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TOGETHER WITH
LA
DAMA BOBA
RUDOLPH SCHEVILL
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
IN
PREFACE
The large amount which Lopt' de Yega wrote
justice.
many
Of
am
aware.
But withindetailed
my
object
became twofold
to indicate
lines a
more
many
items of interest
the great Spaniard with other master writers for the theatre, for
it
to out-
Lope himself.
futile
all
and
the
who
is
elements compared.
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;
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
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
Spanish dramatic
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
The
final
progrannne of the drama of the Golden Age included every conceivable plot taken
from
the like.
Lope
is
a lineal descendant of a
is
more astonishing than the many innois responsible. But in spite of all the
may
endowment.
The key-note
;
to his crea-
they
could not lose sight of something to imitate, they seem too often
forced to
toil
and keep
vigil in the
afflatus
may
like
common
la
level.
In short,
men
Their theatrical
gifts,
ception
and
nullified
would be
who
revealed in an occasional
genuine
artistic gifts.
study of their
much
growth
of
drama
poetic
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.
be-
tween the featro antiguo of the sixteenth century and the work of
char-
work represents
in
fullest achievement.
cessors,
embryo, at
least, in his
formula.
my
argument, even
taken
to readers of
as a
new
I
field of
study
have made no
my
many
My
me
transcriptions of
me
fessor
and to my colleagues. ProHerbert Cory, Professor Jaen, and Mr. Eugene Joralemon
CONTENTS
I.
Tlic
lutroduetioii
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
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
La
Versificacion
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,
Philologie, 1898-1906.
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.
in the
Time
of
La "Comedia"
espagnole du
XVII
vols.
59 and 60,
in
(Chai).
Comendador de Ocana,
Madrid, 1916.
in
The University of
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
Klein,
J. L.
1871-1875.
This work
is
repellent style.
For
Fitzmaurice-Kelly,
widespread that
it is
human
superhuman productivity,
He
am now
convinced,
And
luiman nature in
its
After
many
years
my
manent or productive
this not
Can we
true?
Are not
men
of less fame, to be
had in various acceptable forms ? In the hand surely one of the world's most
fascinating geniuses
the
works peacefully
which under
all
not
all
be accessible in critical
'2
\
\,'\
editions, or
tlie
face
of this crying need our efforts have been spent, for the most part,
fundamental conception of
sion of regret
his
manner
of creation.
;
This implies
it is
rather an expres-
energies
and enthusiasms of
We
shall never
if
these disconnected
is
erring,
and
critics ever
ready to
us
so.
Yet
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'
The most
numwhen compared
all
make Lope
repellent.
dramas which manifest no judicious selection or And what can be said to con-
Much
has
its
untoward
size, its
its
basis.
(Compare, for
ex-
DBAMATIC
AJiT
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,
;
As
and
to date only
awaken
it is
feelings of pain
No
Academy's
when he
;
says that
Lope
;
no text can be more unwelcome than an no edition of twenty plays per volume can be
little
Does
it
we
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
; ;
is
Lope never
is
his
due 1
Perhaps
may
la
to the distinguished
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
which the Academy has shown great generosity and upon A committee wdiich it is no doubt willing to spend its funds.
could be
first
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
determine since
it
sufficient to
attractive.
is
As regards
feasible
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
critics
could
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^
no
all
and that
dependis
may
be easily determined,
lost
letters
May
this ardent
art.
criticism,
hesitates to
form
his
dramatic
invariably goes
off
on a
still
and
who
derives
from
these.
to a teacher,
and
ex-
when
revamped opinion
my
troubled
Let
me
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
Perhaps
should be
less
weary
of
it all, if
it
served
up
to
me
in various
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
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
have ever since been possessed by the desire worthy old gentleman a little shak-
ing down,
if
Nachheterei.
up a comprehensive system
theatre and colored by his ardent love for those principles of the
Hav-
ing gathered innumerable dramatic elements or formulae, represented by specific phrases such as the drawing of characters, the
development of
plot, truth to
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
is
misleading, espeIt is
who
dramaturgy
see
him
in his entirety
we must
we wish
not by -con-
had
or,
up
to,
first
Spanish
who wrote
at
drama.
finds manj^
But
what
and consequently
is
Nor
tradition of
We
have
beside
Owing
to his sane
tempera-
ment, his poise, he never reached out for glowing colors to express
fre-
hut
lie
none
tlie less
shows every-
where that
on romantic founda-
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
many
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
When
is
come
not convincingly
assertions
ing.
made without
But
and
still
is,
dramatic criticism, to find wherever possible "a delicate observation of local or national customs."
of the
Lope and
many
I nuist
am
From
tude
is
For
It
this reason
it
who think
discussed.
it
necessary to quote
re-
flection
uncongenial."
By
these
are chiefly impressed with the fact that they themselves, on the
modern student
also constitute
is
Such phrases
Lope de Vega.
No
one
today
is
found in
his
History of Civilization.
And
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
new ideas. The following quotation will mean by Chorley 's reaching back too far to
He
is
talking of
and continues:
In the earlier times
it
action on 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
For after
said
we need go only
tlian the
comedias.
days of
Wamba
explain him.
found in
of the
Espana, and in
Academy's
edition, has
no equal.
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
all of
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'
all.
Hamlet 's
' '
How
long will a
man
lie
days.
What we say today ought of right to be replaced tomorrow by something more illuminating, more comprehensive, more true.
10
LOPE'S DRAMATIC ART: THE FORMULA OF ART VERSUS THE FORMULA OF HUMAN LIFE
The
essay
el
first
dis-
co'i/nedias,
first
This
is,
me
at least, a fruitless
academic procedure.
Lope
dis-
how
it is
done, are
and on different
levels.
no clue
to
what we
it
the acceptance in
life
gave
the units of time, place and action, rarae aves which never lodged
on Lope's
coupled
Nor do
his prologues
and
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
Cervantes, with his meagre dramatic and slight poetic and the various mediocre contemporaries of his early efforts,
all their lives
jogged
if
Lope's
his
original genius
monstruo de
la naturaleza ;
his repertoire
11
Although
it
it is
only defend the prose form of the play, but insist that the poet
case.
"Siendo
verdad,
le
parecio [a Lope]
que no que ha
lo seria
hablando
"
las
escrito.
is
que
el
el
una
if
tercera, la
una madre
interesable, la pretension de
un
rico,
de
los criados.
is
' '
And
cedure
is
is
reproducing
verdad).
arte,
la distancia del
poeta
que estrecharse a
las
porque
el
art,
who
disfigured by
perfeta, otra
^will
have no
mas
verdad afeitada de mas donaires y colores retoricos, la erudicion Indeed to me this foreword of Aguilar mas ajustada a su lugar.
' '
is
Lope
acters
had
set
act of volition, if he
12
SO
He
certainly could
not,
is
there to prove
it.
We
foreword that the sentiments of the lovers are presented mas vivos
because of the prose.
As
seems much more stilted and unnatural by the very fact that
in prose.
I,
scene
v.
so
many
of features char-
acteristic of
It is gratuitovis to
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
testigos,
On
may
lose all
unnatural
when
him
Romeo and
Juliet, let
el
tell
is
us but
little
that
is
that
el
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.
1)E
VEGA
13
^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,
Basta que
el
oi del
papel
de aquella primera
dama
el.
estado de mi fama:
According to
this
we
'
'
a mirror of actual
human
used
so,
it
'
life,
'
a phrase, not so
new but
it
In theory this
may
be
but
modified
in actual practice
we
shall see as
we
proceed.
If,
was not
we none
the
tion
believe so
is
reached
that Lope's
handiwork
is
a combination of tangible
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
human
life.
But no great
drama which
more
14
must embrace
many
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-
And by an
little
even
more than
of
and
less
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
The Spaniard
Weltanschauung
power of imagination
and a simplicity of
of the people
litera-
in fiction to the
and in
body of
lyric poetry
and
the comedia.
we must take
which
exists
fiction
realistic
(such as the Celestina books, the rogue stories, the satirical writ-
and
all
much
smaller bod.y of
farces of
Lope de Rueda,
15
we
tliis
literature
much
comedia
of view
artistic
is
an analysis of
;
chief elements
his creation
may
like
them
is
to hold the
Yet we
when we come
features,
and not seldom with unrealities for which I have never in contemporary documents, nor any foundahave to state the chief reason
why
life
:
that reason
may
and
was
never free from the grip of literary, academic and stage traditions,
will see
to
what extent
presence of
It is the
up
to nature.
will be
appar-
said hereafter.
16
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,
of
human
all
life
As regards
of the
they
is
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
many comedias
In short,
am drawing my
of
its
human
and passions of
clothed by
him
unparalleled poetic
gift.
now
take
up
which
his
17
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,
number
magic
in
is
skill,
Their speech
fail
a sympathetic
amount
and
apparent
at
public,
we
are
bound
take
it
image
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
tain
number
of facts or (dements.
human
ceptions no mother.
we
much
manners as with a silent acquiescence in a literary tradiwhich goes back through centuries of the life of Rome and
18
shows
We may
human
:
she might be seen but not heard, and even that only in her
own
home.
of
to
women cannot
it
itself
make
may
of actual society
la
discreta
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
rivals intriguing to
which race the logical victory of the young daughter leaves the
"Tu
Or take
los
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
supposed female
slave.
Lisarda, theretitle of
mother,
dis-
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
willing
if
honor
to a
Even
wr
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
led.
In
was
and play
alike
turned on secret
down
the poet
's
scheme
if
included at
witli
all,
a role by no
means
in
keeping
We,
duenna and
its
go-
That the
latter
as elsewhere
limits.
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
lit-
never
lost
its
many
females beginning with the old hag of the classics and running
down through
The duenna
especially
who
and
so
rail
20
woman
of
by
his
place by the
numerous
wandering
This
is
a puzzling element in
Lope's formula.
were wandering
disguise?
Why
why was
tury?
audience
it
copied by
all
It
may become
That the
way
fiction a
kind of esthetic or
satisfaction?
books and documents and yet never ran across the unrecognizable, disguised
maiden.
it
evident
but a child of
fancy?
disguised damsel are fairly common, so that I need not pick out
particular characters, nor
that she must have been a
make
common
because she
to be fair to
;
is
so
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
is
from
books.
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?
is
the occasional
the
we have
by the
side of seclusion
and modesty.
presenting
in
the type of
Paris,
Rome, Madrid,
Seville
and
others.
may
many
signs of exaggeration.
In
this, novelistic
the evidence
silent archives
and uncities
adorned history, we
Avhich
Madrid and
in
which
Roman and
Moorish
22
M'hich
is
own
resources for
made
woman and
It
is,
and
in art.
human element
often helpful,
is
how much
cleaner
and indecency.
its
censor,
who
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
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
Among
whom Lope
is
has given
and
originality
the
spirited, alive
and consequently
he
is
full of action.
we
find
him
of the Renascence
where
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
which he
and
we
rather than a
common phenomenon
human
society.
Lope
rank among
for the ex-
The reason
chiefly
from
his
He was
necessary
as that of advising
slave
or lackey.
On comparing
we
find
all
the
How
he succeeded
Indeed,
and servant
that
will
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.
and
in
Spanish society no doubt could be found numerous exslave, the lackey, the
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-
24
bounds.
and witty
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
own
And
all this
true, although to a
much
who
at-
In
this
ask ourselves
existed
how
likely
it
Readers of
the comedia get the impression that innumerable gallants walked the streets of the Spanish cities
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
demands
whom
own
his genius
ser-
It is
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
warm
blood
all
may
be of interest
to the reader.
by the
I)E
VEGA
2o
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.
to
nmde
all
fruitful
give
him on the
is
stage
awakened
in real
He
a part of the
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
word must be
nomen-
We
drama
v\-here.
is
of the
Golden Age but the whole Renascence drama everyThe reason for the existence of these stereotyped names
:
fiction
dialogue in verse.
They seem
especially suitable in a
drama
which
is
Lope presented on
the stage between seventeen thousand and twenty thousand characters, for
whom
is
sometimes hopelessly
lost in the
long
Laurencia, Laurencio, Turin. C'hapin, Batin, Chacon, and endless scores of others.
art,
endure
as
Lope's plays has been touched upon above and will be discussed
in connection wdth the chief features of his dramatic technique.
At
it
leads
me
to
draw attention
to the in-
Psycho-
due
to meditation, delay
One
manner
in
dramatic formula.
having taken for a starting point the work of Calderon, who used
all
more mechanical
skill
to include
Lope
and made
This
liim,
is
to look
upon
a wide range of
all
human
shows a comprehension of
His
to
gift of invention
was
so
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
traits
is
and
that
The
fact
27
them
out,
is
thrown
upon
of his
M'hich he received in
common with
What
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?
other
way
from
novelistic motifs.
Among
the
common
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
a glove or letter
girl's
may
apparel, a personage
who
and the trota-conventos of early Renascence literature and the protected rendezvous carried out under the aegis of some servant,
friend, or relative.
the lovers or
ered intruders.
Next in importance
every
woman would
28
the morning.
room
of the
may
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
it
is
classics, for
we may
recall that
way
if
none the
common
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
of both thought
sented characters and conditions which gave his wit freer play
and customs
to be
already stated
and pictures
As an argument
this
procedure involves us in a
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-
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
known
to one
possibilities,
and are
and which
fancy.
evital)le artificial
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
;
undue prominence
rences,
however
rumors, placards,
upon
their
own
We may
among
thus assume
it
to be
same
by an
city.
But
city life,
artificial
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
so with the
would never
have survived.
It
seems more
critical to accept
many
quali-
artificial
30
of reality.
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
and picaros
and
so believe that
with them
we
imagine that the streets rang at night with the clashing of swords,
and we
certain
to prison;
we recall the intriguing, adventure-seeking career of young women, but fail to remember that the cities were
normal, secluded
life.
We
have
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
critiis
cism or
fixed
image of contemporary
life.
In short,
it
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
an Oedipus Tyrannus
a
is
is
common
occurrence
Electra
mind.
is
We
men
like
daughters.
there
?
How many Macbeths or Othellos or Falstaffs are Descending into the realm of comedy, the principle hokls
31
Specific events
common
life
artificial or
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
treatment of
is
life
of love, jealousy
and honor.
inadequacy of
activities,
this
human
and notably
knew how
stir
to descend
which may
the heart.
dis-
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
no one
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
and
it is
and
the
quick in quarrel."
Indeed,
and
insults, as there
32
pre-
But and
the French.
tional
Even
its
effectiveness
was
it
so
apparent
stage.
Is
that
it
it
no small extent,
fre-
liter-
To resume, no
which
I
The traditional
lines along
which so
verses
many
of his plots
move
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
^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.
33
Hernando.
Lucindo.
^
querido.
invencion, la traza,
el
movimiento,
manto,
el
Prado.
Hernando.
34
who may
to the
his servant,
and
to the heroine or
dama
in such a
manner
tliat
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
and get
find in
his
own
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
(see,
for example,
but he
may
situ-
same predicament
as his em-
own
These possibilities
ser-
Lope recognized
el
as a source of
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;
me
pesa.
35
And
must
in los
servants,
we
are told,
Were
tions
it
many examples
In
el
of
amusing
el
situa-
and
given.
Ausente en
is
Lugar
Carlos tries to
make
obliged to absent
Esteban, the
iQue
^
es lo
No
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.
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
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
Esteban?
Y
eres Paula?
tii
acaso
Elisa. (Ap.)
Carlos. (Ap.)
que la voz
lo manifiesta,
aunque
la
voz ha fingido.
The
lovers
now
subsequent ones are among the best comedy that we have from
Lope's pen.
of this
humorous balance
see
Act
I,
scene
of this play.
their exits
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
In
el
and
his servant
Sale Federico con Casandra oi los hrazos
Federico.
los
Casandra.
Federico.
Agradezco, eaballero,
vuestra mucha gentileza. Y yo a mi buena fortuna
^Que gente,
Sefior, es esta?
37
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
que
si
offers
of the
room Federico
In
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,
(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
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
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
may
ama
no haga
fieros.
(Act
II,
scenes iv
and
v.)
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.
good example of duplication in situation, this time matriin el Domine Lucas, a charming jeu d'esprit.
39
The
chief characters
ai'e
two
and Leonarda,
formula accordis,
Floriano
/)/".s-
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.
y perdono
el
fingimiento.
In
/(/
Noclie dc Sa)i
Juan
artifice
very enthuis
An
struck, but
many
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
sister,
while the
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
Here a
set
and
Si yo estuviera avisado
que en opinion
tenia
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
a characteristic manifestation
it is
of Lope's
comeclia.
As
dialogue
wholly
artificial
In el Acero de Madrid, Lisardo and Riselo together with the clever servant, Beltran, have agreed
to
Before
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.
1)K
VEGA
que
<le
ouvidia saiga
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,
Duque
el cristal
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,
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
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
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
In
Act
rate
I,
scene
v,
others
thereupon
all
agree to nar-
at the
hands of the
young widow.
We
As
DFAMATIC
AliT
OF LOPE
J)E
VEGA
43
In a later scene
we
to
more one calls for a verse, compose a gloss on it. (Act III,
tliis
After
tliese
phenomenon common in the later comedia, espeIt makes a highly artiof Calderon and his school.
effect
on the
stage, but
easily exaggerated
in a comic vein
may
be found in
Dejaine,
Don Juan.
Martin.
iiecio.
.'
Bon Juan.
Martin.
]'ues
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.
Estoy muerto.
Escucha.
I,
Bon Juan.
Leonarda.
Que he de escucharte?
Es por
ti.
Eso
es locura.
Bon Juan.
Martin.
Pareceii representantes
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.
^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.
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
occurring in
III,
A final example
there
is
from a tragedy, and demonstrating that no characteristic of form or content for which a parallel
is
Muy
Voy
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.
A
|
Sol mira.
copia.
Even
in
los
Comendadores de Cordoba, in which one would artifice, may be found a balance of three sonI,
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
so
many
and
posterity.
is
That
drama
especially
First,
is
we do not speak
in verse,
and
moves
in a finer
Second,
a
it
demands
men
is
capable.
If
we add
to this the
of which verse
is
of
all
lie
literature
this
is
To While
let a
him always
in
a local or transi-
tory quality.
a thing
The
difficult characteristics of
may understand
all
less
and
as
years
go on are those of
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
Indeed
Age
DRAMATIC
would
it
ATxT
OF LOPE DE VEGA
ciilto
47
iicvci-
had
pi-eceding
Tjope
I
furnish
many
fine
and illuminating
exaiuph's of th(Mn.
sluill
j)resently
little in detail,
by giving
cita-
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
if
human
It
spirit
has.
To put
baldly everything
is
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,
all poets.
