SEMICENTENNIAL PUBLICATIONS 
 
 OF THE 
 
 UNIVERSITY OF CALIFORNIA 
 
 1868-1918 
 
UNIVERSITY OF CALIFORNIA PUBLICATIONS 
 
 MODERN PHILOLOGY 
 
 VOLUME 6 
 
 CHARLES ^\. GAYLEY 
 
 H. K. SCHILEIXG 
 RUDOLPH SGHEVn.L 
 
 EDITORS 
 
 UNIVERSITY OF CALIFORNIA 
 
 BERKELEY 
 
 1918 
 
THE DRAMATIC ART OF 
 LOPE DE VEGA 
 
 TOGETHER WITH 
 
 LA DAMA BOBA 
 
 EDITED, FROM AN AUTOGRAPH 
 
 IN THE BIBLIOTECA NACIONAL 
 
 AT MADRID, WITH NOTES 
 
 BY 
 
 RUDOLPH SCHEVn.L 
 
 UNIVERSITY OI" CAI.IKORMA I'RK: 
 BERKELEY 
 

 TO 
 
 JUAX C. CEBIUAN 
 
 SOX OF SPAIN", CITIZEX OF THK UXITFI) STATFS 
 
 HOXOUKD AXl) LOVKI) IX I'.OTH COUXTRIFS FOR HI^ 
 
 SIX(iLK-MIXl)Kl) l)K^■OTIOX TO FVKRV XOBFJ-: ('AFSF 
 
 A «><> ( 
 
 3 
 
PREFACE 
 
 The large amount wliich Lope de Yega wrote for the stage 
 manifestl.v demands a voluminous study of his art to do him fidl 
 justice. The limited essay here presented may consequently l)e 
 considered inadequate, and many points which could or ouglit 
 to be included will be missed. Of that I am aware. But within 
 the confined scope of this attempt my object became twofold : 
 first, to indicate by brief hints along what lines a more detailed 
 investigation could be instituted by someone better fitted than 
 myself, and second, to have, at a future date, some justification 
 for continuing an examination of the many items of interest 
 which Lope constantly suggests. I have refrained from compai'ing 
 the great Spaniard with other master writers for the theatre, for 
 the obvious reason that it seemed to me more important to out- 
 line first an objective presentation of the material derived from 
 Lope himself. Comparative studies in literature are futile and 
 unprofitable to the reader who is not well acquainted witli all the 
 elements compared. Moreover, comparisons frequently' lead to 
 unjust conclusions whenever they attempt to prove that one 
 writer is greater than another instead of analyzing in an unbiased 
 manner how their delineation and interpretation of life are re- 
 lated. The offhand assertion is frequently to be met with that 
 Moliere and Shakespeare are much greater than Lope de Vega, 
 and yet the writers of such statements too often repeat merely a 
 traditional catch phrase; they do not prepare the ground by add- 
 ing a just and indispensable picture of the economic and social 
 background which accounts for much that is unique in Lope de 
 Vega's art. 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 com- 
 parison may profitably be instituted which will further illuminate 
 their methods of composition or reveal the extent to wliicli ihry 
 held a mirror up to the form of society in which tlicy moved. 
 
A ooin|)ar;ilivc study may also Ix- at t.'inpted, which relates 
 Jjopc to liis pivdcccssofs ill th.' national theatre of Spain. Ilis 
 iiuU'btediiess in this eoniiect ion is not excessive, but a careful 
 comparison makes e\ ideiit the eontinnity of a luimber of features 
 in Spanish dramatic art. f.-atures related, iiist to the technical 
 side of comiiositicai. and second, to ilie aiiiiile scope whicli char- 
 acterizes tile popular <lrainatic toiinnla of the sixteenth and 
 seventeenth ceiitni'ies. I n-\'rv especiall\- to the break with classic 
 tradition and jirecept . ami the i^iadiial disappeai'ance of th<' prin- 
 ciple of limitation in subject mntler lit for the sta<,n'. The final 
 pro^rannne of the drama of the (Joldeii Age included every con- 
 ceivable plot taken from histor.w fiction, legend, mythology and 
 the like. Lope is a lineal descendant of a more primitive and a 
 crudi'i' art and nolliing is more jistoiiishing than the manj' inno- 
 vations for which he alone is i-es|)onsil)le. But in spite of all the 
 features in which he iiia>' be compared with earlier playwrights to 
 his decided advantage, one stands out preeminently, his undeni- 
 able superioi'ity in i)oetic endowment. Tlie key-note to his crea- 
 tion is freshness and constant inspii'ation ; the prominent trait 
 of the majority of his pi-ecursors is their lack of originalit,y : they 
 could not lose sight of something to imitate, they seem too often 
 forced to toil and keep \igil in the liope that some divine afflatus 
 may raise their ett'orts above the common level. In short, men 
 like Bermudez, Argensola, Juan de la Cueva, Virues, Miguel 
 Sanchez and Cervantes seem to be feeling their way, attempting 
 forms of dramatic expression unrelated to any well-conceived 
 artistic formula. Their theatrical gifts, though very pronounced 
 in isolated details, never crystalized into any well-rounded con- 
 ception : they wei'e generally overwhelmed by a lack of restraint 
 and nullified by disregard of l)alance and form. It would be"^ 
 futile here to point out tiie noteworthy exceptions among Lope's 
 predecessors, those playwrights who revealed in an occasional 
 trait the evidence of genuine artistic gifts. A study of their 
 productions could pres(Mit with much profit not only the growth 
 of numerous metrical forms and technical tiexibility of the drama 
 of the Renascence, but the oi-igin of various elements which 
 portray the outwai-d aspects of Spanish life. In these two fea- 
 tures, poetic charm and siiarkling popular dialogue. Lope's 
 
