Buchanan 
 
 The Chronology of Lope de 
 Vega's Plays
 
 THE LIBRARY 
 
 OF 
 
 THE UNIVERSITY 
 
 OF CALIFORNIA 
 
 LOS ANGELES
 
 UNIVERSITY OF TORONTO 
 STUDIES 
 
 PHILOLOGICAL SERIES 
 
 No 6: THE CHRONOLOGY OF LOPE DE VEGAS PLAYS, 
 by Milton A. Buchanan 
 
 THE UNIVERSITY LIBRARY: PUBLISHED BY 
 THE LIBRARIAN, 1022
 
 Wntver0it\> of Toronto Stu&ies 
 
 COMMITTEE OF MANAGEMENT 
 
 Chairman: Sir Robert Alexander Falconer, LL.D., K.C.M.G. 
 
 President of the University 
 
 Professor W. J. Alexander, Ph.D. 
 
 Professor J. J. Mackenzie, B.A., M.B. 
 
 Professor J. P. McMurrich, Ph.D. 
 
 Brig.-Gen. C. H. Mitchell, B.A.Sc, C.B., CM. G., D.S.O. 
 
 Professor G. H. Needler, Ph.D. 
 
 Professor George M. Wrong, M.A. 
 
 General Editor: H. H. Langton, M.A. 
 
 Librarian of the University
 
 
 
 THE CHRONOLOGY OF LOPE DE VEGA'S PLAYS 
 
 BY 
 
 Milton A. Buchanan*, Ph.D. 
 
 PROFESSOR OF ITALIAN AND SPANISH IN THE UNIVERSITY OF TORONTO 
 
 , ... CALltfOKKJ 
 AT 
 LOS ANGELES 
 LIBRARY 
 
 -< i r* c 
 
 •
 
 THE CHRONOLOGY OF LOPE DE VEGA'S PLAYS* 
 
 
 In the study of the development of Spanish dramatic art we 
 are confronted at the outset with a difficulty that does not exist 
 to a similar extent in the dramatic literature of any other country, 
 $ namely, the extraordinary productivity of the creator of the come- 
 dia, Lope de Vega. No less than four hundred and twenty-six 
 of his plays are extant. Several hundred more are known at least 
 by title. The difficulty has never been met satisfactorily, and so 
 we are to-day, after a century or more of considerable effort on 
 the part of historians of the Spanish drama, and of Lope's plays 
 in particular, without adequate knowledge of the exact origins 
 
 * and development of his art, or of his relations to his predecessors, 
 contemporaries, and imitators. Even the most recent studies 
 devoted to the drama of the period in question flounder badly 
 
 y whenever there arises a question of the genesis and development 
 ^ N of this or that important phase of the comedia, as, for example, 
 versification, or a character like the gracioso. 
 
 Lope was the most original playwright in the formative period 
 
 of the comedia. Originality and versatility are indeed the char- 
 
 « I acteristics of his talent that have given him universal fame. A 
 
 X ' • study of his works shows that he was continually experimenting, 
 
 and all attempts to beg the question of his artistic development by 
 
 grouping his plays, as Mencndez y Pelayo and others have done, 
 
 according to subjects — pastoral, Carolingian, chronicle, and so 
 
 forth—but evade the issue and lead nowhere. It might be taken 
 
 < for granted that a genius like Lope, who wrote plays for at least 
 
 f fifty-five years (sixty-two by his own count) and who, we know, 
 
 * invented many characteristic elements, such as, for example, the 
 all-important use of the romance, or narrative metre, and a charai ter 
 like the gracioso, to mention only two fundamental changes which 
 he introduced, would be interested in developing the comedia, and 
 
 'Read before the Romance Club of the University of Toronto. 
 
 3
 
 1 Buchanan: Chronology of Lope de Vega's Plays 
 
 make it conform to changed ideas in himself and his audience. 
 Even unconsciously an evolution in his art and his style must 
 haw taken place as his taste fluctuated. We know how Shake- 
 speare, who wrote over a much shorter period, made his blank 
 verse more flexible by gradually substituting run-on for end-stop 
 lines, and we need not consider here other changes in Shakespeare's 
 art which are equally apparent but cannot be indicated so briefly. 
 
 There may be higher studies than the consideration of the 
 chronological development of a writer's art, but chronological 
 evolution may be taken to be the basis of them all. In the case of 
 a prolific writer like Lope, no sustained effort has yet been made 
 to determine the chronological order of his dramatic production. 
 In Menendez y Pelayo's introductions to Lope's plays, we find 
 only vague indications like late and early plays, but to Menendez 
 y Pelayo any play written by 1600 was early, and by that time 
 Lope had been writing for at least twenty years and had produced 
 several hundred plays. What Menendez y Pelayo meant exactly 
 by a late play, it would be difficult to determine, but it was probably 
 one written between 1625 and the date of the dramatist's death, 
 1635. After all, Menendez y Pelayo trusted to an instinctive 
 feeling in the matter, and excellent as this undoubtedly was, it 
 was unscientific and not unerring. Menendez y Pelayo rightly 
 showed much concern for the date of the play he had under con- 
 sideration, and if he felt that the work was an early production, 
 his criticism revealed the leniency that is at all times shown toward 
 juvenilia. The following comments — the first on the date of Los 
 Vargas de Castilla, and the second on El primer Fajardo — are 
 typical: "Por el titulo, parece composition de la juventud de 
 Lope" (born in 1562) "escrita probablemente en Sevilla" (i.e. in 
 1601 or later) : "es esta pieza anterior al ano 1604, fecha que parece 
 bien confirmada por el desorden de la traza, la viciosa contextura 
 de la fabula y el desalino del estilo, que son notas caracteristicas de la 
 primera" (the italics are mine) "y mas ruda manera de Lope, sobre 
 todo en sus piezas historicas y novelescas". In partial extenua- 
 tion of Menendez y Pelayo's vagueness it may be observed that 
 Lope himself had flexible notions about his youth. He averred 
 that La Mocedad de Rolddn was composed in his mocedad, but was 
 in fact written after 1596, when he was almost thirty-five.
 
 Buchanan: Chronology of Lope de Vega's Plays 5 
 
 More trustworthy than subjective opinion would be some 
 objective method whereby the dates of Lope's plays could be 
 determined within, let us say, five or ten years. When this much 
 has been achieved, means will probably be discovered to define the 
 chronology' more accurately. Then we shall at last be able to 
 study the development of his craftsmanship. 
 
 To recapitulate and particularize, a chronological arrangement 
 of his plays would make possible studies on his relations to supposed 
 predecessors like Juan de la Cueva, whose dated plays belong to 
 the years 1579-1581, to Cervantes, a rival in the early eighties; 
 to the Yalencian group of playwrights, Aguilar, Tarrega, Mercader, 
 Virues; Lope's school, Tirso, Mira de Amescua, Guillen de Castro, 
 Yc'lez de Guevara, Alarcon, Calderon, Moreto, and others who 
 accepted the comedia as perfected by the master; the development 
 of his technique; certain characters and themes (honour plays, for 
 example) ; versification and many other problems. 
 
 Slightly more than one hundred of his plays can be dated. 
 Not a few autographs with indications of the exact date of com- 
 position exist. Only one of these is considered a forgery — El 
 Principe perfecto. Other plays contain allusions to contemporary 
 events, which give at least approximate dates. Sometimes we 
 have information about the actors who first produced his plays. 
 Lope himself occasionally vouchsafed information on the date of 
 composition. This is at times untrustworthy. An instance has 
 been noticed in the case of La Mocedad de Rolddn. Another ex- 
 ample is El verdadero Amantc, published in 1020, but written accord- 
 ing to the author when he was twelve years of age, that is, in 1574. 
 Lope was, no doubt, a precocious child, and may have composed 
 play- at thai tender age, but certainly not the play in question, 
 because before 1580 plays were not written in three acts (with one 
 
 eption, unknown to Lope and his contemporaries) but in four, 
 as he <tv correctly in his Arte nuevo de hacer corned 7 
 
 " Y yo las escrivl de once y doce aiios 
 De a cuatro actos y de a cuatro pliegos". 
 Moreover the play in question has some romance verse which he 
 himself lu-t introduced into the comedia, but not until about 1585, 
 when he was no longer twelve years of age, but twenty-thi 
 It has been d thai on publishing this play Lopere-wrote
 
 6 Buchanan: Chronology of Lope de Vega's Plans 
 
 it. reducing the arts from lour to three, and making other changes. 
 He makes no reference to any alterations, and, to anticipate con- 
 clusions reached in the present investigation, the verse is such as 
 Dope used in the late eighties. In other words, when Lope dedi- 
 cated the play to his son Carlos in 1020, he was right in thinking 
 thai it was a very old production, one of the very oldest in fact 
 that he ever published himself, but it was not so old as he imagined. 
 