Let
me
be a
little
more
lineal descendants in
Spain are
filled
whose name
is
nor need we be concerned with anything but their abuse, and that
falls chiefly
Our English
of expression, but
phenomenon makes
a stage,
it
offensive.
When
men
Shakespeare says:
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
On
the other
hand
is
Now
Made
glorious
summer by
this
is
pure culto in
its
figures of speech
and
is
'
This to
me
in dreadful
charming
Her
meadows,
And
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.
is
full of concept os
tells
and
"When Carlyle
us of Burns that
and
strives
all
feels that
this
But why
shall
we
give
it
this
name, and
what we are
by an
little
absurd designation?
culto, that
To begin
with, the
As they
49
make
criticises
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.
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
and of
culto
using too
many
conccptos
is
plainly culto.
In
many ways
was
a pathological
and
finally
is
an insane exaggeration of
culto.
as
attempt
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
flowers
meant
for the
Conceptismo
and
unknown
phrases taking the place of the noun, and inseparable words being
separated.
Ciilto is thus frequently a question of the
and unwarranted phraseology, apparently intended to shock and impress by its originality. At their worst both are guilty of un;
culto
is
figured, obscured
many
of
its
classics.
position,
and so
much
useless
Of
this
It is
I shall
have a
more
We
list
As
we
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.
el sol, e
sabran todos
lo
que dizes.
And how
upon
this
shall
we
osophy?
The growth
witli the
la
Vega.
Di;
AM J TIC
Airr
of lope de vega
tlio
ni
IIk^ spii'it
of
Italian poets
is
noticeably the
iiiHuenee of
we adxance
in
makes
itself felt
mysticism furnished
Both neoplatonism and and metaphysical conceptions and pleasing semiobsciirity which became
Imitation of vague imagery
The philosophy of
spread over the
it
Amor
in Italy
found an
and adventure
lyric poetry.
and
especially in
It is
served to
develop
new
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
which make
its
reading
it
no unmixed enjoyment.
mentioned influences.
novel,
From what
This
is
is
Montemayor,
others,
particularly that of the great poet, Gil Polo, the Gcdateei of Cervantes, the Pastor de Filida
will bear
me
out.
language.
member
and
them
all,
52
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
with an
infinite
is
generally
marked by
as
and
is
as full of life
M-as three
hundred
years ago.
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
us.
(cantando)
(Oh que bien que baila Gil con los mozos de Barajas, la chacona a las sonajas
taniboril!
cierto
y galau,
O pone
fuego en
los pies,
No hay mozo
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
I,
xii.
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
en ponerle
iin
caseabel;
que audando el gato con el, guardarse mejor podian. Salio un raton barbicano,
colilargo, hociquiromo,
y encrespando
el
grueso
lonio,
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.
its
best,
(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
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
Canten
ruiseiiores,
y con dulees
silbos
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,
T.
may
be to a
How
culto.
true this
is
becomes especially
spoils the
Lope rarely
work of
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
In
is
home
in a shipping port
We
of Lope's shrinking
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
can-
may judge
for himself
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
y sintiendola
dice:
"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
paga j^orque a
fee,
que apenas bocado toma, de que, como a su paloma, lo que es mejor no me de.
no,
es postre la voluntad.
Acabada la comida, puestas las manos los dos, damosle gracias a Dios
por la merced recebida;
The following
realistic
is
jNo
con
sino
venga un mancebo
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
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;
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?
apriesa
La
Viuda valenciana,
I, iv.
The
amar con
secreto,
el
ser
constantes en
querer;
Apenas entra
el
soldado
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
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;
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.
womankind
worthy creations.
poetic speech.
But
these sparkling
he did in his
This
is all
more
to be regretted, because he
had per-
many ways
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
59
and depth,
in
therefore, to be regretted
Examples
last
by no means
is,
excessive, although
style, that
during the
twelve
One
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
great
many
passages of
if
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
etc..
Act
II.
is
more
it is
fairly
we may
find
examples
like the
60
Let
me now
give a few
more examples
of Lope's conceptismo
and
culto, as they
may
of his art.
A good
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
he says
Ya me
escuras,
para encender
luz, toca,
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
61
Sed vos, para que yo os vea, como pintor extremado, que aunque la noche ha pintado,
deja luz con que se vea.
but the
fol-
la sinrazon.
"
The metaphysical
nature of conceptismo
i,
lo
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
may
be found in
Boha para
la
lo
y discreta para
si:
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
62
111
of conceptismo
absent, but
it is
numerous sonnets which Lope has introduced in the form of letters or monologues. In many
may
wit.
Esclava de
su Galdn:
Elena.
I)E
VEGA
.
.
63
Mas
el
traieion,
Chacon.
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
of Ines
En
tocandose tu seiiora, "y es sol que los cielos dora?" Ines. |Pues no? Chacon. No.
Ines.
Chacon.
Pareeeme que
eofrecillos
ir
la
vajillas,
In
is
lo
Cicrto por
Jo
Ramiro
^v'e
While
in Servir a
Solor discreto
it
as a disease
])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.
64
The
para
scene of act II of la
may
otros y discreta
of all
is
the fol-
que
le
"fePor que
4
me
Habla Tenedle,
"
sueltame.
Eimas
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
Inasmuch
as
am merely
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
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
His
is
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
65
In no other sense
is
his
comcdia
life.
more complete
is
This
of
innumerable
characters.
dramatic formula
still
may
the
thought processes of the great playwright, consciously or imconsciously, filled his dialogue with
evidence that
we
and
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
To be
sure.
position of aristocracies
grand
seigneur.
No more
is
principle
his best
that might
makes
right.
But Lope
is
generally at
when he
There can be no
he
doubt that his heart was with the great hourgeoisie in spite of
all his social
too
La
One
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
of speech
endowed.
and the sound common sense with which the latter are Very frequently we find a defence of the lowly, the
66
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
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
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
These
man and
woman.
'Or.AMATIC
67
is
tlie
constantly
No element
the
is
liis
dialogue finds as
response or awakens as
interest in
modern
reader.
It does not
mend matters
classics still
in his
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.
even
if it
In spite of
In
all this
the comedia
was no exception.
imitation produced!
But what
It is
they
if
fit
or not.
This criticism
is
we judge
But
we
all
the reasons
why
the comedia,
it
to the
not
my
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.
classical literature,
medium
of
68
translations,
The
latter stricture
may sound
too
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.
possible.
In the majority of
cases, there-
cases
men
as
Lope
He
is
author of
old,
must be due
its its
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.
Aris-
Among
the historians
first
place, as far as I
am
aAvare, his
and
more
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
To us
it
may
name
such extra-
69
of the commonplace.
But
it
must be remembered that the notein France and Diego Gracian in Lope must have known the latter
still
Much more
recent, but
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
Homer and
Vergil, the
fusion of the influence exerted by the Iliad, the Odyssey and the
It
would be
difficult to find a
is
promi-
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
and
others.
influence on
scence.
I
Lope
in
my
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
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
and again.
classical antiquity.
70
them from historians and biographers, such as Livy, Tacitus, Suetonius and others. One prominent work which furnished Lope with
in their turn extracted
innumerable
the animal
beast
bits of lore and nonsense concerning nature and kingdom was Pliny's Natural History. No bird or
to
have
its
by Pliny or
The matter
would make
occupied by
Among
vivacity
tists
its novelistic
and novelists
cially Galen, to
the
this
like,
How much
when
it
of all
recited
on the stage
is difficult
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
character
is
them
falls
without the
DRAMATIC
AL'T
OF LOPE DE VEGA
71
Among
given
ITS
Lope has
in his
of interest.
He
there
us in the part of
la
Don
Fernandf)
la
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
eseribia
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
was well
ac-
If
we
everywhere corroborated.
lan-
practically
contemporary French
literature.
On
to liim.
With regard
from Boc-
and
Some
of his
plots are not only directly traceable to Italian novelle, but cer-
marks of Italian
influence.
we
recall that
we have
more than third rate imitations of we reach the novelas of Cervantes, which
Italian litera-
known
72
of Boiardo, Ariosto
repeated.
Among
all others,
so
many Spanish
had become
his
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.
less at
home than
it
in verse,
leads
me
And
this is so.
very
a place be-
Of
is
Lope,
who no
less
master
of dialogue
sciously
both conRefer-
and unconsciously
many
73
enees to the story of Calisto and Melibea and to the great figure
of Celestina herself are a
in
style,
common
freis
quency.
to
any
single creation
an exception to this rule, the Celestina, which made a deep impression upon him as
there
is
well as
upon
all
have
else-
how
work manifested
itself
comedia.
As regards
the Dorotea, I
am
is
art.
known
and
late
to Lope, nor
need
saints
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
EXPOSITION,
characterized by free-
dom and
hini
to give
he must
when he undertook
to repro-
In so vast a creation
we
These
were, for the greater part, taken from fiction sources, chiefly
Italian, and, therefore, absorbed
many
ments which
an
They represent
It
artistic blunder,
and
little to
my
argument
to
upon
his
them
if to
in
Italian
background as
make
events of his play are more likely to take place outside of the
Peninsula.
to
to
any
stage,
and
though these
example,
may have
formula.
Take, for
is
im-
plicated in a
murder
plot
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
all
75
discreto, in
which
his daughter.
The
latter
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
tions.
In
los
Emhiist(
.'^
de Celauro there
fiction
is
an
inartistic confusion
of themes taken
from
and
is
due
who did
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
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
and
so
is little
room
One
art
is
his exposition.
But
is
he wrote altogether
plot,
much
end of every
and
no special
proceed.
acumen
Having conceived
his
formula with
dominating
ele-
ment
76
exposition
and
when
weaving
in
and out
end of
demand
too
many
that of
No
is
so thoroughly
an improvised
sit
As
a highly
down
at
so
effort, all
processes,
artistic
and
scenes,
exits
successive
reached.
In
many
the
until
improvisor sees
fit
stop.
InasQiuch as the
dramatic
won
if
popular.
A
ii)
;
good example
(Act
I,
found in
la discrcta
I,
Euamomda
in the
scene
i),
and
cl
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
77
such plays as
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
Comendadores de
for recur-
As
we must be prepared
ring themes not only at the opening of Lope's plays, but woven
into the bodies of the plots.
Although
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
acci-
entrance of a messenger
who pretends
and the
to be a
hawker or vendor
which generally
like, all of
character
who enjoyed
do not mean
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
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
lead.
A
by a
is
and murderer.
is
afoot, the
an obstacle
to the plotter
occupation
78
which
him out
this
of the
way
The
chief
theme of
kind of plot
fiction, so that
many
que
examples could be
cited.
Among them
is
"De
lo
una buena
dueiia,
mujer de un caballero
su vasallo. "
therefore, creates
him mayoral and sends him to distant lands, is frustrated by the wise conduct of the wife.
Bathsheba
The reader
and Uriah we have a variant of the same theme. We may summarize certain features of Lope's technique
follows
:
as
exits
spontaneous di-ama.
of Lope's
fancy.
so indefinite as to
make us
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.
la
separate occasions every person quits the stage leaving the plot
Finally, as
more body
tent.
to the
main
plot
when
it
in con-
It also
characters.
married
in Lope, as in los
off at
comedy
la
Enir(i( nhht.
effect is rare
and consequently his great themes are seldom marred, Comendadores de Cordoba where the spirit of vengeance
79
the rest.
excessive
due to an
number
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,
knowledge
human
sion w^hich
on the soul, a comprehensiveness of poetic expresmakes every attempt at comparison futile and every
so
No
and
situation.
No
critical presen-
more than
limited
number
Any
which
have chosen
of his
number
But the examples The genuinely comic scenes cannot be counted, and no
may
suffice to
show
dialogue
things.
is
Thus
Moza de cdntaro
the heroine
suitors
is
discussing
many
81
Volviose en llauto la
risa.
^No
es este
mi padre?
El
es.
(Don Bernardo, de
Diclias.)
jAy de mi!
Senor, |que es esto
?
Don Bernardo.
^Cumo
sin
honor?
No
se.
Dejame, por Dios, Maria. Sieudo vos vida en la mia, ^Como dejaros podre ? ^Habeis acaso caido?
Don Bernardo.
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
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
iQue eseuridad!
Todo
es
|,Quien sera?
Mas
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.)
Una
Voz.
(Dentro.)
{Canta desde
Que de
la
noclie le
mataron
al caballero,
la flor
Don
Alonso.
iCielos!
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
caballero,
la
gala de Medina,
la flor
de Olmedo.
Don
Alonso.
que por algiin hombre hieierou de Olmedo, y los de Medina en este camino ban muerto.
83
No me
pesa.
Criados.)
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.
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
84
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.
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,
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
overlord,
for
its
may
serve as
an example.
appeal
moved
to action
by a woman's
Megidor.
Ya, todo
el
La
85
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
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.
No me nombres
tu hija.
Esteban.
Laurencia.
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
**********
Los Comendadores de Cordoha represents, as far as
the extreme to which
I
know,
No
and when we
whelmed by
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.)
No
se si
me
vesti bien,
conio
i
me
vestI de prisa.
ese espejo.
ti
~ili^^ni^> Teodora,
Teodora.
Verte, Senora, en
misma
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
ha asomado a
Ya me
el
Ya me
m.il
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.
Cayo
el
espejo.
De
envidia (dlzale),
el cristal,
dentro
la hoja,
EstreJId.
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
a gusto
casamientos publican.
A
Estrella.
Pues yo quiero
feriarte aquestas albricias.
ella
Partida
medio
la piedra:
sera de melancolia;
que
los jacintos
padecen
le
quitan.
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.)
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
jSuerte enemiga!
os queda que esta el fiero homicida, Sancho Ortiz de las Eoelas, preso, y del se hara justicia
manana
EstreUa.
sin falta.
;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!
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
Seguidla.
Senora ...
EstreUa.
Dejame, ingrato,
sangre de aquel fratricida. Y pues acabo con todo, quiero acabar con la vida.
jAy riguroso
dia!
extremely
attempted.
difficult to
may
be
a
At
the opening of
Auscntc en
el
Lugar we have
vants
who meet on
the street
who
89
siirrouiulings
and makes
life
is
unbearable for
tliose
nearest to her.
an example of Lope's
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
In Quien ama
no Jiaga
fieros
we have
and servant
Gaston.
.
Bon
Felix.
No.
jDichoso tu! porque yo
Gaston.
Bon
Felix.
Todo estorba a
hasta vecinos.
Gaston.
los
que quieren:
Bon
Felix.
ven Eso
lo
que en
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
90
Mas
cada noche
se
ponia
la cabeza,
le
un caldero en
tiraba
Bon
Felix.
Gaston.
Tambien buseara
Peribdiiez y cl
Comendador de Ocana
offers
an example of Lope's
husband and wife demonstrate their mutual obligations and necessary qualifications by means of the alphabet
CatiiJda.
Peribdnes.
Casilda.
Peribdnes.
Amar y
honrar su marido
te pi do.
dulee,
y entendida
la E,
iirnie,
fe.
La G
la
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
la O.
91
te liara pensativa,
bieii quista, la
buena
cristiana,
humana
Aprende
tu seras
y yo
Casihla.
el
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,
sin
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
Por
la
P me
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,
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
Don Juan
he
is
the
father slams the door in the son's face and orders that his cloth-
his
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
come
Pedro.
window.
93
Don Juan.
Pedro.
jAy, mi sotana!
Bon Juan.
Pedro.
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,
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
It
may
be explained,
also
On
and
humor common in
iohdana
La
NocJic
an excellent specimen.
pursuit
the scene
away from the police whom they imagine must have delighted the populace.
in
Beltrdn.
Florencio.
No
jAdonde
^
^,
estamos"?
Beltrdn.
^Puedo yo sabello ?
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.
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
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.
hombres
Voces.
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.
95
Por mi
lo dice;
ya me sabe
el
nombre;
Por aqui abajo, en la caballeriza nos entremos, y en saliendo algun luiesped nos iremos. (Vaitsc)
In
with
my
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
creations,
seated at table with Teodora and the latter 's daughter Dorotea.
relative indifference to food
Here her
balanced by her fondness for the cup, and we are told that her
favorite philosopher
is
Alaejos.
scene, I
Since
it
is
have preferred to
me.
in
The reader
many
all,
who has
sobriety,
woman
Gerarda, by leading
manner out
through
all
amusing nonsense
to the inevit-
Gerarda appears,
is
No
mny
(-onvaleciente.
Deja
Que ya estoy
biiena.
Teodora.
Gerarda.
Toma
Por
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
Teodora.
Gerarda.
Agora
Teodora. Gerarda.
Celia.
Gerarda.
Mas
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.
hombre de
bien, que
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.
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.
97
preguntas, uecia
^Cuaiito va que
iiio
levaiito,
Ha No
caido un mosquito.
le
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.
Llamaba grosera
al agua,
porque criaba
me
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.
los aladares,
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
Gerarda.
Celia.
como tiene orejas, tuviere boca, a muohos llamara Con buenas oraciones se alza la mesa.
la picota.
Gerarda.
No
Teodora.
Gerarda.
Di; veamos.
y
el
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
Gerarda.
Celia.
La puerta
pesada, puesta en
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
The
former
hoha.
common
had occasion
to speak of
in the notes
appended
to la
Dama
must be
logically character-
by
directness, sincerity
and
simplicity.
marred by
is
rapidity of action
may
It
be jeopardized
to
anything hampers
its
forward motion.
his successors,
must be said
and that
his monologues,
while not always free from the artifice of conceptismo and culto,
are generally well timed
and
The
that
artistically far
more satisfactory
in serious scenes
and
to la
in
my
notes
Dama
more
moments
of reflection
and
is
self-analysis.
monologue are the sonnet, Lope with great variety and flexibility, the redondilla and quintilla, the octava and the romance. As far
The
99
am
aware, practically
are brief.
No
Mctor Hugo and others has come to my notice in Lope. The purpose of the monologue in his comedia, when it has no
Schiller.
is
it
creates
a pause between the exit of one personage and the entrance of another without leaving the stage empty
;
it
;
whose approach
is
it
may may
give a person
permit one or
more persons
an
hindrance of some-
etc.)
it
may
serve especially,
and
in this
all
and the
like.
In the
latter case it is
thoroughly justifiable as an
artistic device.
by
rhetorical qualities
certain types of
talent.
and because of the opportunities it gave actors and actresses to show their declamatory
it
But
it
lacks the
While
is
in
it.
As regards
its
use by Lope,
it is
made
concessions
to gener-
growing vogue.
Without wishing
and middle
keep the
and an
effort to
We
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
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
it
rehearses
makes
in-
a single
They introduced a greater number of narratives in play and not infrequently made a single one several
in length,
hundred verses
tlie
artificial
comcdia as a work of
])i:
VI-
1;
lOl
that I
am
aware.
But the
serious student
may
be able, by con-
His work
manner
or method.