woffliicst ancestors were (Jil \'icciit(' .•iiid Lope d,. Kucda. No 
 comparative study would l)c c()iiii)l('lc which dors not cxliaustively 
 deal with these two pi-oitiineut names. 'I'hc main dirt'ci-ciice be- 
 tween tlie tcdtro <niti<jii<> of the sixti'enth crntni-y and the woi-k of 
 Lo])e may thus be said to be this, thai while the i'oi-mci' is char- 
 acterized by a constant striving toward more adecpiate dramatic 
 expression, Lope's work represents fullest aehie\-emenl. 'I'liere 
 is bai'dly a featui-e in the drauui of his contemporaries or suc- 
 cessors, which cannot be found in emhi-yo. at least, in his vast 
 formula. 
 
 In giving excerpts from Lope's i)lays, 1 strove to select pass- 
 ages which would best illustrate my argument, even if taken 
 from comedias not unknown to readers of Spanish lit<'rature. The 
 majority of citations were taken fi'om the accessible collection in 
 the Biblioteca de Autores Es})arioles, unsatisfactory as tliis is, 
 because the reader who ajiiiroaches Lo])e as a new field of study 
 could more easily obtain and read thos<' pla\s. 1 have made Jio 
 effoi't to be consistent in the matter of accents on vowels, because 
 my quotations, taken from a vai'iety of texts printed in many 
 dilferent epochs, could not be standardized. 
 
 ]\Iy thanks ai'e due to Dr. Hills of IIk^ Ilis[)anic Society of 
 America, who with unfailing courtesy sent me ti-ansctriptions of 
 items to be found in the library which he directs; to j\Ir. F. E. 
 Spencer and Miss Patricia Moorshead, formei- students of the 
 University of California, for collating ])lays and {passages for me 
 in the Biblioteca Nacional at Madi'id, and to m\' colleagues, Pro- 
 fessor Herbert Cory, Professor Jaen, and Air. Kngene Joi-altMuon 
 for their valuable assistance in reading pi-oofs. 
 
 Berkeley, Cai.ifokxia, .laiiuarv, llMs. 
 
CONTENTS 
 
 I. Tlie dramatic art of Lope de Vega 
 
 Introduction 1 
 
 Lope's dramatic art: the formula of art versus the formula of 
 
 human life 10 
 
 Inheritance and tradition manifest in the characters ; 17 
 
 Inheritance and tradition manifest in specific traits of Lope's plots 2(i 
 Artificial devices in the technique: balance, the duplication of 
 
 groups or combinations of personages (5i 
 
 Poetic language and thought: Concci)tismo and CuUo CaGT- 
 
 Lope's learning: the influence of the classics 67_ 
 
 Lope's acquaintance with contemporary literature 5j_- 
 
 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 Comcdia: a trage3y''and a comedy 113- 
 
 IL La Dama Boha .^TT::::^^ ^17 
 
 The autograph 124 
 
 Variants of the first edition of Madrid, 1617 129 
 
 La Versificacion 141 
 
 Acto I 143 
 
 Acto II 1 79 
 
 Acto III 212 
 
 Notes , _... 251 
 
 Index 339 
 
 BIBLIOGRAPHY 
 
 Lope Felix de Vega C.\rpio. 
 
 Obras, edition of the Royal Spanish Academy, Madrid, 1890-1914, 15 
 vols.; vol. I, with a biography by la Barrera, and vols. II-XIII, 
 with prefaces by Menendez y Pelayo. 
 Restori, a. 
 
 Critical reviews of the preceding edition in Zcitschrift fiir rnmanisehc 
 Philologic, 1898-1906. 
 Rennert, H. a. 
 
 The Life of Lope de Vega, Philadelphia, 1904. 
 Eennert, H. a. 
 
 Bibliography of the Dramatic Works of Lope de Vega Carpio, based 
 upon the catalogue of John Rutter Chorley, in Bcvue hiftpanique, 1915. 
 
