince.

"Algunas mercaderias
;

ay, las quales se

venden

en sus caxas
de diacitron,

assi

dezimos

caxa de confitura, caxa

etc.'"'

Covarrubias.
me
dar,

"Giron.

^Tienes algo que

para que pueda llevar

alguna consolacion?
Elvira.

Cajas de conserva

ricas,

y una bota de azahar." Lope: Servir a SeTior

eliscreto, II,

iii.

256

NOTES
Cf. Cervantes:
el

Rufian dichoso:
p.

Comedias; edition
;

Schevill-Bonilla,

II,

35,

vs.

27
'

the

entremes

la

Guarda cuidadosa:
de
membrillo,

"Dile una destas eaxas de carne

grande
etc.
'

muy

the

entremes,

el

Vizcaino fingido, which speaks of

serva."
again.
53. liziones:

In verse 954, below, the

"una eaxa de conword may be found

here means "principles";

Covarrubias under
le,

leer

has:

"letura: lo que comunmente se

significa

y en y
la

escuelas

materia;

leccion,

lo

mismo,

doctrina del maestro."

56-8. las da mas

"Yo no imagino que estan

desa suerte las mujeres,
sino todas cristalinas,

diuiiias:

como vn vidro trasparentes."

Lope:
is

el

Perro del Iwrtelano,

frail,

I, xii.

The idea that women are

"as

brittle as glass"

common

to all the writers of the Golden Age.

In

his

Novela del curioso impertinente Cervantes states

dezirte vnos versos que se
los ohi

"Quiero
la

me han

venido a

memoria, que

en vna comedia moderna, que

me

parece que hazen al proposito de lo que vamos

tratando.

Aconsejaua vn prudente viejo a otro padre

entre otras razones
la

de vna donzella, que la recogiesse, guardasse y eucerasse.

le

dixo estas:

' '

Es de vidrio
si se

muger

pero no se ha de prouar,

puede o no quebrar,
ser.

porque todo podria

Y es
y no
lo

mas
es

f acil el

quebrarse

cordura ponerse

a peligro de romperse

que no puede soldarse. etc."

Don

Quixote,

I,

xxxiii, fol. 189.

LA DAM A BOB A
64. xaJca:
''

257

Jaloa, vale el eiimo, o el licor del raembrillo, o de

otra cosa de que se haze conserua, la qual traiian, y

congelaii de inodo, que

como cosa
yelo.
' '

elada,

de

queda transparente, y vale tanto el nombre Toscano giallo, por

se

Covarrubias.
.
.

."Yo

hacer

rica conserva

y jalea, con que darte de comer."

Lope
66. con clos

Scrvir a Senor discreto. III, xxv.

all

puntos en

el

ayre: The printed versions

el aire.

read

con tres puntos en

have found no passage to

illustrate this use of puntos.

My

learned colleague, Pro-

Reed suggests that the phrase may be taken from the card-player 's terminology and mean she will get along a whole week (and more, that is, with several
fessor F. 0.
:

points to spare) on sugar; or, with two stitches loose.

86. estribos

ele

palo:

"Hay

tres diferencias de estribos.

De

medio celemin o media luna de hierro que usan los son para la guerra los mejores, porque vaqueros
;

guardan mas
galana es de
ordinaria"

el

pie

.... La segunda
cerrados.

es

de palo de la
tercera,

misma hechura, todos

los

...

La

y mas

marinos, de hierro, de la hechura

Exercicios de la

(from Tapia y Salcedo

p. 466.

Gineta) quoted by Leguina, in his Glosario de voces de

Armeria (Madrid, 1912),

88.

mcricnda: "en rigor vale

lo

que

se

comia

al

medio

dia,

que era poca

cena
:

cosa,

esperando comer de proposito a la

assi se

dixo merienda quasi meridiana, o antes

quasi merenda, porque se daua despues de auer trabajado,

quando ya

se

merecia." (Covarrubias)

106.

Es Madrid vna

talega de piezas:

Even Sancho Panza

beings with chess

thought the comparison of

pieces a trifle old.

human

2.38

NOTES
"Braiia eomparacion,
niieiia,

dixo

Sancho

aunque no tan

aya oydo muclias y diuersas vezes, como aquella del juego del axedrez, que mientras dura
la
el

que yo no

juego, eada pieca tiene su particular

el

oficio,

bandose

juego, todas se mezclan, juntan

y en acay barajan, y
la

dan con

ellas

en vna bolsa, que

es

como dar con

vida

en la sepultura.

Cada

dia,

Sancho

ziendo menos simple, y

dixo don Quixote mas Don Quixote, cap.

,

te vas ha-

discreto.

'

II,

12,

f.

41.

Lope had used the comparison before

' '

Bueno vengo
con
la

desta vez
;

mascara fingida
ajedrez.

bien parece que esta vida

es
i

un juego de
es

Oh como

mudable y vana
de ver,

Y echase en esto
puede
ser

que una pieza blanca ayer

negra maiiana."
los

Locos de Valencia,

II, xiv.

142. a gentiles vistas voij:

for this use of vistas

compare the

following passages

"Alejandro.

luego quiero

pedir licencia para verla.

Autilio.

En
tendremos
el

todo

cuidado necessario.

Alejandro.

Si en estas vistas tengo

l

buena

estrella,
'

quien caso con muger tan rica y bella ?

Lope
Also:

las

Florcs de

Don Juan,

III, vii.

"Pues hoy seran

que
se concluya,

las vistas,

y amor trace
al justo.
'

pues os viene

Lope:

Quien ama no haga

fieros, I, vi.

This word belongs to a stereotyped social vocabulary, with the special meaning of "first formal interview";

LA DAM A BOB A
it

259

generally refers to the

first

interview and formal

lovers.
II,

exchange of promise of marriage between

also Velez

Cf.

Guevara:

el

Diahlo cojuelo, franco

for

vistas in the sense of

"garments

for a bride," pp. 22

{Bihliofilos

and 244 of Seiior Bonilla's admirable edition

7nadrilerws, Madrid, 1910).

ISO. dasilisco:

the modern reader learns with interest and amusement that Lope and his contemporaries really

believed in this fabled creature.

celdneas
of

Many
tell
it

of the 3Iisall

the

sixteenth
;

century

about

its

dangerous qualities
his Tesoro,

Covarrubias treats
it

seriously in
to doubt

presumably because

was heresy

anything stated by Pliny in his Natural History.

Pero

Mexia

in his Silva de varia lection, II, xxxix says

esta oculta virtud [habla de propiesi

"Otras cosas tienen

dades secretas] en sola vna parte de

proprias:

como
los

...
ojos,

el

basilisco

que tiene poncoiia solamente en

It is

que mata con su vista."

hard to

see

what the

would have done withThe dramatists bring him into the dialogue frequently. Compare, for example
poetic conceptistas of those days

out the basilisk.

Rey.

i,

Que mas hechizos que ver ?

^basilisco

Don Manriquc. Luego

Rey.

ha sido?

No; porque es su condicion matar mirando, y morir

si le

miran.
:

Lope La Corona merecida

I, vi.

This legendary creature has fortunately become extinct

in

modern

poetry.

An

interesting article on the basilisk

in Spanish folklore

may

be found in Folklore Espafiol:

Bihlioteca

de

las

tradiciones

populares
(Ant.

espaTwlas

(Madrid,
Alvarez).

1884)

III,

pp.

13-83.

Machado y

260

NOTES
Lope does not indicate any scenes in his manuscript. We are now in Madrid in the house of Octavio, presumably
in the chief living

185.

room

of the house.

210.

mas me pudre y martiriza: a popular usage: "Piidreme,

sobre todo, hallar tan continua blasfemia en lenguas de

quienes apenas pueden ser cauallos, quanto

lleros.

mas cauaPassagero

"

Christoual Suarez de Figueroa

;

el

(Madrid, 1617)
filos

reprinted in 1914 in the series Bihlio-

cspaiioles; cf. p. 277, also 81.

"Por

Dios, senor

nuestro amo,

replico

Sancho,

que
. . .

vuessa merced se
se

quexa de bien pocas

que yo

cosas.

^A

que diablos
?

pudre de
163r.

me

sirua de

mi hazienda

Don Quixote,

II, xlii,

f.

216-40. In

connection

with this whole passage the modern

reader must take into account that in Lope's day

men

were inclined

to

concede to Avomen only a very retired

place, whether at home or in society. They must be virtuous above all intelligence was of secondary importance. "Miren los padres las obliga-

and unobtrusive

ciones que tienen, quiten las ocasiones, consideren de

lo

si

y vean cuanto mejor seria que sus mugeres, hermanas e hijas aprendiesen muchos puntos de aguja, y no muchos tonos de guitarra
los otros,

que murmuran de

hien gohcrnar y no

mucho

hailar,

que de no saber

las
ir

mugeres andar por

los rincones

de sus casas, nace

a hacer mudanzas a las agenas."

parte 2a, libro 1, cap.
2.

Guzman de AJfarache,

"Puede un hombre
sola la virtud

situar su reputacion en letras,

en armas, en gobierno y en virtud.

Pero
;

la

mujer en
ellas

puede fundar su honor

porque ni

son menester para letras, ni para jugar las armas ni salir

eon ellas

al

enemigo, ni para gobierno que pase de

a sus criaturas, y

re-

mendar unas mantillas

dar unas

LA DAMA BOBA
sopillas a los gatos de casa;

261

en

la jurisdiccion

y si mas hacen, es meterse de sus maridos y dueilos." Gaspar

Lucas Hidalgo: Didlogos de apacihle cntretenimiento,

III, cap. 3.

''Propio de la

cuya potestad
a cabeea ni

muger es oir y obedecer al inarido, en mas ha de ser tratandola ni como como a pies, sino como a la parte y lado de
se halla
;

donde fue formada, que

cano
al

fiie

de vn medio, y medio cer-

coracon" ...
es la

(p. 213).

"Su mas
la

perfeta her-

mosura

verguenza, piiesto que

corporal

mas
serle

superior, en poco espacio de tiempo, o por breue en-

fermedad
al

se pierde.

Afirma san Geronimo

hombre concedido por diuersas vias don particular para adquirir honra, fama y nombre a vnos con letras, a otros con armas, a muchos con dif erentes artes mas
: ;

a la

muger solamente
op.
cit.

se

concedio hazerse en

el

mundo

eterna con la verguenea, honesta y casta." (p. 271)

El Passagcro,

These commonplace teachings

repeat the gist of what

may

be found in

many

a con-

temporary sermon, and in their last analysis go back to the doctrines of the great church fathers themselves.
231. cnscriar:

the MS., anscnar.

254. Otahio: the 259. que

MS. has Ma,

[a]

for the usual Ota.

le

falta

Miseno: a

is

often mechanically omitted

when another vowel (generally a), precedes or follows; cf. Cervantes: "no madrugamos a dar meinoriales, ni
acompaiiar magnates."
la

Gitanilla

(first

edition)

"dexo mudos
especialmente
(first

a los dos amigos que escuchado la auian,

Avendailo"
;

la

ilustre

Fregona

edition)
salir,

"el no

salio, boluile

a esperar, boluio

no
f.

y boluiose acostar. "

Don

Quixote, II, cap.

17,

63r.

"Yo me

obligo con ella cercenar

vn copo de

lana."

Lazarillo de Tormes, III.

262

NOTES
Lope frequently
refers to the
la

279. Eliodoro:

genes and Chariklea.

In his

romance of TheaNoche de San Juan, Don

Juan

says:

"No

cuenta cosas tan varias

de Clariquea Heliodoro;
las de

Teagenes passan
pero
las

en

afios,

mias

en vna noche."

Cf. also

Ill,

f.

89r. (ed. 1).

Lo que ha de

ser, I,

xiv; de Cosario a cosario,

III, i, and his very mediocre novela: las Fortunas de Diana (near the beginning) la Dorotea, III, i. On
;

Heliodorus,

cf.

Schevill:

The Question of Heliodorus,

Modern PhilLope de Vega: Novelas; edited by J. D. Fitz-Gerald and Leora A. Fitz-Gerald, in Romanische Forschungen, XXXIV (1913), p. 4 and
in Studies in Cervantes, II, printed in

ology, TV, 4, April, 1907; also

note.

285.

Es que no
con
hast a
el

se

da a entender
griego

el artificio

quinto libro:

Heliodorus introduces the reader

first

in medias res.

We

learn of the adventures of hero

until the

and heroine
fifth

in Egypt,

and elsewhere, but not

fell into

book do we learn how the lovers

the situa-

tion with which the first book opens.

griego, cf. the

On

the artificio

printed at

anonymous translation of Heliodorus, Antwerp in 1554: Historia ethiopica de

H eliodoro,
griechische
zig,

a portion of the prologue of which (p. 4)

Nise repeats.

An

excellent

work on the subject

is

Der

Roman und

seine Vorldufer

(ed. 2, Leip-

1900), by

Erwin Rohde.

292. digna de aplauso y teatro: plays based on this story were

written by Perez Montalban, and

Calderon, but

its

theme of love and adventure was

ill

suited to the stage.

LA DAM A BOB A

263

298-302. Nise and her circle are devotees of the various poetic
fads then in vogue,

known
' '

as conceptismo,

and

culte-

ranismo, which will be referred to again below.

frequently ridicules this

Lope
See the

new

style

' '

of verse.

introductory essay

also.

307flt'.

The humor of

this scene

recalls that
II,
vi,

of Moliere's

Le

Bourgeois Gentilhonime,
philosophie says:

where the maitre de

faut commencer,

"Pour

bien suivre votre pensee, et

il

traiter cette matiere en philosophe,

selon I'ordre des choses, par

la

une exacte connaissance de

les

nature des

lettres, et

de la differente maniere de

prononcer toutes."

And

thereupon M. Jourdain has

of the alphabet.

a lesson in the vowels

and consonants

317-8. El alha dehe de ser

quando andaua entre

las coles:

"vii dicho coraun que

traemos a proposito, quando vno pregunta con descuydo,

y paciencia
juizio, le

que

es
:

aquello

siendo cosa en su per-

responden

las coles.

hazian a

que anda entre Para declararme, presupongo que los gentiles la aurora vna deidad, figurandola como vna
es sino el alba,

No

ninfa
aljofar

muy
. . .

hermosa, vestida de bianco, y rociada de

;

y vna hortelana, auiendose entretenido con vn amigo, detuvose mas de lo que fuera razon para no
ser visto,

y marido que

saliase de la huerta.
se

Ya que

amanecia,

el

levanto y vio

el

ruido que hazia,

sa-

liendo por entre la hortaliza a gatas, llamo a su

muger

muy

maravillado, y dixole

Muger,

es

persona aquella
:

que va haziendo ruido 1

Kespondio

ella

No

es sino el

alba que anda entre las coles." (Covarrubias).

:
;

Cf. also

Lope el Acero de Madrid, II, xvi la Dorotea, IV, v Cuento de Cuentos, in Obras de Don Francisco de Quevedo (Rivadeneyra), II, p. 407.
335. acordaua: the MS., aoordoua.

264

NOTES

337.

The manuscript has an interrogation point

punctuation,
scripts.
is

this,

or

any

very rare in Lope's autograph manu-

360.

The printed versions have:

has
dila, the la

dilo; as the original plainly

naturally refers to causa. 359.

370. (^as: Quevedo, in ridiculing the abuse of

'
'

Hay

zas

some words says: como zas ? Mas han muerto de que de otra enf ermeded no se cuenta pendeneia que
cosa tan mortal
;

no digan:

y zas y zas, y cayo luego?" Cuento de Cuentos (dedication), op. cit., p. 402.
llega,

387. pieza de
assi al

Rey: "Se llama comunraente

que
es

el

truhan o bufon:

sabandija palaciega, se dice que es pieza

de

de

Key."

Diccionario

Autoridadcs,
el

which

cites

Quevedo:
spondio
:

"^Que

traes?

dixo

entremetido.

Re-

hablador y un lisonjero y vano: son piezas de rey, y por eso los Y Violos Lucifer con asco, y dixo traigo al nuestro.
dos.
^

Estos

Quien son ?

Un

como

rey diablo y el Entrediablo y archidiablo, no gusto desta gente."

si

son piezas de reyes!

Mas aunque

378.
cf.:

metido y la duena y el soplon, in Ohras, op. cit., I, p. Lope uses the phrase to mean hoha, or simpleton

"La

tristeza

que oprime tanta belleza

nos ha obligado a sacar
este del Colegio Viejo

que es pieza de Rey."

el

Boho
el

del Colegio, II, xvi.

el

Cf
In

also Tirso de
la Gitanilla

Molina

Por

Sotano y

Torno,

I, iv.

of Cervantes
te vean,

we read: "yo dare

traza

que sus Magestades

porque eres pieza de reyes.

LA
395. sc fc sale el ainui:
el
I,

I)

AM A BOB A
vii

285

"Y, dando

gran suspiro,
cit. 1,

se le salio

alma.
p. 75.

Persiles y Sigismunda, op.

cap. 10, vol.

402. en todas las criadas:

en for entre
estas platicas,
a
f.

is

not

uncommon

in

Lope's day:
llegaron
al
I,

"En
lugar
cap.
5,

y en otras semejantes,

la

hora
v.

Quixote,

16

que anochecia.'' Don Some commentators comestas pla-

plete the plirase

by inserting "ocupados en

ticas" which
405. pavio:

is

unwarranted.
I

wherever Lope has an accent in his manuscript,

left it
;

have

usually at the end of a verse.

415. con la librea del rey

Colorado y amarillo:

Cesareo Fernandez Duro, in his adI,

mirable work, Disquisiciones nauticas (Madrid, 1876,

p.

259), speaking of the marriage of Ferdinand and

Isabella (1469) adds:

"se habian fundido

las diversas

nacionalidades de la Peninsula

en dos agrupaciones
Castilla

designadas con

los

nombres de tomaran
los

refundirse en una sola, al adoptar

logico era que se

y Aragon al un simbolo comun,

:

elementos principales.

Ahora bien:

Castilla blasonaba castillo de oro en

campo

de gules o rojo y Aragon cuatro barras o

hablando
las partes

eon mas propiedad heraldica

de gules en campo de oro, esto

cuatro palos o hast ones

es,

identicos colores, de

manera que
se ofrecia
rillo

sin abdicacion por

si

ninguna de

combinacion del rojo y amau oro para continuar siendo los colores naciopor
la
. . .

misma

nales.

Dije que las lihreas de particulares y los

trajes uniformes de los servidores del Estado estan inti-

mamente relacionados con

caen bajo
el

los

escudos respectivos, y
. . .

dominio de

la

Heraldica.

Los trajes
en

militares del reinado del

Emperador

consistieron

jubon, calzas y gorra rojos acuchillados de amarillo. En tiempo de Felipe II vistio la infanteria de amarillo, con

;66

NOTES
cuchillos rojos.

Asi esta presentada en

la

la

pintura de
. . .

San Quintin de
Felipe

Sala de batallas del Escorial

IV suprimio

las calzas aeuchilladas, sustituyen-

dolas eon gregiiescos y medias calzas de lana, cuerpo de

jubon con faldetas y sombrero de fieltro a la walona. El jubon y gregiiescos eran amarillos y las medias calzas
rojas, segiin

una pintura que posee en Lorca

el

general

Musso.

'

417. carretones:
lleua

"carreton,
sola bestia,

diminutiuo de carreta:

este

le

vna

si

es carreton, o carretoncillo
;

de

pobre, le lleua vna persona

dos perros, y de vno."