The great
little
it
is,
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
it
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-
customs.
to
One
mould.
a
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
{la
Nina de
102
worthy of note
also
contains
women
of
humble
who
deserve
to be better
known
undertaken here
by occasional
It will suffice to
may
be
ennobling
all
those
who come
Among
his
place
is
due to
who
and loyalty
to inherited
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
moun-
tains of Leon,
whom Lope
making the contrast between the manown day and those of an idealized old
The following passage gives
also
to his audience.
it
is
Luis de Leon.
jCuan bienaventurado
piiede llamarse el
viejo.
hombre
le
coutenta!
de los reyes,
DRAMATIC
y por
c'l
All!
OF LOPE DE VEGA
103
mievo traje
aiitigiiedad
la siiiii)le
padece ultraje.
No
que
la
al costoso vestido,
conocido
novedad inventa,
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
Aqui
las
yeguas blancas
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.
esta cuenta.''
Voy
ya cuando
humilla,
orilla,
104
como en
ellos ojos,
y en sus ramas
siiaves
Cuando
la noclie baja,
De todo
In Jnan Labrador,
el
Villano en su rincon,
we have another
loyal to
self-sufficient,
state,
but fixed in his abhorrence of court and courin France, but in spite of this
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,
liis
retreat.
There he
is
and convinced
The play
of
offers a
men with
station.
man
humble
Some
The
Juan
drawn
105
who
tries to vie
and courtesy.
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,
king,
whom
he takes for a
Tomad
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.
sera razon
que no
Bey.
me
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
alia?
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.
Soy mas
rico, lo priniero,
muy
rico de ocios
suma
felicidad.
Juan.
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.
107
juntos
la
los
ti'es.
iiiia.
Bey.
Conozco
envidia
Juan.
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
i,Que tiene?
Vaca y earnero
y una gallina.
Y
De un
esto) verdura
lo
^no mas?
Juan.
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.
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
108
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
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
porque es razon,
rey,
es de alarbes
Juan.
Nadie como yo
le
adora,
Eey.
besa sus pies y sus manos con mayor veneracion. Sin verle, no puede ser que se pueda echar de ver.
Juan.
Yo
pero
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,
109
Juan.
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.
among
the
In
las
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
Condensa.
Laurencio.
Decid.
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
los hijos
en
el
torneo, en la esgrima?
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
who
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
ceaseless variety,
in the following
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,
1)E
VEOA
111
of vice
and
so well described in
into
woman's
soul.
An
at-
formed
and
among whom
Many
to
whom Lope
presented
many
foibles
and weaknesses of us
He
has given
Es aquel hombre de
que se llaniau en
figuras.
aqiiellos
la corte
Paula.
en
De hablar
que
le
acorte:
pareee dellos?
Fisberto.
amunecado,
al trote,
El Auseute en
artistic
el
lugar, II,
viii.
always
I tried to
make
clear
fiction,
by
human
life.
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
112
we may
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
It is
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
long
lists
of
my
But
if
we keep
it is
pos-
number
them
in thei;;
may
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.
From
the
moment
we
are
under 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.
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.
a plea
community and
individuals,
114
meaning
of
word
or action.
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
the variety of poetic speech with which the author has painted
all
the passions of
As an example
of Lope's
so-
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,
At no
the
power
of the monster,
we
scene
Few
us.
many living characters, actual who have thus been preserved for
rugged
bearing lord who, in the words of Lope, does not deign to take
his hat off to
all,
who
to his
is
own
ends.
bound
to have
115
abduction of the
liy
followed
rioting
c(>))ifU(Iador's victims, floggings and cruelties and the summary revenge of the whole village,
whom
he
guilty.
is
brought with
satisfied.
The dialogue
on the whole
into acts
relatively free
from
artifice
simple.
As regards
There
One
el
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
is
a failure as
fills
comedy.
To me
fall of
seems that
el
Ausente en
el
Lugar
is
these prerequisites
admirably.
Here
is
who
it
lives
No
game make
is
in reality a naive
young
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
is apparent everywhere, hands of a good company must have delighted the audience and justified the current opinion that to
in the
was no inventor
Lope.
all his
predominant qualities of
marked
extent,
There
is
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
to
in
cealment, deception, and the like. But the author's invention moves with such smoothness, even stereotyped elements are han-
armed
at every turn.
Superficial
it
it all may seem now, but to was for the hundredth time a source
Few
comcdias
how frehuman
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
The
this
embody
power
may
be found
among
and
whence
literature
flexible
of other countries.
so easily used in
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.
in his
own
peculiar way,
The comedia
to end.
is
Dama
hoha
is,
play of fancy.
An-
Calderon's
efectos.
is
whom
the one
Here love, depicted as containing within itself all the also works a cure, teaching and ennobling the inferior
character.
As
is
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
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;
de la hermosura mas bella, medios he de buscar; que con nadie quiero estar
airoso que con ella.
mas
It is
more than
had
la
Dnma
hoha in miiul
when he conceived
his play
De una causa
two
stories the
fundamental
sisters)
we have two
and
IXTBODUCTWiV
a
119
sli<i,-lit
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
hopes as regards his fiancee, no sooner learns the real state of her
mind from
He
We
are then
introduced into the home of Octavio, the father of Nise and Finea,
plot,
tells of his
how
As
omitted in
all
ac-
and then
of the silly
who
all
The
latter
rencio, but here, too, the course of true love does not
run smooth.
For presently
w(^ find
less repellent to a
The
latter has
engagement and
more clever
sister.
lovers.
now thoroughly
interested
in Nise, finds
Laurencio guilty of
120
LA DAMA BOBA
is still is
courting her.
He
challenges
him
of Finea 's
mind
is
also
In the second
however, she
is still
As
a consequence
lover,
we have
finds
it
who
The
is
filled Avith
great anxiety
when he
folly
own
lips of the
new
her.
But Nise
not at
all
more
successful,
having received
commends
Liseo,
the
power
of love as does
improvement
rencio,
and
whose
suit has
as
simple as ever.
In this
effort
fool in her next interview with Liseo, and, the latter completely
is
At
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
INTRODUCTION
Tlu' close is less al)rupt than usual, because
121
Lope brings
his
main
all
The
is
least
once
not surprising in a
Many
hoba.
love,
Dama
Li
We
as
is
is
cured by
added
Laurencio and
in his
Liseo.
preference for
money over
gence to wealth.
to
him by
There
no reason for shaking the head over this code of ethics which
fact that
reflects the cold
from the
it
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
Es Heliodoro
Poeta?
Plies pareciome
prosa.
of
common
sense says
lo sabia.
122
LA DAMA BOBA
Inasmuch
as the
and
clever,
it is
and thereby
is
up
stage language
and demonstrate
to the
most exacting of
complete.
plot,
young women
it
of good
who
We
an imita-
and
families,
where
common
diversion.
would be
which there
is
are
greater
actors.
It
evident
specific players,
list
presumably
whom
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
not Spanish.
I
is
am
per-
have added
long as
I
open
and
am no
am
my
results
may
it
contain
was not
my
comedy by
floods of use-
less erudition.
was
my
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
have tried
be interas that
may
ested in
much
INTEODUCTION
of the scholar
123
who
is
eomnieutator.
must repeat,
many
a note
may seem
may
not
gratuitous to a Spaniard,
but that
none the
hope that
my
effort to
on barren ground in
my
own
country.
124
LA DAMA BOBA
THE AUTOGRAPH
The autograph manuscript
insignificant erasures
of the
Dama
himself,
made by Lope
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
appended
in large
numbers
original
its
ning.
We
know
that the
it
by no means
how long
she
in her possession.
Duke
dama
mean
still
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
servan
en
departamento de manuscritos de
Biblioteca
it is
no.
810(1).
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
it,
and
so
How
many
INTRODUCTION
125
may
list
am
was
handed
to
Lope
it
to sign,
at
it
very hastily
before sending
to the printer.
The
the
among
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
mon
directions had
to be
indicated by a
en-
(*)
trances,
I
minimum
of stage directions in
in
order- to
make
;
these exits
the original
enclosed in brackets.
Any
very rare.
in
hombre, onbre
casa, cassa
many
others.
The
word of every
letters in the
middle of a word,
or proper
names with
tell
a small letter,
and such words as Rayo, These phenomena only annoy the averThe very few
ac-
know
terite,
of the person
it
speaking
126
LA DAMA BOBA
;
ill
full
In short,
posing,
off
remained
would
spoil
my main
purpose
to present
an edition of one of
am
anxious
it
should be.
There
copy of the
editions,
it
Dama
;
hoha in
has
hand
set
of the
first
teenth century
it
many
and
my
judgment,
down
a
was that
is
an unimportant copy of
This
is
and
among
Dama
manu-
Compare Rennert
is
The
Such a
copy
script,
It,
even
if
therefore,
it,
which
is
profitable to
importance
they
may
But
since
we have
INTEOnrCTION
and that
a i)atlietic one, whit-h a careful
127
The
and printed
versions.
Autograph
1613).
]\IS.
(Osiina Library.
(cf.
The Eamirez
Printer's
Lope)
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.
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,
following order
e.
el
Ano
f.
1617.
Con
privilegio.
p. 283).
biografia, op.
cit.,
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
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
1617
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
As
it is
humanly impossible
to note every
may
they can
inuencion, inuenzion
;
piezas,
piecas
;
licencia,
lieeneia
igual,
ygual
oficios, offizios
creher
entranbas,
;
entrabas
tejado,
texado
Otabio.
deben,
deuen
habra,
aura
Octauio,
objecdiscipulo, dieipulo Examples are objecion darle, dalle. I must emphasize again, that where
;
we
first
no
scientific value.
and the
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
120.
124.
IXTRODUCTIOX
'616.
Ai^si.
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
(351)
353.
355.
Dale nna palmeta y ella echa a eorrer tras el 0. perro, aquesta Celia. Ella le mata. Ma.
Ya
357.
357.
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.
425-428. omitted
441.
443. 444.
hablan
girigonca entre ellos (B)
ni es espanol
445.
viuda
449-452. omitted
132
LA DAMA BOBA
619.
INTEODUCTION
960. especie, es linda cosa
133
1001.
1012.
Quando
y con
esse.
.
(961)
961.
tal
.
censo se cobra
.
1017.
esta
el
pues vemos
agua
1018.
experieneia notoria
1021.
1030. 1031. 1032. 1035.
Es verdad
las palabras se
962.
964.
rompan
rompanse
cobra
letras
969.
Aguardad
tu te
970.
971.
lleuado
jado
1037.
si le
973.
978. 979. 980. 981.
Ay
ponen
1038-1039. transposed
1038.
a prevenirle la
cama
1039.
1040. 1043.
1044.
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
(1788)
179.3.
1796.
Ay
ignorancia
tal,
pues
dime bestia
1798.
al principio
fue hecho
1799.
Laureneio
1802.
agora
1803. 1806. 1809. 1812.
1813.
piensa
se
Si, tu
tomaudo
creo
1818-1819. omitted
.1820.
(1825)
1828.
(1831)
1834.
1838.
Porque
te fuyste
1841-1844. omitted
1846.
1847. 1851.
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.
1898. 1899.
1900.
Fen:
Todos.
cosa, etc.
Si
Haz
Dua:
sana
1906.
Pues
casas
INTRODUCTION
1998.
137
Hanme
. .
dieho que
lo c'leo
2019-2022. omitted
2023. 2032.
1999.
yo no
me
Es
No puedo menos
Vase Nise
(2013)
tercero acto
13) Sale
we
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
(2091)
2109.
2121.
a Dios
este -agrauio
(2125-
138
LA DAMA BOBA
Sale Finea
2590.
(2405)
2406.
2413.
Porque
nueua en mi niemoiia
cubierto
Vanse
salen
dro.
Liseo,
Turin,
2416.
2420.
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
2442.
traerle al cuello
2443-2446.
2455.
Mira
(2630)
2633. 2638.
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
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.
hecharme
Vase Pedro
aquello
(2528)
buena
Cel.
2691-2694. omitted
2700.
2523.
2524.
Yo
lo
dexo concertado
Que
es esto?
Ni.
2528.
2533. 2541.
tonta se buelue
2707.
2708.
quieres
con quien
el
alma viuia
(2719)
2723. 2725. 2730.
2542.
Ay
2543.
No me
direys
la
ocasion
del saber
pienso quo tu
la
2731-2734.
2739. 2744.
omitted
vemos
el
2583.
2584.
en
fin
2747. os
2748.
mas
facil
espiritu.
Fin.
Yo
En paz
tu casa tendras
creo
2585.
(2749)
2749.
Andan
INTRODUCTION
2757.
139
140
LA DAMA BOBA
Fen.
Y yo
sion
tido.
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.
(3118)
Mis.
Que
lastima.
Dua.
3123.
3127.
tad de mi aficion.
Lis.
Templa agora,
bella Nise,
va
amor por
la
posta a la
una
cosa.
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.
INTEODUCTION
141
LA VERS1FICACI6N
ACTO
I.
Redondillas
Octavas Redondillas
Romance
(en
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
Redondillas
Romance
(en a-e)
Redondillas
Redondillas
Romance
ACTO
III.
(en a-a)
Quintillas
Redondillas
Baile y cantar con estribillo* Redondillas
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,
(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.
flor,
Copla. Lupino y Tierrena, para en vno son su gala y belleza, para en vno son
el sol
la estrella,
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
Finea, su hermeina
Qclia, criaela
Clara, criaela{s)
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
Que
lindas possadas
Turin.
Liseo.
Frescas.
No ay
tienen
calor.
Turin.
Chinches y ropa
Liseo.
no ay en todos
quien
1
los
que miras
le
yguale.
An
note.
144
ACTO PBIMEBO
Turin.
la causa.
. . .
Ann
I
si
supieses
Liseo.
Qual
es
Turin.
Dos messes
de guindas y de mentiras.
*
Liseo.
Como
vnos de
las
Yndias cuentau,
15
Turin.
Liseo.
Turin.
pide la debocion
y
Liseo.
el
nonbre.
Pues, dese
modo
25*
30
Turin.
Mui
con
el
atras se queda
repuesto Marin
Que
trahes
Turin.
Ya
lo veras.
LA DAM A BOB A
Lisco.
Dilo.
145
Turin.
Liseo.
Giiarda.
Neeio
estas.
35
Turin.
Liseo.
que
es
Turin.
Ay
su nonbre
bast a deeir
40
que tu
Liseo.
lo
sabras despues.
Eiitretienese la hanbre
ser.
Presto
tozino fianbre.
45
Turin.
Liseo.
Pues ^a
Turin?
cpiien
puede pessar
has de dar algo,
me
'50
Dame
que nunca
Turin.
dulce es
mui
onbre.
Liseo.
Aun
agora no he llegado.
55
Turin.
Liseo.
comeran.
Turin.
Es natural;
pero esta hermosa Finea,
60
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.
70
tengan
los
amantes
ella.
tales firmezas
eon
Y
Turin.
Liseo.
tanbien hermossa.
bien,
Mi esposa pareze
si
me de
y ama.
que mas
se estima
Turin.
Lisco.
Turin.
Liseo.
Brabo dote
Si contados
los llego a
Turin.
De vn macho con
se
guarniziones
85
apea vn hidalgo.
Malo,
Liseo.
si la
merienda me pones.
[Saiga] Leandro, de camino
Leandro.
Liseo.
Huesped,
^,
Leandro.
Liseo.
hallado.
Leandro.
Dexele ayer,
cansado de no
salir
LA
DAM A BOB A
95
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
Leandvo.
Lisfo.
Si soy.
105
Leandvo.
roques y
arfiles
110
todo es
Lisco.
alii
confussion.
vil.
No
es
Otabio pieza
Lcaxdro.
Si es quien yo pienso, es
arfil,
Liseo.
Ya
pero dixerades bien
se ([uien
roble.
120
Conio
Leandro.
Que entranbas
pues Nise bella
es la
lo
son
palma,
Finea vn
roble, sin
alma
125
148
AC TO PRIMEEO
qiianto Finea encogida,
Turin]
es
^No escuchas?
que no habra muchas
Leandro.
Verdad
que
en
la
el
i
puedan ygualar
riquissimo dote.
lado
135
hacen su
Liseo.
[a
calle terrero.
Turin]
Yo
Turin.
Liseo.
[a Liseo]
Disimula.
Tal estoy,
[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
Leandro.
Liseo.
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
Dexola a
la
que mas
le
parezia
de sus sobrinas.
Otahio.
A" OS
andais discrete;
195
effete.
el
niismo
De Nise
OS
I
la
diuina gallardia,
soys
;
Otahio.
200
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
hiziera.
No
a
digays
por Dios
no aeertar en nada.
Otahio.
Eso
que yo no trato aqui de
las discretas;
220
LA DAM A BOB A
1.'31
De vna
virtiid
y onestidad.
Parir cadano,
lual, si es
Mismo.
no dixeradc's Esta
argumento
225
de vna eassada
hablar y en
el
vestido
en ser de
la
familia respetada,
en retirar
en ensenar
la vista
el
oydo,
230
los liijos
cuidadosa,
la
me
altera
235
mas como
la
lo
menos me
fatiga.
medio siga
Mis f no.
Otahio.
Si,
240
^,
Aqui
de padre y dueiio alarga
el
el ofieio
pensamiento.
245
mundo
al
oro atento.
me
que
Miseno.
250
parientes.
Razones ay
parezer bastantes.
152
ACTO FEIMEEO
[Otahio.]
Yna
y
lo
muchos aparentes,
255
es el
que
Miseno.
Otahio.
Eso no entiendo
Estadme
atento.
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
Piedad del
-65
se
Otahio.
han
crehido,
Miseno.
Otahio.
Nise es aquesta.
Quitame
su desbaneeimiento.
el
sentido
Miseno.
OS
Yn
traygo yo.
casamiento
270
Otahio.
Casemosla
que temo
Nise.
Celia.
Diote
el libro
Y
a
tal,
que obliga
no
abrille ni tocalle.
Nise.
Celia.
Pues, ^.porque?
Por no
si
ensucialle,
275
en candido pergamino
vienen muchas flores de oro.
Nise.
Bien
lo
mereze Eliodoro,
280
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
quanto precede a
Celia.
los quatro.
?
En
fin,
es
poeta en prosa
290
Nisc.
Ay
poetica
historial
la historial, lisa
leal,
295
con
f rasi
y terminos
claros
la poetica es
hermosa,
^00
y escura, aun
a ingenios raros;
Celia.
juzgan tantos?
Nise.
Xo
pero
del
asi corre el
le
pones,
;
305
engano
mundo.
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
Rufino.
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
Esta
es ca
los espaiioles
no
la
solemos poner
y flamencos.
Finea.
i
Que galanes
325
van todos
Rufino.
estos detras
Finea.
Rufino.
Tantas ay
Beyntitres son.