Rennert, H. a. 
 
 The Staging ot" Lojh' dc Vega's Coiiiodias, in lUvuc hispaniquc, 190G. 
 Rennekt, H. a. 
 
 The Spanish Stayo in the Time of Lope tie Vega, New York, 1909. 
 Morki.Fatk). a. 
 
 La "Coniedia" espagnole du XVII sieele, Paris, 1885. 
 MOKEL-F.VTIO, A. 
 
 Les origiues de Loju- de \'ega, in littUithi IiisjKiiiujuc, 1905. 
 Chorley, J. E. 
 
 Athenaeum, Xovonihcr, 185)5; and Fruscr's Magazine, vols. 59 and (iO, 
 1859. 
 Okmsbv, J. 
 
 Loj^e de Vega, in Quarterly Eevieiv, 1894. 
 Fitzmaukice-Kelly, J. 
 
 Lope de Vega and tlie Spanish Drama. (Taylorian Lectnre) London, 
 1902. 
 Fitzmaurice-Kelly, J. 
 
 Chapters ou Spanisli Literature, (Chap. VII), London, 1908. 
 BoNiLLA y San MartIx, A. 
 
 Introduction to his edition of Pcribdnez y el Comendador de Ocaila, 
 Madrid, 191(5. 
 
 BUCHAXAX, M. A., 
 
 At a Spanish Theatre in the Seventeenth Century, Tltc University of 
 Toronto Monthly, 1908. 
 VON SCHACK, A. F. 
 
 Geschichte der dramatisehen Literatur und Kunst in Spanien, 2nd edit, 
 enlarged, Frankfurt a. M., 1854. This work has been translated into 
 Spanish by E. de Mier, Madrid, 1885-1887. 
 SciiAEFFER, A. Geschichte des spanischen Nationaldramas, Leipzig, 1890. 
 Farinelli, a. 
 
 Grillparzer und Lope de Vega, Berlin, 1894. 
 Klein, J. L. 
 
 Geschichte des Dramas; Das spanische Drama, vols. VIII-XI, Leipzig, 
 1871-1875. This work is unfortunately written in an involved and 
 repellent style. 
 For full lists of titles cf.: 
 Fitzmaurice-Kelly^, J. 
 
 Historia de la literatura espaiiola, Madrid, 1916, pp. 358, 436. 
 Cejador y Frauca, Julio. 
 
 Historia de la lengua y liteiatura espanola, vol. IV, Madrid, 1916, 
 pp. 69ff. 
 
THE DRAMATIC ART OF LOPE BE VEGA 
 INTRODUCTION 
 
 The opinion is widespread that it is impossible for any human 
 being to reach a fair and comprehensive estimate of the dramatic 
 art of Lope de Vega on account of the unlimited number of 
 comedian which he has produced. In other words, one of liis 
 chief claims to enduring fame, his superhuman productivity, 
 turns out to be the main obstacle to any satisfactory study of 
 his plays. He frightens students away. Nevertheless, this alleged 
 reason for neglecting Lope and his art is, I am now convinced, 
 merely one of several minor ones, which hardly weigh in the 
 balance against a single overwhelming cause : the incredibly 
 unattractive state of his printed works. And this fact touches 
 human nature in its most vulnerable spot. After many years 
 of fruitless effort to interest my students in Lope in any per- 
 manent or productive sense, I hesitate to send them any longer to 
 our libraries to consult the available editions of his plays. Is 
 this not an inexplicable fault in the record of Spanish studies 
 the world over? Can we point to the works of any truly gr(^at 
 playwright of other nations, and affirm that the same is true? 
 Are not scores of editions of Shakespeare, Goethe, IMoliere or 
 men of less fame, to be had in various acceptable forms ? In the 
 case of Lope, on the other hand — surely one of the world's most 
 fascinating geniuses — the record shows chiefly biographical oi- 
 bibliographical studies and, as regards the plays themselves, 
 either intermittent series of collections, or an occasional reprint 
 of a single comedia. The volumes of the former are for the 
 greater part misguided efforts *vhich have been highly successful 
 in keeping his works peacefully shelved. 
 
 Take, for example, the question of Lope's autograpli iiiami- 
 scripts, which under all circumstances must form the beginning 
 of any conceivable investigation of his dramatic art. Is it not 
 natural to suppose that they would all be accessible in critical 
 
2. DHAMATIC Airr OF I.Ol'E DK VEGA 
 
 editions, or some fonii of adequate reprint? Yet in the face 
 of this crying need oui- efTorts have been spent, for the most part, 
 on pUiys already i)i'iiilc<l in a foi-m wliicli does not give us tlie 
 fuiidaiiicntal coiu'cpt ion ol' his manner of creation. Tliis implies 
 no ci'iiieisiii of the results already offered; it is I'ather an expres- 
 sion of i-egret that the liniitetl energies and enthusiasms of 
 Spanisii scholars should be thus scattered, and not directed to a 
 single end. We shall nevei- have even a working edition of any 
 great Spanish writer, if these disconnected methods of study per- 
 sist. The task is enormous, to be sure, and life very brief; our 
 judgments are erring, and critics ever ready to tell us so. Yet 
 it is inconceivable that so wealthy a literature as the Spanish 
 should not stir us up to ever increasing efforts in order that its 
 history and its master minds may be illuminated; but we are 
 hindered by the imperfect state of our tools, and a lack of cour- 
 age and concerted energy to make them better without d^lay. 
 