418.

Covarrubias.

y ya yo

le

he visto tirar de

...

ei!

romadizo
la

que da

noche a Madrid:

"D. Juan.
Tello.

El tiplaco

Conozco aquel romance, y quien le hizo. es leehon con romadico.

Serenos de Madrid causan catarro.

D. Juan.

Lope
421. la callc

La Nochc de San Juan,

III,

f.

83v.

Mayor: The noted playwright Kuiz de Alarcon has

this street

an entertaining passage on
"Leonor.
;

Calle

Mayor!

^.Tan grande es

Clara.

que iguala a su nombre y fama? Direte por que se llama

la calle

Mayor.

Leonor.
Clara.

Di pues.
Filipo es
el

rey mayor,

la

Madrid su corte, y en ell a mayor y la mas bella

calle, la calle

Mayor.

Luego ha sido justa ley la calle Mayor llamar a la mayor del lugar que aposenta al mayor rey.
Leonor.

Bien probaste tu intencion.

LA DAMA BOBA
Entrc Rcdondo.
Rcdondo.

267

Ya que

a tal tiempo llegiie,

con tu licencia dire

tambien mi interpretaciou.
Clara.
Dila.

Uidondo.

La
porque en
del

calle

Mayor

pienso que se ha de llamar,

ella

mas pequeno

ha de callar al mayor

porque hay arpias rapantes, que. apenas un hombre ha hablado,

cuando ya

lo

han condenado

y guantes y un texto antiguo se halla

a tocas, cintas

que dijo por esta

'

calle

en que es bien que se calle " que no medra quien no calla.'

calle

Mudarse por niejorarsr,

is

I, x, xi.

The following extract

'Da. Bernarda.
Santillana.
i

from Tirso de Molina:

llama esta calle?

Como

se

La Es
la

calle

de las Carretas.
;

orabligo de la corte

Puerta del Sol aquella

cabo de
ella

la Yitoria al

y
el
el

a la otra acera es su norte

Buen Suceso alii enf rente Carmen a man derecha

; ;

la calle

Mayor, cosecha
mitad

de toda buscona gente

San Felipe a

la

Puerta de Guadalajara
arriba, de quien contara
lo

que puede una beldad

pues por mas que un

es

bolsillo haga,
;

como dar con

el

tore

'.68

NOTES
y cobrando en plata u oro, paga en cuartos, si es que paga." For el Sotano y el Torno, 1, vi. in Lope's el Acero de Meielriel, I, xiii, the

See also

speech of Beltran.
If the witticisms

and descriptions dealing with

this

famous

street

were to be gleaned from the dramatists

alone, a comprehensive history of the life

and

activities-

of the calle Mayor, and even of the entire capital could

be written. Cf. also Mesonero Romanos: El antiguo Madrid (Madrid, 1861), p. 76ff., 116ff.; Ricardo Sepulveda: Madrid vie jo (Madrid, 1887), pp. 193ff.
424.
t

ant OS seruizios:

Owing

to the absence of sewers, refuse

and garbage, dirty water and worse were frequently thrown into the streets, and not only at night. The law required, however, that a warning agua va be The unshouted before anything was thrown out.
suspecting passer-by could then scurry into the nearest

doorway until the shower was

incredible habit are

over.

References to this
in the writers of

common enough

Lope's day.

mozo de cocina (que debia de estar fregando) pusose a una ventana, y echome por cima un gran pailon de agua hirviendo, y cuando la
bellacon,

"Un

tuve a cuestas, dijo

dehajo.

muy

despacio: Ag}ia va, guardaos

Comence a

gritar,

dando voces que me habian

muerto."
cap.
' '
i

Guzman de
sin dezir al

Alfarache, parte la, libro 3,

3.

Que

que passa
!

agua

va, las desta cassa

derramen vn orinal
Gongora:
song (Act II)
el

Doctor Carlino, II (fragment).

Cf. la Casa de las Celos,

:

by Cervantes, a popular
la

"Derramastes
y no
dixistes:

el

agua,

nina,

jAgua va!
prendera."

La

justicia os

LA DAMA nOBA
In
la

269

Guar da cuidadosa of Cervantes, the sacristan way Cristina, the housemaid, has received his many favors, and the latter replies: derramar sobre mi las lavazas cuando ja"Con
asks the soldier in what
.
.

bona, y
dia,

el

agua de fregar cuando

los dias

f riega

esto es cada

porque todos

estoy en esta calle y a su

cl

puerta."

See also the dialogue in Lope's

vii,

Villano oi

SH Rincon, II,

not unlike that in the enf rears of

Cervantes.

As regards
play compare:
de
la

the particular meaning of scrvicio in our

"Una moza
el

de fregar, dadas las once

noche, saco

servicio de sus
la

amos

a la calle,

por quitarse de ruidos, vaciole a

puerta de uu vecino

que hacia y vendia esteras de esparto y de paja (oficio que comunmente se halla entre discipulos del Alcoran),

y como por

el

mal

olor viniese a noticia del

hombre
:

el

desaeato de la moza, salio

i

muy

enojado, diciendo

bellaca fregona,
!

nunca otro eches en

:

tierra de cris-

tianos

Dijo moza Por eso puerta." Gaspar Lucas Hidalgo:

la

le

vacie yo a vuestra
Didlogos,
1,

cap. 4.

"Tenia por costumbre

casi

el
;

vie jo
el

burlon de levantarse
ofendido Bartolo, que
su
calle

cada noche

al servicio

no ignoraba
siguiente,

esta

y costumbre
sacaba a

de
la

viejo,

la

noche

cuando

le
el

para limpialle,

antes de acostarse
solia, le

cura, en lugar de limpialle,

como
Ihid.,

puso toda

la

redondez esmaltada, etc."

II, cap. 4.

"Abri(3 un mozo

la

ventana de arriba con un candil

mano y un tocador en la cabeza entre No hay posada. hermano vaya sucio y roto, diciendo eon Dios, y menos golpes que le coronara por necio un
encendido en
la
: ;

orinal de seis dias."

Tirso de Molina:

los

Trcs maridos

hurlados, 2a burla.

Quevedo, in his Vida del Buscon uses the word with

the double

meaning found
[el

in the play:

"jQue
si

estima-

ban

dijo

soldado]

muy

enojado

he estado yo

270

NOTES
seis

meses pretendiendo una bandera, tras veinte

lo

afios
. . .

de servicio del rey, como

dicen estas heridas!

la hazaiia del

Pregunte
y vera

v.

m. en Flandes por

Mellado,

El soldado llamo al hueslo que dizen. ped y le encomendo sus papeles con las cajas de lata [el solHizose hora de levantar que los traia. dado] pidio luz muy aprisa trajeronla, y el huesped
.

el

envoltorio al soldado, y olvidaronsele los papeles.

El

pobre Alferez hundia la casa a gritos, pidiendo que

se le diese los servicios.

El huesped

se

turbo

y como
suyo.

todos deciamos que se los diese, fue corriendo, y trajo

tres bacines, diciendo
:

^Quieren mas servicios?

He aqui para cada uno entendiendo que nos

ella
;

el

habian

dado camaras.

Aqui fue
el

que

se levanto el soldado

con la espada tras

le

huesped, en camisa. jurando que

se

habia de matar porque hacia burla del (que

habia

hallado en la Naval, San Quintin y otras), trayendole

servicios en lugar de los papeles
I,

que

le

habia dado."

cap. 10.

425.

agua ardiente, agua viznieta del vino: so called by Lope because it was "Es la que por artificio se saca distilled from wine.
. .
.

del vino, de sus heces, del trigo,

y de otras cosas."

Diccionario de Autoridades.
427. los honhres

came stolen das: In

cl

Acero de Madrid, Bel-

tran says:
' '

Franceses, que pregonais

aguardiente y letiiario." For the noise and revelry of carnival time, hinted at in Di/dogos, espelines 425-8, see Gaspar Lucas Hidalgo cially the romance recited by Castaileda in the last
:

chapter, beginning:

"Martes

era,

que no lunes,

martes de Carnestolendas etc."

LA DAM A BOB A
There
tlie is

271

also a very characteristic description

in his

from
2,

pen of Qnevedo
'

Vida del Buscon,

el

I,

cap.

belas

ginning:

"Llego, por no enfadar,

etc.
'

tiempo de

Carnestolendas

These passages

are, of course, con-

ceived in the popular and less decent spirit of carnival.

In Moreto:

el

Desden con

el

desden, II,

iii,

carnesto-

lendas are presented with a dignified and courtly spirit

in a sarao.

The scene begins

Mnsicos.

"Venid

los

galanes

a elegir las damas,

que en Carnestolendas

amor
Lope

se disfraza.

Falarala, larala, etc."

finished this play in April
;

he may, therefore,

have been writing this passage at carnival time.

430. despertauan los offizios: trades people, craftsmen, etc.
oficial is

here contrasted with the

cratic class (rentas).

The moneyed or aristo"He tenido y servido, como dicen,

y criado,

siete oficios, aprendiz, oficial, despensero, criada,

mayordomo y

escudero.

el

Donado hahlador,
falta a

op. cit., II, cap. 10.

''

Tristan.

Pues ^que
Ventura.

Garceran?

Fvlgcncia.
Tristan.

Y
Por esa

^que mas?
Dinero.

Fulgencia.

Garcerdn.

faltilla sola
el

hay en

mundo

escuderos,

y lacayos, oficiales y hombres buenos, y poetas hay tambien."

dueiias, pajes

Lope

el

Boho
salir

del Colegio, III, xxii.

"Mando
Que

Pelayo

a todos los oficiales.

saldrian, respondieron,

272

NOTES
de buena gana los sastres
a pelear con los moros.
'

el

Prcmio del Men hahlar,

alcanzamos un
real,

III, iv.

"Cuando
cipes,

los espailoles

somos prin-

Si preguntais a

y aunque nos falte, nos lo hace creer la presuncion. un mal trapillo quien es, responderos
lo

ha por

menos, que desciende de

los godos,

y que su
pero
se

corta suerte lo tiene

arrinconado, siendo propio del

mundo

loco levantar a los bajos

asi

y bajar

a los altos

que aunque

sea,

no dara a toreer su brazo ni

el

mas preciado, y morira antes de hambre, que ponerse a un oficio; y si se ponen a

estimara en menos que

aprender alguno,
si lo

es

con
raal,

tal desaire que, o

no trabajan, o

haeen, es tan

oficial

que apenas se hallara un buen en toda Espaiia. " Luna, Lazarillo de Tormes,

cap.

7.

It
is

would be worth while

to identify this

Luna.

His

tale

an interesting patchwork of phrases and

I
is

episodes taken from other authors.

believe that the

am

inclined to

name Juan de Luna

not a

nam

de

plume; that he was merely a teacher of Spanish and interpreter in Paris and London. After reading carefully
his three books:

Bidlejgos faniiliares (in Spanish

i

and

French, Paris, 1619), his Arte hreve

Compendiosa para
la

aprender a

leer, escreuir,

pronunciar y hahlar

lengua

espaTwla (London, 1623), and his Lazarillo de Tormes

(Paris, 1620), one
originality,
rial
is impressed chiefly by his lack of and his cleverness in putting together mategathered from other writers.

431. tocauan los hoticarios

sus almirezes a pino: "the apothecaries clanged their brass

mortars."

The phrase

is

used of

bells:

"empinar

la

campana,
Pages:

o taiierla a pino, es leuantarla en alto."

Covarrubias, under pina.

Gran Diccionario de

la

Lengua Castellana

quotes Quevedo under ahnirez without exact reference

LA DAM A BOB A

273

"El clamor
hoticario
.
.

del que
.

muere empieza en

el

almirez del
la iglesia."

acabase en las campanas de

" ^ Y que gusto me apercibe

un almirez al moler, y un lacayo al patear?"

Alarcon:
I,

No hay mat que por Men

no vcnga,

xiv (Bonilla's excellent edition, p. 54).

437. Oziquimocho:

The names of these

cats recall those

of

Lope's Gatomaquia, some of which are:

Zapaquilda,

fiiianto,

Marramaquiz, Maulero, Mieifuf, Bufalia, Garraf, GarMicilda, Zapiron, Tragapanzas, Golosillo, Lameplatos,

and

others.

441. hahJahan:

the imperfect with 5 instead of u

(-auan)

is

rare in Lope's manuscripts.

442. en tiple:
bajo.
''

"

[las gatas]
la

maiillando en
silva 2.

tiple,

el

gatazo en

Gaiomaqnia,

443. gerigonza:

jargon, gibberish;

"vn

cierto leuguage parti-

cular de que vsan los ciegos con que se entienden entre

si.

Lo mesmo

tienen los gitanos, y tambien forman

lengua

los rufianes,

los

ladrones que llaman Germania.

Dixose gerigonca, quasi gregigonea, porque en tiempos

passados era tan peregrina la lengua griega, que aun
pocos de los que professauan facultades la entendian, y assi dezian hablar griego el que no se dexaua entender
etc."

Covarrubias.

The word has been much

dis-

cussed, but the poor guess of the Spanish lexicographer

can be replaced only by the equally unsatisfactory modern conclusion "of uncertain origin" (cf. Murray's

New

English Dictionary, under jargon)

also verse 918.

las

449. lo que arrastra honra:

"base de entender que

ropas

rozagantes, y que llegauan al suelo antiguamente, las traian los Eeyes, y personajes muy graues; y por
vestido honroso se da a los clerigos que

no pueden

274

NOTES
traer vestido que no llegue por lo

menos

al tovillo."
etc.,

Covarrubias.

Correas:

Vocahulario de Refranes,

has the phrase, "lo que arrastra honra, y arrastrabanle

las tripas" (p. 198).
;

" No
que

se
lo

diga que lo que arrastra honra

sino al contrario,

que honra arrastra y trae a muchos mas arrasGracian,

el

trados que sillas."

Criticon, parte 3a, crisi

II, p. 229.

vi (Cejador's edition,

Madrid, 1914),
la historia,

"Si

es largo

como
el

arrastrara por

suelo

pero lo que arrastra honra."

Lope: Santiago
459. pias:

el

Verde, III,

vii.

"haca remendada
es

vienen de las Islas Seteraptrio-

nales para seruicio de los Reyes y grandes seiiores.

El

nombre

de la tierra y lengua de donde vienen."

Covarrubias.

Compare French

pie,

and cheval

pie,

and

English pied and piebald.

484. correr gansos cinco a cinco:
se

"Correr

el

ganso, regozijo que

haze por carnestolendas, atandole en vna soga en

la ealle; los
el

medio de
arrancarle

que passan corriendo procuran

pescuezo, y

como

esta bien trauado suele a

vezes arranearlos el de la silla."

first

Covarrubias.

The

reading of the manuscript was correr lanzas, which Lope corrected, writing gansos over lanzas. The printed
versions all have canas.

512. Sibila eritrea:

The

sibyl of Erythrae, one of the twelve

chief cities of Ionia, Asia minor.

tione

Cicero:

De

Divina-

ad M. Brutum,

I,

18,

speaks of her.

"^No

es

conocido [Christo,] mirad,

a las sibilas, poetas

diuinas, que del escriuen

heroycos y altos poemas?

Mirad
la

lo

que dizen del

eritrea, la

la libica

y la de Cumas,

de Arabia etc."

LA DAM A BOB A

275

Yelez de
also

Guevara: la Rosa de Alexandria, Pedro Mexia: Silva de varia leccion, op.

III.
cit.,

Cf.
libro

III, cap. 34;

"Que mugeres

fueron las Sibillas."

522.

Eduardo: Lope has both forms, Dilardo (three syllables) and Eduardo; it is probable that the present verse has hiatus after senora, making Eduardo three syllables.
Lope
ridicules his affected contemporaries

525. In this sonnet

who favored conceptismo and

I

culteranismo in poetry.

have discussed these poetic aberrations at greater

length in
well as in

my introduction, and tried my notes, to what extent

to

show

there, as

these

phenomena
lan-

were influenced by neo-platonism.

not wholly

The peculiar

guage of the poets of the early seventeenth century was

new

at the time

similarities in phrase

may

be detected in prose and verse running far back into

The novelty of the style lay in piling up its artificial features to the exclusion of natural expression. It was the abuse rather than the use of conceptos and culto elements, that created their vogue and made the literary
the fifteenth century.
chiefly in the excess of
it,

world alive to their

526.

possibilities.

mi amor que a
que a
la

la

virtud celeste aspira: compare

'
'

virtud se tiene.

Cervantes
Cf.

Galatea

"El amor IV

phrase which occurs with similar ones in the midst of a

neo-platonic discussion.
II, p. 45.

edition

Schevill-Bonilla,

552. la:

refers to yntenzion: the printed texts have se.

576. vete a escuelas:

"los estudios generales (that

se

is,

a Uni-

versity)

donde

ensenan

las artes liberales, disciplinas,

sciencias,

Leyes,

Medicina,
;

y diuersas facultades de Teologia, Canones, Filosofia, Lenguas " Cova. . .

rrubias

note this use of the plural v^'ithout the article

27(5

NOTES
"Eso de
argiiir es

bueno

para escuelas."

Lope:
' ' i

la

Esclava de su galdn,
:

I,

i.

Si entro en escuelas, gritan los gorrones

!

11,

Siluos y ceceos, Ay, guarda el perro y sosurro mejor que de auejones." Diego Ximenez de Enciso: Juan Latino,

near

beginning.
579. Plaion

puso cortinos: that

is,

the neo-platonists re-

joice in this obscurity.

587.

La

claridad
es

a iodos

agradahle: Although Lope himself indulged at

times in conceptismo and cuUeranismo he always ad-

vocated clearness of style in his criticisms.

a distinction between culto, affected,
in the best sense.

He makes

and

culto, cultured

In the latter sense Garcilaso was

es culto,

culto:

"Aquel poeta

que cultiva de suerte su

poema, que no deja cosa aspera ni escura, como un

labrador

un campo; que
' '

eso es cultura,
la

aunque

ellos
ii.
'

diran que lo toman por ornamento. "

Dorotea, IV,

See also his

in

Discurso en prosa sobre

la

nueva poesia,

Ohras sueltas de Lope de Vega (Madrid, 1776), IV,

p. 459.

593.

No

traygas contigo [a] quicn: on the mechanical omission

of a before or after a vowel, cf. verse 259.

610. Nise stiirnhles

and

falls:

This stage trick, which permits

the lover to assist the

young

girl to rise, or to

touch

her hand without arousing suspicion or offending current etiquette,

of the theatre
is

one of several

common
Cf.

devices, both
la Discreta
fall,
;

and the novel.

iv:

Lope:

cnamorada,
so that
el

I,

(Fenisa

lets
it

her handkerchief

Lucindo may hand

I,

Acero de Madrid,

ii:

and address her) (Belisa falls and Lisardo

to her

LA DAM A BOB A
helps her to rise) scene
;

277

Tirso

tie

Molina has the following

Dona Magdalcua.

{(ip.)

Un

favor,
le de.

me manda amor que

{Tvopieza, y da
i

mano a Mireno) Valgame Dios Tropece

la
!

{a p.)

que sienipre tropieza amor.

El chapin
Mireno. (ap.)
[Cielos!

se

me

torcio.

^hay ventura igual?

i,Hizose acaso algun

mal

Vuexcelencia

Dona Magdalcna.
Mireno. (op.)

Cieo que no.

;

Que
ci

la

mano
Torno,

la

tome

Vergonzoso en Palacio,
el

II, xvi.