Finea.
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
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
Cclia.
Mas que
si lo
se te sale el alma,
.
395*
sabe
Finea.
j
IMuerta quedo.
Celia
!
no
se lo digas,
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
Finea.
Clara.
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,
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
pues nunca
mayor de Flandes
*
Pregonauan agua
los
ardiente,
425*
despertauan
tocauan
los offizios,
430*
*
los boticarios
quando
a dezir
la
gata de cassa
435
Ay, ay,
ay, ay,
440
porque
el
* *
*
en tiple de monazillos,
si
no
es
gerigonza entrellos,
445
no
es espailol, ni latino.
si
lo
'LA
DAM A BOB A
159
como
450
como
otros por
siis ofieios.
y prebino
el
en que reeeuir
parto
gritos
455
hubo temerarios
no
pias,
*
460
mas
rico.
Regozijados baxaron de
los
texados vezinos,
eaballetes
y terrados,
465
Lamicola, Aranicaldo,
Rabicorto, Zapaquildo
De negro
el
vino a
la fiesta
gallardo Golosino,
475
de su padre,
el gaticidio.
Qual
qual
la morzilla presenta,
el pez, el el
qual
el
cabrito,
qual
qual
gorrion astuto,
sinple palomino.
480
gatesco senado,
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
mio
4'M)
de mayor contentamiento.
Clara.
Camina.
Tras
ti
Finea.
camino.
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.
;
D liar do.
Feniso.
Aqui como
estrella clara
500
Y aun es
i
i
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
hermana y sangre?
Laurencio.
A
que soys Sibila
espaiiola,
eritrea,
vos sola,
510
no eumana, ni
LA
DAM A BOB A
161
515
Nise.
Si ygnoranzias,
si
desgracias
triixerades a jiizgar,
Feniso.
Baya
el
soneto
ya aguardo,
525*
*
aiinqiie
de yndigna corrida.
Duardo.
La
mi amor que a
y en
las
la
mentes angelicas
donde
consiste.
No ya como
el
fuego viste
al sol
admira
se retira,
asiste.
530
adonde
ardiendo
verme a
la
suprema alcarme
535
que donde
I
el
fuego angelico
me
aplica,
Nise.
Duardo.
Pues en parte
por arroganzia
se leyera,
540
Yo
el
si.
La yntencion,
libre del
argumento,
545
es pintar a quien
ya llega
fin,
donde
es
fuego
al serafin.
1C2
ACTO PEIMEEO
Argumento y yntenzion
queda entendido.
Profundos
esconden.
*
Nise.
550
Laurencio.
coneeptos
Feniso.
Mucho
la
Duardo.
555
Bien
los
podeys declarar.
Duardo.
Calidad elementar
es el ealor en nosotros
la celestial es virtud
y
Nise.
560
del calor.
Con ynquietud
escucho lo que no entiendo.
Buardo.
Nise.
El elemento en nosotros
es fuego.
I
Duardo.
El puro
en
sol
565
el cielo
el
;
fuego
y fuego
serafico
entendimiento
pero siento
570
que
que
que elementar
se llama,
y
Nise.
el
sobreceleste ama.
575 *
No
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.
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
que dando en
se af renta el
viles despojos
rayo de Febo
600
pero,
si
quieres passar
de
Nise.
la fee
Vn
papel
quiero dar
ser,
?
alma dessea
605
me mano y
como
Nise.
i
quieres faborezer,
que has
call id o.
Jesus!
\cae]
164
ACTO PBIMEEO
iQne Con
es eso?
Lmirencio.
Nisc.
Cahi.
las obras respondiste.
610*
Lmirencio.
Nise.
Amor
en obras eonsiste.
615
Duardo y Feniso,
Duardo.
adios.
Laurencio.
Que
Habreys
los
es
Duardo.
Laurencio.
dos
620
Ya no
que
es
menester hazellos
625
Duardo.
Laurencio.
Feniso.
No
La diuina Nise
0,
es tal.
es vuestra,
lo
por
lo
menos,
muestra.
Laurencio.
*
Laurencio.
vna parte de
Nise, con
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,
y en yr
quando vengays *
Pedro.
Entrc Pedro,
i
lacaijo
de Laurenzio
Bien me pudieras
con
el
Pedro.
Laurencio.
Luego
Ha
podido vn pensamiento
^^^
reducir su mobimiento
^No has
del relox en
vn lugar
esta quieta,
660
aunque nunca
y
tal vez esta
en la vna,
esta
?
ya,
mudanza alguua
de la cassa en que
me
ves,
665
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.
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
685
lioubre le dessea.
las
Denme pues
doze a mi,
me mira
Finea
695
es ora dichosa,
me
esta
mirando de
trino,
700
Doyme
Para aprobar tu
ossadia,
LA
Lannncio.
Pedro.
Qiial?
DAM A BOB A
167
Que
tc
li;is
de anvpentir
710
de descansar y vestir
arrepentido xamas
?
Pues
Pedro.
I,
^,
No
ves que
el sol
del dinero
720
El que
por
siiiple, el rico
por sabio.
agrabio,
No ay
que
el
en
el iiazer
encubra
725
ni ay falta en naturaleza,
que eon
la
mucha pobreza
a Finea.
Pedro.
He
que a
vii
sospechado
730
Yo
se qual.
Pedro.
Laurencio.
Yo
Sospecho que
es
Pedro.
mas taymada
los
735
que boba.
Laurcncio.
Demos
en enamorarlas.
dos
Pedro.
Creo
mas
facil.
168
ACTO PBIMEEO
Desa manera,
segiiro va
Laurencio.
mi
desseo.
740
*
Pedro.
Laurencio.
Ellas vienen
Si
disimula.
Pedro.
Laurencio.
Linda cara y
i
talle tiene.
745
Pedro.
Laurencio.
Asi
f uera el
alma
Agora
eonozco, hermosa senora,
de las orientales
750
mediodia
que hareys ?
Finea.
no piramides ni peros,
sino cosas probechosas.
Laurencio.
Esas
estrellas hermosas,
me
Finea.
os
?
traygan
ellas
arromadizado ansi
No
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.
como
lo
ordena Dios,
procura
para buen
fin se
si se
Laurcncio.
Quererme.
'^SO
paga?
No
se
yo como
se baga,
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,
entraran por
;
los vuestros.
No, seiior
arriedro baya
795
Laurcncio.
Son
que juntos
se
ban de encender,
el sosiego,
alma en
la posicion,
que
que con
este santo
yntento
170
ACTO FBI ME BO
porque
el
805
Finca.
i,
Pedro.
Con
Clara
810
Clara.
Pedro.
Clara.
se.
^,
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
En comenzando
enferma
Clara.
la
a querer,
voluntad
No me
la
mandes
tener,
825
Finea.
Laurencio.
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.
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
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
Mi
padre,
como
lo ves,
855
a hablar,
860
"
fuesse.
172
ACTO PEIMEEO
Yo como
tome
el
en
fin
no supiesse
*
^"'^'
mas, Clara,
este marido, o
si
todo
el
cuerpo no passa
de la pretina?
Que en
easa
875
ninguno
*Clara.
^Tienesle ay?
Finea.
Clara.
i
Vesle aqui.
Saca vn retrato
Finea.
Mas no passa
Clara.
del jubon.
880
Luego
i
este
no podra andar.
que tiene
. !
Ay,
los ojitos
Finea.
Clara.
i,
Si viene
a casarte?
Finea.
No ay
que
este
eassar
885
que
se
va de aqui
Clara.
que
mozo me muerde a
mi.
*
Otahio.
Por
la calle
Pues como no
llega
ya
Otabio.
Nise.
Aqui
Otabio.
Nise.
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
*
Cclia.
CcJia cut re
Aqui
905
Esta licencia
se
toma
910
Y
I
Agora
deeidme
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.
920
Otahio.
Liseo.
Abrazad vuestra
No
Liseo.
LA PA MA BOB A
Fiutd.
17-
A
que
si
fee,
fuera
sabado passado,
3^0
. . .
que hizimos,
y esa moza,
Calla, nezia.
vu menudo
Otahio.
Finca.
960
*
Cdia.
Otahio.
IJsco.
toalla, salha
v)ia caxa.
Corned.
El
porque con su
*
Finca. Turin.
Otahio.
que
Bcha.
Buen
requiebro.
I
[ajxirtc]
Que enfadosa
que estas oy
Finca.
Calla, si quieres.
Aun no
Esperad
Pues
os linpiare.
Otahio.
fctu le
linpias?
^,
Finca.
Liseo.
Que ynporta ?
[apartc]
me enamora.
es razon.
Otahio.
Que descanseys
Liseo.
Tarde
que en
el
tal
:
Otahio.
Aora bien
entrad vosotras,
980
Finca.
Nise.
Tu no
las
ves
bodas?
Pues
|,que
ynporta?
176
LA DA MA BOB A
si
I
111
ltl-'
y onzas?
Turin.
Eso
es engaiio
que vemos
que de necios
Liseo.
los
desonrran.
^020
Verdad
es
que Cioeron
De
la
misma
suerte consta
1*^25
vna
fenis sola.
Liseo.
y
lo
es consequenzia forzosa,
semejante se engendra.
la
Oy
palabra se ronpa,
if^o
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
y desapasiona.
que
Liseo.
el
pues su libertad
luego tenplaste
nonbra
1045
la
tuya.
Bien
el
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
1055
Turin.
gusto en
el
oro
lOtJO
que son
el
mui
Liseo.
dibersas.
Desde aqui
renunzio
Fin del
LA DAMA BOBA
179
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
tenplara su voluntad.
Laureneio.
]\Ienos lo esta
que
solia.
de ser
enzender
fria.
1*^"-'
Duardo.
180
ACTO SEGUNDO
Feniso.
No
se
dar alma a
Laurencio.
rudo pecho.
ha sido
1080
Amor,
seiiores,
es el dotor
que ha tenido
honbre mexor
cielo es hijo,
todo contenplazion.
1090*
que
es al
honbre natural,
admirarse,
y de admirarse nazio
el
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
honesto y graue.
Amor
que
la
republicas hizo
concordia nazio
1105
que
la
guerra desizo.
Amor
vistio la tierra
de frutos,
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
musica
la pintura
pues,
qiiien
1120
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
por dicha en
Diiardo.
el
cassamiento
Y
ynfamando amores
yo de aqui,
1130
locos,
Linda malieia
Estremada.
1135
Laurcncio.
Feniso.
Difieil cosa es saber.
Laurcncio.
Si
que sabe
Fcniso.
i
tiene Nise
Duardo.
Fcniso.
I
el
mal,
ha tenido atreuimiento
182
ACTO SEGUNDO
para hazerle estos agrabios,
de tal yngenio desprecios
?
Laurencio.
lU')
Duardo.
Feniso.
Y
se alegra
con razon
la mira.
quanto
Mucho
la historia
me
adraira.
[a Celia]
son,
1150
dinero.
Nise.
Nunca fundo
que busca
el
su balor
alma primero.
1155
Duardo.
que
el
se la dio,
le eclipso,
mientras
mal
estrellas
tiempo
la
corrio.
Mas como
sale
primavera
H65
el
Assi vos
el triste
sails,
trocando
tiempo, y senbrando
Ya
LA DAMA BOBA
y son perlas
las
183
que fueron
1180
Todo
se antieipa a veros.
Pues
si
11 ''S
donde no ay alma,
sefiora,
mas de
en mi
^
la
que
este
seiiales
venturoso dia,
Laurencio.
A
el
H^-J
que fue
aunque
sin
Yo
me days
1-05
os vi
solamente os
aunque
en que
la disculpa os
muestro,
1210
este
ACTO SEGUNDO
solo tenerle debia,
no
yo
Nise.
vos,
si,
me days
Laurencio.
es bien,
los
pues
lo
viuen
Nise.
Diuertios, por
mi
vida,
fiores
cortandome algunas
los dos,
la diferenzia os
Duardo.
Feniso.
es loco,
Duardo.
Feniso.
No
Ella
quiere.
Duardo.
Yo
hare
1230
Ya
se
ban ydo.
^Podre
yo,
parabien de tu salud?
Nise.
1235
mudable
pensamiento mudaste.
1240
LA DAMA BOBA
y
si
185
mi miierte pensaste,
1245
el
amor que
el
sabes,
miidando
Laurcncio.
Nise.
til
^,
tuyo en Finea.
Quedizes?
Pero bien hazes
eres pobre, tu discrete,
ella rica
y ygnorante;
1250
y
la
lo
Discrezion tienes, y en mi
no eouozen superior.
ynperio
?
1260
El oro que no
tenerle solicitaste
enamorando
Laurcncio.
Nise.
a Finea.
Escucha.
I i
Que he de escucharte ?
1265
Laurencio.
Quien
te
Yo
que
no hables
el cielo
luna esta en
1270
12"5
que has
visto.
186
ACTO SEGUNDO
Ya, Laurenzio, no
de que Nise, mi
desta
te espantes,
Celia.
seiiora,
manera
te trate.
Yo
Laurcncio.
se
requiebros.
l
Que me
lebantes,
(^elia, tales
testimonios
Celia.
Tu
que tiene
las llabes,
ama a Clara
I,
tiernamente.
?
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-^-^
me
parezes
"^
en
los suyos,
1300
Que
"De
el
i
Nise confieso
el talle,
mas no
es solo el esterior
los
que obliga a
que saben.
tendreys correspondenzia)
LA DAM A BOB A
l^ien dizeii,
187
quo a
los ainigos
priieba la caina
la carzel.
Yo enferme
de mis tristezas,
1315
la
sangre
que
me
diste diamantes.
:
Aora
Laurencio.
Nise.
bien
esto cesso.
Oye, aguarda.
l
Que
te
aguardt
se easse
mas
Laurencio.
1325
Senora
Esperaua tarde
dessenganos
;
mas ya
engaiie.
[apart e]
Suelta
Laurencio.
Liseo.
No
quiero.
I
Que
es esto
Nise.
me
dio
dama
ynorante,
Laut
Ruegalo
tu.
Liseo.
y rasga
Nise.
lo
que tu sabes.
Dexadme
los dos.
Laurencio.
188
LA DAMA BOBA
Finca.
Poi- i)oeo diera de ocicos
189
saltaiido
I
1370
Vn paso,
;
otro contrapaso,
.
Que locura
Que ynperfeta vn hernioso vasso
i
Maestro.
cossa, en
1375
poner
licor
la
naturaleza
Con que yo
que no
es
.
duda
[apart e]
1380
alma
. .
la belleza.
Fine a.
Maestro. Finca. Maestro.
Maestro
I,
Seiiora
mia ?
instrumento
vil,
aunque de mueha
Fine a.
Maestro.
Finea.
alegria.
138;:
afiziouada
al easeabel, os confiesso.
caballos esso.
lo
que
me
agrada,
mueha
rustiqueza
1390
es
en los pies.
Maestro.
Quiero seguirle
el
humor,
[apart e]
1395
Finea.
Maestro.
mueha
Finea.
gente.
Vn
vn
sastre,
pastelero,
y vn capatero
?
1400
190
AC TO SEGUNDO
Maestro.
No
sus
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.
1405
Maestro.
Finea.
No
Ni quiero andar en vn Ni yo enseiiar
las
pie,
hare.
Maestro.
que sueiian
1410
disparates atrevidos.
Finea.
No ynporta; que
i
los
maridos
Han
visto la mentecata
^Que
es mentecata, villano?
Maestro.
Seiiora, tened la
mano.
trata
1415
[,
Eso
es
Maestro.
Finea.
^Es
eso cierto?
Maestro.
Finea.
^Pues no?
Yo
os juro,
mundo que
es cortesia
El creher
adios,
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
nada
Laurenzio
te
me
agrada.
Clara.
^Como
podre decir
de decir dificultosa
1435
Clara.
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,
porque
los
andan
tras nosotras
que
su
si
asilla,
deben de andar
costilla,
a buscar
y no ay parar
costilla.
hasta topar su
Clara.
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
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
1470
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.
1480*
no
se
podran leer?
lee.
Toma y
Finea.
Clara.
Yo
la estopa
se poco.
Entre Otabio
Otahio.
Yo
pienso que
me
canso en enseiiarla,
14S5
*
porque
es querer labrar
aunque
esta
solia.
LA DAM A BOB A
Fi)U(i.
Finea.
Aqui
el
maestro de danzar
mas
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,
Otahio.
Pues
hija,
1500
Finca.
No
lo
hare mas.
Mas
^sabe leer?
Ofahio.
^.
Pues
esso
me preguntas?
lea.
Finca.
Otahio.
Tome por
I,
Este papel
Finea.
Oidbio.
Si,
padre.
Oye, Finea.
Lea ansi
Agradezco mucho
mosura.
Finea.
Otahio.
I,
la
esta
quemado
Finea.
lo
demas.
Quien
te le
1505
me
De
su ignoranzia
mi desdicha temo.
el
1510
ser discreta
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
La
y
la
1520
esta
no ay
lo
y mas, que
[apart e]
mui enojado.
,
No
Finea.
OS dexeys abrazar.
Entendeys, hija?
1525
Si, seiior
padre
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.
los
si les f alta
1535
Caso
estrailo
Van,
si
no me engaiio,
1540
Que
estranos desatinos
ij
Vayanse Otahio
Clara.
Turin
Pareze que
tu padre.
se
ha enojado
LA DAM A BOB A
Fin CO.
Clara.
^
195
^,
Por que
papel
?
le diste
el
Fine a.
Clara.
1545
voluntad de Laurenzio.
Finca.
Clara, no la diferenzio
con
el
dexar de
viuir.
Yo no
porque
el
desde que
si
1550
es
me ha
como,
si
llebado
le
estoy pensando,
bebo, estoy
la
mirando
del.
1555
en agua
ymagen
^No has
muestra
visto de que
el
manera
Pues
que
Clara.
el cristal
me
representa.
de tus mudanzas
me
admiro.
1565
Pareze que
en otra.
Finea.
Clara.
te
transformas
En
para aprender
otro diras.
conformas.
1570
Finea.
Con todo
esso sere
quebrar
Clara.
la
palabra y
fee.
Yo
el
hare
lo
mismo.
Finea.
No ynpidas
camino que llebauas.
396
ACTO SEGVNDO
^No
ves que
Clara.
1575
Finca.
1-580
Laurencio.
Liseo.
la
razon os diga.
Laurencio.
1585
el
pensamiento
1590
Laur
Antes de que
la
quiera no os espante
casamiento,
3595
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
Laurencio.
A
yo no puedo negar que no
la quise,
Nise
1600^
diez,
Y
Liseo.
Siendo esso
OS quite la esperanza
LA DAM A BOB A
que auiKine no
es la
197
ventura de
la fea,
que
Laurencio.