 Frequently, following the practice of pastoral literature, Lope 
 introduced himself into his plays as Belardo. Very useful for our 
 purpose are the plays in which Bclisa or Lucinda appear. Belisa 
 is an anagram of Isabel (de Urbina), the dramatist's wife between 
 1588 and 1595. Belardo-Belisa plays belong approximately to 
 those years, as the Belardo-Lucinda (Micaela de Lujan) comedias 
 do to 1599-1G08. Other plays reflect a personal acquaintance with 
 Valencia, Toledo, Alba, Seville, Granada, and the dates of his 
 visits to these places are known. 
 
 Spanish plays, more especially in the speeches of the gracioso, 
 contain references, satirical or otherwise, to contemporary events, 
 political or literary, and customs. In this they sometimes served 
 the same purpose as the relaciones or new r s-sheets of the times, as, 
 for instance, when Lope in El Argel fingido, 1599, described at 
 great length, and as an eye-witness, the marriage at Valencia of 
 Philip III and Marguerite of Austria. Many plays can be dated 
 by allusions to gongorismo, which began about 1609(?). References 
 to sumptuary laws regulating the use of carriages and other luxuries 
 are helpful. The presence or absence of the gracioso may be an 
 indication of the date of a play. Lope declared that he first 
 introduced this character in La Frances-ilia. Some years ago, on 
 internal evidence, I determined the date of this play as 1598. But 
 there are plays written as early as 1594, for example, El Maestro 
 de danzar, that contain the character. The gracioso soon became 
 very popular, but in the older period he was not introduced into 
 every play, and so his absence is not an infallible indication that 
 the play was composed before 1598 or 1594. Chorley used this 
 evidence to excess, but we are more cautious now in accepting it 
 as conclusive. 
 
 Very useful are the lists of plays given by Lope in El Peregrino 
 en sit pair in, published in 1604 but licensed in the preceding year,
 
 Buchanan: Chronology of Lope de Vega's Plays 7 
 
 and the revised list published in 1618. These are P. and P.- of 
 Lope bibliography. The dramatist failed, however, to make his 
 lists complete. Sometimes the titles differ from those borne by 
 plays as we know them. Bibliographers take Los Comendadores, 
 mentioned in P. to be the same play as Los Comendadores de 
 Cordoba, published in 1609, in a volume all the plays of which are, 
 it is true, cited in P. A play bearing the short title was acted 
 in 1593. If this is the same work we have here the earliest known 
 comedia with a fully developed gracioso, and incidentally the 
 oldest play showing the presence of decimas, a stanza that does 
 not appear regularly until about 1610, although it occurs in El 
 Argel fingido, written in 1599. Restori thought that Los Comen- 
 dadores de Cordoba refers to Elena Osorio and was, therefore, 
 composed before 1587 when that actress sued Lope for libel. The 
 presence of the gracioso, the use of decimas, and other features 
 (the absence of octaves and tercets, although on the other hand 
 the number of romance lines is characteristic of the times) make it 
 difficult to decide absolutely whether Los Comendadores and Los 
 Comendadores de Cordoba are one and the same play. 
 
 The dates of the editions of Lope's plays provide some material, 
 but generally speaking they give only approximate information 
 about the date of composition. The first volume of his dramatic 
 works was not published until 1604. 
 
 Such, then, are some of the methods used hitherto to date 
 Lope's comedias. Bearing in mind that a poet's art suffers a 
 gradual change, consciously or unconsciously, is there any method 
 whereby we can use information gathered from a study of his 
 dated works 1 to determine the stages in his evolution, and thereby 
 get some criteria that will help in fixing the chronology of undated 
 plays? One thinks, first of all, of the changes in his dramatic art, 
 the number and character of his dramatis personae, the beginnings 
 r.i" the action, its development and conclusion, the subject matter 
 of hi pastoral, historical, honour, cloak and sword plays — 
 
 and so on. Much could be learned from a study of these aspects 
 
 I i • pre ■ hi in- 1 ligator is aware of the arbitrariness of this limitation, 
 in that a phenomenon found in a dated play maj oi i ur earlier in a published play 
 whose date, because it cannol be denned more closely, lias, therefore, been 
 excluded from the schedul
 
 Buchanan: Chronology oi Lope de Vega's Plays 
 
 of his work, lun the material collected would be difficult to handle 
 in a prolific dramatist like Lope. Another method that suggests 
 itself is a study of his vehicle of expression, in other words, his 
 versification, and this is the one adopted in the present investiga- 
 tion. It has its obvious difficulties, too, because plays were not 
 intended for the printed page, and were published carelessly, often 
 with the changes, additions, and deletions of censors, actors, and 
 others. Surreptitious editions were based on material memorized 
 in the theatre by men like "Gran Memoria," who sold their garbled 
 versions to booksellers and printers. All dramatists complained 
 of the way their works were published. Some plays underwent 
 such extensive changes that their authors could not recognize 
 them. Moreover, in the compilation of statistics of versification 
 some very difficult problems arise, as, for instance, the distinction 
 between pairs of guintillas and decimas. The decima, or more 
 correctly the espiuela, was invented by Espinel, a contemporary 
 and friend of Lope. It ought to rime as follows, abba:accddc. 
 The pause at the end of the fourth line is frequently disregarded. 
 There exists a kind of guintilla riming in pairs- with fixed rime 
 scheme very similar to that of the decima, a common type being 
 ababaceddc. Examples will be found in such early plays as El 
 verdadero Amante (the opening lines) and El Ganso de Oro (ed. 
 Acad., N.S., 1, 153). In Menendez y Pclayo's edition they are 
 usually printed as quint Mas, but sometimes as decimas. The 
 
 2 This was called a copla real. Espinel's contribution consisted in fixing the 
 rime scheme, and in avoiding a pause at the end of the fifth line. In his dedica- 
 tion of El Caballero de Illescas {Parte catorce de Comedias . . ., 1620), Lope says 
 that Spain owes much to Espinel, "particularmente las decimas, que si bien se 
 hallan algunas en los antiguos, no de aquel niimero, como en Juan de Mena las 
 que comiencan Muy mds clara que la Luna. Composicion suave, elegante y 
 dificil, y que ahora en las Comedias luze notablemente, con tal dulzura y gravedad 
 que no reconoce ventaja a las canciones extrangeras. Verdad es que en la 
 lengua Francesa las he leido escritas por el senor Malherbe, en las obras de diversos 
 poetas: pero por el aiio de su impresion consta que pudo imitarlas si bien se 
 diferencian en la cadencia del verso quinto." It is curious to note that in El 
 Laurel de Apolo, Lope again laid special stress on the fifth line: "Que bien el 
 consonante responde al verso quinto." What Lope has to say about the espinela 
 is of unusual interest because of his intimate relations with Espinel. In fact the 
 latter states in the prologue of his Vida del Escudero Marcos de Obregon (1618) 
 that Lope in his youth submit ted his verse to him for criticism.
 
 Buchanan: Chronology of Lope de Vega's Plays 9 
 
 matter is more important than it may at first seem, because the 
 quintilla (in either form) is a stanza that fell into disuse, whereas 
 the decima of the espinela type was not employed in the early 
 plays, but gradually increased in popularity. For the present 
 statistics the decima is taken to be a stanza riming abbaaccddc , 
 and the occurrence of quintillas in pairs is disregarded, reluctantly, 
 because they seem to be characteristic of the oldest period and 
 useful, therefore, in dating plays. Whether the intermingling of 
 stanzas (e.g., a quintilla among re.dondillas, N.S. 1, 239; sueltos and 
 octaves, H., IV, 81, 11, 447, N.S., 11, 319-320) is to be ascribed 
 to corrupt texts cannot be determined until a study of Lope's 
 practice as illustrated in his autograph plays is made. The com- 
 bination of octaves and blank verse occurs so often that one 
 wonders whether the octaves are a coincidence, since there was a 
 tendency to introduce rimes in blank verse, especially in pairs, 
 a tendency that developed into so-called pareados, or whether the 
 text is corrupt — as it undoubtedly is in some instances. 
 
 Other considerations must also be kept in mind. There was 
 undoubtedly a normal development, but the versification of a 
 play might vary abnonmilly because of the subject matter, or the 
 special occasion for which it was written. The latter cannot 
 always be determined. La Limpieza no manchada (1618) was 
 written for a performance given at the Lmiversity of Salamanca, a 
 fact that accounts for an abnormal use of sestinas (13 per cent.); 
 the presence of a king in Don Gonzalo de Cordoba (1622) accounts 
 for an excesnvc use of octaves (18 per cent.). A curious play in 
 this connection is El Castigo sin venganza (1631), which was written 
 in a day and shows in its erratic versification the haste with which 
 it was composed. The play has quintillas and tercets — not much 
 used by 1631; the second act ends in quintillas, and the third act 
 begins with romances, peculiarities for which there is almost no 
 precedent. For the present investigation these finer distinction^ 
 are held in abeyance, the only aim being to provide a rough guide 
 io a tentative chronological arrangement of the author's plays. 
 When once his work- have been dated approximately, subtler means 
 will have to be employed for the study of plays within certain 
 periods or groups. 
 