 It is with trepidation that one begins to speak of any of the 
 pi-inted versions or collections of Lope's comedias. The most 
 easily accessible collection, the four volumes contained in the 
 Bihlioteca dr out ores rspariolcs, cannot be passed without praise 
 in so far as it repi'esented a commendable effort to gather his 
 widely scattered productions. Nevertheless, this edition cannot 
 be recommended to the average student. The diminutive type, 
 the brittle paper, the crowded page in triple column, the num- 
 erous inaccuracies, which are apparent especially when compared 
 Avith autographs or early editions, all seem to have been devised 
 to make Lope repellent. In the case of the plays included in the 
 Ohras Sueltas, printed by Sancha in the eighteenth century, we 
 have a more acceptable format ; this set has the disadvantage, 
 however, not only of being relatively scarce in our libraries, but 
 of containing dramas which manifest no judicious selection or 
 absolute trustworthiness of text. And what can be said to eon- 
 done the mountain.ous edition begun by the Academy 1 Much has 
 already been written concerning the defects of the collection, its 
 untoward size, its heavy, thick paper, its inaccuracies even where 
 an autograph could have served as a basis. (Compare, for ex- 
 
DE AM A TIC ART OF LOPE DE VEGA 3 
 
 ample, the printed vei'sion of cl Bastardo Mudarra with Lope's 
 Driginal.) I shall, therefore, add no additional, gratuitous word 
 of blame ; and indeed were it not for the unequalled and im- 
 mensely stimulating introductions by the late Menendez y Pelayo, 
 one would be tempted to pass over the edition in silence. As 
 regards the continuation of the Academy's project the volumes 
 which have appeared up to date only awaken feelings of pain and 
 regret. No principle can be falser than that enunciated by llic 
 Academy's editor when he says that it is essential to publish all 
 the works of Lope ; no text can be more unwelcome than an 
 unreliable one ; no edition of twenty plays per volume can ])(' 
 manageable ; no volume can be of as little service as one that will 
 never be read. Does it not seem that we are face to face once 
 more with an amateurish project, which, if not modified at once, 
 will again miscarry, and leave only the discouragement which 
 follows every abortive effort? There are thus problems whicli 
 always confront the Spanish student and which deserve a prompt 
 solution. Is this collection to be forever a torso; can the latest 
 venture be carried to a successful issue ; is Lope never to receive, 
 if only in part, what is his due ? 
 
 Perhaps I may be forgiven for inserting at this point a plea 
 to the distinguished members who compose the Royal Spanish 
 Academy (de la lengua) and Avith such authority or prestige as 
 my name may possess, be these ever so slight, urge upon them that 
 something fruitful be determined at once. I speak out of my 
 great love for Spanish letters and because, as scholars aj-e aware, 
 the steps already taken to bring out some of Lope's works have 
 been singularly potent in killing any latent interest in his art. 
 Why not proceed forthwith to make good this lamentable defect ? 
 Surely Lope has precedence over many other literary matters 
 in Avhich the Academy has shown great generosity and upon 
 which it is no doubt willing to spend its funds. A committee 
 could be first appointed to examine very carefully the actual 
 condition of affairs ; it could then make a practical report on 
 M'hat must be done to assure students of Lope that a readable 
 working edition of his comedias will see the light. The basis of 
 
4 in: AM AT ic Airr of lopk he ikca 
 
 ;iiiy successful piojcci should lie c;isy 1o dctennine sinco it 
 ilcpcnds ciilircly on ;i judicious selection of plays sufficient to 
 \l\\v a conipi-elicnsive idea ol' his di-auialic aii, on a |)ainstaking 
 I'cpfint of thai selection, and on a foiMu siiiii)h' and attractive. 
 