Liseo.
asi
Dios
me
la de,
la vi
que no
la qiiiero,
1^10
piles
i
desde que
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
Entrad con
esta rumfla,
* *
Liseo.
Aunque con
que yo soy
1620*
y eonprare mi gusto.
el
oro
Hazeys mui
el
bien,
16^5
me
sobre
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;
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
1640
198
ACTO SEGUNDO
Laurencio.
Y
lo
Lisseo,
Liseo.
Pues demonos
sino
las
manos
1645*
eomo
si
fueramos de Grecia,
el
adonde tanto
Laurencio
Liseo.
amistad
se precia.
Yo
Yo
*
Entre Otahio y Turin
estos?
Orestes.
Otabio.
I,
Son
Turin.
Otahio.
Ellos son.
I,
esto es
pendenzia
Turin.
Otahio.
Liseo.
1650
Otahio.
Liseo.
Como Laurenzio ha
tan grande amigo mio desde
el
sido
dia
cassa, o a la mia,
venimonos a ver
Otahio.
el
canpo
solos,
16.55
y me holgare de que bolbays eonmigo. Sera para los dos merzed notable.
Laurencio.
Otahio.
Vamos
aconpaiiaros y seruiros.
me
has enganado?
Turin.
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,
>/
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.
solia
e
1680
porque solo
mudado
Nise.
Finea.
a
[.
Quien
te enpeiio
Laurenzio?
Nise.
Amor.
Finea.
&A
Pues yo y
el le
fee?
1685
desenpeile,
le dio.
mismo amor me
Nise.
boba dichosa.
Finea.
No
que
si
creas
1690
Laurenzio desseas,
de Laurenzio te diuidas.
En mi
de
lo
que
se,
me ha
dicho a mi.
1695
Nise.
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
Por esso
Laurencio.
y no me passes por
1730
Finea.
[apart e]
Laurencio.
Dize
verdad
el
no
lo contradize
ti.
1735
Finea.
me
pusiste.
Laurencio.
Finea.
^.
Como,
en amor eonsiste?
1740
ojos.
Que me
si
yo
los
tengo en mis
Laurencio.
Finea.
Nomas:
^No
Laurencio.
Finea.
Pues linpia y quita los tuyos; que no han de estar en los mios.
;
1745
Laurencio.
Finea.
Que
graciosos desbarios!
Laurencio.
Finea.
Ya
^
te linpio
eon
el lienzo.
Quitastelos?
^
Laurencio.
Finea.
No loves?
1750
;
el
padre mio
dado.
[aparte]
brabamente
Laurencio.
se
ha enojado
me has
Mas ^que ay
otro desbario?
ACTO SEGUNDO
Finca.
Laurencio.
Finea.
quitar.
esto.
Siendo presto.
^No
Laurencio.
sabes desabrazar?
alee,
El brazo derecho
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
se cassa.
En
Laurencio.
el
y ya me ha desabrazado.
Tu
con harta
Nise.
Aqui no
bamos
los
1775
dos
al
jardin
Donde tu
quisieres bamos.
*
Finea.
le
lleba en fin.
Que
es esto
que me da pena
el 1
el.
1780
LA DAMA BOBA
No me hallo Mi padre es
sin Laiirenzio.
este
;
1785
silenzio,
eallad, lengna
ojos, liablad.
*
Ofabio.
Otabio entre
Finca.
Yo
que
lo
pensaiia
fuera saber de mi
Otdbio.
te obedezco.
?
Pues
I,
Finea.
Enojado
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
y agora lebanto, que bien me acuerdo, porque fuesse al rebes, el brazo yzquierdo.
Otabio.
estoy agora.
sabe,
lo
mas ygnora.
que no quiso
1805
Fini
se siente, se
quando
Otabio.
se
va con otro
lo
que
ama?
Finea.
Otahio.
Pues ^no y
lo ves
Finea.
mas desdichado
pienso,
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
Junto a
la fuente.
Con Laurenzio
Otahio.
se fue.
i
Cansada eosa
Aprenda normala
a hablar su prosa
Vayasc
Finea.
^.
Por quien en
el
mundo
? ?
^
passa
1825
esto
I
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
1835
me
ofrezco.
Finea.
i,
Laurencio.
Finea.
Laiirencio.
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
Yo
estoy celosa de
se lo
que ya
que son
celos,
;
ay
cielos
Qual
es
Desenamorarme
porque podre sosegarme,
quitando
1850
Laurencio.
Finca.
Pues
esso
me
Laurencio.
Finca.
le
quitara mexor.
1855
Vn
[.
Qual ?
Los que vienen aqui
remedio avudaran.
Laurencio.
al
*
Pedro.
Feniso.
Y
Seays
a
la ocasion
el
fuera de
si.
1860
Laurencio.
benidos
mas gallarda
ofrezer.
el
que
se
me pudo
los
pues de
dos
alma
1865
oyd
Duardo.
lo
En
que
segun por
te
ayres andas,
1870*
206
ACTO SEGUNDO
Niinca sales desta cassa.
Laiirencio.
Yo voy
para
con mi pensamiento,
1875
de alqiiimia.
gastas.
Pedro.
de pretender ynposibles.
Laurencio.
Calla, necio.
Pedro.
1880
que nunca
Laurencio.
a Finea.
Duardo.
Laurencio.
Hablaua,
Finea hermosa, a
para
Finea.
el
los tres,
18S5
Quitame presto
amor
mata.
1890
me
Finea.
^Eso no mas?
Pues tu misma
Seiiora
Yo
lo hare.
Laurencio.
*Finea.
Los Tres.
Finea.
Yo doy
de ser esposa y muger
de Laurenzio.
palabra
Duardo.
Laurencio.
^,
Cosa
estraiia
Los Tres.
Laurencio.
estas sana
1900
amor y de
los celos
te
daban.
LA
Finca.
Laiircncio.
DAM A BOB A
207
Dios te
lo pag[ii]e, Lanreiizio.
;
Venid
Pues
Si,
que tengo
Feniso.
(.coii
notario
alli.
1905
Finea
te eassas?
Laurencio.
Feniso.
Feniso.
^,
Nise bella
plata.
Laurencio.
Nisc.
Hablando
]\Iira, hija,
estaiia
con
el
1910
Otahio.
Nisc.
Otahio.
1915
duque de
Seso,
la enseiio a
conjugar
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.
[anarie
Nise.
Hame
contado Laurenzio
para ver
1965
y no me pareze mal.
*
Lisco.
I
Lisseo cntre
Que me
dizes
Sueiias o hablas
Palabra
me
dio Laurenzio
1970
ti.
te se
cansas
enbota
197
la
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
yo he mudado pensamiento.
Nise.
i
mi padre, y
mi hermana
Yd
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,
la engaiian.
me ha
visto ya.
[ajjartc]
1^95
gloria de
mi esperanza
*
Liseo.
N'isc dize
^,
Nise.
que no
Liseo.
I
lo
consiente
?
alma.
2000
Trayzion, Nise
Si en
mi vida
me mate vn rayo
Laurcncio.
del cielo.
2005
[a parte]
requiebra y regala.
Nise.
fuerza
me
engaiia
No
os bays,
Nise gallarda
los
2010
que despues de
fabores
quedara
Nise.
Liseo.
Dexadme
passar
[Entresc Nise]
I
Aqui
Laurcncio.
Liseo.
Agora
entre.
Luego
te hablaua,
ti
2015
aunque me
y te requebraua, miraua a mi
LA DAM A BOB A
Laurcncio.
211
No
tengas i)ena
el
las piedras
ablanda
2020
Yo
no podras,
no
la engafias,
2025
Si
mi remedio no
trazas,
Dexame
el
remedio, y calla
2030
;
mas
alta.
la
Dama
boba
212
ACTO TEECEEO
Liseo
Pedro
Laiirenzio
Turin
Misseno
Duardo
Fenisso
gelia
Otabio
Los Musicos
Ruhrica dc Lope de Vega
ACTO TERCERO
Finea sola
[Finea]
;
de niiestra naturaleza,
o accidente, o eleccion
2035
mudos,
2040
pnes
los ingenios
mas rudos
cpie viuia
No ha
dos messes
LA BAMA BOBA
a las bestias tan ygiial,
213
que auu
el
alma razional
"045
Con
y
la
el
animal seutia,
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,
pues
me
2060
me ven
A
de
pura ymaginazion
la
fuerza de vn desseo,
en
los palacios
me
veo
2065
de la diuina razon.
i
Tanto
la
eontenplazion
!
Ya puedes
dandome
a Laurenzio, amor,
enamorada enseiiarme.
Clara.
En
grande co[n]uersaeion
2075
estan de tu entendimiento.
Finea.
Clara.
Miseno
214
AC TO TEECERO
de como
lees,
;
eseriues
2080
amor
En
maestro.
2085
Finea.
Gran fuerza
catredatico diuino.
*
Miscno.
[Salgan]Miscno y Otaiiio
Yo
pienso que es
el
camino
de su remedio mexor.
Y ya,
Vos solamente
Duardo
2100
pudierades abonar.
Mozuelo me parezia
destos que se desbanezen,
a quien agora enloquezen
la
arroganzia y
la poesia.
No
2105
de academica endiosada
que a casa
l
los
ha trahido.
2110*
*
Quien
le
LA DA MA BOB A
ylai-. labi-ar
215
y eoser?
Aver
2115
y desta snerte
lehi
2120*
*
Camoes de Lisboa,
de Belen,
los Pastores
*
*
2125*
* * *
Obras de Herrera
el
el
diuino,
2130*
* *
;
Piearo de Aleman.
os canso,
Mas que
que
Miscno.
por mi vida
se los quise
quemar.
2135
en
Otahio.
i
el
parir y
el criar.
Miseno.
Es poeta
versos.
caballero;
:
no temays
Ofahio.
los
si
216
ACTO TERCEEO
vn don Quixote niuger
que de que reyr
al
mundo.
*
Liseo.
bella,
sagrado
2155
ella.
mi amor,
2160
su corto entendimiento
tal
ha llegado a
mudanza,
mi
loco pensamiento.
2165
fabor
mi amor
fieros
apele de tu desden.
Nise.
Lisseo, el
hazerme
te
2170
quando yo
Liseo.
hubiera amado.
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
2180
El amor no
es calidad,
LA DAM A BOB A
sino estrellas que conciertaii
las
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
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
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
Viene de
Viene de
Panama
el
en los hrazos
grig[u]iesco,
Panama
2250
^
Viene de Panama
^
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
^
Panama Panama
2265
220
ACTO TERCEBO
no da dinero, y da manos, Viene de Panama
2270
Viene de
es
Panama
Panama
es
Viene de Panama
Viene de
2275*
en criollo disfrazado.
Viene de
Panama
^De do
viene, de do viene?
Viene de
Panama
[IV]
2280
que solo
porque
es gifra
2285
van a huscarle a su
casa,
Sohre qual
le
ha de qucrer,
2290
2295*
punos
Que yo me
vareare
LA DAMA BOBA
sotaiiilla,
ij
221
liga de oro,
*
2300
*
Que
)j()
me
las
vareare
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
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.
Dad
que
Otahio.
OS satisfizo el agrauio.
este concierto
*
Hagamos
Finea.
Otahio.
Yo
^,
2325
*
Liseo.
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.
Lisco.
De nuebo quiero
mi eassamiento
;
tratar
2340
alia voy.
Turin.
Lisco.
'Turin.
casarse
se casso
por vengarse.
Porque
es gallarda Finea,
el
y porque
seso cobro,
se
pues de Nise no
yo
2350
Turin.
Lisco.
Que
*
lo
mires bien,
te ruego.
No ay mas;
a pedirla voy.
2355
[Vayase Lisseo]
eielo tus passos guie,
Turin.
El
Que enamore amor vn onbre como yo Amor desatina. Que vna ninfa de cozina,
j ! i
2360
LA
l)onga
DAM A BOB A
223
224:
ACTO TEBCEBO
del no saber al saber,
y con saber
Laurencio.
[Turin.]
le obligo.
Pnes
adios.
[vayase Turin]
i Que puedo hazer ? Lo que temi,
Laurencio.
i
Ay Pedro
2395
Como
la
ha
visto Lisseo
la aficion la discrezion.
tan discreta,
2400
ha puesto en
Pedro.
Y en
el
Cansole la boberia;
la discrezion le
animo.
*
Finea.
\
Entre Finea
Clara, Laurenzio,
me
dio
!
2405
Luego
mi padre dexe,
alma que
te
vee
2410
Todo
este
grande lugar
2415
mi amor, juntos y
Si buelbo el rostro
parejos,
veo
2420
tu
ymagen
;
si
a estotra parte,
tanbien
LA DAM A BOB A
que en quantos espejos luira
y su luz diuina
Laurencio.
espira.
jAyFinea!
llegara,
Dios pluguiera
a la
2430
Neeio
me tubo
seguro,
y sospechoso porque yo no
discrete,
te
queria
Que
libro esperaua yo
^,
2435
de tus manos?
En
que pleyto
ynformacion en derecho?
Ynocente
te queria,
2440^
marido,
al pecho.
Todas habeys
lo lo
que basta
menos,
2445
para eassada, a
dama en
la rexa,
coche, en el estrado,
2450
gobierno,
*
2455
porque
no
es
Mira
el
daiio que
me
;
vino
de transformarse tu ingenio,
pues va a pedirte,
ay de mi
226
ACTO TEECEBO
Ya dexa
a Nise,
tii
hermana
el se cassa,
i
yo soy muerto.
2460
Finca.
A
de
el
pura ymaginacion
prendas aprendi
24G5
2470
No
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
dame,
Finca.
seilora,
vn remedio.
El remedio
es facil.
i
Laurencio.
Finea.
Si,
Como ?
2480
ha transformado en
discreto,
Liseo
me
quiere bien,
como primero
le tube,
2485
me
Laurcncio.
Finca.
i
aborrezera Lisseo.
fingirte
Pues sabras
el
boba
mucho
tiempo,
saben andarle
Demas
desto, las
mugeres
naturaleza tenemos
tan pronta pai-a fingir,
LA
VAMA BOB A
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
2505
esperando
el
mayorazgo
Segun
pensaron
Es euidente arguiuento.
Pero yo vere
si
sabes
^^^^
mudanza de
Fined.
estreiuos tales.
Lanroicio.
Finea.
me voy
presto.
a esconder.
Ve
Laurcncio.
Sig[ujeme, Pedro.
2520
Pedro.
Leiurencio.
En muchos
peligros andas.
los siento.
* [Esconelcnse Laurencio
Liseo.
ij
Peelro]
Turin.
En En
fin
queda conzertado.
estaua del cielo
fin
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
No
lo creo
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,
[,
el cielo
Valgame
le
el cielo
/,
Que
es esto
Turin. Finea.
^Si
buelbe
el
:
mal'passado?
si
Pues decidme
tenemos
^adonde estan?
las viejas
^que
se
han echo
de tantos aiios?
Temo
que era locura su mal.
[a parte]
Finea.
2550
Lisco.
Seiiora,
mostrassedes.
LA DAM A BOB A
Finca.
Pues, senor,
229
2555
que
es
la
mayor
el
discrezion
al
acomodarse
tiempo.
Liseo.
Eso dixo
Pedro.
Liseo.
Fineet.
Y esto
No
;
2560
Qiiitado
me habeys
se
el
gusto.
mirad que
Liseo.
habra caydo.
2565
y quando
el
vengo
[a pa He]
cassamiento tratado,
2570
^Por mi
^.
dueiia,
maxadero?
que
Finea.
Liseo.
da
el
alma
Como
Que
es esso
Que
OS
doy
el
alma.
l
Finea.
Liseo.
I
es
alma ?
Finea.
LAseo.
del cuerpo.
Sefiora,
como
Finea.
puedo
que en
pesso
2580*
difinirla,
I
no pintarla.
la
el
No
es
alma
le
Liseo.
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
Liseo.
i,
Pues de quien ?
Turin.
De
nazen
effetos diuersos.
!
los discretos
2595
Liseo.
Ay
Turin
quiero
la
Buelbome
el
a Nise.
Mas
entendimiento,
2600
que toda
Seiiora,
voluntad.
pues mi desseo,
el
alma,
effeto,
Soy medrosa
de las almas, porque temo
2605
puede
La noche de
la
Turin
que
Liseo.
es la
peor guarnizion.
Laurencio.
Finea.
Puedo
salir?
/.Que te dize?
Laurencio.
Que ha
Si
sido
el
mexor remedio
2615
LA DAMA BOBA
bolbei'inc a boba,
231
aim
fliigida.
Y
los
I
pues fingida
lo siento,
C'onio viiien
Launnvio.
Pedro.
No
Pues
si
sintiendo.
2620
vn tontover pudiera
su eutendiinieuto en vn espejo,
si?
La razon de
estar contentos
2625
es aquella confianza
Fined
porque quiero
*
Nise.
2630
duda
se tienen
amor
Celia.
no
es posible
menos.
Yo
Nise.
Desde aqui
escuchemos.
2635
Laurencio.
misma, que
se j^guale
a lo que
mi amor dessea?
2640
porque en mi ymaginazion
tales los desseos son.
2645
Nise.
Celia.
Regalos deben de
ser,
232
ACTO TEBCEBO
2650
LA DAMA BOBA
y
es
aqiii viene bien
233
que Pedro
2680
Nisc.
Ya
i
aborrezco y desanio.
las
quexas medro
ynbenzion
vio yr
?
antieiparse a
Celia.
reiiir.
i,
el
Pedro,
quien
le
2685
tu,
estas la trayeion
con que
me
estas abrassando,
2690
medio
pez,
medio muger,
que
le
has de gozar?
2695
Finea.
i Tu me
ni sirena, ni
yo
fui
la
Nise.
Celia.
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
Tengola de tu trayeion,
pero no de perdonar.
I,
en quien
alma tenia?
solia,
Dame
Mucho
Finea.
el
alma que
2710
me
desalmas.
234
ACTO TEECEEO
almai'io debo de ser.
Que ya no
es
tiempo de bobos.
Dame
el
alma.
LA DAM A BOB A
y aunqiie en
piles tu
235
onor no
Por que?
Porque
que esta no
se
el
ha cansado
2745
aya cassado,
Otahio.
Nise.
*
Pedro.
Laurencio.
Celia.
Ynbenzion marauillosa.
2750
Ya Laurenzio
esta cassa,
viene aqui.
Otahio.
no pense
eriaua,
2755
quando a Nise
muger perfeta
muger prudente,
2760
sobra la discrezion.
No
y
quiero
mas
poessias,
los sonetos se
acabaron,
2765
dias.
las
musicas eesaron
Por
si
alia los
podreys dar,
*
2770
*
eligantes
discretos.
233
ACTO TEBCEHO
LA DAMA BOBA
*
Nisc.