 Spanish literature favours the octosyllabic lice as Italian does
 
 10 Buchanan: Chronology of Lope de Vega's Plays 
 
 the hendecasyllabic. The latter was introduced, or re-introduced 
 — it occurs in the 15th century, and in the early 16th one of Encina's 
 Eclogas (1509) is in royal octaves — into Spain in 152G, on the 
 memorable occasion of an interview between Boscan and the 
 Venetian ambassador, Navagero. This is not the proper place to 
 reconsider the long struggle between the use of the national metre 
 and the exotic hendecasyllabic. The Italian line scored a doubtful 
 triumph in certain types of literature, but not in the drama. 3 
 Until the seventies of the 16th century the short line was preferred 
 in plays, the most popular stanza being a type of quintilla with a 
 pie quebrado. Juan de la Cueva's plays of 1579-1581, composed 
 under classical or Italian influence, contain from thirty-four to 
 sixty-four per cent, of long lines. Cervantes's plays of about the 
 same period have from forty-seven to seventy-seven per cent, of 
 hendecasyllabic verses. Lope's oldest play, the only one in four 
 acts now extant, Los Hechos de Garcilaso . . . has forty-three 
 per cent, of long lines, with octaves predominating over tercets 
 (22:17). This classical period was of short duration. Italianate 
 as Lope was, he preferred the short Spanish line, and this was, 
 perhaps, in point of time, his first contribution to the popular, 
 national drama. By 1593, when we have his first dated play, El 
 Favor agradecido, the Italian line had fallen to about twenty-one 
 per cent. In one of his latest plays, Las Bizarrias de Belisa (1634), 
 it was used for only eight per cent, of the lines. In La Moza de 
 cdntaro (1631-1632) there are no long lines except in one sonnet. 
 This marked a tendency that is reflected in the plays of Calder6n. 
 Blank verse, introduced into Italian drama in 1515 by Trissino 
 in Sofonisba, and the recognized verse of Italian, and later of 
 English, drama, found but little favour in Spain. Cervantes used 
 it more than any other playwright, but he had spent five years in 
 
 3 As Lope very wisely observed, 
 
 "Con los versos extrangeros, 
 
 En que Lasso y Boscan fueron primeros, 
 
 Perdimos la agudeza, gracia y gala, 
 
 Tan propia de expafioles . . . 
 
 Y asi ninguno lo que imita iguala, 
 
 Y" son en sus escritos infelices, 
 
 Pues ninguno en el metodo extrangero 
 
 Puso su ingenio en el lugar primero."
 
 Buchanan: Chronology of Lope de Vega's Plays 11 
 
 Italy during the receptive period of youth. In him the percentage 
 of blank lines in a play of 1580 ran as high as twenty-one, but in 
 Juan de la Cueva's and Lope's plays it never rose above ten and 
 that only in the latter's early work. After 1610 it almost dis- 
 appeared, to reappear, however, in a late play, Las Bizarrias de 
 Belisa (1634), to the extent of six per cent., three of which were, 
 however, in rimed couplets (pareados). The Spanish tendency to 
 insert rimes in blank verse has been noted before. At first the 
 intention was apparently to give something like the effect of 
 stanzaic structure, or to relieve the monotony of rimeless long 
 lines. Few Spanish poets — and Lope is no exception — have 
 mastered the rhythm of blank verse, and to them "rime the rudder 
 is of verses, with which, like ships, they steer their courses." As 
 early as La Francesilla (1598) we find twenty-two lines of blank 
 verse followed by eight in riming couplets. In his later plays, if 
 he used the line, it was almost always in pareados. 
 
 In Lope the octave 4 held its own better than any other hendeca- 
 syllabic line, appearing pretty regularly in all of his plays at a 
 steady percentage of about five. Lope found it a useful stanza 
 for grave situations, and doubtless too, his constant practice in 
 writing epics made the octave a convenient medium that required 
 a minimum of exertion. In his treatise on the Arte nucvo de hacer 
 comedias (1609) he assigned to it and to tercets a narrative function, 
 in which capacity they serve consistently in the plays of Cervantes 
 In the comedia, as it was finally established by Lope, the octo 
 syllabic romance became, however, the narrative metre of most 
 frequent use. It was chiefly when the situation was very grave 
 (e.g., in Don Gonzalo de Cordoba, 1622, Ob. S., X, 447) that the 
 octave was preferred to the romance. Long narratives called 
 relaciones were, I believe, written exclusively in romance metre, 
 at least in cloak and sword plays. To them reference will be made 
 later in this study. 
 
 The tercet struggled in vain for recognition. After 1600 it is 
 often absent from plays altogether. Calderon, as is well known. 
 
 4 As is well known, in early loth and 16th century drama, in many countries, 
 perhaps under Italian influence, the royal octave was the favourite stanza. 
 In Spain, however, it occurred only sporadically before 1,180, when Juan de la 
 Cueva and Cervantes made it their favourite long line.
 
 12 Buchanan: Chronology of Lope de Vega's Plays 
 
 eschewed tercets, for the same reason, doubtless, that induced 
 Lope gradually to disregard them, namely, the fact that they 
 served no purpose for which the octave could not be employed. 
 By a law of nature one form had, therefore, to yield to the other. 
 The octave had an advantage over its rival in that it was the 
 stanza preferred in the epic, a form of literature much cultivated 
 by Lope and other poets of the time. Curiously enough in La 
 buena Guarda of 1610 tercets rose to twelve per cent., the last 
 flicker of a dying flame. It is interesting to note that Carlos Boil, 
 a preceptist, in 1616 counselled against the use of tercets in favour 
 of the redondilla, the favourite metre of the comedia as we shall 
 see later. 
 
 It is in the national, octosyllabic line that we find the most 
 consistent evolution. The stanza preferred in the pre-Lope period 
 was the quint ilia with pie quebrado, a type of qiiintilla that curiously 
 enough was not carried over into the comedia at all. 5 Even the 
 qiiintilla of five full lines Lope used sparingly, and in his treatise of 
 1609 he disregarded it altogether. From about this year on, it 
 occurs in decreasing amount, and in many plays is wholly absent. 
 Even in his earlier plays (ca. 1600) he sometimes dispensed with it. 
 It served no purpose for which the redondilla could not provide, 
 and only a desire for variety saved it from extinction. In so late 
 a play as El Desprecio agradecido (1633-1635) it occurs to the extent 
 of twenty per cent, and surpasses redondillas (20:13), a phenomenon 
 for which we can find parallels only in the nineties of the preceding 
 century. 
 
 In the Arte nuevo de hacer comedias of 1609 Lope prescribed 
 redondillas for "las [cosas] de amor," but as he had used the line 
 within the preceding ten years for as much as ninety-five per cent, 
 of a play and was during that decade a confirmed redondillista, his 
 theory was obviously not consistent with his practice. A study 
 of the schedule of his versification between about 1600 and 1610 
 shows that Lope was experimenting with the redondilla as the 
 exclusive octosyllabic line for the comedia, and finally decided 
 against its excessive use. It is the only metre that occurs in 
 every Lope play. The average percentage of its use is forty-six, 
 
 6 It occurs sporadically in Tirso de Molina.
 
 Buchanan: Chronology of Lope de Vega's Plays 13 
 
 below which plays fall most consistently after 1G22. After about 
 1610 Lope gradually ceased to make the redondilla the metre of 
 his preference. 
 
 The line that finally triumphed over the redondilla was the 
 romance. It was Lope, we may suppose, who first used it in the 
 comedia. There is a curious tradition that Juan de la Cueva first 
 introduced the romance. It is the metre of balladry, and Juan de 
 la Cueva took some of his subjects from ballads, but he was too 
 much of a classicist to employ so popular a metre, and in fact 
 it does not occur at all in his plays. Lope used it hesitatingly at 
 first, probably in the late eighties, when the ballad was at the 
 height of its popularity in Spain, and then only in short, unbroken 
 narrative. One can only conjecture the date of its first appearance. 
 It does not occur at all in Los IIcclws de Garcilaso . . ., or La 
 Pastoral de Jacinto. There is one narrative of twenty-four lines in 
 El verdadero Amante, and about four per cent, in El soldado amante, 
 a play that belongs to the Osorio period (1587 or earlier). Schedule 
 II shows that it is wanting in four early plays, whereas Schedule I 
 demonstrates clearly that from 1593 on it formed an integral part 
 of the versification of the comedia. One may postulate as a working 
 hypothesis that Lope first introduced the romance line about the 
 year 1585. It was apparently some years before he realized the 
 possibilities of this characteristically Spanish verse, but except 
 during the period of his extreme rcdondillaismo, to which reference 
 has already been made, he extended its use consistently until, in 
 his closing years, he employed it for as much as fifty-four per cent. 
 ol liis lines. From 1622 on, it frequently surpassed the redondilla, 
 a tendency that was continued in Calderon (see Schedule V), who, 
 in a play composed in 1680, Ilado y divisa de Lconido y de Marfisa, 
 used it almost exclusively (85 per cent.). 6 In the drama of no 
 other nation was the triumph of the popular element so complete. 
 