Cf. also

Por

el

Sedan o y

II,

and Alarcon

"

Jacinto, Lucrecia
llega

e Isabel,

Don Garcia y

dale la

con mantos; cae Jacinta, mano " la Verdad sos-

pechosa,

I, iv.

"No

se

si

con cuidado, tropezo del chapin, acudile los

ellos,

brazos abiertos, y recibila en

alcanzandole a tocar

un poco de su

rostro con el mio.

Guzman de Alfareiche,

II,

iii,

iv.

635.

Hermoso soys sin duda, penseimiento: This apostrophe to a "thought" is exceedingly common in Lope, and is a
dramatic device with the form and character of a monologue.

The

latter

is

seldom satisfactory from an

(la

artistic

point of view, because Spanish comedy

eomedia

propiamente dicha),
brief they

is

intrinsically
;

one of constant

action and forward motion

so that monologues, however

artificial character.

may

be,

assume an
is

In

tragedy the monologue

of in every tragic plot.

more appropriate on account the moments of pause and deliberation which occur
la

be found in

Apostrophes to a "thought" may Vinda vedeneiana: "Buen animo, pen-

278

NOTES
samiento, de temeridad vestido.
' '

II,

i -jlos

Locos de

Valencia: "Vete despacio, pensamiento mio."

el

I, xiii;

Boho

del Colegio:
III, iii; el

"^Donde me
el

llevas,

pensamiento

loco?"

Perro del kortelano: "Nuevo penviento."

samiento mio, desvanecido en

II,

iv;

la

Moza de cdntaro: "Necio pensamiento mio, que en

locura habeis dado."

tal

I,

xii; el Castigo sin

venganza:

"Dejame, pensamiento; no mas, no" mas, memoria." I, i and many other plays. Even in prose fiction Lope
;

introduces this poetic stage device:

el

Cf. the
in

romance in
sueltas,

Peregrino en su patria, libro

208:
' '

3,

Obras

V,

p.

Cobarde pensamiento,
pues todas tus promessas,
burlandose del alma
el

viento se las lleva."

Similar

apostrophes to "pensamiento"

may

also

be

found

in other dramatists.

668.

[las

doce] que es

numero de
his
'

ijnteres:

Don Luis Zapata has

"Grandeza
del

chapter

in
'

Misceldnea,
is,

called

numero

doce.

It

like

most of the volume, a heap of

items
of

absurdities,

but

contains

popular
is

interest.

Among
'

the scores of examples in which doce

'

used, he
;

cites

Doce, los
el

f amosos
. . .

doce Pares de Francia

doce
el

meses tiene
reloj,

aiio;
.

doce horas da en Espaiia

y no da mas mujer, de doce puede

.

de doce ailos se puede casar una

testar.
. .

Doce hijos hacen por sus

.;

dias a

un hombre hidalgo

doce son los Consejos

. .

principales que gobiernan nuestra machina

doce

una doeena de .y doce acotes es el castigo ordinario de un muchacho gallinas y un gallo dicen que comen tanto como un Cf. Memorial historico espaTwl (Madrid, caballo."
leguas hay de Madrid a Toledo
. .

.;

1859), XI, p. 76ff.

Laureneio adds

(vs.

681-4)

LA DAM A BOB A

279

"En

las

doze

el ofizial

descansa, y bastale ser

ora entonzes de comer

tan precissa y natural."

This
doc:' is in

Zapata

also

"A

las

doce del dia se come,

los dias

de ayuno en especial" (p. 78).

681. cl ofizial: cf. note to verse

430 above.
planeta ayrado,
sestil,

693-700. Nisc

es

ora ynfortuuada,

quadrado, Jupiter henigno, trino are astrological terms

found especially

in the vocabulary of cidteranismo.

"Los planetas

se

aman

el

vno

al otro,

quando

se

miran

de aspecto henigno, que es trino, de distancia de ciento y veynte grados, el qual es aspecto de perfeto amor o de
;

aspecto

sestil,

de

la

mitad de aquella distancia, que

al otro; el

es

de sesenta grados del vno

lento

qual es aspecto de
ene-

migos y

amor y de media amistad. se aborrecen el vno al

.
.

Empero hazense
otro

quando

se

miran

de aspecto oposito,
.

y tambien, quando

que es de ciento ochenta grados se miran de aspecto quadrado,

de

la

"Didlogos de Amor,"
the

mitad de aquella distancia etc." Leon Hebreo: I, "Didlogo segundo," p. 347 of

hihlioteca de autores espanoles

Nueva

XXI

Origencs

de la Novela

IV (Madrid,

1915).

Cf. also Christ obal

Suarez Figueroa, Plaza Universal (ed. 1733, Madrid),

p.

210 (dealing with astrological matters)

aspecto
. . .

"Si

la

Luna

tuuiere
'benignas

con Jupiter,

las

cosas

correran

y propicias."

Also

p. 543, par. 7.

Note also

the following passages:

"Tu, moro, astrologo

mira
;

falso,

que presto mentiste

Pues, sin trinos ni cuadrados,

sextiles ni oposiciones,

me

traen

el
:

bien que agnardo."

la Niiia

Lope

de Plata,

II, xxi.

280

NOTES
' '

Que planeta rignroso

de mi
f ortuna
?

miro en aspecto contrario

la casa

Velez de Guevara:
f.

La Ohligacion
de

las

mugcres, III,
escogidas

258

in

Segiinda parte

comedias

(Madrid, 1652).
719-28.

No

ves que

el sol

del dincro
etc.:

va del yngenio adelantef

Ever

since the days of the

' '

Archpriest of Hita, whose witty lines beginning

fas el dinero, et

Mncho

mucho

es

de amar, " are read with

pleasure today, Spanish writers have paid tribute to don

Dinero in original ways.

Quevedo's

letrilla:

Poderoso cahallero
es
is

don Dinero

well known,

and Cervantes has on several occasions,

Quixote, written of the relative merits
;

especially in

Don

of poverty
izing,

and

riches

Aleman, with his love of moralof his

speaks of them at length, as for example, in la,

1,

parte, libro 3, cap.

Guzman

de Alfaraehe, be-

ginning:

"Para
a

los

aduladores, no hay rico necio, ni

pobre discreto.''
ject

in

But Lope always presents an old subnew and inimitable manner compare, for
;

example
"Bcltran.

^A quien
;

pesa que

le

den?
,;,

Florencio.

Dime tu en el mundo, i No hay nadie ?

a quien

Beltran.
Florencio.
Beltran.

Escuchame.
Di.

El medico esta mirando

cuando
el

el

de a ocho

le

encajas

letrado cuando bajas

la
el

mano

al parrafo,
le

dando;

juez cuando

toca

la

parte del denunciado

LA
el

I)

AM A BOB A

281

prociirador no ha dado
el

paso hasta que

el

plus

le

toea

que

escribe, solo atiende

el

euando saeas
de solo

doblon

cualquiera negoeiacion
el

dinero pende.

El que viene a ser tu amigo,

si

nunca

le

has dado nada,

culpa. tu amistad honrada

y deja de andar contigo. El que se pone a niirar, no esta mirando aquel rato
si es flux,

sino el barato
le

aguarda que
[.

has de dar.

Quien ha hecho algun placer, que no espere el galardon?

la Nochc iohdana,
746. ;Asi fucra
el

I. vi.

alma!
his

Pedro

is

far

master,

and

preference

of

more particular than his intelligence to mere

prettiuess reminds one of Alarcon 's verses

"Si
es

es

boba

la

hermosa,

de teiiido papel
flor,

una bien formada

que de

lejos vista agrada,

y cerca no
porque

vale

nada
'

le f alta el olor.

Mudarse por mejorarse,

looks like sales, but the

I, v.

753. sails:

The word

in the
i

MS.

may

be an undotted
769. I Amor?

as elsewhere

now and

then.

Desseo

de vna cossa ermMsa:

discussion

of love along the

same

lines as here
I,

may

be found in

Lope's Fuente Ovejuna,

iv; see also la Dorotea, II, iv.

The language and ideas of neo-platonism, especially as voiced in Leon Hebreo, Didlogos de Amor, are fre-

282

NOTES
quently repeated by the poets of Lope's day; they are
reflected in practically all types of poetic creation.
' '

Ya
a

declaro Platon que

el

nombre

del

amor

es vniversal

qualquiera desseo, de qualquier cosa que sea y de qualquiera que dessee

;

pero que en especial

'

se dize
.

solamente
:

desseo de cosa hermosa.

'

Op.

cit.,

p.

377 )

Again " El

amor humano, de quien principalmente hablaraos, es propriamente desseo de cosa hermosa, como dice Platon y comunmente es desseo de cosa buena, como dize Aristoteles." (p. 381). The interpretation of the pagan
deities,

Cupid, Venus, Apollo,

is

etc.,

of heathen myths,

as

found in Leon Hebreo

repeated in the poets of the

Siglo de Oro.

Cervantes copies Leon Hebreo extensively

in his Galatea, IV, the definition of love, as

ielleza recurring several times.

un deseo de

Cf. the edition Schevill;

Bonilla, op.

cit.,

Introduccion, p. 21

Fitzmaurice-Kelly

Historia de la literatura cspanola (Madrid, 1916), p.

130

Pelayo
vol. 1

and especially the great work of Menendez y Historia de las ideas csteticas en Espana, II,
:

(Madrid, 1884),

p. lOSff.

791. cspiritus visiuos:

"Lo que
I,

tiene facultud de ver, "

Dice,

de Aid., under visivo, with a citation from Fragoso

Cirugia

Universal,

cap.
.y

37,

"Por

estos

van

los

cspiritus visivos a los ojos,

entran las especies, o seme-

janzas de las cosas."

Leon Hebreo,
en
el

op.

cit.,

p. 361, says:

"del resplandequarto dia fue

ciente entendimiento diuino fue produzida la luz visiua

primer dia de
al sol,

la creacion,

y en

el

aplicada

y a

la

luna y a las

estrellas.

794. arriedro haya:

arredro; cf

A more popular and antiquated form of "Comenzose a ofrecer a Sataiias, dejo caer
cata
la

las alforjas, llegose a el el estudiante

vayas,

Satan,
I, iv.

cruz,"

y dijo Quevedo:

Arriedro
Vida del

Buscon,

LA DAMA BOBA
812.
I

283

Amor!
and

locura, furor:

Of the

classical origin of this con-

ception, I have spoken at length in

tlic

my

book on Ovid
Cf. also

Spanish Renascence (Berkeley, 1913).

:

the Aeneid, IV, 101

ossa furorem".

''ardet

amans Dido, traxitque per

of this passage,

Very apropos

Gaspar
[del

Gil

Polo says:

"Annque

todos estos nombres

los

Amor] son infames, peores son

aficionados,

nombrandole
a si

fviego,

dan sus mismos furor y muerte y al

que
le
;

amar, llamando arder, destruirse, consumirse, y enloquecerse

;

mismos nombrandose,

ciegos, miseros,
la

cautivos, furiosos, consumidos e inflamados."

(

Diana

namorada,

I.

819.

El mas rudo labrador

a pocos cursos la adquicre:

Renascence, op.
fas sotil al 823. vna dulcc

cit.,

p. 38; es

cf. Ovid and the Spanish Juan Ruiz says: "El amor

ome que

rrudo." stanza 156.

cf.

cnfermedad:
cit.,

Ovid and the Spanish Rena-

scence, op.

p. 58fP.

826. sahafiones:
los pies

"enfermedad que
y manos y
si

suele dar

comunmente en
'

da en

el

talon le llamamos friera.

Covarrubias.
"Si mi
sefior te

ha engaiiado,

no vuelva a Madrid jamas,

j

Plega a Dios que un ignorante

lea, ilustre seilora,

me

perversos versos

un hora

Que se aficione a eapones mi dama por voces vanas,

y
si

tuviere tercianas,

me euren

por sabailones.
el

Lope:

Premio del hicn

liahlar, II,

ii.

284

NOTES
amor: one of the conceptos often
diuino.
It is

830. cs luz del entendimiento

found in the religious verse of the seventeenth century,

but referring to
el

amor

found in similar

forms in Leon Hebreo.

839. deso nagistes.

lYof

The ignorance of Finea may be comL'ecole des

in both plays.

pared with that of Agnes in Moliere's:

femmes; there are similar ideas

852. pepitoria: a stew

"Senor

licenciado, lo primero que tengo

el titulo

de quitar deste su libro ha de ser

que

le

pone,
res-

llamandole Pepitoria.
pondiole
:

Preguntole
op.

que por que, y

pies

porque

la

pepitoria lleva

pero este su libro ni lleva

y cabeza Gaspar pies ni cabeza."

Lucas Hidalgo: Didlogos,

seiiora su vecina la

cit., lib.

3, cap. 4;

"La

desmenuzaba toda, y hacia pepitoria de todos sus miembros y coyunturas." la Gitanilla, p. 25, edition of Rodriguez Marin in Cldsicos castellanos,

XXVII

cf

also Velez de

Guevara
cit.,

el

Diablo cojuelo,

the edition of Sr. Bonilla, op.

pp. 15 and 213.

861. saco de

vna carta vn naypecito: Octavio hands Finea a drawn on the back of a playing card. According to a passage in Lope's Perihdnez, y el Comenpicture of Liseo,

dador de Ocana

(cf.

Bonilla 's edition, Madrid, 1916),

sketch of a portrait on a playit

a painter draws his

first

ing card (naipe), throwing

afterwards on a larger

canvas
"Pintor.

A
^

servirte vengo.

Comendador.
Pintor.

Traes

el

naipe y colores ?

Colores y naipe traigo. Comendador. Pues, con notable secreto,

de aquellas tres labradoras,

me

retrata la de enmedio,

luego que en cualquier lugar

tomen con espacio

asiento.

LA
Pin for.

DAM A BOB A
sere dificultoso
;

285

Que
temo

pero yo

me
lo

atrevo

a que se parezca

mucho.
que quiero.

Comendador. Pues advierte

Si se parece en el naipe,

deste retrato pequeiio

quiero que hagas uno grande

con mas espacio en un lienzo.

Pintor.
Quieresle entero?

Comendador.

No
mas con
sartas,
las

tanto;

basta que de medio cuerpo,

mismas patenas,

camisa y sayuelo."

In a very amusing scene

Carlos pretends to tear
Elisa to
(el

I,

xxii.

Ausente en
the letters
is

el

Ingar, III, iv)

up

and pictures of

make her

belieye that all

over between them.

Unfortunately he has nothing to tear up in his pockets,

so he turns to his servant
'Carlos.
,

Tienes un papel ahi?

los

Fingire que

rompi.

(aj).

a Esfehan.)

Estehan.
Carlos.

Buena

industria.

Amor me
Si a darte otra cosa

advierte.

Estehan.

vengo

tan buena, no has de enojarte.

Carlos.

No

hare.

Estehan.

Pues escucha aparte.

Diez
doce naipes tengo.
?

Carlos.

mis

Naipes

Estehan.
si

Son para encajar,

necesidad se ofrece.

Carlos.

Muestra.

Estehan.
Carlos.
(ff

Lastima parece.
Estotros puedes guardar.-Elisa,

Elisa)

hoy

te

dejo rota,

hoy rompo ...

NOTES
Estihan.
{ap. a su amo.)
si flier a

y pudiera mala mujer

'

ser,

y rompes alguna sola. Carlos then tears up several playing cards under Elisa 's window, and departs. The latter promptly despatches Marquina, and her servant Paula, to examine the fragments, while she remains at the window. Paula.

LA DA MA BOB A

287

the national jjopnlarity of all kinds of card games see

the interesting note of Pellicer to his edition of

Don

Quixote, II, cap. 49; also the notes of Clemencin to the

same chapter.
869. cl negro del marido:
tal

"Es color infausta y triste, y como vsamos desta palabra, diziendo negra ventura, etc." "la negra orden de canalleria," Covarrubias; cf
: .

Don

Quixote.

I, iii.

901. ret mt ado:

for retratada

Lope may have referred uncon-

sciously to Liseo.

907. llegetd siUeis y edmoJiadeis:

that

is,

"bring chairs for the

men, and

pilloAvs for the

women
244:9

received

women." The room in which gentlemen had an estretdo (cf. verse

were placed special almohaelas de

below) or a kind of low platform covered with a

carpet.
estreido,

On

this

and while the men took the chairs, the women seated themselves, presumably after the Moorish fashion, on the pillows. The evidence for these facts is extensive, Compare the liut I shall select only a few references.
following passages

" Sedei en
quina, cscudero,
Aurelio.
etc.

casei ele

Aurelio.

Aurelio, Octavio, Elisa, tnuy gedlarda de novia ; Mar-

Llegad

las sillas.

Tu, querida
'

Elisa,

ocupa esta almohada.

Lope:
Elisa,
it

el

Ausente en
is

el

lugar. III. xiv.

will be

remembered,

the only

woman

present.
3Ie-

Cf. also II, X, of the

same play; furthermore Los

;

lindrcs de Belisei,
'
'

I, ii

and

la

Dorotea,

II, v.

Estaba
hecha

el rico

estrado,

de dos pedazos de una vieja estera

la barandilla,

de ricas almohadas adornado

288

NOTES
en tarimas de eorcho, y por defuera el grave adorno de una y otra silla
'
;

Lope
"Se
entro y admitio una

la

Gatomaquia,
eon que
le

silva 5.

silla,

convidaron.

Sentose la
cogines en
eiles, al

dama en un
una
sala,

estrado que habia de razonables

cuyo adorno era de unos guadaraa-

quitar cuando los pidiese su dueno."

Lilian y
esel

Verdugo:
'
'

Guia y avisos de Forasteros, "novela y

respondio, que mejor reposaria en

carmiento quinto."

Camila

le

estrado,
'

que en

Don Quixote,
Cf. also the

la silla,

assi le
I,

rogo se entrasse a dormir en

.

el.

cap. xxxiii, f 192r.

"Carta de dote otorgada por Miguel de

Cervantes a Dona Catalina de Salazar Vozmediano, su

muger," the list containing, among the usual household goods, una alnioada de estrado de verduras; in Pellicer, Documentos p. 207 of his Introduction to Don
. .

.,

Quixote (Madrid, 1797).

Among

the hienes dotales y propio caudal of Isabel

' :
'

de Cervantes are mentioned

quatro almohadas de

eses-

trado, de terciopelo negro,"

and "otra alombra de

trado."

Perez
p.

Pastor:
149.

Documentos

cervantinos

(Madrid, 1897),

918. xerigonza: in addition to the signification given, verse 443,

also

means hoax,

trick, or deceitful

game, a mystifying

or ridiculous occurrence.

Compare

"Sotanitos de Madrid,
jerigonzas encubrid

con las trampas de una calle."

Tirso de Molina
The
"hacia
el

Por

el

Die. de Aut. cites Bspinel:

Sotano y el Torno, III, xi. Marcos de Ohregon,

el

gitano mil gerigonzas sobre

tenia

macho, de
le

manera que
coniprar,"
I,

ya muchos golosos que

querian
I,

cap. 16; Cejador:

Tcsoro: Silhantes,

no. 30, p. 102 thinks the

word

of

Basque

origin.

LA DAMA BOBA
923. hahlaua en:
ct'.

289

"Iiablando en

el

duqiie de Alba etc."

arroijo, II,
i.

"liabla en los

Lope: Al pasar del tiento." reyes Guardar y guardarse,

a

II,

i.

''Ansi estiuiinios hasta la noche, hablando en cosas que

me preguntaua/'

Lazarillo de Tormes,
eastellava:

III.