 As i-egards a cai-eful selection of his hest plays, this is feasihle 
 and liighly desii-able since it clears away much dead weight. 
 After readiup- available plays and formiiip: an opinion of Lope's 
 ai1. no new play wliich 1 have been abh- to find and I'ead. li;'.,s 
 uioditied my conclusion. This must also be the e.xperiencr of 
 othei-s, and means that the large innnber of Lope's plays is no 
 drawback to pi-inting an edition of his best comedias. Perha]is 
 the suggestions of those who know^ Lope may aid in making out 
 an admirable list of plays. At all events, would not thirty or 
 foi'ty small volumes, each containing at the most three plays, care- 
 fully reprinted, and, if need be, without notes or introduction, 
 be a greater monument to Lope than any other that critics could 
 devise 1 
 
 In connection with the manner of reprinting his works, it 
 nnist be remembered that no arbitrary procedure can ever again 
 make Lope a modern, that the body of readers who will study him 
 intelligently and sympathetically must ever remain small — no 
 unusual fate for the greatest of our writers— and that a depend- 
 able reprint of the best available texts, not modernized, is all 
 that can be asked. 
 
 Finally, the format of the edition may be easily determined, 
 if its main purpose be never lost from view, namely, to place a 
 scholarly selection within reach of any student of Spanish letters 
 the world over. 
 
 i\Iay this ardent hope be realized in the near future ! 
 
 Various editions of single plays need not be mentioned here 
 as they hardly change the facts presented regarding the lack of 
 opportunity to study Loi)e\s art. Moreover, when we come to 
 examine into the state of Lope criticism, we are but little better 
 off. The reader who hesitates to form his own opinion of Lope's 
 dramatic gift, invariably' goes off on a still hunt for aid, and 
 presently returns with the opinions of Schack, or Ticknor, or 
 
DRAMATIC AET OF LOPE BE VEGA 5 
 
 Chorley, or Meneudez y Pelayo, or of some author who derives 
 from these. Nothing can be more disheartening to a teacher, and 
 when recently a student returned with a revamped opinion ex- 
 tracted from the above critics, I determined to lay aside for a 
 little while all other work begun, in order to ease my troubled 
 soul in this matter. Let me begin by stating very clearly that 
 I have no desire to belittle the great work of these men, notably 
 that of 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 
 of our points of view, as well as our information, have greatly 
 changed since then. Perliaps I should be less weary of it all, if 
 I had not had it served up to me in various forms with rarely a 
 new point of view. 
 
 In Germany the words of August Wilhelm von Sclilegel and 
 Schack are still religiously repeated from generation to genera- 
 tion, and we are taught to believe that through them the last 
 word on the Spanish drama has been said. Lideed 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 Avliich formed their opinions was not infre- 
 quently an uncritical entluisiasm. This had its roots in tlie ro- 
 mantic movement and leaves us unconvinced today. As regards 
 Schlegel's dicta especially I recall an experience of my student 
 (lays 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 Mannes ist nicliis zu rilttcJn." 
 Perhaps so. But I have ever since been possessed by the desire 
 to give the reputation of that worthy old gentleman a little shak- 
 ing down, if only to help in destroying forever the principle of 
 Nachheterei. Schack, for his part, set up a comprehensive system 
 of dramaturg}^ inspired by a comparative study of the world's 
 
fi i>i:.\M.\ric Airr of /.on-: />/•; ifc.i 
 
 tlic;ilrc .iiiil coloi'cd liy liis iirdciit love for those i^'iiiciplcs of tlic 
 i-()iii;iiit ic iiioNi'iiiciit wliicli wci-c ill vo<^U(' during his youth. Ilav- 
 iuf^ fralhcn'd iuiiiinicr.ihlc dr.-iiii.-it ic <'l(Mii("iits oi' fonnulao, rcjii-c- 
 sciitcd liy spccilic jihrascs such as the di'awiut,' of characters, the 
 (ieveh)i)iMeiit of |>h)l. truth to nature and actual society, psycho- 
 logical excellence, careful execution of details, vai-iety of moods, 
 and scores of others, he lhei'eu|)on fitted Lope into the system. 
 It is evident from the hegiuning that Schack has set U}) si)ecific 
 standai-ds and that he is going to adapt his favorite authors to 
 his idealized scheiiie. In th(> case of Loj)e this is misleading, espe- 
 cially I'or students who are not accjuainted with his art. It is 
 cei'tainly an illogical procedui-e to conceive an ideal di'anuitui'gy 
 and then look about and see which authors satisfy most elements 
 of the formula. Lope's individuality, his inspiration, were so 
 peculiar and so original that to grasp him in his entirety we nuist 
 start, if we wish to exphiin him, not from a general scheme, but 
 with a purely objective analysis of what he wrote: not by con- 
 ceiving pi'inciples which he never had or, at least, nevei" lived 
 np to, l)ut by noting the specific elements or phenomena A\iiicli 
 constitute the unwritten formula of his art. 
 