 A- Lope stated in his treatise of 1609, the romance excelled in 
 narrative. This was its exclusive use in the oldest period, but it 
 very soon served in dialogue, and gradually became a convenient 
 vehicle for any informal occasion. Attention has been called 
 above to its use in chronicling events of tin- day, the firsl play in 
 
 ore il,i date, and even in Lope's tim< . ten ive u^r in long 
 
 ace.
 
 11 Buchanan: Chronology of Lope de Vega's Plays 
 
 which it was employed extensively for this purpose being El Argel 
 fingido (1599). The very existence of the secular drama was 
 threatened at the time, and one cannot help thinking that the full 
 account of the royal wedding was intended in part to appease the 
 new king. No less than ten per cent, of the play was devoted to 
 romances describing the event. 7 From this date on occurrences 
 in the royal family were responsible for many romances, irrelevant, 
 of course to the matter in hand. More important from the stand- 
 point of dramatic art was the introduction of the epic device of 
 beginning the play abruptly, and when occasion offered — usually 
 very early in the first act — of narrating the antecedents of the 
 action occurring before the opening of the play. No practice was 
 so much abused, and no other factor contributed so much to the 
 degeneration of the comedia. Among dated plays, so far as I can 
 determine, the earliest example is found in De Cosario a Cosario 
 (1618-1621), a landmark, therefore, in the history of the Spanish 
 drama. 
 
 A curious phenomenon in the history of the romance is its use 
 to close the acts of a play. This became a conscious practice from 
 about 1608 on, the first play revealing the characteristic being La 
 Batalla del honor (1608). Very apt here is a sentence from Suarez 
 de Figueroa's El Pasagero (A. 3) of 1617: Sobre todo os ruego 
 escuseis la borra de muchos romances, porque tal vez vi comenzar 
 y concluir con uno la primera." A glance at Schedule I will show 
 that so far as Lope is concerned Suarez's observations are inexact. 
 It is true that Lope begins the first act of La hermosa Ester (1610) 
 and El Medico de su honra (1621-1623) with romances, but these 
 are exceptions, and a study of his plays convinces me that he made 
 a special effort to avoid beginning any act with romances, his 
 preference here being redondillas. He sometimes introduces a few 
 lines of redondillas at the beginning of an act apparently for the 
 sole purpose of avoiding a practice which must have been abhor- 
 rent to him. One can only conjecture that Lope's reason for 
 closing the acts with romances was a desire to warn the audience 
 of the approaching conclusion. In the case of the last act this 
 
 7 Lope published on the occasion a Romance a las bodas que se celebraron en 
 Valencia, Valencia, 1599.
 
 Buchanan: Chronology of Lope de Vega's Plays 15 
 
 would, of course, run counter to his precept as expressed in the 
 Arte nuevo . . .: 
 
 "Pero la solucion no la permita 
 Hasta que llegue a la postrera scena, 
 Porque, en sabiendo el vulgo el fin que tiene, 
 Vuelve el rostro a la puerta. . . ." 
 In De Cosario a Cosaro (1618-1621) he introduces romances near 
 the end of the play, interrupts them by using eighty lines of decimas, 
 and concludes with romances. Whether his intention was to puzzle 
 the audience can only be surmised. An interesting study of Lope's 
 autograph plays could be made to determine whether he began 
 the romances at a definite place in his pliegos. 
 
 The romance became the normal metre for narrative, as has 
 been noted before. In a play of 1626 we read: 
 "Gusto de senora tienes, 
 que yo esperaba un romance, 
 y en verso grave (here = silva) procedes." 
 
 Amor con vista, Com. inSd., p. 144. 
 In El Castigo sin venganza (Ob. S., VIII, pp. 409-410) of 1630 
 something like a relacion appears ir sestinas, and other examples 
 could easily be given to show that Lope, like other dramatists of 
 the period, occasionally departed from the normal, for the sake 
 of variety or because of the nature of the play or the occasion for 
 which it was composed. 8 
 
 There remains only one more octosyllabic line, the decima. 
 On its structure something has already been said. In the Arte 
 nuevo de hacer comedias it is recommended for complaints. Its 
 earliest appearance in a play of known date is in El Argel fingido 
 (1599). It occurs again five years later in La nueva Victoria de 
 Santa Cruz (1604?), and at intervals in succeeding years, but does 
 not appear regularly until about 1610. After that its success is 
 assured, and it becomes an integral part of almost every play, its 
 com ponding with the fall of its progenitor the quintilla. 
 nal mark of the esteem in which this fine stanza was held is 
 its frequenl use from about 1618 on in the opening lines of acts. 
 
 8 Thc use of heptasyllabic roman < has) deserves a special study.
 
 16 Bi 1. 1! w \\ : Chronology of Lope de Vega's Plays 
 
 Its crown of glory was achieved in Calder6n's La Vida es Sueflo 
 (ca. L632), where ii served in Segismundo's famous monologues. 
 
 The remaining metres are sestinas, silvas and sonnets. Songs 
 in varying metres occur in almost every play. No conclusions can 
 be drawn at present about their chronological evolution. Nor can 
 they be dealt with satisfactorily in schedules of versification, 
 because frequently only a few lines are quoted. In one of Mon- 
 talvan's plays, Por el mat me vino el Men, we read the stage direction : 
 *' Cantc Flor lo que quisicrc hasta dos coplas. ,y That they were not 
 always the composition of the dramatists themselves is, of course, 
 obvious. The sestina first occurs in El Maestro de danzar (1594), 
 but is characteristic of the plays of a much later date, and its 
 isolated occurrence in El Maestro de danzar makes one suspect an 
 interpolation of a later period. Most plays have one or two 
 sonnets, and their use seems constant throughout the Lope period. 
 They are found in Juan de la Cueva's and Cervantes's plays, but 
 are absent from the three Calderon plays analyzed in Schedule V. 
 Lope prescribed them for soliloquies — "el soneto estd bien en los que 
 aguardan' 1 — and that on the w r hole is their restricted function. 
 Soliloquies occur, however, in almost every metre (e.g. sestinas, 
 Lope, H.. Ill, 284; redondillas, II, 470; quintillas, II, 523; octaves, 
 II, 503; decimas, I, 553, etc.), but most commonly in sonnets. 
 
 Attention to the above considerations and a wise use of the 
 Schedules will help to determine the approximate chronology of 
 most of Lope's undated plays. The date of composition can be 
 determined not so much by a consideration of the percentage of 
 any one metre, as by the use of several. Professor S. Griswold 
 Morley, to whom I am indebted for information about three 
 inaccessible comedias, has undertaken the compilation of statistics 
 on all of Lope's plays. When the results of this laborious under- 
 taking are available, the chronological arrangement of Lope's 
 works will be a comparatively easy matter.
 
 APPENDIX 
 
 Schedules of Versification
 
 IS Buchanan: Chronology of Lope dk Vega's Plays 
 
 Opening and closing 
 
 verses in each act 
 
 Remarks 
 
 re.-su.; q.-su.; su.-re. 
 re. -Oct.; re.-su.; re.-re. 
 re. -Oct.; oct.-q.; q.-oct. 
 
 q.-ro.; q.-re.; su.-q. 
 q.-re.; su.-endechas; re- 
 
 u 
 
 <u 
 u 
 
 6 
 
 U 
 
 6 
 
 u 
 
 O u 
 
 u ' 
 
 U 
 
 
 oct.-so.; re. -so.; su.-ro. 
 
 q.-q.; re.-q.; q.-ro. 
 
 re.-su.; re.-re.; q.-re. 
 
 re.-su.; re.-re.; ter.-ro. 
 
 re.-re.; re.-re.; q.-ro. 
 (2% short line octaves 
 N.S., 111, p. 496) 
 
 S3SJ3A 
 
 snoDUBuaasij\j 
 
 3 (ses.) 
 2411. ses. 
 
 l-(song) 
 
 
 
 l-(song) 
 2 (ses.) 
 