Cf. also Hanssen, who says, of this phrase, Gramdtica

histurica

ele

la

lenguei

"perteneee

al len-

guaje antiguo"
950. teinto
el

(p. 299).
jo,

jo se le

acomoda:

the call of muleteers to their

so

beasts to urge

them
' : '

on,

and

the silly Finea than joyas, jewels.

cites

more appropriate for The Die. de Ant.

Quevedo

Asimismo declaramos que no de a

ninguna muger joya ninguna, so pena de quedarse con In Premdtica del tiempo, Ohras, el jo como bestia."
op.
cit., I,

p.

440;

cf.

also Jacara, no. 7

la

III, p. 105:

"Llegamos a
con sus

ciudad

eirres

y mis joes."

"No

haya miedo que me aturda.

arre,

Con un palo y con un

y un jo. epie ie estriego, suelo dar con un hombre en el suelo."

Tirso de Molina:
f.

la

Villana de Vallrcas,

I, xiii.

This same phrase occurs in

35r.
el

Don

Quixote.

II, cap.

10,

955.

Haraos mal

agua

sola.
cf.
is

Traygan vna caxa:

iii,

above, verse

50".

In

la

Dorotea,

II,

a similar idea
sin

expressed:

"No
que

bebais que os hara

si

mal

comer

algo.

Trae una caja, Celia, o mira

los

ha

quedado algun bizcocho de

f esor.
'

me

envio mi con-

959. v)i

menudo: "se
cabeza."

dize el vientre del carnero con

Covarrubias.

manos y Other animals, and birds, how-

290

NOTES
ever,

were also used.

The
to

entrails

and such parts as

first

Avere included in the preparation

were

carefully

washed,

and

according

some

descriptions,

even

scrubbed with soap (enxahonar).

tinez Montiiio:

In Francisco Mar-

Arte de Cozina, [Madrid, 1611]? 218v and 219r:

alones,

may

be found the following recipe for vna empanada de

menudos de pauos,

f.

"Tomaras vn
el

menudo de pauo, que son los los pies, y la molleja; luego

y haras vn
higadillos,

pescueeo, y

desollaras los pescueeos,

relleno con higadillos de los

mismos pauos,

o de aues, friendo

cebolla, y los y echales vn poco de yeruabuena, y luego

vn poco de

tozino,

echa quatro hueuos crudos, y rebueluelo sobre la lumbre,

hasta que este bien seco

luego sacalo al tablero, y picalo y echale vn poquito de pan rallado, y echale dos hueuos crudos, y sacona [lo] con todas especias y
;

muy

bien,

agrio de limon, y sal

morcilla
del

y con
luego

este relleno henchiras la

pescueeo;

tomaras

los

alones,

pelarlos has

cuezanse assi

en agua, y cortarles has las puntas, y enteros, y cortaras el pescueeo por medio,

y cuezase todo junto con la molleja y los pies y la morcilla con vn poco de agua y sal y tozino; y despues de cozido sacarlo has que se enfrie, y haras vna masa
dulce como de
(y),
[has]

empanada Inglesa, y empanalo con ella echando vnas lonjas de tozino debaxo, y saconarlo
de
sal,

encima, y cierra tu empanada, y cuezase

y echa otras lonjas de tozino y aduierte, que para cada empanada son menester dos menudos
y
especias,
;

con sus dos morcillas de

los

pescueeos

si

no luuiiere

pauos, se puede hazer de gansos,

lunque no son tan

el

buenos, y

si

fuere en dia de carne, podras hazer

relleno con carne en lugar de los higadillos." Martinez's

book makes amusing reading, but

to people with

do not recommend

it

weak stomachs.
la
:

In the Bibliotfca de
desa

mujcr. dirigida por

Id

la

Con-

de Pardo l^azan

Cociiia

rspunola

aniigua

LA
(Madrid,
recipe for
ealiente
s.

DAM A BOB A
P-

291

a.),

239, the reader will find another

lo gitano:

iin

Menudo a

"Lavense en agua

los

callos

y tripas; vuelvanse a lavar y a

Cortense en pedazos
sal,

restregar con vinagre y limon.

chicos y echense en la olla, con agna y

nna mano
el

de ternera deshuesada, jamon cortado en pedazos, nn

chorizo picante,

algunos garbanzos ya remojados,

desliase en el mortero

zunio de medio limon, dos cabezas de ajos enteras y

pimenton Colorado
cilantro, con

un migajon
ailadase

remojado en agna saturada de azafran, cominos y

nn poco de caldo
y
is

del

mondongo;

al gniso, dejese espesar,

sirvase

muy

ealiente."

The
is

preparation of this dish

naturally to be found in no

modern dictionary

as far as I

know, the menudo

mentioned especially in the literature of the seventeenth

century. Cf. also Lope's la Gatomaquia, silva
6, vs.

332ff.

(Stage direction after 960).

Entren con agua,

toalla, saiha

y vna caxa: of salva Covarrubias says: "la pieca de plata, 6 oro, sobre que se sirue la copa del seiior, por
hazerse en ella la salua, ora sea
el
el

maestresala, ora por

gentilhombre de copa.
jOla!

984. Adios.

On
fool,

various occasions Lope puts this ex-

clamation jola! into the mouth of a hobo, or of one

playing the

and not

as a greeting.

It is

manifestly

intended as a sign of Finea 's simplicity.

Compare

"Garceran. jHola, aho! mirad que rabio

por eso
la

mandad

sacar

merienda."

el Boho del Colegio, II, xvi. "Asimismo mandamos que ninguno llame a nadie diciendo Ola, hombre honrado ,porque nadie, mientras
:

este vivo
se suelen

y sano,
'

es

honrado con

ola..

porque

las

honras

hacer a nn muerto, pero no a un oleado, que

aun

vive.

-Quevcdo
I,

J'r<ni/ifica del

Tiempo, Ohras.

op.

cif..

p. 441.

292

NOTES
Marco Tulio: The inferiority of the younger when compared with his illustrious father, be-

1021. Ciceron tuho a

Cicero,

came a tradition started perhaps by a few chance utterThus Seneca, the rhetorician, says of him ances. {Suasoriae, 7, 13) that he was "homo qui nihil ex paterno ingenio habuit praeter urbanitatem.
' '

My

friend.

Dr. T. Peterssen, called

my

attention to

The Corres-

pondence of Cicero by Tyrrell and Purser (London, 1897), which has a detailed introductory article on Marcus Cicero the Younger, V, p. Iviff. A popular
essay on the son
anel Politics in
191ff.

may

be found in F. F. Abbott, Society

Ancient

Rome (New York,

1912), p.

1031. rasganse cartas:

so the

manuscript seems to me to read,

although the present subjunctive, which Lope would

write rasgen
(cf.

forms

like lleg[u]e, etc.),

may have

been intended,
tinguish.

and

are occasionally hard to dis-

1032. ningun tesoro conpra la lihertad:

a sentiment frequently

expressed in Lope's day.

Cf. the Latin phrase:

' '
;

"non
The

bene pro toto libertas venditur auro

and Schevill
p. 208.

Ovid and the Renascence

line also recalls

in Spain, op.

cit.,

Lope's beautiful cancion beginning:

"
i

libertad preciosa,
al oro,

no comparada
ni al bien

mayor de

la espaciosa tierra !"

Compare

also:

"iO

libertad,

gran tesoro,
en grillos de oro
!

porque no hay buena prision,

aunque

f uese

'

la

Nina de Plata,

II,

ii.

Acto se.gundo: a room in Octavio's house, perhaps the same as in act first we must imagine it near the garden.
;

LA DAM A BOB A
1082.

293

[amor]

cs

cl

dotor:

this recalls the titles of Tirso's el

Amor

medico, and Moliere's

VAmour

medecin. The idea

goes back to Ovid.

1083. catrcda: on transpodciun, a
cf.

common popular phenomenon,

Hanssen, op.

cit.,

p.

67; compare:

"Castillo.

Duque.
Latino.
Castillo,

Nos han puesto, seiior, de arriba abaxo como nneuos. i Por que ? Porque me he opuesto a vna catreda, y mandalo vn badajo,
Yillanueua, que paga a estos gorrones
a seis

marauedis cada gargajo,

ehico con grande.

Diego Ximenez de Enciso:

1087. Platon
op.
.
. .

Juan Latino,

II,

f.

44r.

Aristotelcs:

Leon Hebreo

in his Dialogos,

cit.,

discusses the opinions of Plato

p. 378ff.

and Aristotle

on love at length,
1090.

The three verses following 1090 are eliminated in the manuscript, and, according to the ink, by Lope himself.

1099ff. Practically all the ideas of this speech,

that love taught

make
laws,

men

the arts,

how

to live in communities, to

create republics, in short, that this motive force

would
from

be Finea's best teacher,

these

ideas are taken

Ovid's Ars amatoria and the Remedia amoris, modified

by neo-platonic philosophy which made love a very

comprehensive influence hard to
define.
It

covers a

wide range of motive

desire of action

forces, being a love or desire of

every kind, a desire of possession, a desire of beauty, a

and the

like.

1063-1321. The dialogue of act

the

II,

and

ii,

especially between

young men and Nise, is a good example of concepIn as much as tisnio and culteranismo in a mild form.

294

NOTES
Lope intended
these scenes to be a good-natured satire
its

on the affectations of society and

false notions of
is

poetry and culture, the conversation

clear,

naturally not
culto.

and the vocabulary intentionally absurd, or

el

1164. fort una

is

tiempo corrio: fortuna in the sense of "storm"

in the writers of the Renascence.
' '

common
el

Saliendo

con gran prosperidad, a pocas leguas corrieron fortuna."

Donado

liahlaclor, op. cit., I, cap. 8.

1171. las color es:

masculine or feminine; Cervantes uses both

about equally.

1175.

The three speeches, that of Duardo, vs. 1155, of Feniso, vs. 1175, and of Laurencio, vs. 1195, of equal length,
represent a kind of balance in dialogue, rather com-

mon

in Lope's dramatic art.

la

The most

artificial

ex-

Noche toledana, III, xi-xv, in which the various lovers appear on the scene, one after the other, each reciting a sonnet "to Night," the last two lovers splitting a sonnet between them, by
reciting a verse each, with the exception of the last
verse, of

ample may be found in

which each has a word.

the
three

Even Calderon could

In these

have gone no further in

speeches,

artificial dialogue.

Laurencio being a

young men are plainly cultos, trifle more metaphysical and dark
on Lope's art

than the others.

also, p. 46.

Cf. the Introduction

1274. donde ay tantos vendahales

de y liter esses en
no
file

las

honhres,

milagro mudarte:

"^Mudose aquel vendahalf

^

Vuelves a buscar tu igual

te burlas

Lope:

y entretienes ? el Perro del hortelano,

'

II, xvii.

LA DAMA BOBA
1297. Astrologo

295

me parezss;
suijos,

que sienpre de agenos males,

sin

reparar en los

largos pronosticos hazen:

The

astrological imposter

is fre-

quently mentioned in fiction and drama.

'"Yivia en su vecindad

Compare:

un

astrologo,

grande liombre de

sacar por figiira los sucesos de las casas agenas, cnando quiza en la propia, mientras
el

consult aba efemerides,

su

muger formaba
l'"

otras, que, criandose a su costa, le

llamaban padre."
hurlados:

Tirso de
este

Molina: Los tres maridos

burla.

"Cierto esta que

mono no
se

es Astrologo, ni su

amo

ni el alcan, ni saben alcar estas figuras que llaman

judiciarias,

que tanto aora

vsan en Espana: que no

ay mugercilla, ni page, ni capatero de viejo que no presuma de alcar vna figura, como si fuera vna sota de

naypes del
Quixote,

suelo,

echando a perder con sus mentiras 6

ignorancias la verdad marauillosa de la cieneia."

II, cap.
ij

Don
la

xxv,

f.

98v.

In Persilcs

Sigismunda, Cervantes speaks of

cf. I,

Astrologia judiciana several times;

cap. 13.

Doiia

Maria de Zayas y Sotomayor

{el

Castigo de la miseria)

also depicts the fraudulent practices of

an astrologer.

There can be no doubt that current popular superstitions favored these practices, although they were con-

demned by the

Inquisition.

Cf.

H. C. Lea:

History

Lope mentions them frequently: el Boho del Colegio, III, xv el Ausente en el lugar, II, xi; la Dorotea, V, viii, and in other
of the Inquisition of Spain, IV, 191ff.
;

plays.

1307.

The two verses following 1307 are eliminated

script.

in the

manu-

1308.

[los

romances]

no pueden ser consona)itfs:

best,

The

oldest

ballads,

and the

were composed in assonant verse,

not rime (consonantes).

296

NOTES
. .
.

1311.

a los amigos
la
' : '

pnieha
has

cama y
cle

la carzel:

Correas, Vocahulario, p. 321,

' '

Carceles y caminos, haeen amigos,

and Aleman,

Guzman
play
:

Alfarache,

2a, parte, libr. 3, cap. 7, also

calls la carcel
la

"prueba cle amigos." Compare Lope's Prueia de los amigos, first printed in 1873.

1317. por regalos tnyos tuhe

mudanzas

etc.:

Among

the gifts which lovers gave were

jewels, finery of all kinds, costly cloths

(panos), and
III,

even house furnishings.

ii; la

Cf. la

Viuda valenciana,

Noche toledana,

I, xiii

and many other scenes in

as a matter
satis-

Lope's plays.

Lope's women, however, seem more prone

;

to receive than those of other playwrights of fact,

fied

women
I,

of refinement

and culture were

Cf.

with the mere offer of presents.

vi,

De

cosario a

cosario,
I, V,

and Alarcon's:
to her

la

Vrrdad

sospecliosa,

where Jacinta says

admirer

"Yerran vuestros pensamientos,

caballero, en

presumir

que puedo yo recebir

mas que

los of recimientos.

Cf. also Miss Bourland's edition of las Parcdes oxjen

(New York,
13-47.
cl

1914), p. 173.

Rccoletos:

meaning here the same as in verse 1349, los The Prado vie jo consisted of three parts: Prado de Atocha, Prado de San Jeronimo, and Prado de Recoletos. The last named section was a popular spot on account of some of its parks and gardens to
Prado:
which the people went for recreation.

"Como

con-

traste de tan ostentoso aparato profano, en

medio de
cielo

todas aquellas mansiones de animacion y de placer, otro

austero

convento

elevaba

alii

tambien

al

sus

religiosas torres; era el de padres

Augustinos Recoletos,

fundacion de doiia Eufrasia de Guzman, princesa de

LA DAM A BOB A
Asculi,

297

marquesa de Terraiiova, en 1595."

Mesonero

Roinaiios:

Antiguo Madrid,

op.

cit.,^

p. 226.
is

13G4. I have indicated the n'lbrica wherever

it

found in the

manuscript, as

it

may

be possible that such parts of

the play as are included between tM^o riihricas (when

these

come

at the

end of a scene or an

act),

were written

in one session, without interruption.

1365. y)i maestro do dauzar:

of

Espinel would not have approved

Octavio
all

the

way

in

which

was

educating
' : '

bis

daughters, since they saw

of their visitors freely

and even had

danzar, o

a dancing teacher.

He
si

says

Quanto

peor hacen los padres que dan a sus hijas maestros de

tailer,

cantar, o baylar,

punto de su presencia!
lo

aun

es

ban de faltar un menos dano que no

sepan; que

si

ban de

ser casadas. bastales dar gusto

a sus maridos, criar sus hijos y gobernar su casa. que si ban de ser monjas, aprendanlo en el monasterio
;

la

razon de estar algunas disgustadas quiza es por

baber ya tenido fuera comunicaciones de devociones,

que por bonestas que scan, son de hombres y nuigeres Marcos dc sujetos al comun orden de naturaleza."
Ohregon, parte
la,

descanso 2.

Cf. also note to verse 216tf.

1379. Co)i que yo salgo de

que no

es

alma

la belleza:

duda Leon Hebreo,

no doubt, Lope

in accordance with
lies in

bis philosophy, states that real

beauty

the soul,

or spirit.
te

To

this,

i-efers.

"Tambien
las
el

mostre que las mayores bermosuras consisten en

partes del anima, que son

etc."

mas eleuadas que

cit.,

cuerpo,

Didlogos de Amor, op.

tanboril.
vil:

p. 422.

1382. trae

manana vn
es

Esse

instrumento

Of

this

instrument Covarrubias
fiestas

says:

"atambores pequenos para

y regozijos."

Cf. also Lope's song:

NOTES
'
i

Oh que
los

bien que baila Gil

con
la

mozos de Barajas,
las sonajas

chacona a
el

villano al tamboril

'"
I, xii.

Al Al pasar vasar del arroyo,

1385.

Que soy muy

que no

afizionada

al cascahel, os confiesso.
.

es

mucha

rustiqueza

el trahellos

en

los pies.

Harto pear pienso que

trahellos en la caleza:
fiestas

es

y regozijos

se

Compare: "Los dancaiites en ponen sartales de cascabeles en

y
los

las
los

jarretes de las piernas,

mueuen

al

son del instru-

mento.

cascabeles,
.

assi
. .

Las azemilas suelen lleuar sartales de para que sean sentidas, corao para

Al que tiene poco juyzio, y es liuiano animarlas. y habladorcillo, dezimos ser vn cascabel, por ser vacio y
hueco en
el

hablar.

' '

Covarrubias.

1399. qapatcro: the manuscript capatero.

1404. Three verses following 1404 are eliminated.

1419. Puesto que:

equivalent to aunque.
asa, 6 asilla

1449. asilla:

"Tomar
ocasion,

de alguna cosa, vale tanto

asa.

como
1455.

y achaque."

Covarrubias, under

At

this point of the dialogue a few verses have been erased and are very difficult to decipher. They are presumably verses which Lope eliminated and then rewrote as they

are in the text.

1468. aprendcr:

ant.

for prender;
se

562) cites:

"Luego

aprendio mucho ahina,

Cuervo Diccionario (I, p. e comenzo

a arder la rua."

Conquista de Ultramar, 2:77.

LA DAM A BOB A
1472. cahezadas:

299

the double

The reader meaning

will

remember that the pun

lies in

of cuhczala: a
sueTios,

"nod"

of the head

which accompanies

and a "halter" or "head-

strap" which accompanies rocines.

1477.

como

el

santo dc Paxarcs:

"El milagro

del

santo de
cit.,

Pajares, que ardia el y no las pajas."

p. 105.

Correas, op.

rales,

Quevedo, in his Prcmdticas y arancclcs geneObras, op. cit., I, p. 430, says: "Quitanse por
I take this to

nuestra prematica los modos de decir siguientes," and

then he includes santa de pajares.

misprint for the more

be a

common

santo de Pajares, to
Chistes,
el

whom Quevedo refers again in his Visita de los "Yo me queria ir, y oigo que decia I, p. 347:
de Pajares:

santo
siglo

Ah, compaiiero, decildes a

alia teneis
;

los

del

que muchos picarones que

aca guardados los pajares
decir se dira otro dia."

por santos, tienen

y lo demas que tenemos que According to some lists of

idiomatic

phrases

(cf.

Becker
p.

and

Mora,

Spanish
of the

Idioms (Boston, 1886),

one quoted
1480. (dadares:
jas."^
is

308), the

meaning

hypocrite.