Yai/asi
237
Otabio
el
;
que estoy
y desesperada.
y
Nisc-
*
Laurcncio.
y Celia
el los
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
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
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.
estan?
alii
Quieres tu que
me meta ?
Otahio.
gusto,
vea.
Finea.
en
el
desban sea
has mandado.
2865
Y aduierte
Otahio.
que
lo
Vna y
*
mil vezes.
Liseo.
Finea.
2870
Otahio.
Finea.
Otahio.
2875
Finea.
No yerra No me ha
sino quien
quien obedeze.
de ver hombre
mas
fuere.
ACTO TEBCEEO
Lisco.
LA DAM A BOB A
liasta
ma nana
a t'stas oras
lo pieuses,
te
porque de no
por
te cassar,
puertas de mi cassa
tienes,
2915
*
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
Si te dexas de cassar,
te
'
' i
Miren
siete
Lisco.
Yamos
que mi temor
de no
se resuelbe se cassar a bobas.
2025
Turin.
Que
se cassa
me
pareze
Buhrica
de.
Lope de Vega
*
Finea.
Clara.
Yenjansc,
ij
No
\
Finea.
Con
el
la
humildad que
.se
pone
2935
en
Finea.
desban
No
que
es
te
espantes;
242
ACTO TEECEBO
aunque Laurenzio perdone.
Clara.
sido
que en
lo
baxo
el
estan.
Clara.
En
que
desban viue
hombre
se tiene
que Platon.
Finea.
Hazele agrabio;
2945
En
en
el
desban
el
que anima
a grandezas su desprecio
el
2950
^Quleres que
te
diga yo
como
de
Clara.
si
es falta
natural
mismos?
i
Como no ?
.
Finea.
La
confianza secreta
el
2955
tanto
que,
me
Y
el
como
me
Clara.
En
En
y
el
con todos.
2970
En
el
LA DAM A BOB A
que creyeiulo a
(luieii la
243
yiKiuieta,
En
el
desban vn proeiado
2975
*
desban
que canta
2980
*
eomo
el
espejo enganado.
el
En
y
el
el
desban
En
y
el
*
2985
Finalmente
Finca.
Espera vn poco;
que viene mi padre aqui.
*
Miseno.
Otahio.
&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
Pidiome graciosamente
que con Nise
dixele que
le
2995
cassase
no pensase
eternamente,
en
tal cosa
Miseno.
Otahio.
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
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
Misciio.
Finea.
Graeia teneys.
No ha
Miseno.
Finea.
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,
ella estoy
con mi contraria
Miseno.
Ya
Determinaos.
Otahio.
1
Yo
por mi,
ella
?
3025
Ya que me
solo quiero
lo
parto de
ti,
que conozcas
LA
Nisc.
DAMA BOB A
245
3030
niio,
venganza gloriosa.
Nisse,
Liseo.
Ay
nunea
te
vieran
mis
que
ojos,
3040
mi
del
libertad salteaste,
Nunca mas
oro pudo
3045
3050
que a vezes
ya que
Turin.
me
voy.
Tienpla agora,
bella Nise, tus desdenes:
3055
*
que
Nise.
se
va amor por
la posta
*
el
mundo
3060
No ban muerto
tantas mugeres
246
ACTO TEECERO
Pues mira vn honbre que
i,
Turin.
llora.
3065
^Eres pantera?
^Eres duende?
feEres Circe?
I
^Eres onza?
j,Eres lechuza?
^Eres pandorga'
eres,
3070
No
rendida ?
LA DAM A BOB A
Celia.
247
248
AC TO TERCEEO
*
Saiga con
la
me
roba.
3120
Laurencio.
Detened
la espada,
Otabio
^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?
Toledo, verdad
dixe.
Alto
esta,
pero no ynporta
estaua
el
que mas
lo
Alcazar
3135
la
puente de Segobia,
no me mando esconder ?
es la
Pues suya
i
culpa toda.
Ya
Otabio.
Miscno.
Turin.
^Y
la
Clara socarrona
los
que llebaba
Clara.
gazapos?
seiiora.
3145^
Mandomelo mi
Miseno.
como
desatar.
?
3150
LA DAM A BOB A
Miscno.
tab 10.
si la
249
Desatar.
Seuor Feniso,
voluntad
es obra,
reciuid la voluntad,
que Finea
ha eassado,
315o
y Nise, en
que
Fcniso.
la
fin, se
eonforma
dicho
me ha
que
la adora.
paeieneia
que
el
preraio gozan
Lauren cio.
Otahio.
Liseo.
yo a Nise.
Otabio.
Yos tan
pues
le
bien.
3165
Laurcncio.
si ella
me da
i
memoria
que coma
3170
Pedro,
no
es bien
Finea. Turin.
Clara es tuya.
Y
donde a
y rien
los
yo,
naci
a los
3175
Nise.
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,
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
Vea
esta
comedia
el
secretario
vista,
me
la traiga.
En
Madrid, a 26 de otubre de 16
(rest illegible
La Dama hoha
se
podra representar,
se offreciere,
lo
mismo en
los cantares
y entremeses y bayles.
En
Madrid, a 27
de 8bre 1613.
pueda representar
esta
comedia con-
forme a
la censura.
En
Dama
hoha con
illegible).
LA DAMA BOBA
251
NOTES
ACTORS AND ACTRESSES
On
Spanish Stage
in the
Time
of
them
little
or nothing
is
known.
The
chief
famoso representantc
either
Rennert,
p.
Maria de Argiiello
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
(note 4).
lindas:
all
1.
editions
known
Lope un-
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
Colon
como
252
NOTES
se ve
The reference
is
to
Ohras
de Garcilasso de
1580)
.
(Sevilla,
Cf
also
sus anotaciones,
1, vol.
possadas:
{el
Noche toledana,
el
I,
xii:
Capitdn Acehedo y
despues
el
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.
we may
pre-
Yllescas:
The place
of this scene
Lope,
el
yarn! con
esta librea
a lo flandesco lucido,
In the play Entre hohos anda el juego by Francisco de Rojas Zorrilla, the second act opens in el meson de
Illescas.
la
under
Illescas:
"De
Key
Don
y
Alonso, cerca de los aiios de mil y ciento y setenta a la Santa Iglesia de Toledo, que segun parece
seis
LA DAMA BOBA
prospero sucesso de
Moros.
la
253
los
Oy
dia
Imagen de
la
Virgen, y
Madre de
Diccionario geogrdfico-estadistico-historico de
E span a,
p. la
421) says:
"En
las
el
santuario de
la
Caridad
es
se
venera
imagen de
una de
de 1600
para
el
la
fama de
grado
. . .
los
milagros de
los
imagen ha fijado en
; .
.
alto
la
devocion de
nuestros monarcas
Although
it
guindas:
cf.
feDonde dixo Marulo a mi Andrea? ^Fue en Madrid, o en Salamanca? No fue sino en dixo Ysabela cogiendo
"
,
,
hijo
Illescas
guindas
;
la
al
reaua mas,
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
mentiras:
many
fiction, in
3-4
NOTES
station
otherwise.
scenes.
17.
la cinta,
que
se corta igual
plata u oro.
toridades.
estampar su figura, y las letras de su nombre con Usase por devocion." Diccionario de Au-
el
Pele-
how
wont
Jiahcr
to
buy
these medidas:
"Despues de haber
alii
y
el
dan,
This
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:
pesadumbre a
devoto
Illescas,
meson de puro
me
de
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
eneomendado
al Seiior
y a su divina providencia,
sali
"Los
.... Dixeronse
que
las
postas
por
expuestas,
y preLos cosarios
ellas
los
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
rayo,
se percibe.
el
Lope
For
la
el
Ausente en
xiii.
"Pues pierdan,
que par
Celia, el pesar;
la pasta
en un coche
I, xi.
Cf
39.
(44)
as rime
common
inconsistency in
of
el
estomago
le
abraca
muy mal."
Covarruhias.
This
may
ay a quien
"Algunas mercaderias
;
venden
en sus caxas
de diacitron,
assi
dezimos
etc.'"'
Covarrubias.
me
dar,
"Giron.
Cajas de conserva
ricas,
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,
muy
the
entremes,
el
Covarrubias under
le,
leer
has:
y en y
la
escuelas
materia;
leccion,
lo
mismo,
diuiiias:
Lope:
is
el
I, xii.
"as
brittle as glass"
common
In
his
"Quiero
la
me han
venido a
memoria, que
me
tratando.
le
dixo estas:
' '
Es de vidrio
si se
muger
pero no se ha de prouar,
puede o no quebrar,
ser.
Y es
y no
lo
mas
es
f acil el
quebrarse
cordura ponerse
a peligro de romperse
Don
Quixote,
I,
LA DAM A BOB A
64. xaJca:
''
257
como cosa
yelo.
' '
elada,
de
Covarrubias.
.
.
."Yo
hacer
rica conserva
Lope
66. con clos
puntos en
el
read
My
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.
:
ele
palo:
"Hay
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,
...
La
y mas
lo
que
se
comia
al
medio
dia,
cosa,
assi se
quando ya
se
merecia." (Covarrubias)
106.
Es Madrid vna
talega de piezas:
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
oficio,
bandose
y en acay barajan, y
la
dan con
ellas
es
vida
en la sepultura.
Cada
dia,
Sancho
te vas ha-
discreto.
'
II,
12,
f.
41.
Bueno vengo
con
la
desta vez
;
mascara fingida
ajedrez.
un juego de
es
Oh como
mudable y vana
de ver,
Y echase en esto
puede
ser
negra maiiana."
los
Locos de Valencia,
II, xiv.
compare the
following passages
"Alejandro.
luego quiero
En
tendremos
el
todo
cuidado necessario.
Alejandro.
buena
estrella,
'
Lope
Also:
las
Florcs de
Don Juan,
III, vii.
las vistas,
y amor trace
al justo.
'
pues os viene
Lope:
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
first
Cf.
Guevara:
el
for
"garments
ISO. dasilisco:
the modern reader learns with interest and amusement that Lope and his contemporaries really
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
Pero
Mexia
proprias:
como
los
...
ojos,
el
basilisco
hard to
see
what the
would have done withThe dramatists bring him into the dialogue frequently. Compare, for example
poetic conceptistas of those days
Rey.
i,
ha sido?
miran.
:
I, vi.
modern
poetry.
An
in Spanish folklore
may
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 cauaPassagero
"
el
(Madrid, 1617)
filos
"Por
Dios, senor
nuestro amo,
replico
Sancho,
que
. . .
vuessa merced se
se
cosas.
^A
que diablos
?
pudre de
163r.
me
sirua de
mi hazienda
Don Quixote,
II, xlii,
f.
216-40. In
connection
men
were inclined
to
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
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
los rincones
Guzman de AJfarache,
"Puede un hombre
sola la virtud
Pero
;
la
mujer en
ellas
porque ni
eon ellas
al
re-
dar unas
LA DAMA BOBA
sopillas a los gatos de casa;
261
en
la jurisdiccion
''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
;
fiie
coracon" ...
es la
(p. 213).
"Su mas
la
perfeta her-
mosura
corporal
mas
serle
fermedad
al
se pierde.
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
El Passagcro,
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:
le
falta
Miseno: a
is
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
Avendailo"
;
la
ilustre
Fregona
edition)
salir,
"el no
salio, boluile
a esperar, boluio
no
f.
Don
17,
63r.
"Yo me
vn copo de
lana."
262
NOTES
Lope frequently
refers to the
la
279. Eliodoro:
In his
Juan
says:
"No
de Clariquea Heliodoro;
las de
Teagenes passan
pero
las
en
afios,
mias
en vna noche."
Cf. also
Ill,
f.
Lo que ha de
ser, I,
III, i, and his very mediocre novela: las Fortunas de Diana (near the beginning) la Dorotea, III, i. On
;
Heliodorus,
cf.
Schevill:
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
note.
285.
Es que no
con
hast a
el
se
da a entender
griego
el artificio
quinto libro:
in medias res.
We
and heroine
fifth
in Egypt,
the situa-
On
the artificio
printed at
H eliodoro,
griechische
zig,
Nise repeats.
An
excellent
is
Der
Roman und
seine Vorldufer
(ed. 2, Leip-
1900), by
Erwin Rohde.
Calderon, but
its
ill
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-
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:
"Pour
nature des
lettres, et
de la differente maniere de
prononcer toutes."
And
and consonants
las coles:
y paciencia
juizio, le
que
es
:
aquello
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
. . .
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
sa-
muger
muy
maravillado, y dixole
Muger,
es
persona aquella
:
Kespondio
ella
No
es sino el
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.
this,
or
any
360.
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
el
truhan o bufon:
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
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
el
Boho
el
Cf
In
also Tirso de
la Gitanilla
Molina
Por
Sotano y
Torno,
I, iv.
of Cervantes
te vean,
traza
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.
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
by inserting "ocupados en
ticas" which
405. pavio:
is
unwarranted.
I
have
Colorado y amarillo:
las diversas
nacionalidades de la Peninsula
en dos agrupaciones
Castilla
designadas con
los
nombres de tomaran
los
elementos principales.
Ahora bien:
campo
hablando
las partes
identicos colores, de
manera que
se ofrecia
rillo
ninguna de
combinacion del rojo y amau oro para continuar siendo los colores naciopor
la
. . .
misma
nales.
los
escudos respectivos, y
. . .
dominio de
la
Heraldica.
Los trajes
en
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.
la
pintura de
. . .
San Quintin de
Felipe
IV suprimio
jubon con faldetas y sombrero de fieltro a la walona. El jubon y gregiiescos eran amarillos y las medias calzas
rojas, segiin
el
general
Musso.
'
417. carretones:
lleua
"carreton,
sola bestia,
diminutiuo de carreta:
este
le
vna
si
es carreton, o carretoncillo
;
de
Covarrubias.
y ya yo
le
he visto tirar de
...
ei!
romadizo
la
que da
noche a Madrid:
"D. Juan.
Tello.
El tiplaco
D. Juan.
Lope
421. la callc
III,
f.
83v.
an entertaining passage on
"Leonor.
;
Calle
Mayor!
^.Tan grande es
Clara.
Mayor.
Leonor.
Clara.
Di pues.
Filipo es
el
rey mayor,
la
Mayor.
Luego ha sido justa ley la calle Mayor llamar a la mayor del lugar que aposenta al mayor rey.
Leonor.
LA DAMA BOBA
Entrc Rcdondo.
Rcdondo.
267
Ya que
tambien mi interpretaciou.
Clara.
Dila.
Uidondo.
La
porque en
del
calle
Mayor
mas pequeno
ha de callar al mayor
cuando ya
lo
han condenado
calle
I, x, xi.
Como
se
La Es
la
calle
de las Carretas.
;
orabligo de la corte
la Yitoria al
y
el
el
la calle
Mayor, cosecha
mitad
San Felipe a
la
Puerta de Guadalajara
arriba, de quien contara
lo
bolsillo haga,
;
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
this
famous
street
and
activities-
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
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
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
muy
Comence a
gritar,
muerto."
cap.
' '
i
Guzman de
sin dezir al
3.
Que
que passa
!
agua
derramen vn orinal
Gongora:
song (Act II)
el
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
f riega
esto es cada
porque todos
puerta."
Villano oi
SH Rincon, II,
Cervantes.
As regards
play compare:
de
la
"Una moza
el
noche, saco
servicio de sus
la
amos
a la calle,
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
hombre
:
el
muy
enojado, diciendo
bellaca fregona,
!
tierra de cris-
tianos
le
vacie yo a vuestra
Didlogos,
1,
cap. 4.
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
como
Ihid.,
puso toda
la
II, cap. 4.
"Abri(3 un mozo
la
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
: ;
Tirso de Molina:
los
Trcs maridos
hurlados, 2a burla.
meaning found
[el
in the play:
"jQue
si
estima-
ban
dijo
soldado]
muy
enojado
he estado yo
270
NOTES
seis
afios
. . .
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
El
El huesped
se
turbo
y como
suyo.
el
habian
dado camaras.
Aqui fue
el
que
se levanto el soldado
habia
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.
. .
.
y de otras cosas."
Diccionario de Autoridades.
427. los honhres
cl
tran says:
' '
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,
LA DAM A BOB A
There
tlie is
271
from
2,
pen of Qnevedo
'
I,
cap.
belas
ginning:
tiempo de
Carnestolendas
These passages
In Moreto:
el
Desden con
el
desden, II,
iii,
carnesto-
Mnsicos.
"Venid
los
galanes
que en Carnestolendas
amor
Lope
se disfraza.
he may, therefore,
mayordomo y
escudero.
el
Donado hahlador,
falta a
''
Tristan.
Pues ^que
Ventura.
Garceran?
Fvlgcncia.
Tristan.
Y
Por esa
^que mas?
Dinero.
Fulgencia.
Garcerdn.
faltilla sola
el
hay en
mundo
escuderos,
dueiias, pajes
Lope
el
Boho
salir
"Mando
Que
Pelayo
saldrian, respondieron,
272
NOTES
de buena gana los sastres
a pelear con los moros.
'
el
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
los godos,
y que su
pero
se
mundo
y bajar
a los altos
que aunque
sea,
aprender alguno,
si lo
es
con
raal,
no trabajan, o
haeen, es tan
oficial
que apenas se hallara un buen en toda Espaiia. " Luna, Lazarillo de Tormes,
cap.
7.
It
is
to identify this
Luna.
His
tale
am
inclined to
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:
and
Compendiosa para
la
aprender a
leer, escreuir,
pronunciar y hahlar
lengua
mortars."
The phrase
is
used of
bells:
"empinar
la
campana,
Pages:
Gran Diccionario de
la
Lengua Castellana
LA DAM A BOB A
273
"El clamor
hoticario
.
.
del que
.
muere empieza en
el
almirez del
la iglesia."
Alarcon:
I,
no vcnga,
437. Oziquimocho:
of
Zapaquilda,
fiiianto,
Marramaquiz, Maulero, Mieifuf, Bufalia, Garraf, GarMicilda, Zapiron, Tragapanzas, Golosillo, Lameplatos,
and
others.
441. hahJahan:
(-auan)
is
"
[las gatas]
la
maiillando en
silva 2.
tiple,
el
gatazo en
Gaiomaqnia,
443. gerigonza:
jargon, gibberish;
"vn
Lo mesmo
lengua
los rufianes,
los
Covarrubias.
dis-
can be replaced only by the equally unsatisfactory modern conclusion "of uncertain origin" (cf. Murray's
New
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,
" No
que
se
lo
sino al contrario,
vi (Cejador's edition,
Madrid, 1914),
la historia,
"Si
es largo
como
el
arrastrara por
suelo
Lope: Santiago
459. pias:
el
Verde, III,
vii.
"haca remendada
es
El
nombre
Covarrubias.