 S}3UU0g 
 
 § § § • ■ • § 
 
 I— 1 1— 1 l-H l-H 
 
 
 
 1(2) 
 
 1(2) 
 1(3) 
 
 SB^US 
 
 • CO ■ 
 
 sojpng 
 
 OffliO- ■* i-t 
 
 b- 
 
 
 r* CO CO CO "3 
 
 S}3Djaj^ 
 
 ^ • CN • O ■ 
 
 H 
 
 C<J • 
 
 
 IN tO ^ in M 
 
 s3ab;oq 
 
 t>- n iq ■ io i-i 
 
 i-H 
 
 
 CO O i* 4 CN CO 
 
 SBIUI3DQ 
 
 
 S3DUBUI0^J 
 
 iO -* OS • OS b» 
 
 "* 
 
 
 •* OS ■* !N •<* 
 i— 1 ,— 1 i-H i-H 
 
 sBu|;u;nQ 
 
 CO CO <N • • • CO i-i 
 
 .-h 00 CO CO 
 
 CO ■ 
 
 
 r^. os co co cn 
 
 r* CO i-i CM 
 
 sBjupuopay 
 
 lO^O ■ • ' N W 
 IO N ^ ■ • ' CN CO 
 
 os • 
 
 
 i-i O CO CO o 
 N N ID N rf 
 
 0) 
 
 Favor agradecido, EI 
 Maestro de danzar, El 
 San Segundo de Avila 
 Laura perseguida 
 
 {Not accessible to me) 
 Leal Criado, El 
 
 {Not accessible to me) 
 Santa Liga, La 
 Batuecas de Alva, Las 
 
 3 
 
 c 
 
 a a 
 J a 
 
 - en 
 
 ~ "0 
 '35 o 
 
 w C 
 (J .3 
 c >- 
 aj "O 
 u rt 
 U. 0- 
 
 s 
 
 t<l 
 
 1 
 
 Blason de los Chaves . . . 
 Pobrezas de Reinaldos, Las 
 Rustico del Cielo, El 
 Cautivos de Argel, Los 
 Argel fingido, El 
 
 Date 
 
 1593 
 1594 
 
 1596P-1598? 
 1597? 
 
 CO 
 
 o 
 
 CO 
 
 l-H 
 
 CO 06 
 CS OS 
 
 1-H l-H 
 
 
 C5 n. <-»-. (v. 
 
 OS 
 
 US
 
 Buchanan: Chronology of Lope de Vega's Plays 19 
 
 o £ V 
 
 o 
 
 u 
 
 <u a; 
 V ^ 
 
 & T 
 
 u 
 
 6 
 
 o 
 
 
 u 
 
 c3 
 
 6 
 
 6 
 
 o 
 
 cr 
 
 o 
 
 C7 
 
 o 
 
 u 
 
 
 ■_ 
 
 d 
 
 u 
 
 6 
 
 u 
 
 u 
 
 6 
 
 u 
 
 o 
 
 o 
 
 cr 
 
 
 
 
 
 
 
 
 
 
 
 o 
 o 
 
 o 
 
 u 
 
 o 
 
 o 
 
 o 
 
 
 3 
 en 
 
 cr 
 
 u 
 
 O 
 
 u 
 
 01 
 
 & 
 
 
 — 
 
 
 cr 
 
 
 — 
 
 & 
 
 CJ 
 
 u 
 
 
 
 
 ^^ 
 
 
 
 
 
 
 
 '~^ 
 
 
 * - 
 
 bt) 
 
 
 
 ,, — ^ 
 
 
 
 ,—v 
 
 o 
 
 
 EC 
 
 c 
 
 
 
 U 
 
 
 
 br 
 
 - 
 
 
 - 
 
 o 
 
 
 
 - 
 
 
 
 c 
 
 3 
 
 
 
 to 
 
 
 
 z 
 
 <u 
 
 
 o 
 
 \ 
 
 o 
 
 V 
 
 o 
 
 
 u 
 
 u 
 
 
 
 
 o 
 
 ;. 
 
 c 
 
 u 
 
 u 
 
 
 
 
 
 J. 
 
 <u 
 
 o 
 
 
 u 
 
 la 
 
 o 
 
 
 
 u 
 
 o 
 
 4> 
 
 6 
 
 6 
 
 O 
 la 
 
 
 c 
 
 la 
 
 cr 
 
 cr 
 
 c* 
 
 la 
 
 3 
 X. 
 
 o 
 
 3 
 in 
 
 u 
 
 o 
 
 
 d 
 
 u 
 
 
 o 
 
 
 _ 
 
 
 i- 
 
 la 
 
 o 
 
 la 
 
 
 
 u 
 
 
 "" 
 
 ... 
 
 
 ■- 
 
 o 
 
 la 
 
 4> 
 
 la 
 
 O 
 
 u 
 
 
 - 
 
 cr 
 
 O 
 
 
 O 
 
 0) 
 
 t^ •* CO 
 
 C<3 I-H I-H 
 
 - 
 
 i-^ ^ 5 
 - 3 3 
 
 rt o ° 
 
 M « 3 
 l 
 
 < £ 'J 
 
 ^ ^ Ch • J2- 
 
 15 JO (J N (O N O "2 
 
 ^ oc oo co 
 
 rH (N 
 
 l^ tN CM 
 
 t» ■* l^ -r :t 
 
 IN • -H rH (N • tN 
 
 f) H 00 ^HNCST^O- "* M N N « ffl ■* CO 
 
 
 
 
 
 
 
 
 rH 
 
 
 
 
 r- *0 
 
 <N 
 
 i-i c^ t- *# »o • 
 
 <N — i *-< 
 
 CO 
 
 l^ rH T« • 
 
 I-H 
 
 CO 
 
 rH 
 
 o 
 
 00 
 
 
 IM 
 
 I-H 
 
 
 co oo 
 
 CN CM 
 
 ■— 1 
 
 IM rH • CM CN 
 
 ?1 
 
 lO • 
 
 CO 
 <N 
 
 rH 
 i-H 
 
 
 
 
 
 
 
 tO O (M O O 
 
 n !• n io f 
 
 CO 
 
 Tf m o • 
 
 N 00 © • 
 
 1— 1 
 
 
 ■* 
 
 r. 
 X 
 
 00 
 
 
 w 
 
 r — — 
 
 
 ^-^ 
 
 r 
 
 ■•■ 
 
 f t1 
 
 
 - 
 
 r. 
 
 rJ 
 
 o* 
 
 o" 
 
 
 id 
 
 — 
 
 la 
 
 
 
 '3 
 
 u 
 
 id 
 IB 
 
 - 
 
 u 
 
 -* 
 
 - 
 — 
 
 — 
 
 Ed 
 
 "7. 
 
 id 
 
 la 
 
 So 
 id 
 
 o 
 
 c 
 
 z 
 
 c 
 cu 
 
 U 
 
 ■- 
 r 
 
 V 
 
 CJ 
 
 a 
 '3 
 
 E 
 
 e 
 — 
 
 c 
 
 
 
 tf 
 
 E 
 
 2 
 
 la 
 "-. 
 3 
 
 - 
 
 
 < 
 
 < 
 
 — 
 
 u 
 
 4) 
 
 -2 t i? 
 
 3 rS ^ 
 
 - 
 
 u o .2 
 
 rg »» T3 
 
 U 
 
 "5 o 
 
 «a O 
 
 r35 
 
 u 
 
 7j f a « 
 
 co o 3 
 
 <u ~' a 
 
 ~0 3 O 
 
 8 X) rt — ~ 
 
 <u 
 
 ^ '^ 
 
 ^- ™ ^4 *>* 
 
 o c J3 > 
 
 O u 
 
 U < 
 
 u 
 
 7 
 
 p cd 
 
 co 
 
 0) 
 
 
 
 cd 
 
 ►J 
 
 s 
 
 s 
 
 
 B 
 
 -a 
 
 £ 
 
 
 
 rt 
 
 rt 
 
 
 
 '. 
 
 
 l) 
 
 4) 
 
 
 3 
 
 
 
 
 c 
 
 u 
 O 
 
 7. 
 
 fl 
 id 
 
 — 
 u 
 
 f 
 
 Ed 
 
 la 
 
 B 
 
 6) 
 
 
 > 
 
 > 
 
 a; 
 
 — 
 
 
 
 a 
 
 B 
 cd 
 
 
 3 
 3 -J 
 
 3 
 
 u 
 p 
 
 0) 
 
 u 
 fl 
 
 
 
 7 
 
 1 
 
 'J 
 
 O U ^ Ca ^ H 
 
 o CO 
 
 c o 
 
 CO CD
 
 20 
 
 Buchanan: Chronology of Lope de Vega's Plays 
 
 
 -= 
 
 / 
 
 -:- 
 
 u 
 
 X 
 
 
 ri 
 
 u. 
 
 -' 
 
 0) 
 
 rt 
 
 hi 
 
 B 
 
 E 
 
 c 
 
 '2 
 
 
 SJ 
 
 r. 
 