"los cabellos que nos caen delante de las ore-

Covarrubias.
men no

This manner of wearing the hair,

less

in the ease of

than women, was especially in

vogue in the seventeenth century, as

portraits by Velazquez.
'
'

may

be seen on the

venga

el perfil

de uno de aquestos mozuelos

que rizan

los aladares

con molde a fuego."

Lope: Quien ama no

1486. lahrar con

liaga fieros,

I, iii.

hidro vn porfido: porfido: "vna especie de marmol roxo obscuro, propiamente purpureo." Covarrubias. Compare

300

NOTES
"Pero es labrar en uii jaspe con un vidrio nna figura." Lope: los Emhustes de Celauro,

I,

xvi.

The form vidro

verse 56.

is

very

common

in Lope's time

cf. note,

1508. de la academia de

indicate the literary gatherings of the cultos

ceptistas

of

mi hermana Nise: here used merely to and conwhom Nise was the central figure. "Usurotras qualesquier Escuelas de Artes

pan

este

nombre

liberales, o ciencias,

que tienen algun esplendor, en cuyo

formalidad de Academia

sentido son quasi innumerables las que pudieran referirse

en Espaiia.
'

Pero

la

la

tiene solo la que es eregida por el Principe, o en virtud

de su priuilegio.
Universal, op.

'

Christobal Suarez Figueroa

(edition 1733), p. 283.

Plaza

cit.

On

these liter-

ary academies

cf.

below, note verse 2126.

1513.

el

Undo: "Dezir
af eminado.
' '

el

varon lindo absolutamente,

es llamarle

Covarrubias.
enflaquece oir

"Tambien

malos versos, cantar mal,

y al que era ayer vuestro igual hoy mandar y hoy presumir.

Enflaquece una
si

visita,

no OS da mucho contento
noble Ueno de viento,
el

un

que a nadie

sombrero quita

un Undo, todo alfeiiique, hecho mujer con bigotes,

y unos ciertos marquesotes que OS hablan por alambique.
'

Lope

el

Boho

del Colegio,

I, iii.

LA DAMA BOBA
"Gerarda.

301

Luego ipreciaste de Undo?

Donaire
tienes.

Lucindo. iT)e lindo?

Preciome de honibre.''

la

Discrcta cncunorada.

I,

ii.

Cf. also the passage in la

Viuda valenciana,
mancebo

I,

iv,

be-

ginning with the

lines,

"[No
There
Diego
is

sino venga iin

destos de ahora de alcorza etc."

also a

new

edition of Moreto's el Lindo don

(Madrid, 1916), with a good introdnction by

Narciso Alonso Cortes.

1581 fiP. This scene

may

be supposed to take place behind the

Eecoletos in some secluded spot.

1600. a verse of twelve syllables. 1608. la Ventura de la fea:

"Keina, pues que tan dichosa

te

hara
te

el cielo,

dulce esposa,

que

diga quien te vea

la fea

La Ventura de
Lope:
Cf.
also

pasose a Casilda hermosa."

Peribdnez y
el

el

Comcndador de Ocana,

I,

i.

Cervantes:

Vizcaino fingido, Entremeses

(Bonilla ed., Madrid, 1916), pp. 90, 91 and note 159. Ac-

cording to la Barrera and others. Lope also wrote a

play entitled
la

Ventura de
it.

la fea,

but nothing definite

seems to be known about

la

On

a comedia with the title

article

Ventura de
in

la fea, cf.

an excellent

by

Profe.ssor

Buchanan
1618.

Modern Language
runi/la:

Notes,

XX,

1905, p. 39.

Entrad con
de otra."

csta

"Runfla:

la

multitud de un

mismo genero,

o especie de cosas quo estan

una en pos
appears to
:

Die. de aut.

As

a playing

term

it

mean

''a

hand, or a miscellaneous number of cards"

302

>

NOTES
Desprecio extrano

"

. i

Pues aiinque un rey me tripula

y me descarta enojado, yo se que para sii riinfla

me
"Rodrigo.
Liseo.

quisiera algun vasallo."

Lope
si

la

Nina de Plata,

II, xxii.

Cuentanme mil perfecciones. I Como le pueden faltar,

entra
tal
al jiiego

de easar

eon

rnmfla de doblones?"

Lope:
is

Santiago

el

Verde,

II,

i.

In Juan Hidalgo's Vocahulario de Germania "rnmfla"

given the meaning of

"muchedumbre."

y dalde pique:

"Dar

pique:

En

el

juego de
:

los

Cientos es

contar sesenta en lugar de treinta

el

que sucede quando

Die. de aid.,

contrario no ha contado nada."^

Cf. also pique,
f.

under

dar.

281, col.

2.

term from the

game

of piquet,

winning cards, beat her

1619. (pie no hara

and applied here means: at the game."

en que de vos se pique:

"play the

mucho
el

"picarse,"

another card term.

la

paciencia

"Encenderse, resentirse y perder Die. de Aut. que pierde a algun juego.

' '

Compare

"El que

versos quiere hacer,

y buena dicha en ganar, no piense que ha de poder,

por picarse y porfiar, ni ganar ni componer."

Lope:
"No me

las

Flores de

Don Juan,
juego;

IT, vi.

afrentan tus razones,

el

pues has perdido en

que siempre un picaelo tiene

licencia para hacer fieros."

Cervantes:

la

Guarda cuidadosa.

LA DA MA BOB A

303

"^A
Mai

solas estas
te

hablando?

ha tratado Leoiior,
el

porqiie

picado, senor

siempre queda barajando.

Alarcon

Mudarsc por mejorarse,

I, v.

"Estaba jugando el cocinero y en acabando el dinero, como quedo picado, pidiole prestado a Zabala, el relojero, veinte reales, y respondiole que no los tenia"' Gaspar Lucas Hidalgo Didlogos, op. cit., II, i. Compare also the terms picon, and dcspicarse de:
:

"Carlos.

Que lindo picon le he dado! Que piensa que estoy ausente.

I

Elisa.

Este piensa llanamente

que su ausencia me ha picado,

veole desde aqui.

cl

Lope:
"...
si

Ausente en

el

lugar. III, iv.

Querria saber,
entendimiento
parecer

para cierto pensamiento.

iguala
el

al exterior

que

si

me ha de despicar

de don Juan alguna eosa,

Costanza. estoy sospeehosa,

que ha de ser

oirle

hablar."
i.

Lope:
1620. cartas tripuladas:

las

Florrs dr Don Juan, III,

are "cartas, o naipes desechados;" ac-

cording to the quotation in the note on rumfla, verse

1618. tripular
is

the same as descartar.

The term

is

not

"El novio que tripule" Lope writes in las Flores dc Don Juan, III, xix. My colleague Dr. Morley has told me of two scenes in Tirso
in the dramatists.

uncommon

in
la

which tripular
Celosa de
si

is

used:
II,
is,
ii.

Quien

calla, otorga, I, vii

is evi-

misma,

Here the meaning

dently the same, that

desrchar, descartar.

304

NOTES
el

1645. Grecia, adonde tanto

amistad
;

sc prccia:

Friendships

are famous in Greek legend

we need only mention

Orestes and Pylades (ver.se 1647),

Damon and
many

Pythias

(Phintias), Achilles and Patroclus, imitated by Virgil

in

Aeneas and Achates.

And

there are

friend-

ships in medieval literature copied after classic models.

"En

Grecia, en aquella edad,

teniase la amistad

por excelente blason;

pero en
la la

nuestra lo son

mentira y falsedad."
:

Lope
1660.

las

Flores de

Don Juan,

III, xxi.

Vamos

[a]

aconpanaros y seruiros:
a, cf.

on the mechanical

omission of
1668.

verse 259.
to a

With

this scene

we return

room

in Octavio's house.
el

1677. la anacardina:

"La

confeccion que se hace de

la

Anacardo

para

facilitar

y habilitar

memoria."

Die. de aut.

1809. Pues pio lo ves que son sus liijos?

"Belarda.
Jaeinio.

^,

Compare: Son hijos de amor los celos? Sus hijos dicen que son." Lope: el verdadero Amante,

I.

Cf. also la

Corona mereeida,
cf.

II, vi.

1813. tiniendo:

a popular form;

Timoneda:

el

Buen Aviso
edi-

y Portacuenios, "Revue Hispanique" (Schevill tion), XXIV, euento Iviii, p. 42 and cuento Ixii,
Verse 1813 has twelve syllables
writing
: ;

45.

it

may

be corrected by

que bien

se.

1815. celosia: for celos, not in the dictionaries,

intended as a hohada of Finea.

cf
.

For

and presumably pun on the word,

Lope
(ap.)

"Lisena.

jAydemi!
Lisena es;
delante ponerme quiero.

Beltran. {ap.)

LA DAM A BOB A
Poncsc Bcltrau delante, fingiendo que no
la conoce.

305

Ines, ^que en fin soy barbero?

Lisena.

^Que en Dejame

fin

soy barbero, Ines?

pasar, desvia.

Belt ran.
Lisena.

Un

abrazo

me

has de dar.

Dejame, Beltran, mirar

eelos

por tn

celosia.

Dejame, pues me eonoces.

Beltran.
^,

Celosia yo?

|Y que
Portugal.

tal?

De ebano de

la

Noche toledana,

II, vi.

1816. descnamorarse: the manuscript has desanamorarsc. 1870.

scrjuii

por

los

ayres andas:

"Ir por
o

los ayres, es

andar
para

levantado

de

pensamiento,

liazer
los

diligencia

alguna cosa con gran presteza, como

que por arte de

nigromancia, dizen ir de vn lugar a otro en i)oco espacio de tiempo. " Covarrubias, under ayre.

"Ortuno.

...

si se

descuida,

entraras como primero.

Comendador.
Ortuno.

Bueno, a
^.

fe

de caballero!

Pero

el

villanejo cuida?
los aires."
II, v.

Cuida, y anda por

Lope
"Yo
says Sancho Panza

Fuente Ovejuna,
los

no soy bruxo para gustar de andar por

ayres"
f.

Don

Quixote, II, cap. 41,

153r.
I,

Cf. also the note in Persiles

p. 331.

y Sigismunda,

op.

cit.,

1017.

Juau Latino: Practically

all

that tradition

handed down

about this illustrious negro was gathered in the extremely interesting play Juan Latino, by Diego Ximenez
de Enciso, and printed in the Segunda parte de comedias
escogidas de las mejorcs de

Espana (Madrid, 1652),

volume

have before me.

In the opening scene Dr.

Carlobal, a clergyman, chides his sister doiia

Ana

for

NOTES
her

many

flirtations,

for the liberty with

suitors.

which she

treats her

numerous

She replies

in a spirited

way

that the doctor has forgotten that he

is

her brother,

Eve she proposes to enjoy the masks and gaieties. Her brother threatens to marry her off immediately, whereupon she
not her husband, and that on St. John's
says

"^Yo casarme
^Doiia

con hombre que no sea

? i

duque, marques o conde

Yo

casada

Ana

Carlobal, a quien desea

festejar

seruir el

mundo, y
is

Granada?"

While dona Ana

discussing her suitors with her serv-

ant, shouts are heard, with

mingled music and song, and

a crowd of revellers passes the house.

students,

and among them

is

They are chiefly young Juan (Latino) at-

tached as slave to the person of the youthful D. Gonzalo,

son of the duque de Sesa.

In the confusion Juan picks

fallen

up Ana 's ribbon which had

from the window, the

indication being, according to certain superstitions con-

nected with St. John's Eve, that

Ana

will

marry the

negro

lad,

Juan.

In the next scene we deal with the uninteresting

subplot, the discontent of the Moriscos
all of

and

their reform,
later of

which however, permits the introduction

D. Juan de Austria.

We

then have a typical students' scene in which

the usual torments of these episodes

Juan goes through

(gargajeanle todos)

and

excites

particular envy be-

cause he wears dona Ana's ribbon.

Then

follows the

session

of

an Academy

at

the

Duke's house, in which Juan wins the applause of all by a very learned disquisition on the invention of printing,

and the origin of writing.

and
his promise fulfilled.

Juan

is

thereafter en-

trusted to Dr. Carlobal, that his education

fected,

may

be per-

LA
In the second
at the university,

DAMA BOBA
act,

307

Juan

aspires to a professorship
it

and

desires to compete for

with a

certain

Villanueva, already maestro and catedratico.

He

pleads eloquently with his master the

his

Duke
with

for his

freedom, in order that

seriously,

oposicion

may
off

be taken

but

the

Duke puts him

vague

promises.
learn,

In the meantime doiia Ana, always eager to

demands a teacher of her brother who selects Juan Latino. In this way Juan sees a great deal of her, teaching her not only granidtica as Lope puts it,
but amo, amas.

He

also recites verse to her

which

is

rather free from the usual culteranismo, and sings to

the "biguela."

We
in

now have

the interesting scene of the oposicion

to

which Villanueva attempts

defend his professor-

ship, but in vain, as

Juan's dignity, self-possession and

learning carry the day.

In the third
suit for doiia

act,

Juan has made great

not engage

strides in his

Ana's hand, but

to the displeasure of

Dr. Carlobal
to his sister."

who did

him "to make

love

D. Juan de Austria

now appears on

the

scene, honors

Juan Latino in various ways and promises to intercede for him with the Duke, so that Juan may become a freedman. D. Juan de Austria eulogizes him
in the following sonnet

"Hijo de esclauo soy naei en Baena.

;

donde

las letras

aprendi primero

creci siguiendo el centre verdadero,

premio que a

la

virtud

el cielo

ordena.

No me ha

estoruado mi amorosa pena

que sea de Granada Racionero, Orfeo, ]\Iarte, Ciceron, Homero,

en voz, en armas, en Latin, en vena.
Catredatico
y,
fui,

Griego excelente,

en

fin,

varon insigne, pues que llego

a ser deste lugar Colector digno.

308

NOTES

como
la la

le

llamo por eminente

antigua

noble Espana

Eoma a su Adriano, el Griego, me llamo el Latino.

'

If these

details

are true, they give ns

new

facts in

Juan's career.
brother

We

also learn that doiia

Ana had

and alcalde of Granada, while Dr. Carlobal, the clergyman, is called "fundador de la celebrada Vniversidad de Osuna." Whether D.
licenciado

who was

Juan

Tellez Giron, fourth

of the University of

Count of TJreiia, and founder Osuna (1548), called Carlobal to

I

some important position

finally

In the midst of great

am unable to ascertain. pomp and ceremony Juan

The
latter is

is

made Doctor,

the last act devoting considerable

space to the usual vejamcn.

pronounced

by the chief wit of the play,

lows

Castillo,

who

relates various
fol-

anecdotes concerning Juan, characterizing him as

:

".

un

dia naturaleza

tuuo ciertas combidadas,

Diosas de aquellos contornos,

que de camino passauan.

Era Sabado,
se

y,

muy

triste

de no poder regalarlas,

puso a hazer vn menudo,

y aun dizen que era de baca. Tomo vna larga morcilla

la

naturaleza sabia,
a echar en ella

y comenco

letras, lenguas, esciencias varias,

nominatiuos, gerund ios,

en

fin,

toda

la gramatica,

la teologia,

las artes
;

pero echo pimienta harta

que
salio

al cozer esta morcilla,

como vna gualdrapa.

Minerua, diosa de guerra,

LA
vieiulo
el

DAMA BOBA
que
es rey

309

de las armas
Sesa,

claro

Duque de
sii

embiosela a

casa,

donde ha
que esta
sin

los

anos que veis

al

humero eolgada,

que la de libertad que aun ay morcillas esclauas. Verdad es que el senor Duque,
sabiendo de Juan las gracias, le dio estudio, que fue hazer

de vn cueruo vna aguila braua."

Juan Latino, now maestro,

liherto. attains his final

catcdratico,

doctor,

and chief honor

in the

and hand of

doiia

Ana.

These statements do not agree v/ith most of those made by Bermudez de Pedraza in his Antiguedad y
excelencias de Granada,

and quoted by Clemencin

(edi-

tion of Don Quixote, note 10 to preliminary verse). In fact no two writers agree on the details of Juan Latino's
life,

which seem

to

have been handed down chiefly by

of the most interesting facts in
relates

word of mouth.
the life of

One
is

Juan Latino, and one which

him more

intimately to Lope,
spective patrons.

the connection between their re-

D. Gonzalo Fernandez de Cordoba, third duke of Sessa, and grandson of el Gran Capitdn was the owner of the negro scholar; while D. Luis

Fernandez de Cordoba Cardona y Aragon, sixth duke of Sessa, grandson of dona Beatriz de Cordoba y Figueand roa, nieta del Gran Capitdn. was Lope's patron
intimate friend.
I

exist

cannot disentangle the confusion which seems to regarding dona Ana's brother and father, although

the assertion of Pedraza, that the latter was licenciado, y Golernador del estado del duque de Sesa lends some authority to Lope's statement that he was a veinticuedro. Enciso, we saw, gives dona Ana two brothers, one of

310

NOTES

whom
of

is

Licenciado and alcalde.

Pellicer, in his edition

Don

Quixote, Madrid, 1787, p. 233, states briefly that

in

Juan Latino died

Granada

in 1573, while Ticknor

and

others guardedly say "after 1573."

Nicholas Antonio

may

be responsible for this uncertainty.

He

says:

Jacet in Sanctae

Annae

paroeciali ecclesia Granatensi,

uti fert prae se lapidis titulus,

quem

ipse in ea urbe

agens excripsit: Del Maestro Juan Latino, Catedratico

de Granada, y dona
deros.

Ana

de Carleval su muger y here-

MDLXXIII

(followed by six hexameter verses).

Cf. also Gallardo's

III, no.

Ensayo de una Bihlioteca espanola,

p.

2627; and Rodriguez Marin: Luis Baraliona de

35,

Soto (Madrid, 1903),

pavcial (de Madrid), 1916,

and an November

article in el

Im-

19th,

which adds
Line 1927
:

practically nothing to previous information.

al for el

1977. quieres darlc vn

filo

en mi:

Compare

the phrases:

"no

dejaran
de darse nadie."

los Zoilos, los Cinicos, los

tin filo

Aretinos y los Bernias

en su vituperio, sin guardar respeto a

Novelas, dedicatoria; and "gent'e
talle

Cervantes:

de la hampa, y de mi

darme

tres o euatro filos

y marca, con quien pudiera cuando quisiera." Guzman

2.

de Alfarache, 2a parte, libro 2, cap.

Act III
2036.

The scene remains the same.

cf.

[amor] o accidente, o eleccion:

the same idea
fits

below, verse 2177, where

better into the

mouth

of a culfa like

Nise than a regenerate hoha like Finea.

Both words
In
above, on the
analysis,

are without the usual cedilla in the manuscript.

connection with this whole speech,

influence of Ovid's ars amatoria.

cf.

In

its last

what Finea says is a fusion of Ovid and Leon Hebreo, conceived in moderate culto style.
2090. catredatico: 2099.
cf.

verse 1083.

Duardo:

as elsewhere, 3 syllables.

LA DAM A BOB A
2107. cudiosada:

311

"endiosarse, vale cntonarse, ergiiirse y

Die. dc ant.
'
i

eiiso-

berbecerse. "
'

Oh
la

secretaria cruel

de
la la

ninfa melindrosa,
se alcorza

que

y endiosa,

que viendo en un papel

sierpe se espanto
: ' !

un San Jorge dibujado,

de
la

Lope
Spanish.
I

los

Melindres de Bclisa,

II, xxii.