Compare French
pie,
and cheval
pie,
and
"Correr
el
medio de
arrancarle
pescuezo, y
como
Covarrubias.
The
reading of the manuscript was correr lanzas, which Lope corrected, writing gansos over lanzas. The printed
versions all have canas.
The
Cicero:
De
Divina-
ad M. Brutum,
I,
18,
speaks of her.
"^No
es
Mirad
la
lo
la libica
y la de Cumas,
de Arabia etc."
LA DAM A BOB A
275
Yelez de
also
III.
cit.,
Cf.
libro
"Que mugeres
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
culteranismo in poetry.
length in
well as in
to
show
there, as
these
phenomena
lan-
The peculiar
new
at the time
similarities in phrase
may
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,
possibilities.
mi amor que a
que a
la
la
virtud se tiene.
Cervantes
Cf.
Galatea
"El amor IV
edition
Schevill-Bonilla,
552. la:
is,
a Uni-
versity)
donde
ensenan
sciencias,
Leyes,
Medicina,
;
rrubias
27(5
NOTES
"Eso de
argiiir es
bueno
para escuelas."
Lope:
' ' i
la
Esclava de su galdn,
:
I,
i.
11,
Siluos y ceceos, Ay, guarda el perro y sosurro mejor que de auejones." Diego Ximenez de Enciso: Juan Latino,
near
beginning.
579. Plaion
is,
587.
La
claridad
es
a iodos
He makes
and
culto, cultured
culto:
"Aquel poeta
un campo; que
' '
eso es cultura,
la
aunque
ellos
ii.
'
Dorotea, IV,
la
nueva poesia,
p. 459.
593.
No
and
falls:
young
girl to rise, or to
touch
one of several
common
Cf.
devices, both
la Discreta
fall,
;
Lope:
cnamorada,
so that
el
I,
(Fenisa
lets
it
her handkerchief
Acero de Madrid,
ii:
LA DAM A BOB A
helps her to rise) scene
;
277
Tirso
tie
Dona Magdalcua.
{(ip.)
Un
favor,
le de.
{a p.)
El chapin
Mireno. (ap.)
[Cielos!
se
me
torcio.
mal
Vuexcelencia
Dona Magdalcna.
Mireno. (op.)
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
pechosa,
I, iv.
"No
se
si
alcanzandole a tocar
un poco de su
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
artistic
eomedia
propiamente dicha),
brief they
is
intrinsically
;
one of constant
may
be,
assume an
is
In
more appropriate on account the moments of pause and deliberation which occur
la
be found in
278
NOTES
samiento, de temeridad vestido.
' '
II,
i -jlos
Locos de
I, xiii;
Boho
del Colegio:
III, iii; el
"^Donde me
el
llevas,
pensamiento
loco?"
II,
iv;
la
tal
I,
venganza:
"Dejame, pensamiento; no mas, no" mas, memoria." I, i and many other plays. Even in prose fiction Lope
;
Cf. the
in
romance in
sueltas,
3,
Obras
V,
p.
Cobarde pensamiento,
pues todas tus promessas,
burlandose del alma
el
Similar
apostrophes to "pensamiento"
may
also
be
found
in other dramatists.
668.
[las
doce] que es
numero de
his
'
ijnteres:
chapter
in
'
Misceldnea,
is,
called
numero
doce.
It
like
absurdities,
but
contains
popular
is
interest.
Among
'
used, he
;
cites
Doce, los
el
f amosos
. . .
doce
el
meses tiene
reloj,
aiio;
.
dias a
un hombre hidalgo
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
. .
.;
Laureneio adds
(vs.
681-4)
LA DAM A BOB A
279
"En
las
doze
el ofizial
Zapata
also
"A
las
los dias
430 above.
planeta ayrado,
sestil,
693-700. Nisc
es
ora ynfortuuada,
found especially
"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
es
qual es aspecto de
ene-
migos y
Empero hazense
otro
quando
se
miran
de aspecto oposito,
.
y tambien, quando
de
la
"Didlogos de Amor,"
the
Nueva
XXI
Origencs
de la Novela
IV (Madrid,
1915).
"Si
la
Luna
tuuiere
'benignas
con Jupiter,
las
cosas
correran
y propicias."
Also
p. 543, par. 7.
Note also
falso,
me
traen
el
:
Lope
de Plata,
II, xxi.
280
NOTES
' '
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.:
Ever
Mncho
mucho
es
Quevedo's
letrilla:
Poderoso cahallero
es
is
don Dinero
well known,
especially in
Don
of poverty
izing,
and
riches
Guzman
de Alfaraehe, be-
ginning:
"Para
a
los
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.
a quien
Beltran.
Florencio.
Beltran.
Escuchame.
Di.
cuando
el
el
de a ocho
le
encajas
la
el
mano
al parrafo,
le
dando;
juez cuando
toca
la
LA
el
I)
AM A BOB A
281
prociirador no ha dado
el
plus
le
toea
que
euando saeas
de solo
doblon
cualquiera negoeiacion
el
dinero pende.
nunca
le
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.
la Nochc iohdana,
746. ;Asi fucra
el
I. vi.
alma!
his
Pedro
is
far
master,
and
preference
of
"Si
es
es
boba
la
hermosa,
de teiiido papel
flor,
y cerca no
porque
vale
nada
'
le f alta el olor.
I, v.
753. sails:
The word
in the
i
MS.
may
be an undotted
769. I Amor?
as elsewhere
now and
then.
Desseo
discussion
same
lines as here
I,
may
be found in
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
el
nombre
del
amor
es vniversal
se dize
.
solamente
:
'
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,
etc.,
of heathen myths,
as
Siglo de Oro.
un deseo de
Bonilla, op.
cit.,
Introduccion, p. 21
Fitzmaurice-Kelly
130
Pelayo
vol. 1
and especially the great work of Menendez y Historia de las ideas csteticas en Espana, II,
:
(Madrid, 1884),
p. lOSff.
"Lo que
I,
Dice,
Cirugia
Universal,
cap.
.y
37,
"Por
estos
van
los
Leon Hebreo,
en
el
op.
cit.,
p. 361, says:
primer dia de
al sol,
la creacion,
y en
el
aplicada
y a
la
luna y a las
estrellas.
arredro; cf
A more popular and antiquated form of "Comenzose a ofrecer a Sataiias, dejo caer
cata
la
vayas,
Satan,
I, iv.
cruz,"
y dijo Quevedo:
Arriedro
Vida del
Buscon,
LA DAMA BOBA
812.
I
283
Amor!
and
locura, furor:
Of the
my
book on Ovid
Cf. also
''ardet
Very apropos
Gaspar
[del
Gil
Polo says:
"Annque
nombrandole
a si
fviego,
mismos nombrandose,
ciegos, miseros,
la
Diana
namorada,
I.
819.
Renascence, op.
fas sotil al 823. vna dulcc
cit.,
p. 38; es
cf. Ovid and the Spanish Juan Ruiz says: "El amor
ome que
cnfermedad:
cit.,
scence, op.
p. 58fP.
826. sahafiones:
los pies
"enfermedad que
y manos y
si
suele dar
comunmente en
'
da en
el
Covarrubias.
"Si mi
sefior te
ha engaiiado,
me
perversos versos
un hora
tuviere tercianas,
me euren
por sabailones.
el
Lope:
liahlar, II,
ii.
284
NOTES
amor: one of the conceptos often
diuino.
It is
amor
found in similar
lYof
"Senor
que
le
pone,
res-
llamandole Pepitoria.
pondiole
:
Preguntole
op.
porque
la
pepitoria lleva
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,
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.
first
afterwards on a larger
canvas
"Pintor.
A
^
servirte vengo.
Comendador.
Pintor.
Traes
el
naipe y colores ?
me
retrata la de enmedio,
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.
Si se parece en el naipe,
Comendador.
No
mas con
sartas,
las
tanto;
mismas patenas,
camisa y sayuelo."
I,
xxii.
Ausente en
the letters
is
el
up
and pictures of
make her
Fingire que
rompi.
(aj).
a Esfehan.)
Estehan.
Carlos.
Buena
industria.
Amor me
Si a darte otra cosa
advierte.
Estehan.
vengo
No
hare.
Estehan.
Carlos.
mis
Naipes
Estehan.
si
Carlos.
Muestra.
Estehan.
Carlos.
(ff
Lastima parece.
Estotros puedes guardar.-Elisa,
Elisa)
hoy
te
dejo rota,
NOTES
Estihan.
{ap. a su amo.)
si flier a
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
Don
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.
for retratada
sciously to Liseo.
that
is,
men, and
women
244:9
received
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.
Llegad
las sillas.
Tu, querida
'
Elisa,
Lope:
Elisa,
it
el
Ausente en
is
el
will be
remembered,
the only
woman
present.
3Ie-
lindrcs de Belisei,
'
'
I, ii
and
la
Dorotea,
II, v.
Estaba
hecha
el rico
estrado,
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,
Lilian y
esel
Verdugo:
'
'
carmiento quinto."
Camila
le
estrado,
'
que en
Don Quixote,
Cf. also the
la silla,
assi le
I,
el.
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
. .
.,
Among
quatro almohadas de
eses-
trado."
Perez
p.
Pastor:
149.
Documentos
cervantinos
(Madrid, 1897),
means hoax,
trick, or deceitful
game, a mystifying
or ridiculous occurrence.
Compare
"Sotanitos de Madrid,
jerigonzas encubrid
Tirso de Molina
The
"hacia
el
Por
el
macho, de
le
manera que
coniprar,"
I,
querian
I,
Tcsoro: Silhantes,
word
of
Basque
origin.
LA DAMA BOBA
923. hahlaua en:
ct'.
289
"Iiablando en
el
"liabla en los
II,
i.
me preguntaua/'
Lazarillo de Tormes,
eastellava:
III.
histurica
ele
la
lenguei
"perteneee
al len-
guaje antiguo"
950. teinto
el
(p. 299).
jo,
jo se le
acomoda:
beasts to urge
them
' : '
on,
and
Quevedo
ninguna muger joya ninguna, so pena de quedarse con In Premdtica del tiempo, Ohras, el jo como bestia."
op.
cit., I,
p.
440;
cf.
III, p. 105:
"Llegamos a
con sus
ciudad
eirres
y mis joes."
"No
Tirso de Molina:
f.
la
Villana de Vallrcas,
I, xiii.
Don
Quixote.
II, cap.
10,
955.
Haraos mal
agua
sola.
cf.
is
above, verse
50".
In
la
Dorotea,
II,
a similar idea
sin
expressed:
"No
que
mal
comer
algo.
ha
me
envio mi con-
959. v)i
menudo: "se
cabeza."
Covarrubias.
290
NOTES
ever,
The
to
entrails
were
carefully
washed,
and
according
some
descriptions,
even
In Francisco Mar-
may
menudos de pauos,
f.
"Tomaras vn
el
pescueeo, y
mismos pauos,
o de aues, friendo
vn poco de
tozino,
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,
y con
luego
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,
y echa otras lonjas de tozino y aduierte, que para cada empanada son menester dos menudos
y
especias,
;
los
pescueeos
si
no luuiiere
buenos, y
si
do not recommend
it
weak stomachs.
la
:
In the Bibliotfca de
desa
la
Con-
de Pardo l^azan
Cociiia
rspunola
aniigua
LA
(Madrid,
recipe for
ealiente
s.
DAM A BOB A
P-
291
a.),
iin
Menudo a
"Lavense en agua
los
callos
nna mano
el
pimenton Colorado
cilantro, con
un migajon
ailadase
nn poco de caldo
y
is
del
mondongo;
sirvase
muy
ealiente."
The
is
naturally to be found in no
modern dictionary
as far as I
332ff.
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
gentilhombre de copa.
jOla!
984. Adios.
On
fool,
playing the
and not
as a greeting.
It is
manifestly
Compare
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
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-
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.
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
Ancient
1912), p.
so the
forms
may have
been intended,
tinguish.
and
a sentiment frequently
"non
The
and Schevill
p. 208.
in Spain, op.
cit.,
"
i
libertad preciosa,
al oro,
no comparada
ni al bien
mayor de
Compare
also:
"iO
libertad,
gran tesoro,
en grillos de oro
!
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:
Amor
VAmour
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
Juan Latino,
II,
f.
44r.
Aristotelcs:
Leon Hebreo
in his Dialogos,
cit.,
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.
men
the arts,
how
to live in communities, to
would
from
these
covers a
and the
like.
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
false notions of
is
naturally not
culto.
common
el
Saliendo
Donado
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
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
artificial dialogue.
Laurencio being a
young men are plainly cultos, trifle more metaphysical and dark
on Lope's art
de y liter esses en
no
file
las
honhres,
milagro mudarte:
Lope:
'
II, xvii.
LA DAMA BOBA
1297. Astrologo
295
me parezss;
suijos,
reparar en los
The
astrological imposter
is fre-
Compare:
un
astrologo,
grande liombre de
sacar por figiira los sucesos de las casas agenas, cnando quiza en la propia, mientras
el
su
muger formaba
l'"
llamaban padre."
hurlados:
Tirso de
este
burla.
mono no
se
es Astrologo, ni su
amo
judiciarias,
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,
Don
la
xxv,
f.
98v.
In Persilcs
cap. 13.
Doiia
{el
Castigo de la miseria)
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.
in the
manu-
1308.
[los
romances]
The
oldest
ballads,
and the
296
NOTES
. .
.
1311.
a los amigos
la
' : '
pnieha
has
cama y
cle
la carzel:
and Aleman,
Guzman
play
:
Alfarache,
calls la carcel
la
"prueba cle amigos." Compare Lope's Prueia de los amigos, first printed in 1873.
mudanzas
etc.:
Among
(panos), and
III,
Cf. la
Viuda valenciana,
Noche toledana,
I, xiii
Lope's plays.
women
I,
of refinement
De
cosario a
cosario,
I, V,
and Alarcon's:
to her
la
Vrrdad
sospecliosa,
admirer
presumir
mas que
los of recimientos.
(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-
medio de
cielo
convento
elevaba
alii
tambien
al
sus
Augustinos Recoletos,
LA DAM A BOB A
Asculi,
297
Mesonero
Roinaiios:
Antiguo Madrid,
op.
cit.,^
p. 226.
is
it
found in the
manuscript, as
it
may
come
at the
end of a scene or an
act),
were written
the
way
in
which
was
educating
' : '
bis
a dancing teacher.
He
si
says
Quanto
cantar, o baylar,
punto de su presencia!
lo
aun
es
sepan; que
si
ban de
a sus maridos, criar sus hijos y gobernar su casa. que si ban de ser monjas, aprendanlo en el monasterio
;
la
que por bonestas que scan, son de hombres y nuigeres Marcos dc sujetos al comun orden de naturaleza."
Ohregon, parte
la,
descanso 2.
que no
es
alma
la belleza:
in accordance with
lies in
beauty
the soul,
or spirit.
te
To
this,
i-efers.
"Tambien
las
el
cuerpo,
p. 422.
1382. trae
manana vn
es
Esse
instrumento
Of
this
instrument Covarrubias
fiestas
says:
y regozijos."
NOTES
'
i
Oh que
los
con
la
mozos de Barajas,
las sonajas
chacona a
el
villano al tamboril
'"
I, xii.
1385.
afizionada
al cascahel, os confiesso.
.
es
mucha
rustiqueza
el trahellos
en
los pies.
es
y regozijos
se
las
los
mueuen
al
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.
equivalent to aunque.
asa, 6 asilla
1449. asilla:
"Tomar
ocasion,
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
1468. aprendcr:
ant.
for prender;
se
562) cites:
"Luego
a arder la rua."
LA DAM A BOB A
1472. cahezadas:
299
the double
will
lies in
of cuhczala: a
sueTios,
"nod"
of the head
which accompanies
como
el
santo dc Paxarcs:
"El milagro
del
santo de
cit.,
Correas, op.
rales,
Quevedo, in his Prcmdticas y arancclcs geneObras, op. cit., I, p. 430, says: "Quitanse por
I take this to
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
los
del
idiomatic
phrases
(cf.
Becker
p.
and
Mora,
Spanish
of the
308), the
meaning
hypocrite.
Covarrubias.
men no
in the ease of
may
be seen on the
venga
el perfil
que rizan
los aladares
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.
is
very
common
in Lope's time
cf. note,
1508. de la academia de
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,
en Espaiia.
'
Pero
la
la
de su priuilegio.
Universal, op.
'
Plaza
cit.
On
these liter-
ary academies
cf.
1513.
el
Undo: "Dezir
af eminado.
' '
el
es llamarle
Covarrubias.
enflaquece oir
"Tambien
visita,
no OS da mucho contento
noble Ueno de viento,
el
un
que a nadie
sombrero quita
Lope
el
Boho
del Colegio,
I, iii.
LA DAMA BOBA
"Gerarda.
301
Preciome de honibre.''
la
Discrcta cncunorada.
I,
ii.
Viuda valenciana,
mancebo
I,
iv,
be-
lines,
"[No
There
Diego
is
new
may
hara
te
el cielo,
dulce esposa,
que
La Ventura de
Lope:
Cf.
also
Peribdnez y
el
el
Comcndador de Ocana,
I,
i.
Cervantes:
(Bonilla ed., Madrid, 1916), pp. 90, 91 and note 159. Ac-
Ventura de
it.
la fea,
On
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,
una en pos
appears to
:
Die. de aut.
As
a playing
term
it
mean
''a
302
>
NOTES
Desprecio extrano
"
. i
me
"Rodrigo.
Liseo.
Lope
si
la
Nina de Plata,
II, xxii.
de easar
eon
rnmfla de doblones?"
Lope:
is
Santiago
el
Verde,
II,
i.
"muchedumbre."
y dalde pique:
"Dar
pique:
En
el
juego de
:
los
Cientos es
under
dar.
281, col.
2.
game
of piquet,
"play the
mucho
el
"picarse,"
paciencia
Compare
"El que
Lope:
"No me
las
Flores de
Don Juan,
juego;
IT, vi.
Cervantes:
la
Guarda cuidadosa.
LA DA MA BOB A
303
"^A
Mai
solas estas
te
hablando?
ha tratado Leoiior,
el
porqiie
picado, senor
Alarcon
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.
Elisa.
Lope:
"...
si
Ausente en
el
Querria saber,
entendimiento
parecer
al exterior
que
si
me ha de despicar
que ha de ser
oirle
hablar."
i.
Lope:
1620. cartas tripuladas:
las
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
misma,
desrchar, descartar.
304
NOTES
el
amistad
;
sc prccia:
Friendships
Damon and
many
Pythias
And
there are
friend-
"En
teniase la amistad
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
Anacardo
para
facilitar
y habilitar
memoria."
Die. de aut.
"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.
For
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
Lisena.
^Que en Dejame
fin
pasar, desvia.
Belt ran.
Lisena.