 In America we point with pride to Ticknor, our fii-st Spanish 
 scholar, who wrote at about the same time that Sclmck produced 
 his liistoi-y of the Peninsular drama. Ticknor 's analysis of the 
 Spanish stage, notably of Lope's art and works, still finds many 
 readers. But his presentation could not exceed in quantity what 
 seemed eompatil)le with the entire history of a nation's literature 
 and consequently is very inadequate, especially today. Xoi- 
 have we in this ]iarticular followed up the fine ti^adition of 
 Spanish studies which he established by making any attempt at 
 a compi-ehensive study of Lope's dramatic art. We have — beside 
 ]\Ii'. Rennert's excellent l)iographical and bibliographical woi'ks 
 — a luimber of l)rief monogi-aphs to our account whicli, however, 
 do not claim to do him full justice. Ticknor, too, measured Lope 
 ])>■ the convenlional rod of his day. Owing to his sane tempei'a- 
 ment, his poise, he never reached out for glowing colors to exi)ress 
 his svmpatln-, nor did he ever exceed the bounds of cool and fre- 
 
VEAMATIC Airr OF LOPE DK VKCA 7 
 
 (jui'iitly V('i-y (li-y ('xpdsil ion ; hut he none the less sliows cvn-x'- 
 whcrc tluil his vast cai-ly i-fadiii.u' reposes on I'oinaiil ic I'ouiida- 
 tioii.s, tliat his synipatliies ai'e witti such eh'iiieiils of draiualie art 
 as hav*:- lieeii customai'ily einpliasizt'd by the chief exponents of 
 tliat nioveiuent. Tliis is all ((uite loyieal. Tiel^nor wi-ote wjirn 
 literature in England and especially in America had not >-et 
 drifted a\va>- fi'oni I'oinanlicisni, and literary ci-iticisni fre(|uent!y 
 held up standai'ds based upon "the waiMii and passionate produc- 
 tions of southern Eui'Oi)e." A i*etrarch. or a Calderon especially, 
 seeuu'd to vindicate these standards, and the I'onuuilicists were 
 al)le to turn to account in their theories many of the salient ti'aits 
 of Italian and Si)anisli litei'at ui'e. It would be absurd to deny 
 that Lope has any of the (pudities which found an echo in the 
 roiiKtutic nio\"eiiieut. I5ut to explain Loj)e's di'amatic ai't in the 
 light of I'onuuiticism would l)e ecpially so. In Ticknoi-"s opinion 
 a inimber of the |)la\s which he discusses, pi-eseiit a faithful 
 pic1ui-e of Sj)anish society. WIkui I come to speak of Lo])e"s art 
 1 shall try to show that this is not convincingly so, and that such 
 asset t ions iiia<le without (puvlifications are exceedingly niislead- 
 ing. l'>ut this opinion was, and still is, one of the hob!)ies of 
 drauuitic criticism, to tind wherevcu' possible ""a delicate observa- 
 tion of local or national customs." 
 
 England has given us Chorley's admirable exi)Osition of the 
 charactei- of the Si)anish stage; few scholai-s have laboreil over 
 Lope and his bibliography as sympathet icall\- as he and a great 
 uuuiy of his affirnuitions ai-e, thercd'ore, highly suggestive. l>ut 
 1 nuist eini)hasize again, that 1 am speaking fi'om tlie point of 
 \w\\ of the teacher who is attempting to make Lojte atti'active 
 to the average student. From this point of view ("hoi-ley's atti- 
 tude is often a poor guide because he reaches back altogether too 
 fai- to explain matters directly before him. For this reason it 
 is ditticult to agree with those who tliiid; it necessai-\- to quote 
 Choili-y wluMiever Lope's ai-t is discussed. It has from tinu^ to 
 time been the habit of English critics who have followed in 
 ("horley's footsteps to call Spanish society •■essentially supei'- 
 ticial," oiu' to which "the occasional momeiU of philosopliic re- 
 
s ni:.iMATic Airr of lope dk teg a 
 
 fioetioii is uncongenial." By these and similar assertions the 
 Spaniard naturally gets the impression that such foreign critics 
 arc clncHy imjiressed with the fact that they themselves, on the 
 olli«'r liand, helong to a society essentially profound, and the 
 modei-n student is thus introduced to those unfortunate antagon- 
 isms which go back to the days of Queen Elizabeth. Sucli phrases 
 also constitute an easy way of explaining our inability to do 
 justice to the principal features of an art as peculiar as that of 
 Lope de Vega. Chorley, moreover, applies methods of historical 
 and ])liilosoi)hiea] analysis which seem top-heavy to the beginner 
 because he reaches back to the earliest crude phases of Spanish 
 culture to explain a great art of the seventeenth century. No one 
 today is seriously inclined to base his judgment of the culture 
 of the Peninsula on Buckle's brilliant chapter on Spain, to be 
 found in his History of Civilization. And yet a great deal of 
 Chorley has the ring of Buckle, for however true the latter may 
 be here and there he has for the most part become old-fashioned ; 
 he presents an attitude which we can no longer accept unless 
 renovated by a few new ideas. The following quotation will 
 explain best what I mean by Chorley 's reaching back too far to 
 explain the character of the Spanish drama. He is talking of 
 the "intensely self-conscious individualism" of the Spaniard, 
 and continues : 
 