2110. Pcfrarca: (1304-1374) Nise could have read Petrarch in

have in uiind two editions:

Triumphos:

Traslacion dc los seis triunfos de Francisco Petrarca de

toscano en castellano, hccha par Antonio de Ohregon
(Sevilla, 1526), in folio, goth.; Sonetos

y canciones del

poeta Francisco Petrarca que traduzia Henrique Garees,

de lengua thoscana en castellana (Madrid, 1591).
Garcilaso: Garcilasso de la

Vega (1503-1536), one

(ed.
2,

of the

greatest of Spanish lyric poets.

Cf. Fitzmaurice-Kelly,

Historia de la Literatura castellana

Madrid,

1916), p. 137 and 404; Cejador: Historia de la Lengua

y Literatura castellana.
2111. Virgilio:
in

II, p. 70ff.

On

Virgil,

and the influence of Virgil's Aeneid

.

Spanish literature of the Renascence, cf

Schevill

Studies in Cervantes, III, in Transactions of the Connecticut

475ff.

Academy

of Arts

and Sciences,

vol.

XIII,

p.

Taso: There are two Italian poets of this name: Bernardo Tasso (1493-1569) and his more famous son Torquato Tasso (1544-1595).
TIk^ former's epic

may
Lope

interest readers of

poem Amadigi Amadis de Gaula; the latter 's

and the Aminta was

master piece, Geriisalemme liherata, was imitated by

in his Jerusalem conquistada,

translated into Spanish by Jauregui (1607).

2117.

On

Heliodorus

cf.

verse 279.

312

NOTES
Rimas de Lope de Vega: Of Lope's Rimas printed before
1613,

2119.

Nise could have possessed:

la

Hermosum
;

de
the
f.

Angelica, con otras diversas rimas (Madrid, 1602)

same volume contains Segunda Parte de

242,

las
f.

Rimas,

and Tercera Parte de

Cf. also Gallardo:

las

Rimas,

342.

This

volume was several times reprinted between 1602 and

1613.
Ensaijo, IV, nos. 4214, 4215;

Lope's Rimas Sacras were not printed until 1614, and

his

Rimas humanas y divinas not

cf.

until 1634.
cit., p.

On Lope

de Vega,

Fitzmaurice-Kelly, op.

436.

2120. Galatea de Cervantes: Cf. the edition Schevill-Bonilla, op.

cit.

In

el

Premio del Men

la

liahlar, I, x.

Lope mentions
/,

Cervantes, and again in

Viuda valenciana,
first

xv, to-

gether with the Galatea; in the

the sake of the rime.
p. 383.

case especially, for

cit.,

Cf

also Fitzmaurice-Kelly, op.

2121.

cl

Camoes de Lisloa:
famous Portuguese was
first

Luiz de

Camoes

(1524?- 1580)

poet,

whose great epic Os Lusiadas

Cf. Theophilo

printed in Lisbon. 1572.

e

Braga

(Camoes, epoca

vida (Oporto, 1907).

2122. Los Pastores de Belen: Pastores de Belen, Prosas y versos

divinos de
this

book

cf.

Lope de Vega Carpio (Madrid, 1612). On Renert, Life of Lope de Vega, p. 200ff.
Guillen

2123. Comedias

de don

de

Castro:

(1569-1631)

no

volume of Castro's plays in print as early

date of la

as 1613 (the

Dama

hoha)

is

known

as far as I can ascer-

tain, the first editions of his plays

being Primcra parte Segunda parta (Valencia, 1625). But this passage of Lope must not be taken seriously, as does, for example, the editor of Las Mocedades del Cid
(Valencia, 1621),
in Cldsicos castellanos (Madrid, 1913), p. 22, note.

In

the

first
;

place the

word Guillen was convenient

it is

as a rime

word

in the second place

not unlikely that Lope

LA
(i.e.,

DAM A BOB A

313

Nise) possessed some manuscript copies of Castro's

plays,

which would amply explain

cf.

his statement.

On

Castro,

Fitzmaurice-Kelly, op.
cit.,

cit.,

pp. 253 and 383

Cejador, op.
212-4.

IV,

p. 184ff.

Liras dc OcJioa: no liras by any Ochoa are

and

it is

futile to theorize as to his identity.

known to me, La Barrera

is

has a note on one Ochoa praised by Cervantes in his

Viaje del Parnaso, cap.
2, vs.
SfiP.,

where he

called "el

Licenciado Juan de Ochoa"

(cf.

Ohras completas de
p. 363.

Cervantes (Madrid, Rivadeneyra, 1864), XII,

La Barrera
of

inclines to the belief that the poet

is

menel

tioned by Cervantes

the playwright

Juan de Ochoa,

whom

the Biblioteca Nacional possesses a comedia:

cf.

Vencedor vencido;
Catalogue.

his Catdlogo del teatro antiguo

is

espanol, p. 285; the play

no. 3428 in

Paz y Melia's

2125. Luis Teles: Luis Velez de Guevara (1578-1644)

afamous
(Cf. the

dramatic poet and friend of Lope de Vega.

the admirable introduction prefixed by Professor Bonilla

to his critical edition of el Diablo Cojuelo, op. cit.).

Professor and Seiiora de Menendez Pidal have printed

an edition of Velez de Guevara's play

la

Serrana de

la

Vera (Madrid, 1916). Both Lope and Cervantes speak of him with high praise. Cf. La Barrera 's Catdlogo,
p. 463,

and

his note,

XII,

p. 389, in

the already men-

tioned

Ohras completas
cit., p.

of

Cervantes;
cit., p.

Fitzmaurice215ff.

Kelly, op. 2126. en

la

438

Cejador, op.

is

Academia del duqke de Pastrana: 1. This duque de Pastrana (the third of the title) don Ruy Gomez de Silva y Mendoza (1585-1626).
his personal

Of

appearance Espinel says {Marcos de

II,
:

Ohrcgon, parte
salir a

descanso xi) "Acuerdome de ver un Duque de Pastrana una maiiana como esta, caballo, con un semblante mas de angel que de hombre.

3U
elevado en la
gallardias,
silla,

NOTES
que parecia centauro, hacieiido mil

ban."

y enamorando a euantas personas le miraHe is praised by Cervantes in his Viajc del

^dii,

Parnaso, cap.

near the end, but the tribute

is

of

that perfunctory kind paid to a Maecenas by a poor

poet

"y que

la

fama, en la verdad ufana,

contaba que agrado con su presencia

y con su cortesia sobre humana que fue nuevo Alejandro en la excelencia

;

del dar; que satisfizo a todo cuanto

puede mostrar

real magnificencia.
light,

But

this tells us

nothing of the Duke as a literary

although we are led to believe by the mere fact that

Cervantes praises him, that he could appreciate the

gifts

and writings of

others.

He was Ambassador

in

Paris and

Rome under

Philip III, and Philip lY; his

contemporaries also state that he was especially fond

and excited admiration as a torero. The academy mentioned by Lope was doubtless the Academia Selvage, first called El Peiruaso, opened
of the sports,
2.

in
a

February, 1612, in the house of D. Francisco de Silva,

brother of the
its

Duke

of Pastrana, the latter being

presumably

most illustrious patron. According to the

"assistieron on esta academia los
al

Licenciate Pedro Soto de Rojas {DeseugaFio de A)nor.

Madrid, 1623,

f.

181)

mayores ingenios de Espana, que

presente estaban en

Madrid."
Cf.

We

may. assume that among them were Lope,

Velez de Guevara, and perhaps Espinel and Cervantes.

La Barrera
3.

Nueva

hiografiei

de Lope de Vegei,

pp. 183 and 571.

On

these academies, which were patterned after

Italian prototypes (on which see Sandys,

Classiccd ScJiolarship, II, p. 81)
in

A
f.

History of
63:

Suarez Figueroa says

his Pkiza

iDiiversal

(jMadrid, 1615),

"En

LA
esta

DAM A BOB A
los

315

eonformidad descnbrieron

auos pasados alguiios

iiigenios

de Madrid semejaiites impulsos, juntandose

con este inteiito en algnnas easas de Senores, mas no

consiguieron
el fin.

Fue

la

causa quiza porque, oluida-

dos de lo principal, frecuentaban solaraente los versos aplicados a diferentes asuntos. Nacieron de las censuras,
fiscalias

sando tan adelante

y emnlaciones no pocas voces y diferencias, palas presunciones, arrogancias y arrojamientos, qne por instantes no solo ocasionaron menosprecios y demasias, sino tambien peligrosos enojos y pendencias, siendo causa de que cesasen tales juntas con toda

breuedad." (Discurso XIV, de

los

Academicos).

Lope

himself presented his Arte Nuevo de hacer Comedias

to one of these numerous academies, and mentions an "Academia de Madrid" in his dedication of the Laurel de Apolo. Cf. also La Barrera: Nueva hiografia, op.

D. cit., pp. 151, 176; Luis Fernandez-Guerra y Orbe: Juan Ruiz de Alarcon y Mendoza (Madrid, 1871), p.
529 (a
list

of academies)
;

Navarrete, Yida de Cervantes,

pp. 123 and 482if.

Schack, Geschichte der dramatischen

II,

Literatur und Kunst in Spanien (Frankfurt, 1854),

p.
39flP.
;

a note on D.
cit.

Juan de

Silva, in II, p. 304 of the

Galatea, op.

2127. Obras de

Luque: Judging from Nise's

literary taste, espe-

cially her
it

fondness for the poetry of the conceptistas,

is

is possible that tliis Luque mentioned by her father Juan de Luque, "natural y abogado de la ciudad de

fiestas principalcs del ano,

Jaen," whose Dirina Poesia y varios conceptos a las que se ponen por su calendario con los Santos nueuos y todo genero de poesias,

was printed

at

Lisbon in 1608.

He

says in his prologue

"uso de toda suerte de poesias de las que hoy corren en nuestra Espaiia, y aun algunas que no las he visto en ningun autor, como son un soneto en laberinto, en cuyas primeras, medias y ultimas letras hay sentencias ley en-

316

NOTES
dolas hacia bajo, y redondillas duplicadas
;

que

me ha

parecido compostura de larga disposicion

;

muy acomodada
y un soneto en

para eonceptos
siete

leiiguas,

que no

me

eosto poco trabajo."

And

again:

"Ansi
el

que podra servir esta obra de Arte Foetica, pues

o de otra suerte de las que se praetican

que

quisiere hacer soneto con remate terciado, en repetieion,

;

o eanciou, o

otro cualquier genero de poesia, aqui la liallara, bus-

candola por la tabla."

Another Luque

is

Gonzalo Gomez de Luque, whose

los

absurd rhymed tale of chivalry Lihro primero de

famosos hechos del principe Celidon de Iheria (Alcala, 1583) may also have appealed to the taste- of a romantic
,

girl like Nise.

Cf. note, II, p. 335 of

La

Galatea, op.

cit.

Lope had

to use the

name

for the sake of the rime, hence

the uncertain identity.

2128. cartas de don

Juan de Arguijo:

(1564?-1623)

among

the poetic forms used by Arguijo are epistolas which

may

be the cartas to which Lope refers. Cf Fitzmauriee.

Kelly, op.

cit.,

p. 374,

and Cejador,

op.

cit.,

p. 141ff.

2129. cien sonetos de Linan: Pedro de Linan de Riaza (d. 1607).

Cf. la Galatea, op.
p.
cit., II. p.

319

Cejador, op.
tells

cit.,

Ill,

136ff.

In as much as Octavio
infer that such poetry as

us that Nise's

library contained "librillos, papeles y escritos varios,"

we may

had not been printed was possessed by her This was a very common (or Lope) in manuscript. state of affairs at this time, Avhen many works were
at the date of our play, 1613,
copies.

known only through manuscript

in his library.

We
many

have no
of

reason for doubting that Lope possessed

them

This would apply to Ochoa, Luis Velez,

Arguijo, Linan and possibly Castro, of the above mentioned

list.

LA DAMA BOBA
;

317

2im. Hern nt d diuino: (1534?-1597) cf. Adolphe Coster: Fernando de Herrera {el Divino), (Paris, 1908) and, ibid., Algunas obras de Fernando de Herrera (Paris.
;

1908);

La

Galatea, op.
cit.,

cit.,

II,

p.

327; Fitzmauriceop.
cit.,

Kelly, op.
p. 89ff.

pp. 175

and 400; Cejador,

Ill,

2131.

cl

lihro del Pfrcgrino:

first

Lope's

cl

Peregrino en su Patria,
(cf.

printed at
It is

Sevilla,
artificial

1604

Gallardo,

IV, no.

4212).

an

story of adventure, pedantic,

taste.

and marred hy digressions and bad

Lope's prose style
culto.
is

Moreover,

inclined to be mediocre, dull

and

2132.

cl

Piraro de Aleman: The well kno-on rogue story by Mateo Aleman (1547-?), Guzman de Alfarache, was printed in two parts, the first at Madrid, 1599. the

second at Lisbon, 1604.

pp. 230
;

Cf. Fitzmaurice-Kelly, op.

op.
cit.,

cit..

and 370 Cejador,

IV, p. 130ff

2167. sake "salas se llamau vnas pieeas grandes de Palacio, en

lo

baxo del, donde se juntan los Consejeros de su Magestad a despachar los negocios de justicia y gobierno. " Covarrubias.
eleccion

2177-8. Cf. the beginning of act III

and accidente are

without the usual cedilla.

2182. cstrellas que concicrtan las voluntades:

According to culto
' '

poetry love

is

considered a disease, and the influence of

' '

the stars brings on

el

accidente de una enfermedad

as such, "accidente"

is

frequently found in contrast

with ''eleccion, o albedrio.

' '

No

digo yo que

f uerzan las estrellas

;

que inclinan digo pero tu no quieres

por tu eleccion ni por que inclinan
ellas.

Amor

[.

que

se

ha de hacer de

las mujeres,

318

NOTES
que ni vivir con
ellas ni sin ellas

pueden nuestros pesares y placeres?" Lope Sonnet 278 {Ohras no dramdticas

in Bihlioteca de autorcs espailoles).

"Pero

si

las estrellas daiio influyen,

y con las de tus ojos naci y muero, ^como las vencere sin albedrio?"

Lope
"
.

Sonnet

68.

En

tanto que este aplique

remedios a su amor o a su accidente,

Don
el

Arias,

y su vida pronostique,

por otra parte quiero yo que intente

interes curar a esta seilora
el peclio siente.
'

de la dureza que en

Lope
"El amor que
le

La Nina de

Plata, II,

viii.

le lie

eobrado en este poco de tiempo que

he visto

es

de suerte, que

me

fuerza a que atropelle

con todo, y habiendo de ser yo la rogada, venga a

rogarle:

fuerzas son de estrellas y oculta inclinacion;

se

que no

puede alcanzar
la
I,

la

causa de adonde proeede

tan gran mudanza como

que vengo a ver."

cap.
5,

(/

DoCf.

nado hahlador, op.

also

cit.,

near the end.

I,

Lope: Al Pasar del arroyo,

fieros, I, vii
;

ii;

Qnicn ama no
II, f.

haga
cl

la

Noche de San Juan,

I, iii.

77v;

Cahallero de Olmedo,
cf.

2215. pensamientos: 2220.

above, verse 635.

Todo cs mudanzas amor: In as much as Octavio says "vaya el baile del otro dia," Liseo's phrase contains a The chief interest in this l)un on the step of a dance.
dance for
us, lies in its

We may
it is

recall that in

pronounced popular character. Don Quixote, II, xx, Cupido

also the case in Moreto's el

[amor] dances a mudanza, on which occasion, however,

a

formal dance, as
el

is

Desden con

desden,

II.

The double meaning

of

LA DAM A BOB A
Dixdaitzas dc

319

amor and mudcDiza,

tlie

the step of a dance,

is

not nnconmion in

romances.

See, in the ballad be-

ginning

"En

el

tienipo qne Celinda

cerro
es

airada

la

ventana etc."

the verses

"Que
y
la

en

el

villano de

Amor

danzan muchas veees

nniy cierta esta nnulanza,

los

que de veras

se

anian."

And

in the ballad beginning

]\Iuza

Abindarraez y
the verses

el

Rey Chico de Granada

etc."

"Entre tanto

el

rey y

Muza

cansados de tantas vueltas,

estaban con Zaida y Zara, que son de amor mudanzas.

las
as,

Compare
enredos

also such

stereotyped phrases
es

"todo

es

amor,"

''todo

engaiios

(or

industrias)

amor.

'

2238. cadcnas y vandas:

"era un hombre de hasta cuarenta

al uso,

anos, algunas canas, agradable presencia, calvo, de me-

diana estatura, calza de obra, galas

una vanda
a

de oro

al cuello

de

las

que

se

comenzahan

usar encscartrait,

tonces."

Linan y Verdugo: Guia etc.: Novda y miento scgundo. The vanda was an effeminate and generally worn by lindos; cf. also vs. 2247.

2245. tranz(U}i (n
cellin

sombrero: other forms are

trencillo. trcn-

"no hay
que
se

irencelUn de diamantes

acabe en otro nombre,

ni tiene la corte

un hombre

cuyos coletos y guantes

espircn olor igual."

Lope:
"La

el

Ausente en

el

lugar,

I, v.

cabeza adornada
la falda levantada,

de un sombrero,

de un treneellin ceiiido."

La

Gatomaquia, VII.

320

NOTES
no young gallant was
satisfied

2247. cadenita de oro al cucllo:

to go without a chain,

not afford one of gold,

2249. en las brazos
asi
el

and very frequently, if he could he wore a false one {dc cdquimia).

"los griguiescos se llamaron
si

gnguiesco:

de grex gregis y la lana del ganado,

;

no

es

que

vinieron de Grecia

son habito descansado, aunque las

la

calzas son mejores para las armas."

iii; cf.

Dorotea, TV,

is less

The singular, as here, common than the plural; cf. Los Comendadorcs
also the next

two

notes.

de Cordoba, III

"Para
que

la

segunda vez
bajo de un capon.
'

tengo un grigiiesco valon,

es lo

also Covarrubias

under cahon: "por otro nombre

el

cal-

con

greguesco"; and Cervantes:

I, p.

Gallardo Espafwl,

Schevill-Bonilla ed.,
I

68, vs. 16.

assume that in saying that

Amor wore

the grigui-

esco on his arms.

Lope

is

ridiculing the width

and

full-

ness of the sleeves which might well have resembled that

garment.

wore
that

In verse 2303 we are again told that Amor manga ancha (perhaps with the double meaning "Love may be unscrupulous"), and cl calzon anla

gosto which latter garment

was

close fitting, while the

grcgiicscos were loose breeches, extending,

when

first

introduced, to the ankle, later from the hip to the middle

of the thigh.

The

latter style

was worn especially by

first

soldiers, pages, etc.,

during this very period, the

third of the seventeenth century.

Lope's ridicule of wide sleeves recalls a passage in

Quevedo, Visita de

los cliistes,

where we have an amus-

ing description of the costume of don Diego de Noehe

who had found

gregiiescos:

a pair of sleeves big

enough

to

wear

as

"Muy

angosto,

muy

a teja vana, las car'nes

de venado, en un cendal, con unas mangas por gregiiescos

y una eselavina por capa

se

llego a

mi

LA
nil

DAM A BOB A
(Ohms,
op.
cit., I,

321

rebozado etc."

p.

345).
1:

Cf.

also,

Luna:

LazariUo de Tormes,

II,

cap.

"

[los

vestidosl

ni tenian principio, ni fin:

;

entre las calzas

y savo no habia diferencia pnso las piernas en las mangas, y las calzas por ropilla, sin olvidar las medias que parecian mangas de eseribano." And Tirso de ]\Iolina, in his Cigarralcs dc Toledo (Victor Said Armesto
ed.,

Madrid, 1913,
el

p.