Un
abrazo
me
has de dar.
por tn
celosia.
Celosia yo?
|Y que
Portugal.
tal?
De ebano de
la
Noche toledana,
II, vi.
por
los
ayres andas:
"Ir por
o
los ayres, es
andar
para
levantado
de
pensamiento,
liazer
los
diligencia
nigromancia, dizen ir de vn lugar a otro en i)oco espacio de tiempo. " Covarrubias, under ayre.
"Ortuno.
...
si se
descuida,
Comendador.
Ortuno.
Bueno, a
^.
fe
de caballero!
Pero
el
villanejo cuida?
los aires."
II, v.
Lope
"Yo
says Sancho Panza
Fuente Ovejuna,
los
ayres"
f.
Don
153r.
I,
y Sigismunda,
op.
cit.,
1017.
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
volume
Ana
for
NOTES
her
many
flirtations,
which she
treats her
numerous
She replies
in a spirited
way
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
Yo
casada
Ana
seruir el
mundo, y
is
Granada?"
is
Ana
will
marry the
negro
lad,
Juan.
and
their reform,
later of
D. Juan de Austria.
We
(gargajeanle todos)
and
excites
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,
Juan
is
thereafter en-
may
be per-
LA
In the second
at the university,
DAMA BOBA
act,
307
Juan
aspires to a professorship
it
and
with a
certain
He
Duke
with
for his
oposicion
may
off
be taken
but
the
vague
promises.
learn,
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
which
is
We
in
now have
In the third
suit for doiia
act,
strides in his
to the displeasure of
Dr. Carlobal
to his sister."
who did
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
donde
las letras
aprendi primero
premio que a
la
virtud
el cielo
ordena.
No me ha
Griego excelente,
en
fin,
308
NOTES
como
la la
le
antigua
noble Espana
If these
details
new
facts in
Juan's career.
brother
We
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
of the University of
is
made Doctor,
pronounced
Castillo,
who
relates various
fol-
".
un
dia naturaleza
Era Sabado,
se
y,
muy
triste
de no poder regalarlas,
naturaleza sabia,
a echar en ella
y comenco
en
fin,
toda
la gramatica,
la teologia,
las artes
;
que
salio
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
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
catcdratico,
doctor,
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,
(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
word of mouth.
the life of
One
is
him more
intimately to Lope,
spective patrons.
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
Don
Granada
and
Nicholas Antonio
may
He
says:
Jacet in Sanctae
Annae
quem
ipse in ea urbe
de Granada, y dona
deros.
Ana
MDLXXIII
and an November
article in el
Im-
19th,
which adds
Line 1927
:
filo
en mi:
Compare
the phrases:
"no
dejaran
de darse nadie."
Cervantes:
de la hampa, y de mi
darme
Act III
2036.
mouth
of a culfa like
Both words
In
above, on the
analysis,
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
eiiso-
berbecerse. "
'
Oh
la
secretaria cruel
de
la la
ninfa melindrosa,
se alcorza
que
y endiosa,
Lope
Spanish.
I
los
Melindres de Bclisa,
II, xxii.
Triumphos:
y canciones del
of the
Cf. Fitzmaurice-Kelly,
Madrid,
y Literatura castellana.
2111. Virgilio:
in
II, p. 70ff.
On
Virgil,
Schevill
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
On
Heliodorus
cf.
verse 279.
312
NOTES
Rimas de Lope de Vega: Of Lope's Rimas printed before
1613,
2119.
la
Hermosum
;
de
the
f.
las
f.
Rimas,
las
Rimas,
342.
This
until 1634.
cit., p.
On Lope
de Vega,
Fitzmaurice-Kelly, op.
436.
In
el
liahlar, I, x.
Lope mentions
/,
Viuda valenciana,
first
xv, to-
Cf
2121.
cl
Camoes de Lisloa:
famous Portuguese was
first
Luiz de
Camoes
(1524?- 1580)
poet,
Braga
(Camoes, epoca
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
as 1613 (the
Dama
hoha)
is
known
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
as a rime
word
LA
(i.e.,
DAM A BOB A
313
plays,
his statement.
On
Castro,
Fitzmaurice-Kelly, op.
cit.,
cit.,
Cejador, op.
212-4.
IV,
p. 184ff.
and
it is
where he
called "el
(cf.
Ohras completas de
p. 363.
La Barrera
of
menel
tioned by Cervantes
the playwright
Juan de Ochoa,
whom
Vencedor vencido;
Catalogue.
no. 3428 in
Paz y Melia's
afamous
(Cf. the
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
tioned
Ohras completas
cit., p.
of
Cervantes;
cit., p.
Fitzmaurice215ff.
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
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."
Parnaso, cap.
is
of
poet
"y que
la
puede mostrar
real magnificencia.
light,
But
this tells us
and writings of
others.
He was Ambassador
in
Paris and
Rome under
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
Duke
presumably
Madrid, 1623,
f.
181)
presente estaban en
Madrid."
Cf.
We
La Barrera
3.
Nueva
hiografiei
de Lope de Vegei,
On
A
f.
History of
63:
his Pkiza
iDiiversal
(jMadrid, 1615),
"En
LA
esta
DAM A BOB A
los
315
eonformidad descnbrieron
iiigenios
Fue
la
dos de lo principal, frecuentaban solaraente los versos aplicados a diferentes asuntos. Nacieron de las censuras,
fiscalias
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
los
Academicos).
Lope
D. cit., pp. 151, 176; Luis Fernandez-Guerra y Orbe: Juan Ruiz de Alarcon y Mendoza (Madrid, 1871), p.
529 (a
list
of academies)
;
a note on D.
cit.
Juan de
Galatea, op.
2127. Obras de
cially her
it
is
is possible that tliis Luque mentioned by her father Juan de Luque, "natural y abogado de la ciudad de
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
"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
muy acomodada
y un soneto en
para eonceptos
siete
leiiguas,
que no
me
And
again:
"Ansi
el
que
o eanciou, o
Another Luque
is
famosos hechos del principe Celidon de Iheria (Alcala, 1583) may also have appealed to the taste- of a romantic
,
La
Galatea, op.
cit.
Lope had
to use the
name
Juan de Arguijo:
(1564?-1623)
among
may
Kelly, op.
cit.,
p. 374,
and Cejador,
op.
cit.,
p. 141ff.
319
Cejador, op.
tells
cit.,
Ill,
136ff.
In as much as Octavio
infer that such poetry as
us that Nise's
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.
We
many
have no
of
them
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
Ill,
2131.
cl
Lope's
cl
Peregrino en su Patria,
(cf.
printed at
It is
Sevilla,
artificial
1604
Gallardo,
IV, no.
4212).
an
Moreover,
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
cit..
IV, p. 130ff
baxo del, donde se juntan los Consejeros de su Magestad a despachar los negocios de justicia y gobierno. " Covarrubias.
eleccion
According to culto
' '
poetry love
is
el
as such, "accidente"
is
No
digo yo que
Amor
[.
que
se
ha de hacer de
las mujeres,
318
NOTES
que ni vivir con
ellas ni sin ellas
"Pero
si
y con las de tus ojos naci y muero, ^como las vencere sin albedrio?"
Lope
"
.
Sonnet
68.
En
Don
el
Arias,
y su vida pronostique,
de la dureza que en
Lope
"El amor que
le
La Nina de
Plata, II,
viii.
le lie
he visto
es
de suerte, que
me
que no
puede alcanzar
la
I,
la
(/
DoCf.
cit.,
ii;
Qnicn ama no
II, f.
haga
cl
la
77v;
Cahallero de Olmedo,
cf.
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
formal dance, as
el
is
Desden con
desden,
II.
of
LA DAM A BOB A
Dixdaitzas dc
319
is
not nnconmion in
romances.
ginning
"En
el
cerro
es
airada
la
ventana etc."
the verses
"Que
y
la
en
el
villano de
Amor
los
que de veras
se
anian."
And
Abindarraez y
the verses
el
etc."
"Entre tanto
el
rey y
Muza
Compare
enredos
also such
stereotyped phrases
es
"todo
es
amor,"
''todo
engaiios
(or
industrias)
amor.
'
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
trencillo. trcn-
"no hay
que
se
irencelUn de diamantes
ni tiene la corte
un hombre
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
gnguiesco:
no
es
que
vinieron de Grecia
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.
'
also Covarrubias
cal-
con
Gallardo Espafwl,
Schevill-Bonilla ed.,
I
Amor wore
the grigui-
Lope
is
and
full-
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
was
when
first
The
latter style
Quevedo, Visita de
los cliistes,
enough
to
wear
as
"Muy
angosto,
muy
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
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.
"Cause novedad
porque
sienes
las
eomo
Pudo
se
dan
Y
uso
los
aunque curiosamente
hasta
vestidos,
havian mudado
el
en
el
traian
baqueros de
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
ra-
Don
f.
186v.
2253. qapatos
al
uso
la
nueho:
in
the
manuscript)
ella
"Lleuaua
espada sobre
ombro, y en
o
puesto vn
que
al
parecer deuian
greguescos,
y vna y
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
of this custom
suffered
attributed to the
cf.
Duke
of Lerma,
who
322
'
NOTES
It is difficult to describe
Spanish
In this par-
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
muy
ancha, y
8,
muy
2).
Adorra"
(fol.
col.
los turcos
de Argel,
20r.,
col.
1,
he says:
"Encima
deste jalaco
speaking of women:
"0
(lo
tan
muy
los pies;
si
paiio, o
gonila,
worn by
y otros goleyla" (fol. 27, col. 2). A garment the Moors in Spain, and adopted with slight
"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-
Cf. Dozy,
LA
op.
cif.,
DAM A BOB A
Both
g-anneiits
323
p.
350.
may
be found
in
number
of romances
moriscos,
in Lope's time.
Manana
de
"Su
con
un
dia,
en
en
el jinete
que de sangre
baiia,
tal aurora,
obliga tal
manana
may
be seen
in
the
romances
Y que en vez
te eches
de echarte
al
hombro
la
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,
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
(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
' : '
dia usa nuevos trajes, no bastando pragmaticas y provisiones para remediar tan numerables gustos, sacando
vistir,
no mas de
como
sidad,
le
paso por
la cabeza,
verdadero restaurador de
las galas,
ya perdida en
el
el
mundo.
frances,
flamenco,
el ingles, el
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
y diversas
cap.
6.
ij
iJiolos
largos:
narrow or simple
collar
col-
The small
was more
reign of Philip II
known
as marqucsotas
to
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,
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
LA DAM A BOB A
y
cl
325
cabello,
grandcs punos,
ciiello
azul,
pomposas
Passagero, Aliuio
p.
71.
gallants
la
frequently
wear puilos a
I,
veneciano:
ef.
Viuda valcnciana,
iv.
"fue un
aderezado
ealza
al
entera
espada
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.
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
De
que freqiientemente
decir equivocos."
cf.
Die. de a at.
For one
of these
"puns"
"Flora.
Lope:
Ana
se llama.
donde.
Marcelo.
Jugo
Conde, mi
;
seiior,
'
!
del vocablo.
Quien ama
Triste caso
no haga
retablo
fieros, 1, x.
y juegase
del vocablo."
III.
los
(^omendadores de Cordoba,
326
NOTES
the
name given
to a
Spaniard
re-
was used in Mexico according to the Die. de and was equivalent to our "greenhorn." Cf.
his master for being so easily
Que
'
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
eit.,
p. 138,
and
la
Dorotea, op.
que yo me
las
vareare
It is
much more
com-
olives.
Moreover,
a part of the
romance there
Dama
The surmise
el
is
justified that
great applause in
ween 1604 and 1618, presumably about 1612), the dance with its refrain was reintroduced in la Dama hoha.
2295.
el
Ampr
se
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
cf. also,
2a parte, libro
Luna: LazaII,
Anzuelo de Fenisa,
;
xvii;
"No
dira uno:
sino:
LA DAM A BOB A
diendo de
tal casta o
327
de
tal
parentela."
Torqueinada
la
cf.
on the
Jiga D.
ij
Juan
Sempere y
de las leyes
siintuarias de
II, p. 56,
has an
interesting statement:
por
los Italiauos
Fernandez
the changhahlaelor, II.
aiios,
de Avellaneda
Don
On
Donado
"aun con
tener yo
mas de cincuenta
poco
mas
porque unos
suela, de dos,
vi redondos,
otros puntiagudos,
y de
tres,
y corta
si
en
el
calzado es esto,
2253.
^,
que sera en
lo
demas?"
many
similar
compounds: matasiete,
Luna:
las
trompon) in Bihlioteca de
espauolas
I,
I,
p. 121, cited R.
p. 564.
;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
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.
casamientos.
fieros, III,
i.
Lope:
2409. auisare in the manuscript. 2440. una
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
is
com-
mon
2449.
el
in
Lope's time.
verse 907.
estrado:
c-f.
2454. no es sancto
como
el silcnzio:
buen
callar
Correas,
la
Historia
de
noUes
caualleros,
11a in vol.
XI
of the
Nueva
noles.
p. 416.
LA DAMA BOBA
2557. que
la
329
mayor
el
discrezion
Eso dixo
es
cs acorriodarse al
tiempo.
mayor saMo:
mas
is
is
found
in
Diego Gracian's
traduzidos
de
lengua
Griega en
Castellana.
Por
el
Ya
sido impressa.
Los
titulos
se con-
(Real escudo.)
Con
Priuilegio.
En
Salamanca.
En
I
Casa de Alexan-
dro de Canoua.
Aiio
MDXXI.
have before
me an
2572. duciia:
How
many
made
cit., I,
evident by
(cf.
la Visita
de
los
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,
"Vcrino.
FJoriano.
Se que
es
alma
the source
330
NOTES
logia
I,
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,
(p. 148).
The
is."
iNo
le
es
alma
la
que en
el
peso
Immortal
St.
spirits released
by
it
frequently depicted in
church paintings.
"In
winged and
sits
In each scale
naked
is
figure, representing a
human
;
soul
one of
these
thankfulness
in
he
is
the other
is
an attitude of horror
;
he
is
bate
and
com-
who
is
grasping
is
given to Pluto in
Sometimes St. Michael is thus represented singly sometimes very beautifully in Madonna pictures, as in
a
(1498),
where
St.
kneels
before the
soul
who
sits in
Madonna, and presents the to welcome the pious the uppermost scale.
who seems
have seen
St.
Michael stands
LA
of a
DAM A BOB A
331
human
is
on one side
seen a
company
naked
on the
is
shivering sonls, as
if
whom
scale.
pulling
down
the
ascending
Sacred
is
:
and
p. 113.
The origin
the
Bible,
of this conception
verses
of
as
Daniel V,
27
weighed
horse
in his
in the balances,
in Revelation, VI, 5:
;
"And
sat
in 1790.
op.
cit.,
Cf.
p.
Mesonero Romanos:
71ff.
el
Antiguo Madrid,
refers to the
I,
same painting
in los
iv
:
Pues no nos pongan
Y,
el
"Luardei.
coche;
no
es
nada
el
de
los pies,
junto
al
2603.
Soy medrosa
de tres que andan pintadas
la del ynfierno:
pucde ser
I,iv:
Finea 's
silly fears
remind one
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:
{la
Finea
is
afraid of ghosts.
Cf.
La Commemoracion de
' ;
'
los
dif untos
de noviembre
base
de
advertir,
que
aunque
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;
porque
de las
las apariciones
De-
p. 329.
dize?
On
parecef
As
in this
it is
changed
me
dizes?
It is
is
not
uncommon
al
in Lope.
"|,que te dice
II, xiii.
el
casamiento?"
"Tan bueno
(Es variable)."
2704. iTicnes cucnta de perdon'f
"Cuenta de perdon
es
una
el
cuenta a
modo de
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
pena."
el
Lope:
of purgatory.
Perihdnez y
xiii.
Comendador
dc
Ocaila, III,
'Svill take
Finea.
2768.
si OS
"you may
That
can
amongst the
el
gifts of a lover
Comendador de Ocana,
XV:
mi
casa.
damascos, terciopelos,
que vos no
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
334
NOTES
There
is
2825. niuquir:
See Quiiiones de
"A
Madrid,
nuevo
plato.
Pero
si
no
le
es
de sustancia
que
vieron
ir,
no
2829. ynposihle:
le
"A
fine
of ap-
preciating
my position (my
Dice, de out.
trato
liv-
comun." ing up to
Compare, for
"Fuera en tanta amistad termino injusto no ser don Luis como le aueis pintado."
Lope:
2976. es vn
la
1, f.
73r.
cayman: a shrewd, dangerous rascal; it is evident from Covarrubias that the caiman or alligator had a
:
bad reputation
el
"vn
de Indias, y se come
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
have
LA DAM A BOB A
given
la
335
''Dexome
la
tiempo de
la
el
ciue
viene de Muleijes:
:
Alcala
don.
Voeahulario Espanol-ArdMgo
it
equivalent to
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.
amor por
la
posta
"Love
is
3058-60.
las
lagrimas solas
el
mundo
are to be
How women
won by
fea-
cf
al.
Ovid and
91 rt
"Y
el
versos,
que no
se
se
mueva,
ya puede, Hipolita
haber
el
bella,
tuyo tocado."
:
Lope
II, xx.
333
NOTES
Perhaps Turin meant
to say Pandora,
for,
he
"no
:
In addition to the
aid. also
meaning
gives
of
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.
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,
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
2, p.
3.
825.
a compli-
the inventor
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
clocks,
Charles V.
The
artificio
is
described at length by
cit., I, p.
194;
I,
it is
cap.
8,
by Cervantes
en
la
in la ilustrc
porary writers.
Cf
also D. Sisto
Kamon Parro
Toledo
II, p. 660ff.
made
y Hen a los que mueren: refers to the Trausi, whose customs are thus described by Herodotus: "Llevo dicho
de autemano que
modo de
Los Trausos,
nacimiento y en
la
muerte de
los
suyos
porque
al
los parientes
alrededor del
tando
los
le
esperan en
las
el
diseurso de
raise-
la vida,
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
en
la
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.
compaiiia de Jesus),
iv,
libro quinto,
p.
7.
338
NOTES
Two volumes
Madrid, 1846
;
(in one)
of this
On Herodotus
W. Maean,
M. A.
Map
(London, 1895),
p. 155.
all
married,
is
men who
device
is
The same
el
not
la
uncommon
the end of
Verde.
INDEX
a
(mechanical omission of), 261,
276, 304.
estrado
(sillas,
almohadas), 287,
a^a
ardiente, 270.
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
anacardina, 304. andar por los aires, 305. aprender (prender), 298.
Bourgeois Gentilhomme
celosia, 304.
(le),
263.
Cervantes, 312. Ciceron (hijo de), 292. conceptismo, 275, 276. cuadrado, 279.
cuello, 324.
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,
260.
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.
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