 Oil 
 
 a 
 
 u 
 
 
 ■J, 
 
 > 
 
 
 C S3 O 
 
 .. < 
 
 S S3 00 
 
 7 — - 
 
 S3SJ3.V 
 
 sno3irej{3os;p\ 
 
 SJOUUOg 
 
 SBAJJS 
 
 solans 
 
 S130J3J, 
 
 SOAT?J.TQ 
 
 SBUIID3Q 
 
 saouBuio^i g 
 
 sEjipuinQ 
 
 SC|lTpUOp3>I ^ 
 
 w 
 
 ° s 
 
 6 2 6 g 
 
 T 1- 
 
 <y ?> 3 
 
 O i- O) o o o 
 u '. i_ u u u 
 
 o u aj <u o) cj 
 
 in 
 
 2 C en 
 
 w o <u 
 
 U3 !/> 
 
 -1 
 
 ^H tO 
 
 CO <N ^ CO CJ C^_ 
 
 ■M CO CO >-Q !M CO 
 
 !N M <N ** ■* *# 
 
 r° $ 'S 
 
 OJ 
 
 .- s 
 
 O o 
 
 3 1 « 
 
 M H- O 
 
 £ O 
 
 
 S> *- H <u 
 
 J U <fi 
 
 " 03 ni 
 
 22 <u 
 
 N 
 
 U o 
 
 rt 
 
 "O <y 
 
 o 
 
 o c 
 
 «o3 
 fe "rt .-9 
 
 •a 3 l! 
 
 £o h 
 
 > o — 
 
 rt z: i— 1 1 — i 
 
 03 (D 
 CO Cu 
 
 OS C3 
 
 O © 
 -o CO 
 
 3 03 o 
 
 caoQ 
 
 O u w 
 
 Q ,-> c/) 
 
 03 < 
 
 PQ 
 
 o —i 
 
 -O CD
 
 Buchanax: Chronology of Lope de Vega's Plays 21 
 
 2 ? 
 
 & a 
 
 d 6 
 
 ■_ i_ 
 
 ■_ U 
 
 6 6 
 
 03 6 
 
 d 6 
 
 fO TtH c^, ^ CO 
 — ti — ri ^ 
 
 rt -h o ^ 
 
 
 •- 
 
 d 
 
 u 
 
 
 
 
 '— 
 
 • : 
 
 0) 
 
 O 
 
 o 
 
 — 
 
 ii 
 
 c 
 
 In 
 
 Q 
 
 
 6 
 
 6 
 
 — 
 
 d 
 
 
 
 
 ■V 
 
 XI 
 
 W 
 
 
 
 [/) 
 
 
 <u 
 
 CJ 
 
 -t-> 
 
 «3 
 
 
 
 
 o 
 in 
 
 
 
 
 u 
 
 
 ^ 
 
 
 
 
 
 
 Id 
 
 6 
 
 ■4) 
 
 — 
 
 d 
 
 a 
 
 ~i 
 
 d 
 
 d 
 
 d 
 
 p 
 
 -• 
 
 '~ 
 
 
 
 
 — 
 
 -SJ 
 
 »4> 
 
 •o 
 
 -T ?l 3 LO 
 
 w 
 
 rt ~ o *- -a ~- 
 
 5 "£ o •? « 
 
 — c *> 
 
 u 
 
 o c 
 
 (X, a 
 
 ££ 
 
 •r -r 
 
 ~ 
 
 u 
 
 r. 
 o 
 
 u 
 
 c 
 
 to 
 
 4? W 
 
 3 c 
 
 -a 
 
 
 — o 
 
 g 
 
 -. 
 
 -J 
 
 in 
 
 o 
 
 •_ 
 
 - 
 C 
 
 ° o 
 
 c 
 
 10 
 
 o 
 
 6 "a «, 
 
 u 
 
 >> 
 u 
 
 ■ ~- 
 
 a 
 
 ■-. 
 - 
 o 
 
 — 
 
 2 to 
 
 s 5 
 
 -2 C 
 
 C "J 
 O •""» 
 
 C r, 
 OJ it. 
 
 S 
 
 o 
 
 c 
 
 N 
 4> 
 
 U 
 
 O 
 
 
 u 
 
 e 
 
 
 -- 
 — 
 - 
 
 fe; 
 
 a 
 
 — "5 
 
 
 a 
 E 
 
 U 
 
 n) E .9 
 
 
 
 > 
 
 
 ~ 
 
 Q 
 
 J 
 
 Q 2 < Q 
 
 
 
 
 
 
 
 
 
 N 
 
 C» 
 
 
 
 
 
 if 
 
 
 
 
 <£> 
 
 <o 
 
 
 
 
 
 — • 
 
 
 
 
 ■H 
 
 >— 1 
 
 
 
 
 
 X 
 
 i- 
 
 
 / 
 
 00 
 
 o «-< 
 
 
 
 ^ . 
 
 
 7 
 
 ■z 
 
 
 so 
 
 «D 
 
 Ci C i 
 
 'O to 
 

 
 22 
 
 Buchanan: Chronology of Lope de Vega's Plays 
 
 fcfl 
 C *j 
 
 d S 
 
 d 
 
 2 . d 
 
 2 x o 
 
 7 O >- 
 
 odd 
 
 u u u 
 
 2 d 
 
 2? 
 
 •a % 
 
 
 bO 
 
 c 
 
 '. o >r 
 
 Si v - i 
 
 U <U U 
 
 cj cJ cJ 
 
 U U. u 
 
 oj *cu 
 en -xj 
 
 CD u 
 
 
 
 o 
 
 • - -^ u 
 
 
 
 
 T O 
 O 7 
 
 - u ^! 1 
 
 ■■■ tJ 
 
 (/) 
 
 o o •- • 
 
 S d © 
 7 O u 
 . ;-. i 
 
 O* i- 
 
 >ai 6 d 
 
 2 d 
 
 ing an 
 es in e 
 Rema 
 
 '3 o 
 
 o3 CD 
 
 o 
 d . 
 
 1- o 
 
 >- >- A O 
 
 I- -O ■ CD 
 .. ... 'en u 
 
 *V 7 V 
 t-V cu <u 
 
 u u u. 
 
 CD • 
 
 1- CD 
 
 u 
 
 d T 
 
 '. CD 
 CD t- 
 1-. • - 
 
 • - 6 
 
 
 
 
 o o ^ o 
 
 P ° 2 
 
 god 
 
 V o 
 
 6 V 
 
 O 
 
 
 w ^4J 
 
 u in O u, 
 
 i- u t* 
 
 
 ■. t. 
 
 i_ , — , 
 
 
 . ~3 
 
 >i *cd '. *cu 
 
 ^a3 »o3 »cd 
 
 ^3 eu qJ 
 
 rt CD 
 
 CD .^ 
 
 
 1-. 1_ 
 
 )~ 
 
 73 73 CT 73 
 
 ■3 -O "O 
 
 T3 u u. 
 
 C i- 
 
 U 'li 
 
 sasjav 
 
 
 CXI 
 
 
 
 'W ! »-S 
 
 
 
 
 
 
 c 
 
 
 
 C • en 
 
 en 
 
 S N 
 
 snoauujiaosij^ 
 
 
 o 
 
 en 
 
 a, ■ • • 
 
 tn 
 
 en tn 
 
 en 
 
 en 
 
 
 
 CO 
 
 T}< 
 
 CM 
 
 rH rH 
 
 <N 
 
 "3 
 
 sjauuog 
 
 ■ ;} 
 
 5 
 
 rH* § ■ S 
 
 • »— i 
 
 • i— 1 rH 
 
 § § 
 
 
 
 ,H 
 
 rH T-H 
 
 
 
 rH rH 
 
 rH 
 
 
 
 
 ^ — \ 
 
 
 
 
 
 
 
 
 
 
 
 
 
 SBAnS 
 
 
 T* 
 
 rH 
 
 CO ■ 
 
 • CM C35 
 
 
 
 
 
 
 
 '-v 
 
 ^ *~? • 
 
 '"J- 
 
 
 solans 
 
 co 
 
 
 I th I th 
 
 U 
 
 ■ a ■ 
 co 
 
 0j CTJ ' 
 
 a a -+ 
 
 rH N. ^-^ 
 
 h ca . • 
 
 0- ^-' 
 CM 
 
 • CM 
 
 SJ9DJ3X 
 
 
 
 
 —1 ' H i- 
 
 • CM, -- 1 
 
 • rH 
 
 Tt» CM 
 
 rH 
 
 S3ABJDQ 
 
 • b- 
 
 OS 
 
 O N tO M 
 
 H • CM 
 
 lO CO CM 
 
 ■<* CM 
 
 •* ■* 
 
 SBUI133Q 
 
 r^ 10 
 
 rH 
 
 lO CO CO Ci 
 CM 
 
 O CO rH 
 i— ( i— 1 rH 
 
 00 rH TH 
 rH r-i 
 
 rH 
 
 O CM 
 
 rH rH 
 
 saounuo^ 
 
 CM C5 
 Tt* CM 
 
 00 
 CO 
 
 co c35 en co 
 
 "# CM ■* CO 
 
 Ol o o 
 
 "* CO CO 
 
 BCD'* 
 CO CO CO 
 
 rH CD 
 
 CO CO 
 
 CO Tt< 
 
 sBjjnuinQ 
 
 
 