101) has the following passage:

"Cause novedad
porque
sienes
las

trage de los nuevos dograaticantes,

coronas de la ingrata ninfa no cefiian sus

se

eomo

acostumbrava, sino sus cinturas.

Pudo
se

ser por llamar a los desta facultad,

que tan mal

dan

a entender por palabras, bachilleres de estomago.

Y
uso
los

aunque curiosamente
hasta

vestidos,

havian mudado

el

en

el

modo de su adorno, porque

tela

traian

baqueros de

abotonados por las espaldas, las rosetas

de las ligas les Servian de cuellos y puiios, y los pufios y cuellos de ligas, las mangas de gregiiescos y los gregiiescos de mangas, a imitacion de sn poema."
2251. las ligas con rapazejos: "vieron que venia con vnas medias

de seda encarnada, con ligas de tafetan bianco, y

ra-

pacejos de oro y aljofar, los greguescos eran verdes, de

tela de oro."

Don

Quixote, II, cap. 49, (capatos

el

f.

186v.

2253. qapatos

al

uso
la

nueho:

in

the

manuscript)
ella

"Lleuaua

espada sobre

ombro, y en
o

puesto vn

bulto, 6 emboltorio, al parecer, de sus vestidos,

que

al

parecer deuian

de ser los calcones

greguescos,

herreruelo, y alguna camisa, porque traia puesta

y vna y

ropilla de terciopelo con algunas vislumbres de raso,

medias eran de seda, y los patos quaelrados a vso de Corte." Don Quixote,
la

camisa de fuera

las

caII,

cap. 24,

f.

93r.
is

According

to

some writers, the origin

of this custom
suffered

attributed to the
cf.

Duke

of Lerma,

who

much from bunions;

also vs. 2301.

322

'

NOTES
It is difficult to describe

2255. sotanilla a lo turquesco:

Spanish

garments patterned after foreign models.

ticular case, I can only

In this par-

mention Turkish or Moorish

Diego de
Historia GeAieral de Argcl

apparel which resembled a short cassock.

Haedo, in his Topographia

(Valladolid, 1612)
vestir de todos estos

says of the
es

men

of Algiers:

'"El

primeramente vna camisa y caraguelles de lienoo, y quando haze frio, vn sayo de paiio de color que les da por abaxo de la rodilla, como sotana pequena, a que llaman Gonela, o Goleila, mas en
verano no
la

traen

y en su lugar ponen muchos otra

camisa de lienco delgada, larga, y

blanca, a que ellos llaman

muy

ancha, y
8,

muy
2).

Adorra"

(fol.

col.

In chapter 26 (Del vestido de todos

etc.),
f.

los turcos

de Argel,

20r.,

col.

1,

he says:

"Encima

deste jalaco

traen de ordinario vna ropa que llaman tafetan, que es

a manera de sotana de clerigo, habierta por delante, y con botones en el pecho, la qual de la misma manera
tiene las mangas cortas hasta los codos, y es larga hasta media pierna, y a vezes mas, o a lo menos passa siempre de la rodilla, es tambien de algun color, etc." Again

speaking of women:

"0

(lo

que muchas vsan) traen

sobre la camisa de tela otra de seda, de cendal o tafe-

tan

muy

delgado, de algun color, que les llega hasta

los pies;

si

haze gran frio traen debaxo vn sayo de

paiio, o

de colchas, como traen los maridos, a que llaman

gonila,

worn by

y otros goleyla" (fol. 27, col. 2). A garment the Moors in Spain, and adopted with slight

modification by the Christians for specific occasions, no-

"para lucir, " was the marlota. It was a kind of loosely fitting sayo, or man's frock, and Dozy in his Dictionnaire detaille dcs noms des vctctably the joust, or

ments chez
speaks of
it

les

Arahes

(Amsterdam, 1845),
In Spanish literature

p.
it

412,

at length.

is fre-

quently mentioned together with the capellar, a short

mantle worn hanging from the shoulders.

Cf. Dozy,

LA
op.
cif.,

DAM A BOB A
Both
g-anneiits

323

p.

350.

may

be found

in

number

of romances

moriscos,

and were much worn

la
:

in Lope's time.

In the letter's poem

Manana

de

San Juan note the following stanza (30)

"Su
con

padre, invieto de su edad,

el

un

dia,

vestido arabigo de Espafia.

que nos dejo su antigua monarquia,

marlota, capellar, adarga y cana,
el cefiro

del alba desafia

en
en

el jinete

que de sangre

baiia,

tal aurora,

que por justas leyes

a tales reyes.

obliga tal

manana

That the marlota was also a street garment

may

be seen

from the following passages found

moriscos:

in

the

romances

Y que en vez
te eches

de echarte

al

hombro

la

malla y turques alfange,

calles.

bordadas marlotas,

v vavas a mar

para mostrar por sus galas pues de gusta su dama. Con muchos racimos de nro una marlota encarnada, acuchillada a reveses, y en verde aforrada, etc."
Sale galan, auncpie triste,

que parte rico y contento,

ello

tela

Lope may have implied that the sotanilla a lo inrciuesco was different from the usual sotanilla in that it Avas embroidered and colored, finer than the gonela or golcila and possibly more like the marlota. It is all a matter of
unsatisfactory guessing.

On

]\Ioorish

garments see also

1913),

the edition of Gines Perez de Hita's Giierras civiles de

Granada, Primera Parte

(Madrid.

by Paula

324

NOTES
Blanchard-Demouge, pp. 71ff. Many costumes of the Spanish people in Lope's day were patterned after
foreign models, and as evidence of this vogue the follow-

ing passage

may

be cited

' : '

Nuestra Espaiia de cada

dia usa nuevos trajes, no bastando pragmaticas y provisiones para remediar tan numerables gustos, sacando

cada uno nueva traza, nuevo modo de

vistir,

no mas de

como
sidad,

le

paso por

la cabeza,

imitandole todos como a

verdadero restaurador de

las galas,

ya perdida en
el

el

mundo.

y de mayor curioUsa el italiano, el

frances,

flamenco,

el ingles, el

turco. el indio, desde

que tuvo principio su nacion, de una misma forma de

vestido, sin haber

mudado
es

el

uno

ni el otro el turbante,

solo
asi

el

espaiiol

variable,

no habiendo camaleon
trajes
cit.. II,

que

mude de
el

hechuras."
2261. Corto cuello

eolores como el de Donado hahlador, op.

y diversas
cap.
6.

ij

iJiolos

largos:

narrow or simple

collar
col-

without the usual ruffs {Ircliuguillas).

lar

The small

was more

characteristic of the beginning of the

;

reign of Philip II

about' 1562 the elaborate collars

known

as marqucsotas

became popular; according

to

Eodrigo Mendez de Silva, Catdlogo real gencalogico

de Espana (Madrid, 1636), this monstrosity was intro-

duced into Spain by an Italian marquis who suffered

from scrofula and concealed his disease by means of the marqiiesota. Alarcon tells a similar tale about a young
sospechosa, I, iii, an interesting which the author makes an amusing plea for the valoncilla angosta. In 1623 an effort was made to introduce a vcdona liana, without ornamentation or
gallant.

La Verdad

scene, in

color,

but the result was only the introduction of a

golilla.

new

vogue, the

dandies.

The puTios largos were also worn by fops and "Todas mis ansias consistian acerca de mi
:

ornato y atauio

no desflorado

el

capato, al vso pecho

LA DAM A BOB A
y
cl

325

cabello,

grandcs punos,

ciiello

con muclios anchos y

azul,

pomposas

ligas, niedias sin

II,

genero de flaqueza. "

In Lope the young
lo

Passagero, Aliuio

p.

71.

gallants
la

frequently

wear puilos a
I,

veneciano:

ef.

Viuda valcnciana,

iv.

2265. guante de anhar adohado:

"fue un

gentil hombre, bien

aderezado
ealza

al

uso de ahora, cuello azulado y abierto, de obra, sombrero con plumas,

entera

espada

dorada, ferreruelo aforrado en felpa, guante de amhar,

al cuello
el

peso."

una vuelta de cadena de oro de moderado Donado hahlador, op. cit., I, cap. 4. ComEstos sou guantes:
bien puedes

pare also:

"Fenisa.

tomar
Fenisa.

estos cuatro pares.

Lucindo. feSon de ambar?

Si.

No

repares."
1,

Lope:

el

Anzuelo de Fenisa,

x.

For an anecdote, turning on guantes muy Timoneda, ci Bucn Aviso, op. cit., cuento
volume,
tells

olorosos, cf.
liv; also the
little

quotation, verse 2245; Senor Bonilla's delightful

De

Critica cervantina (Madrid, 1917), p. lOlff.,

us of the perfuming of gloves at length.

2267. gvan jiigador del vocablo:

"jugar del vocablo: usar del

:

con gracia, en diversos sentidos

es

que freqiientemente

decir equivocos."
cf.

Die. de a at.

For one

of these

"puns"
"Flora.

Lope:

Ana

se llama.

donde.
Marcelo.

nadie perdona agora.

el

Jugo

Conde, mi
;

seiior,
'
!

del vocablo.

Quien ama

Triste caso

no haga
retablo

fieros, 1, x.

"Los pobres hacen

de sus duelos y pesar no hay dinero que jugar,

y juegase

del vocablo."
III.

los

(^omendadores de Cordoba,

326

NOTES
the

2275. cliapcton castellano:

name given

to a

Spaniard

re-

turning from the Indies, and, generally, in poverty;

the epithet
aut.,

was used in Mexico according to the Die. de and was equivalent to our "greenhorn." Cf.
his master for being so easily

Lope; (Tristan chides duped)

'
'
i

Que

chapet()n estas en estas Indias

'

el

Anzuelo de Fenisa,

II, viii.

meaning of
the Indies.

cit., p. 268, the word has the "a bald-headed man," presumably because chapeton means one who has been fleeced in

In the Passagero, op.

ijelon,

Cf. also el Diablo cojuelo, op.

cit., II, iv.

eit.,

p. 138,

and

la

Dorotea, op.

2293. jDe.ra las auellanicas, nioro!

que yo me

las

vareare

The same refrain may be found

ii.

in a cantar in el Villano en su Rincon, III,

It is

much more

appropriately used there as the scene takes

is

place in an olive grove, and the merry-making

com-

bined with the task of gathering the

the refrain manifestly
is

olives.

Moreover,

a part of the

romance there

sung, which cannot be said of the cantar in la

loha.

Dama

The surmise
el

is

justified that

having met with

great applause in

Villano en su Rincon (written be-

ween 1604 and 1618, presumably about 1612), the dance with its refrain was reintroduced in la Dama hoha.
2295.
el

Ampr

se

de algun vano, de los

godos,

ha huclfo godo: "para encarecer la presuncion le preguntamos, si deciende de la casta godos." Covarrubias. "Quise hacerme de los

emparentandome

con

la

nobleza

de

aquella

ciudad."
cap. 1
rillo
;

Guzman

de Alfarache, la parte, libro 3,

3, cap. 5;
el

cf. also,

2a parte, libro

Luna: LazaII,

de Tormes, cap. 3; Lope:

Anzuelo de Fenisa,
;

xvii;

"No

dira uno:

soy virtuoso o soy bueno

sino:

soy de los godos, o soy de tal o de tal linaje, descen-

LA DAM A BOB A
diendo de
tal casta o

327

de

tal

parentela."

Torqueinada
la

CoUoquios satiricos {tercera parte del colloquio de

honra).

2299. liga de oro:

cf.

above, verse 2251

on the

Jiga D.
ij

Juan

Sempere y

Giiarinos, Historia del Inxo

de las leyes

siintuarias de

Espana (Madrid, 1788),

II, p. 56,

has an

interesting statement:

'"Las medias eran de carisea,

estamefia, paiio, ligadas eon atapiernas, o senogiles, que

por

los Italiauos

digeron ligagambas, y hoy ligas."

"si bien ya se usan [sombreros]

2301. sonhrero y eapato romo:

altos,

ya bajos, ya voleados, ya romo^filodos vienen a

tener las alas redondas y sin esquinas."

Fernandez
the changhahlaelor, II.
aiios,

de Avellaneda

Don

Quixote, cap. 25.

el

On

ing vogue in shoes we find in

cap. 6:

Donado

"aun con

tener yo

mas de cincuenta

poco

mas

menos, tengo experiencia de la diversidad de

de una

zapatos que se han usado, tan diferentes en su hechura,

porque unos
suela, de dos,

vi redondos,

otros puntiagudos,

y de

tres,

y de euatro; otros romos, con

orejas y sin ellas, largos de pala

y corta

si

en

el

calzado es esto,
2253.

^,

que sera en

lo

demas?"

Cf. also verse

2309. maiumoros: '"a boaster, blusterer"; one of

many

similar

compounds: matasiete,

Luna:
las

Lazarillo, cap. 1; ma-

tacandiles, ibid., cap. 8;

matamoscas (mata-siete-de-untradiciones populares

trompon) in Bihlioteca de
espauolas
I,
I,

p. 121, cited R.

Koehler, Kleinere Schriften,

p. 564.

2313 and 2315.

;Amor loco, y amor loco! jYo por vos. y vos por otro!" These two verses are sung in ^Moreto's play, Yo por vos, y vos por oiro, I, iv and v.
''

328

NOTES
Duardo con Finea:
Lope means Nise
:

2323. de

in the heat of

writing he occasionally confuses the names of his char-

Thus, in the last act of la Nina de Plata, the acters. names of Dorotea and Teodora are exchanged, which
creates confusion for the reader.

2345. que nunca se caso hien

quien se casso por vengarse:

son buenos

Compare: "que nunca por la venganza

los

casamientos.
fieros, III,
i.

Lope:
2409. auisare in the manuscript. 2440. una

Quien ama no haga

2394. Pues adios: given to Laurencio in the manuscript.

muger cordera

es tusson

de su marido: a good example of conceptismo, and characteristic of the language of Laurencio. The reference is both to the Golden Fleece, and to the Order del Tuson; the idea, that a meek woman is an honor and

ornament

(like the

Order of the Golden Fleece)

is

com-

mon
2449.
el

in

Lope's time.
verse 907.

estrado:

c-f.

2454. no es sancto

como

el silcnzio:

reference to the proverb "al

cf.

buen

callar

llaman sancto o Sancho";

Correas,

Vocahulario, p. 35 for a long article on the saying.

2526. due no: dueno in the manuscript. 2536. Oliheros: hero of an okl romance of chivalry:

la

Historia

de

OUucros de Castilla y Artus reprinted by Professor Bonidalgarhe (Burgos, 1499)

los

noUes

caualleros,

11a in vol.

XI

of the

Nueva

Bihlioteca de Autores espacit.,

noles.

Cf. Fitzmaurice-Kelly, op.

p. 416.

LA DAMA BOBA
2557. que
la

329

mayor
el

discrezion

Eso dixo
es

cs acorriodarse al

tiempo.

mayor saMo:

According to the Diccionario

de Autoridades, the phrase ''acomoclarse al tiempo

mas
is

prudenzia que baxeza"

is

found

in

Diego Gracian's

translation of Plutarch's Moralia,

and the reference

presumably to the following volume: Morales de Plutarcho,

traduzidos

de

lengua

Griega en

Castellana.

Por

el

Secretario Diego Gracian, criado de su Magestad.

Ya

de nueuo aiiadida la quarta parte, que nunca ha

sido impressa.

Los

titulos

que en estos Morales

se con-

tienen se veran en la plana siguiente.

(Real escudo.)

Con

Priuilegio.

En

Salamanca.

En
I

Casa de Alexan-

dro de Canoua.

Aiio

MDXXI.

have before

me an

edition of 1548 with only three parts, in which I have

not found the passage quoted.

2572. duciia:

Finea thinks that Liseo has called her a duenna.

How
many

unpopular these characters were, how questionable

is

the reputation which they bore,

made
cit., I,

evident by
(cf.

writers of Lope's time, especially Quevedo

la Visita

de

los

Chistes in Ohras, op.

a

p.

344) and
el el

Cervantes; cstremeno:

(cf.

passage

in

the

latter 's

Celoso

"0

duefias, nacidas

y usadas en y

mundo
inten-

para
ciones

perdicion
. .

de

mil

recatadas

buenas

.").

2575.

^Que

es

alma?

The

hrjhos in los

Locos de Valencia,
:

III,

ii,

carry on the same kind of conversation

"Vcrino.
FJoriano.

i,Tu sabes lo que es alma"

Se que

es

alma

acto primero y perfeccion del cuerpo.

Aristotle,

through the interpretation of medieval and

is

Renascence theologians and philosophers,

of these phrases.
Cf.

the source

Ohras de Aristoteles puestas en

lengua castellana por D. Patricio de Azcarate, Psico-

330

NOTES
logia
I,

Tratado del Alma,

del

lihro II: TcorUt goirral y

definicion

snstancia es una realidad una entelequia luego el alma es la entelequia del cuerpo, tal como la acabamos de definir." (p. 147). "Si se quiere una definicion comun a todas las especies

Alma:

"La
;

perfecta,

del alma, es precise decir que el alma es la entelequia

primera de un cuerpo natural organico."

the gohicrno of Lope's phrase), the

(p. 148).

The

Latin renders entelequia by actus (the acto prime vo, or

word means "that

by which the soul actually

2580.

is."

iNo
le

es

alma

la

que en

el

peso

pintan a San Miguel?

death were weighed by
is

Immortal
St.

spirits released

by
it

Michael in a balance, and

is

thus that the Archangel

frequently depicted in

church paintings.

"In

those devotional pictures which

is

exhibit St. Michael as lord of souls, he

winged and
sits

unarmed, and holds the balance.

little

In each scale

naked
is

figure, representing a

human
;

soul

one of

these

usually represented with hands joined as in

thankfulness
in

he

is

the heato, the elected

the other

is

an attitude of horror
;

he

is

the rejected, the reprois

bate

and

often, but not necessarily, the idea

com-

pleted by the introduction of a demon,

who

is

grasping

at the descending scale, either with his talons, or with

the long two-pronged hook, such as the antique sculpture.

is

given to Pluto in

Sometimes St. Michael is thus represented singly sometimes very beautifully in Madonna pictures, as in
a

picture by Leonardo da Vinci

(1498),

where

St.

Michael, a graceful angelic figure, with light, flowing

hair,

kneels

before the

balance to the Infant,

little

soul

who

sits in

Madonna, and presents the to welcome the pious the uppermost scale.

who seems

have seen

this idea varied.

St.

Michael stands

majestic with the balance poised in his hands; instead

LA
of a

DAM A BOB A

331

human
is

figure in either scale, there are weights;

on one side

seen a

company

of five or six little

;

naked
on the
is

shivering sonls, as

if

waiting for their doom

other several demons, one of

whom
scale.

with his hook

' '

pulling

down

the

ascending

Sacred
is
:

and

Legendary Art, by Mrs. Jameson

I,

(ed. 3, Boston, 1857?),

p. 113.

The origin
the
Bible,

of this conception

verses

of

as

Daniel V,

27

found in such " Thou art

weighed
horse
in his

in the balances,

and art found wanting"; or

I beheld, and, lo, a black

in Revelation, VI, 5:
;

"And

and he that hand."

sat

on him had a pair of balances

Finea has in mind a painting in the church of San

Miguel, built during the reign of Philip III, and destroyed by
fire

in 1790.
op.
cit.,

Cf.
p.