 ]u the earlier times it presents itself without disguiso in the form of 
 personal independence and fiery self-assertion; and from its action on the 
 general ideas of worth and duty diffused throughout Europe, by the 
 development, on the feudal basis, of the institution of Chivalry, may be 
 deduced the qualities involved in the Castilian type of honor — overween- 
 ing self-assertion, punctilious resentment of offence, jealous maintenance 
 of jirivilege 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 w^ork they have 
 made! What was once rude, simple and vigorous, has become in some 
 resi)ects fancifully refined, in others altered or weakened, in all vastly 
 complicated. It is a combination in which relics of the ferocity of war- 
 like ages, and of the wild ways of personal independence, are mingled 
 
DL'AMATIC ABT OF LOPE BE VEGA 9 
 
 with the courtesies and caprices of a time of luxury and ostentation, ami 
 forced into unnatural shapes by the high pressure of despotism in State 
 and ChuiT'h. 
 
 Pare ustal la hurra, we unconsciously exclaim at this point, 
 come back to our own days and the matter in hand. For after^ 
 all is said and doiie, to have Lope's art thoroughly illuminated. ) 
 we need go only to his own comedias. Lope explains Lope better / 
 than the days of Wamba explain him. / 
 
 In Spain the criticism of the late Menendez y Pelayo, to be 
 found in his Historia de las ideas esteticas en Espaha, and in 
 those essays on individual plays which he prefixed to the volumes 
 of the Academy's edition, has no equal. These scattered utter- 
 ances are throughout insinring, and coming from one whose 
 understanding of Loi)e was so profound, whose taste was so ini- 
 erringly sound, should be gathered at once and reprinted in a 
 form aeeevssible to all. 
 
 I may be pardoned for not mentioning all of the recent critics 
 nor the monographs which are related to Lope's work. The fact 
 that they deal largely with bibliographical matter must justify 
 their exclusion from my argument. The fear expressed above 
 lest we accept too lightly current Lope criticism will meet with 
 opposition on the part of many conservative readers. Of that 
 I am well aware. But perhaps a defence of these giants of old 
 on the part of others will bring out something new, and that is all 
 I desire. The very best criticism is bound to grow musty and 
 stale unless ventilated and renewed from time to time ; the dill'er- 
 ence between certain books on shelves and men in their graves 
 is not \evy great after all. Hamlet's "How long will a man lie 
 i' the earth ere he rot?" also applies to the criticisms of bygone 
 days. What we say today ought of right to be replaced tomorrow 
 by something more illuminating, more comprehensive, more true. 
 
Til !■; 
 
 I'ol.'.MrhA OF AK'T 
 
 VKKSrs THK 
 
 ..\ OK 
 
 lll'.MAX \AFE 
 
 
 he ;iv, 
 
 i-ratrc sludciit who 
 
 desires 1o dis- 
 
 coiiii 
 
 )<).si1 ion is to scnrc 
 
 li llii'ou'j;!) liis 
 
 u't r (■ 
 
 (iiiK (lias, and llic i 
 
 lumeroiis 1)1-0- 
 
 ]0 DUAMATW Airr OF I.Ol'F. PF IFCA 
 
 LOPK'S DRAMATIC AK'T: 
 
 FOK'.MI"! 
 
 The first tendency of 1 
 eover Lope's principles of 
 essay <l Arl< )ii(( ro (h Ikk 
 lognes and dedicalions prefixed lo 1lie lirsl editions of liis ]ilays. 
 This is, to me at least, a finilless aca(h'inie ])roeedure. Loi>e» 
 writing a comedia, and Lojx' ti'\iiig to explain how it is done, are 
 two absolutely different men, two minds woi'king in wholly dis- 
 tinct fashion and on diff'ei-ent lev<'ls. The Arte )iu( )■(> especially 
 is no cine to what we ch-sii-e most to know, but pedantic ill-com- 
 bined material drawn fi-om his reading; it is the acceptance in 
 theorj^ of dramatic principles to which the work of his life gave 
 the lie, an uncritical repetition of traditional phrases concerning 
 the nnits of time, place and action, rarac aves which never lodged 
 on Lope's tree, a nai've explanation of the differences apparent 
 between his own ci-eation and the standai'd works of old, coupled 
 with excuses for cat(M-ing to the poor taste of the contemporary 
 theatre-goer. Nor do his pi'ologues and his casual definitions of 
 the comedia lead us out of the woods and into the sunshine. 
 Indeed, when all is said and done, the Lope who tells ns of his 
 art is a mind cii-cumscri!)e(| l)y aect^pted academic teachings to 
 which any deliberate oi)iiosition would have been nnpardonable 
 heresy. Cervantes, with his meagre dramatic and slight poetic 
 gift, and the various mediocre contemporaries of his early efforts, 
 jogged all their lives through in these trammels, and if Lope's 
 original genius had not broken the academic bonds wdiich his 
 uninspired self-criticism tried to accept, we would have had no 
 monstruo de la nuiuvcdeza; Sjiain could not point with pride to 
 his repertoire which fui-nish(-s an examjile of every note, or com- 
 bination of notes, struck by any of the i)laywrights destined to 
 follow in the stt^ps of this master com])oser. 
 