 • CO C5 
 
 • CO <N 
 
 rH CO 
 
 
 <* ■ 
 
 sB[[ipuopay 
 
 CO t>- 
 
 1^ 
 
 <M 
 
 ■* CO lO lO 
 CO CO CM CO 
 
 CS CO O 
 
 CM Tt< tH 
 
 •«* O CO 
 
 co co «* 
 
 CO C35 
 CO •* 
 
 CO rH 
 CO CM 
 
 
 OJ 
 
 
 
 
 
 u 
 
 
 
 _ Si 
 
 
 ca — 
 
 
 a) 
 
 o 
 
 
 "3 
 
 a -o 
 
 O (U 
 3 O 
 
 73, 
 
 'tn 
 
 C 
 C8 
 
 CO 
 
 CD 
 
 Nifiez de San Isidro, L 
 Poder en el discreto, E 
 Boba para los otros . 
 Corona de Hungria, La 
 
 las Navas, 
 des, que . 
 adre Rojas 
 
 3 ^ 
 
 -a M « 
 s 3 S .2 
 
 6 
 
 S ctJ 
 . >^ 
 
 en rt 
 
 sCD J2 
 
 S § 
 
 c a 
 
 CD l-< 
 
 5, a 
 
 CT tn 
 CD 
 
 C3 
 tn u 
 
 H 
 
 CO 
 CD N 
 
 T3 C 
 
 o U 
 
 "-5 c 
 S ° 
 S Q 
 
 T3 
 73 en 
 
 3 W 
 
 i— > 
 
 Marques de 
 i Ay, Verda 
 Nifiez del p 
 
 Brasil restit 
 Esclava de 
 Amor con \ 
 
 2 o 
 
 rt eu 
 
 9 b 
 
 .2 c 
 
 CD > 
 ■I- 1 Ui 
 C CD 
 
 O tn 
 
 <D £ 
 
 Q < 
 
 CD 
 
 rt. 
 
 
 
 
 
 
 
 C3 
 
 co 
 
 
 
 
 
 
 
 Q 
 
 (N 
 
 
 
 
 
 
 r>-. 
 
 
 
 CO 
 
 ■<* lO 
 
 CO 
 
 
 ^ CO 
 
 
 i CM CM 
 
 1 22 
 
 
 <M r>_ e>~ 
 
 CO 
 
 CM CM 
 
 CO CO 
 
 rH rH 
 
 (->-. CM 
 
 co 
 
 H 
 
 
 CO CO 
 
 rH rH
 
 Buchanan- : Chronology of Lope de Vega's Plays 
 
 23 
 
 6 
 
 6 
 
 6 
 
 6 
 
 u 
 
 u 
 
 - 
 
 6 
 
 u 
 
 d 
 
 — 
 
 6 
 
 
 V 
 
 -o 
 
 ssc?- 
 
 co 
 
 o • 
 
 1—1 
 
 lO 
 
 "«*< l-H 
 
 co 
 
 
 0} 
 
 Ci ^ 
 
 
 t^ 
 
 
 o • 
 !N ■ 
 
 74 
 
 CN 
 
 lO 
 
 CO cn 
 —i N 
 
 
 « < c 5 
 
 S « 
 
 j rs 
 
 w 
 
 cn 
 
 
 r^ 
 
 o 
 
 J 
 
 — 
 
 
 u 
 
 « 
 
 rt 
 c7. 
 
 - 
 
 (/) \, »rt rt 
 
 3- 
 
 (2 
 
 .o o 
 u 'S -fi 
 
 rt O 
 
 O 2 
 
 5 o *> 
 
 „ T3 
 
 Q S 
 
 - r . 
 
 01 to- 
 co re 
 
 5 } 2 5 
 
 , 
 
 
 si 
 
 
 3 
 in 
 
 3 
 
 v 
 
 
 l: « « 
 
 cj 
 
 u 
 
 
 
 - 
 
 u 
 
 
 i_ 
 
 
 
 
 <U V i 
 
 
 
 
 
 <y 
 
 
 cr 
 
 
 cr 
 
 
 • ^ y 
 
 3 O 
 
 u 
 
 O 
 
 
 
 V 
 
 u 
 
 Ih 
 
 
 
 
 
 
 
 m •- 
 
 
 
 
 
 - 
 
 
 en 
 
 in 
 
 
 3 
 
 — 
 
 
 
 6 
 
 u 
 
 
 
 y 
 
 u 
 
 
 
 
 
 en 
 
 
 *v. 
 
 ^ 7 «3 '. 
 
 a; w cr 
 
 
 
 
 
 u 
 
 CJ 
 
 o 
 
 cr 
 
 
 cr 
 
 
 
 cr 
 
 
 
 
 u 
 
 
 
 
 
 • 
 
 
 '* . - 
 
 
 
 
 
 
 4J 
 
 S: 
 
 
 ~ 
 
 T 
 
 
 T W 3 
 cr V in 
 
 3 
 in 
 
 
 
 c3 
 
 y 
 
 
 o 
 
 f. 
 
 
 & 
 
 u 
 o 
 
 
 cr u cr 
 
 u 
 
 
 
 cr 
 
 
 
 
 
 
 
 
 
 
 
 
 
 IN 
 
 
 T. 
 
 in 
 
 CO 
 
 
 oi 
 
 
 
 CM 
 
 i/i 
 
 to 
 
 in 
 
 
 
 
 i-H 
 
 
 :: 
 i—i 
 
 
 
 
 
 S ^ 
 
 s 
 
 
 
 CO 
 
 
 
 CO 
 
 
 
 
 
 
 
 
 
 
 •* 
 
 
 CN 
 
 
 - 
 
 l~ 
 
 - 
 
 Si rt -CO 
 
 - 
 
 CN 
 
 
 «o 
 
 t>. 
 
 
 CN 
 
 
 CD 
 
 ~ 
 
 
 co t>- 
 
 CO 
 
 oo 
 
 
 
 CN 
 
 
 CO 
 
 
 CM 
 
 ._ 
 
 
 00 "*< • tN 
 
 
 
 
 
 CN 
 
 
 
 
 
 
 
 
 "^ 
 
 
 
 
 ~ 
 
 
 
 
 
 f — ^ 
 
 
 
 
 
 
 
 
 
 
 
 
 Tj" -H 
 
 
 
 
 
 
 
 
 
 
 
 
 CN rt 
 
 
 
 "* • <N 
 
 
 
 
 IN 
 
 
 
 
 
 
 
 
 
 
 
 
 
 * 
 
 
 o 
 
 
 TJ< 
 
 CO 
 
 
 CO O • C 
 
 c 
 
 
 
 
 
 CO 
 
 
 CO 
 
 CO 
 
 
 « o -CM 
 
 I— ( 
 
 
 
 n 
 
 ro 
 
 
 CN 
 
 
 1^ 
 
 © 
 
 r. 
 
 rt ■<}< 00 CO 
 
 OS 
 
 1 - 
 
 
 c^ 
 
 «3 
 
 
 i— c 
 
 
 ■<r 
 
 -n 
 
 Ci 
 
 lO rt O) o 
 
 cc 
 
 00 
 
 
 CO 
 
 
 
 
 
 
 
 
 
 
 
 - 
 
 
 
 
 
 
 , , 
 
 
 
 
 
 
 - 
 
 
 O 
 in 
 
 J2 
 
 'u 
 i* 
 
 o 
 
 0) 
 
 T3 
 
 
 o" 
 
 A.. »o 
 rt -4-> 
 "5. 5 S2 
 
 5 
 
 rt 
 
 rt 
 
 ~ 
 
 — - rt 
 
 _ Ui rt 
 
 « U _- fe 
 
 = rT ^ & 
 
 rt 2 E S 
 
 ^ ^ S rt 
 
 o © > *i 
 
 rt in _ C 
 
 •a c .2, rt 
 
 W 
 
 .2 
 
 in 
 
 c 
 
 J 
 
 c 
 
 'S 
 
 u 
 
 U 
 u 
 
 
 /. 
 u 
 
 < 
 
 td 
 
 rt- > 
 
 (J 
 
 < 
 
 b - 
 < " 
 o c 
 
 2 2 
 
 in 
 
 g 
 
 C 
 > 
 
 c 
 
 _CU 
 
 rt 
 > 
 
 PQ 
 u 
 
 ■J 
 
 
 -- 
 
 
 CO 
 
 o 
 o 
 
 0) 
 
 9 
 o 
 
 - 
 
 3 
 
 In 
 
 
 m 
 
 ~. 
 Z- 
 
 7 
 
 la 
 
 > 
 
 _o 
 
 u 
 
 C2 
 
 •_ 
 U 
 
 a 
 
 _ ~ <u 
 
 O <V c 
 
 a y- c 
 »- c o 
 C rtJ U 
 
 0) 
 
 c 
 
 
 
 
 
 
 
 
 r\. r^. r>- 
 
 
 
 
 
 
 
 
 
 
 
 
 WU3 >0 
 
 
 
 
 
 
 
 
 
 
 
 
 Oi O C5 
 
 
 
 
 
 
 
 
 
 
 
 
 'T iO »0 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 /V. 
 
 r^. 
 