Mesonero Romanos:
71ff.

el

Antiguo Madrid,
refers to the
I,

same painting

in los

Lope apparently MeUndres de Bclisa,

iv

:
Pues no nos pongan
Y,
el

"Luardei.

coche;

que a San Miguel a pie basta.

Belisa.
i

no

es

nada

el

de

los pies,

junto

al

peso de las almas?"

2602. a verse of nine syllables.

2603.

Soy medrosa
de tres que andan pintadas
la del ynfierno:

de las almas, porqiie temo

(jiie

pucde ser
I,iv:

Finea 's

silly fears

remind one

of the melindres of Belisa, in the play of the

same name,

"Tiene [San Jeronimo] a los pies un que siempre que entro me espanta
y una vez, madre, no dudes que lia de saltarme a la cara."

Icon,

332

NOTES
Finea refers to the pictorial representation of the hereafter:

the soul in Paradise

{la

Gloria), the soul in

{la del in-

Purgatory (en pcna) and the soul in Hell

fierno).

2607. la NocJie de los diffuntos:

el

Finea

is

afraid of ghosts.

Cf.

Padre Pedro de Ribadeneyra, Flos Sanctorum (Bar-

celona, 1790), III, p. 327:

La Commemoracion de
' ;
'

los

dif untos

de noviembre

base

de

advertir,

que

aunque

estas apariciones de las

Almas

del Purgatorio,

que aqui havemos referido, y otras semejantes, por ser escritas de Autores graues y Santos, se deben tener por
verdaderas, y que nuestro Senor quiere en ellas enseiiarnos.las horribles

penas que

las

Almas padeeen,
estas cosas;

debemos usar de gran cautela en

porque
de las

muchas veces no son verdaderas

Almas, sino de nuestra
que vemos
2613. iQiie
ie

las apariciones

flaca cabeza, e ilusiones del

De-

monio, que nos inquieta y engaiia, dandonos a entender

lo

que no vemos. "

p. 329.

dize?

On

various occasions printed copies of

te

Lope's plays change this to iquc

parecef

As

in this

particular case; and again in verse 2868

to ique

it is

changed

me

dizes?

It is

hard to believe that contemCf.

porary printers did not understand the question, since

it

is

not

uncommon
al

in Lope.

"|,que te dice
II, xiii.

el

casamiento?"

Pasav del Arroyo,

2679. y aqui viene hien que Pedro

cs tan

ruin como su arno: Correas, Vocahulario. p. 411, has:

es

"Tan bueno

Pedro como su amo, y mejor un palmo.

(Es variable)."
2704. iTicnes cucnta de perdon'f

"Cuenta de perdon

es

una
el

cuenta a

modo de

las del Rosario, a

quien se dice que

Papa tiene concedida alguna indulgencia en favor de Die. de auf. las Animas del Purgatorio."

LA DAMA BOBA

333

"En

pena a

las

once estoy.

Til ciienta el

perdon me aplique
cle

para que saiga

pena."
el

Lope:
of purgatory.

Perihdnez y
xiii.

Comendador

dc

Ocaila, III,

Finea understands that Nise

'Svill take

her soul out"

xiii.

Cf. also la Esclava do su Galdn, II,

2714. almario dcho de ser:

an unexpected pun from the boha

Finea.
2768.
si OS

faltan tolas y rasos:

"you may

give your sonnets (as

presents), if you have no fine cloth and satin."

these were included

That
can

amongst the
el

gifts of a lover

be seen from Peritdnez y

I,

Comendador de Ocana,

XV:

"Si serviera una dama, hubiera dado

parte a mi secretario o mayordomo,
a algunos gentilhombres de

mi

casa.

Estos hicieran joyas, y buscaran

cadenas de diamantes, brincos, perlas,

telas, rasos,

damascos, terciopelos,

y otras cosas extraiias y exquisitas.

2771. Este
[i.e.

Garcilaso] venden por dos reales,

y tiene tantos sonetos

eliganies y discretes,

que vos no

los Jiareys tales:

In his novela.

Lets

Fortunas

"Pero a V. ni &que va ni le viene en que hablen como quisieren de Garcilaso? Assi dezia vna canzion que cantauan vn dia los musicos de vn senor grande
de Diana (printed in 1626), Lope wrote:

se

Las obras de Boscan y Garcilaso venden por dos reales,

y no las hareys tales, aunque os precieys de aquello del Parnaso.

334

NOTES
There
is

no reason to doubt that the poet whose verse

the musicians sang was Lope himself, and that he had

recalled an idea already expressed elsewhere.

2825. niuquir:

according to Juan Hidalgo's Vocahulario de

(comer).

Germania, means to eat

en
la corte (first ed.)

See Quiiiones de

Benavente, in his Loa con que empezo Tom/is Fernandez

:

"A

vuestros gustos ofrezco,

este

Madrid,

nuevo

plato.

Si OS sabe bien, le tendreis

siempre a punto y sazonado.

Pero

si

no
le

es

de sustancia

para podelle muquir,

ojos,

que

vieron

ir,

no
2829. ynposihle:

le

veran mas en Francia."

ynposihles in the manuscript.

2892. jBien mi termino agradeces!

"A

fine

way you have

li

of ap-

preciating

my position (my
Dice, de out.

conduct) !" Termino: '"xale

hablar en
el

tambien forma o modo de portarse,

trato
liv-

comun." ing up to

Liseo accuses Otabio of not

his side of the bargain either.

Compare, for

this use of termino:

"Fuera en tanta amistad termino injusto no ser don Luis como le aueis pintado."

Lope:
2976. es vn

la

Noclte de San Juan.

1, f.

73r.

cayman: a shrewd, dangerous rascal; it is evident from Covarrubias that the caiman or alligator had a
:

bad reputation
el

"vn

pez lagarto que se cria en las rias

los

de Indias, y se come

Jiomhres que van nadando por

agua, y por ser el nombre de aquella lengua barbara, no me ban sabido dar su etimologia deve ser a modo de
;

los cocodrilos,

que

se crian

en

el rio

Nilo."

The Die. de
I

end. cites as

an example of the definition which

have

LA DAM A BOB A
given
la

335

Vida de Estehanillo Gonzalez:

el

''Dexome

la

tropa de caimanes tan rematado de cuentas, que, en

llegandose

tiempo de

la

embarcacion, huve menester

pi. 329.

vender parte de mi recamara."

2981.

el

ciue

viene de Muleijes:
:

Muley, according to Pedro de

is

Alcala
don.

Voeahulario Espanol-ArdMgo
it

equivalent to

Ochoa's lexicon defines

al

as follows:

"Titulo

que precede

nombre de emperadores y principes de Marruecos." I do not find the word in the last edition of the Academy's Dictionary.
cf.

2982. y a los godos se levanta:

2984. versos legos y donados:

verse 2295 and note.

the poetry of a layman, and un-

worthy of the "profession."

3056-7. que se va

amor por

la

posta

a la cassa del agravio:

"Love

is

easily offended," but

expressed in culto language.

3058-60.

las

lagrimas solas
el

de vn Jiomhre han sido en

mundo
are to be

veneno para nosotras:

How women

won by
fea-

men's tears and protestations forms a prominent

ture of the teachings expressed by Ovid
the Renascenee in Spain, op.
cit., p.
;

cf
al.

Ovid and

91 rt

"Y

el

Petrarca [dice], entre sus raros

versos,

que no hay corazon

ablande o

de tan dui'O bronce o marmol,

que no

se

se

mueva,

rogando, llorando, amando

ya puede, Hipolita
haber
el

bella,

tuyo tocado."
:

Lope

Las Flores de don Juan,

II, xx.

333

NOTES
Perhaps Turin meant
to say Pandora,
for,

3068. lEres pandorga?

thinking of her as an objectionable creature,

says,

he

"no
:

estoy bien en historias. "

In addition to the
aid. also

meaning
gives

of

pandorga "discord," the Die. de

estilo f estivo

y familiar se llama la muger muy gorda, pessada, dexada y floxa en sus acciones." On pandorga cf. el DiaMo cojuelo, op. cit., pp. 12 and
208.

"En

3133.

el

Alcazar

la

puente de Segohia,
el
1.

y huho Juanelos que a

of Toledo,

subieron agua sin sogas:

The Alcazar: or royal palace was built chiefly in the fifteenth and sixteenth centuries, and having been partly destroyed by fire on various occasions, has undergone extensive restorations. The palace stands on the highest ground above Toledo, and is an imposing sight

now

a military academy,

when viewed from

2.

the valley of the Tagus.

:

this

able

There was no bridge of The bridge of Segovia name across the Tagus at Toledo as far as I am to learn, and we may assume that Finea, in her
is

foolish chatter

confusing Toledo with Segovia whose

is

puente del diahlo

world.
It is

one of the great aqueducts of the

as the puente de

known throughout Spain

Segovia, and as a "watercarrier" was associated in

Finea 's mind with the juanelos of Toledo. The structure

a work of Roman times. Cf Richard Ford 's excellent Handbook for Travellers in Spain (London, 18-45), part
is
.

2, p.
3.

825.

the juanelos ("artificio de Juanelo")

a compli-

cated invention to raise water from the Tagus river to

the Zocodover, the public square of Toledo
;

the inventor

was a mechanician and engineer from Cremona, whose

Italian

form Juanelo.

name Giovanni Turriano. endures in its Spanish He is known not only for the above in-

LA DAM A BOB A
ventioii,

337

completed in 1568, but as a maker of elaborate

in

clocks,

which capacity he became a favorite of

Charles V.

The

artificio

is

described at length by
cit., I, p.

Villalva, in el Peregrino curioso, op.

194;
I,

it is

mentioned by Quevedo in his Vida del Buscon,

cap.

8,

by Cervantes
en
la

in la ilustrc

Fregona, and other contem-

porary writers.

Cf

also D. Sisto

Kamon Parro

Toledo

wano, 2 tomos (Toledo, 1857),

II, p. 660ff.

3145. llfhaba: instead of the usual llehaua, or lleuaua.

3171. algun: algncn in the manuscript, where Lope's haste

made

him anticipate the gue

of guesso, the next word.

3174. donde a las que nazen lloran,

y Hen a los que mueren: refers to the Trausi, whose customs are thus described by Herodotus: "Llevo dicho
de autemano que

modo de

vivir siguen los Getas atani-

zontes (o defensores de la inmortalidad).

si

Los Trausos,

bien imitan en todo las costumbres de los demas

Tracios, practican no obstante sus usos particulares en

el

nacimiento y en

la

muerte de

los

suyos

porque

al

nacer alguno, puestos todos

los parientes

alrededor del

recien nacido, emi)iezan a dar grandes lamentos, eon-

tando

los

muchos males que

pero
al

le

esperan en
las

el

diseurso de
raise-

la vida,

y siguiendo una por una

;

desventuras y
ellos,

rias

humanas

morir uno de

con muchas

muestras de contento, y saltando de placer y alegria, le dan sepultura, ponderando las miserias de que acaba de
librarse,

los bienes

de que empieza a verse colmado

al pie del

en

la

bienaventuranza.'' [Vivian los Trausos

Hemo, en la ]\Iesia inferior. Nota del Traductor.] Cf. los Nueve lihros de la hisioria de Herodoto de Halicarnaso; (traducida del griego
al la

castellano por

el

P.

Bartolome Pou, 1727-1802, de

2 tomos (Madrid, 1909);
II,

compaiiia de Jesus),
iv,

libro quinto,

p.

7.

338

NOTES

Two volumes
Madrid, 1846
;

(in one)

of this

the present edition

work were printed at is taken from the

manuscript of the author.

as far as I know.

There were Italian translacf also K.

.

tions of Herodotus in Lope's day, but none in Spanish,

On Herodotus

W. Maean,

M. A.

Herodotus, the Fourth, Fifth and Sixth Books

with Introduction, Notes, Appendices, Indices,

Map

(London, 1895),

p. 155.

3179-80. This close, according to which

all

the characters are

married,

is

given a humorous turn by having the two

men who
device
is

are left without mates clasp hands.

The same
el

not
la

uncommon

in the Spanish comedia; cf.

the end of

NocJie toledama, and of Santiago

Verde.

INDEX
a
(mechanical omission of), 261,
276, 304.

estrado

(sillas,

almohadas), 287,

Academias, 300, 313.

accidente (o eleccion), 310. acomodarse al tiempo, 329.

328. estribos, 257.

Actors and actresses, 251.

a^a

ardiente, 270.

ajedrez (piezas de), 257.

aladares, 299. alba, 263. Aleman, 317. alma, 329, 330.

fea (ventura de la), 301. fiambre (tocino), 255. filo (dar un), 310. fortuna (tormenta), 294. gansos (correr), 274. Garcilaso, 311, 333. godo, 326.
gregiiesco, 320, 321. guante (olorosoj, 325. guindas, 253. hablar en, 289. Heliodoro, 262. Herrera, 317. jhola! 291. Illescas, 252. jalea, 257. jerigonza, 273, 288. ijo! 289. juanelos, 336. jugar del vocablo, 325. Latino (Juan), 305. leecion, 256.

amor, deseo de belleza, 282.

amor

(locura, etc.), 283, 293.

anacardina, 304. andar por los aires, 305. aprender (prender), 298.

Arguijo (Juan de), 316.

arrastra, lo que- honra, 273. arriedro, 282. asilla, 298. astrologo, 295. banda, 319. basilisco, 259. boticario, 272.

Bourgeois Gentilhomme
celosia, 304.

(le),

263.

Cervantes, 312. Ciceron (hijo de), 292. conceptismo, 275, 276. cuadrado, 279.
cuello, 324.

cuenta de perdon, 332. cabezadas, 299.

cadenas, 319, 320.
caja, 255, 289. callar (al- llaman saucto), 328. calle Mayor, 266.

Camoes,

'312.

carnestolendas, 270. cascabel, 298. Castro (Guillen de), 312. catreda, 293, 310. chapeton, 326.

como un vidro, 256. dinero, 280. doce. 278. en for entre, 265. endiosarse. 311. escuelas, 275. espiritus visivos, 282.
. .
.

damas

libertad (no se vende), 292. librea del rev, 265. liga, 321, 327. Undo, 251, 300. Linan, 316. Luque (obras de), 315. niatamoros, 327. matamoscas, 327. matasiete, 327. medidas (de imagenes), 254. mentiras, 253. menudo, 289. raerienda, 257. mudanza, 318. mujeres (estado social de), 260. Muley, 335. muquir, 324. naipe (retrato), 284. negro, 287. Ochoa (liras de), 313. oficio, 271. Pajares (santo de), 299. pandorga, 336. Pastrana (duque de), 313. Pedro (es tan ruin como su amo), 332.

[339]

INDEX
pensamiento, 277.
pepitoria, 284. Petrarca, 311. pias, 274. picarse, 302. pieza de rey, 264. pino (a-), 272. p(3rfi(lo, 299. postas, 254. I'rado, 296.
servicio. 268.

279. Sibila eritrea, 274. sombrero romo, 327. sotanilla, 322. Taso, 311. termino, 334. tiniendo, 304. tranzelin, 319. Traiisos (costumbres de los), 337.
sestil,

prueba de amigos, 296.

piidre,

260.

trino. 279. tripular, 303.

puesto que, 298. puiitos (dos- en

pufio,

el aire), 2.57. 324. ique te dice? 332. rapaeejo, 321. Recoletos (los), 296. regalos (de amante), 296. romadizo, 266. rumfla, 301. sala, 317.

tropezar, 276. Vega (Lope de), 312, 317. Velez (Luis), 313. vendaval, 294. Vidro, 299. Virgilio, 311. vistas, 258. zapatos al uso nuevo, 321, 327. zas, 264.

UNIVERSITY OF CALIFORNIA PUBLICATIONS (Continued) 3. The Whence and Whither of the Modem Science of Language, by
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On
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Benjamin Ide Wheeler. Pp. 95-109. May, 1905 the Relation of Horace to Lucretius, by William A.

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October, 1906 111-129. 5. The Priests of Asklepios, a

New Method

by William Scott Ferguson.

Pp. 131-173.

of Dating Athenian Archons, (Reprinted April, 1906.

6.

7.

September, 1907) Horace's Alcaic Strophe, by Leon Josiah Richardson. Pp. 175-201. March, 1907 Some Phases of the Relation of Thought to Verse in Plautus, by Henry Washington Prescott. Pp. 205-262. June, 1907
Index, pp. 263-270. Some Textual Criticisms of the Eighth Book of the De Vita Caesarum of Suetonius, by William Hardy Alexander. Pp. 1-33. November,

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1908
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Merrill. Pp. September, 1909 January, 3. The Conspiracy at Rome in 66-65 B.C., by H. C. Nutting. - 1910 Pp. 4. On the Contracted Genitive in I in Latin, by William A. Merrill. 57-79. February, 1910 81-92. Pp. Ivan Linforth. M. 5. Epaphos and the Egyptian Apis, by August, 1910 Pp. 93-149. 6. Studies in the Text of Lucretius, by William A. MerrilL June, 1911 7. The Separation of the Attributive Adjective from its Substantive in Plautus, by Winthrop L. Keep. Pp. 151-164. June, 1911 Pp. 165-171. Of Theocritus, by Edward B. Clapp. 8. The 'OaptcrT6's October, 1911 9. Notes on the Text of the Corpus Tibullianum, by Monroe E. Deutsch. Pp. 173-226. June, 1912 Pp. 227-235. 10. The Archetype of Lucretius, by William A. Merrill. November, 1913 A. Merrill. Lucretius, William by 11. Corruption in the Manuscripts of Pp. 237-253. August, 1914 Pp. 25512. Proposed Emendations of Lucretius, by William A. Merrill. 256. December, 1914 Pp. 257-265. 13. Greek and Latin Glyconlcs, by Leon Josiah Richardson. September, 1915 Pp. 14. The Plot to Murder Caesar on the Bridge, by Monroe E. Deutsch. 267-278. January, 1916 15. Greek Acting in the Fifth Century, by James Tumey Allen. Pp. 279289. March, 1916 Pp. 291-303. 16. On Terence, Adelphoe 511-516, by Clinton C. Conrad. May, 1916

Cicero's
35-42.

Knowledge of Lucretius 's Poem, by William A.

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Index, pp. 305-312. 1. Criticism of the Text of Lucretius with Suggestions for its Improvement, Part I, Books I-m, by WUllam A, Merrill, Pp. 1-46. January, 1916 2. Criticism of the Text of Lucretius with Suggestions for its Improvement, Part II, Books IV-VI, by William A. Merrill. Pp. 47-133. April, 1916 3. Parallels and Coincidences In Lucretius and Virgil, by William A. MerrilL Pp. 135-247. March, 1918 4. Parallelisms and Coincidences in Lucretius and Ennius, by William A. Merrill. Pp. 249-264. March, 1918 Pp. 265-316. August, 1918 5. Notes on Lucretius, by William A. Merrill. Index in preparation. Lucretl De Rerum Natura Llbri Sex, Recognovlt, W. A. McrrlU. Pp. 1-266. November, 1917 1. Caesar's Use of Past Tenses In Cum-Clauses, by Herbert C. Nutting. Pp. 1-53. February, 1918 2. The Key to the Reconstruction of the Fifth Century Theatre at Athens, by James Tumey Allen. Pp. 55-58. May, 1918

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This volii-^e preserved with funa^'^^' -^om the for ^^^!;^ National the HumaniLies, 19yu.
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