 
 
 
 
 
 
 
 
 
 i ^ ',. 
 
 S 
 
 55 
 r. 
 

 
 21 Hivu.wan: Chronology of Lope de Vega's Plays 
 
 Opening and closing 
 
 verses in each act 
 
 Remarks 
 
 can.-re.; oct.-re.; oct.- 
 oct.; oct.-oct. 
 
 oct.-oct.; son.-re.; oct.- 
 re.; ter.-oct. 
 
 son.-re.; ter.-re.; oct.- 
 re.; oct.-re. 
 
 ter.-re.; oct.-re.; son.- 
 oct.; oct.-oct. 
 
 oct.-oct. ; oct.-oct. ; ter.- 
 oct.; oct.-oct. 
 
 3SJ0A 
 SnO0UT?HDDS|I\I 
 
 c 
 to 
 cJ 
 
 IN 
 
 siauuog 
 
 1(2) 
 KD 
 
 SBAIJS 
 
 1 
 
 
 soipng 
 
 
 S533J3X 
 
 N N CO CO N 
 
 i 
 S3ACPQ 1 $ £ "* £ S 
 
 SBlUpSQ 
 
 S3DUClUOy 
 
 
 sBjipumQ 
 
 
 sBjjipuopusy 
 
 O CO '-h t^ io 
 CO O OS CO CO 
 
 4) 
 
 Muerte de Don Sancho, La 
 
 Ajax 
 
 Tutor, El 
 
 Virginia y Appio Claudio 
 
 Principe tirano, El {comedia) 
 
 0) 
 
 Q 
 
 1579 
 1580
 
 Buchanan: Chronology of Lope de Vega's Plays 2o 
 
 1 
 
 
 • - 
 
 
 rt. 
 
 
 JJ 
 
 
 
 
 = 
 
 
 ■- 
 
 
 
 
 
 
 o 
 
 
 ■. 
 
 
 
 la 
 
 
 
 3 
 
 
 
 
 ■- 
 
 
 y. 
 
 
 CO 
 
 3 
 
 ■- 
 
 •4-t 
 
 .- 
 
 
 u 
 
 
 ■*-> 
 
 u 
 
 -1 
 
 
 V 
 
 '* 
 
 - 
 c 
 
 
 m 
 
 
 u. 
 
 cr 
 
 — ' 
 
 - 
 o 
 
 O* 
 
 o 
 
 
 5 c* 
 
 u 
 
 
 
 
 z 
 <n 
 
 
 z 
 
 
 co 
 
 <n 
 
 ^ c 
 
 
 o 
 
 
 0) 
 
 
 en '. 
 
 
 
 
 
 
 
 
 
 o 
 
 
 - 
 
 0) 
 
 c 
 
 
 u 
 
 
 
 
 
 
 
 
 
 
 
 
 tn 
 
 
 
 
 
 
 o 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 — 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 A-. 
 
 
 
 
 
 
 1 * 
 
 
 
 
 
 
 ^ 
 
 
 
 
 
 
 ( > 
 
 w* 
 
 
 M 
 
 
 
 >C 
 
 C5 
 
 
 .~ 
 
 
 ^ 
 
 N 
 
 I— < 
 
 
 — 
 
 
 
 
 r- 
 
 
 O 
 
 
 pyj 
 
 CC 
 
 '- 
 
 
 T— 1 
 
 
 
 
 
 
 
 
 f^ 
 
 «tf 
 
 
 
 
 
 l-H 
 
 
 
 
 ,->. 
 
 
 OS 
 
 lO 
 
 
 
 t- 
 
 
 r 1 
 
 o 
 
 o 
 
 
 fN 
 
 
 CO 
 
 <N 
 
 n 
 
 
 t 
 
 
 C3 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ^ 
 
 
 w 
 
 
 _ 
 
 o 
 
 s 
 o 
 
 
 "3 
 
 -/ 
 
 
 J 
 
 "3 
 
 l*. 
 
 
 
 C3 
 
 b(0 
 
 
 
 
 
 r 
 
 
 rt 
 
 
 < 
 
 
 cd 
 
 < 
 
 o 
 
 c 
 
 
 u 
 
 a 
 r/1 
 
 ju 
 
 S 
 
 
 
 
 1 
 
 
 c 
 
 3 
 
 
 
 ^ 
 
 u 
 
 
 £ 
 
 
 - 
 
 
 - 
 
 £S 
 
 n.. 
 
 
 (V. 
 
 
 - 
 
 rv. 
 
 ~ 
 
 
 
 
 " 
 
 ^f 
 
 ?, 
 
 
 
 
 - 
 
 
 — • 
 
 
 
 
 
 
 
 
 
 . 
 
 
 
 
 P 2 
 
 6 
 
 
 
 
 
 
 
 
 O in 
 
 
 C 
 
 
 
 
 
 
 - 
 
 *| P 
 
 o 
 
 a 
 
 w •. 
 
 O 
 
 - 
 
 O u 
 
 u 
 
 u 
 
 CaC 
 
 <5 S 
 
 6 
 
 E 
 
 .- O 
 
 O 
 
 
 en i_ 
 
 - 
 
 
 OS 00 
 
 y% 
 
 
 rH ■ 
 
 o w 
 
 
 
 i-H 
 
 
 
 t^ o 
 
 1C 
 
 
 «C CO 
 
 /. 
 
 
 •<* 00 
 
 1 
 
 
 t^ CO 
 
 o 
 
 
 rH .-H 
 
 —H 
 
 
 
 a 
 
 
 
 — 
 
 
 
 
 
 
 C 
 
 
 w 
 
 o 
 
 
 2 8 
 
 CO 
 •D 
 
 
 n-.» 
 
 a 
 
 
 its -C 
 
 
 
 co O 
 
 - 
 
 
 £ £ 
 
 '-r 
 
 
 ?, ° 
 
 Js 
 
 
 
 
 
 rt bo 
 
 O 
 
 
 ■o «rt 
 
 
 
 >S 
 
 
 •* . 
 
 
 
 UJ 
 
 
 
 :: 
 
 
 
 r 
 
 
 
 "7 
 
 n.. 
 
 
 ti r- 
 
 - 
 
 
 CO CO 
 
 — . — 
 
 X 
 
 
 — 
 
 
 13564«
 
 UNIVERSITY OF TORONTO STUDIES 
 Philological Series 
 
 No. i. The Anglo-Saxon Scop, by L. F. Anderson $0.50 
 
 No. 2. George Ticknor's Travels in Spain, edited by 
 
 G. T. Northup 0.50 
 
 No. 3. Beginnings of the English Essay, by W. L. 
 
 MacDonald loo 
 
 No. 4. Dio Cassius, Historia Romana, Book 53, with notes 
 
 by H. W. Duckworth 1.50 
 
 No. 5. John Gait, by R. K. Gordon 1.00 
 
 No. 6. The Chronology of Lope de Vega's Plays, by 
 
 Milton A. Buchanan 0.50 
 
 Extra volume : Golding's A Tragedie of Abraham's Sacrifice, 
 edited with an introduction, notes, and an appendix 
 containing the Abraham Sacrifiant of Theodore 
 Beza, by M. VV. Wallace 2.50 
 
 Extra volume : The Gest of Robin Hood, by W. H. CLAWSON 1.00 
 
 Extra volume : Calderon's La Vida es Sueno, edited by 
 
 Milton A. Buchanan. Vol. I. : Text (cloth) 1.25 
 
 Extra volume : Theban Ostraca, edited from the originals 
 
 with translations and plates 5°°
 
 UNIVERSITY OF CALIFORNIA LIBRARY 
 
 Los Angeles 
 1 hi> book is DUE on the last date stamped below. 
 
 OCT 9 1961 
 
 "L C M M 
 
 gfcC u 
 
 
 H0M20 
 
 taf?2 
 
 Form L9-40ni-7,'56(C790s4)444 
 

 
 Ljaxflord =r= 
 
 PAMPHLET BINDER 
 
 ^Z^Z 5>racu<e, N. Y. 
 
 AA 000 723 809 
 
 PLEASE DO NOT REMOVE 
 THIS BOOK CARDsjd 
 
 
 TO 
 
 s *• 
 
 University Research Library