DHAMAriC AET OF LOPE DK VE(;A 15 
 
 tlie ( nircmcses of Cervantes, Lope and others), and the liighly • 
 poetic comedia. If we are to judge by bulk alone this literature 
 of the imagination looms verj' much larger in the history of the 
 Spanish people than theii" realism, extraordinary as the latter 
 is. Works of pure invention appealed longei' and had a greater^ 
 hold on their artistic intelligence than any other t>'pc. If Lope's 
 coiiudia is here classed with the great types of literary invention 
 an analysis of its chief elements may presently jiistify this i)oint 
 of view; like them his creation is an extraoi'dinary tribute to the 
 artistic powers of appreciation of the Spanish people whose con- 
 stant favor alone vitalized his works and allowiMl tliem to hold the 
 stage in uninterrupted popularity tlu'oughout his long career. 
 Yet we shall later feel inclin<'d to wonder at tliLs artistic intelli- 
 gene(% this boundless love of a jioi^ic work of the imagination, 
 when we come to learn that Lope's conudia rei)resents a rare'' 
 composite expression which mingles reality with various idealized 
 features, and not seldom with unrealities for which I have never 
 fonnd any parallel in contemporary documents, noi- any fonnda- 
 tion in reliable pictures of Spanish society of his time. 
 
 We still have to state the chief reason why the conirclid takes 
 its i)lace beside works of the inventive faculty rather than those 
 inspired b.y the unadorned actualities of life : that i-eason may 
 be found in Lope's concessions to tradition, not infi-e(inently at 
 the expense of a closer observation of contemporary manners and 
 of psychologic accuracy, hi spite of his ovei-w!ielming produc- " 
 tivity, his variety and originality. Lope's inventive genius was ; 
 never free from the grip of literary, aeademie and stage tradi- 
 tions, and the reader will see from what follows to what extent 
 they determined the formula of his art. It is the presence of 
 these traditions, the acceptance or imitation of specific, inherited 
 features, the inability to shake off the intiuence of something 
 already })i'inted, the assimilation of traits of style or of eui'i-eiitly 
 used material which compel us to class the (■(nindia with works 
 of the imagination rather than with those which held a mirror 
 up to imture. The influence exerted by the fonnei- will be appai-- 
 ent from what is said hereafter. 
 
16 DIUMATIC ART OF LOrE DE VEGA 
 
 Tlie scope of this essay obliges me to discard any considera- 
 tion of the less vital themes of Lo|)e's vast proji^ramme. I refer 
 to such woi'ks as the coniedias dc Santos and 1o those which deal 
 with ])('culiai' legends, mythological subjects and semihistorical 
 laics. 'I'lic lii-st, indeed, are not remote from Spanish culture of 
 the epocii under consideration, but they are fai'ther removed, 
 as a rule, not only from the dramatic formula of human life 
 than any i)lays we choose to include, but often do violence even 
 to Lope's purely artistic achievement. As regards all of the 
 latter ty])c, they indeed increase the bulk of his output but add 
 practically^ notinng vital to the great elements of his art ; they 
 give certain arbitrary principles, such as that every subject is 
 fit for theatrical presentation, a wider range, but owing to the 
 vague di-amatic application of these principles they add no im- 
 portant or illuminating feature to our analysis. I am dealing 
 / only with those plays through which the name of Lope has any 
 hope of surviving, in whicli he presents actual, living themes 
 in an infinite variety of form, and on a canvas which has not 
 wholly paled as have so many comedias of his day. In short, 
 I am drawing my inferences chiefly from those plays which 
 present Lope's nearest approach to the game of life and love in 
 all of its comic or tragic aspects. For we can retain an abiding 
 ) interest only in those children of Lope's fancy wdiich reveal the 
 I traits of our common, human heritage, the whims and passions of 
 all men and women clothed by him in the living colors of his 
 j unparalleled poetic gift. 
 
 I shall now take up the chief elements of his literary inherit- 
 ances and the tradition which forms a part of the foundation on 
 which his comcdia was raised. 
 
DRAMATIC ART OF LOPE BE VEGA 17 
 
 INHERITANCE AND TRADITION MANIFEST IN THE CHARACTERS 
 
 Let US go l)ack tliree liuiulred j^cars and imagine ourselves 
 seated among tlie spectators at various representations of Lope's 
 comcdias. As we try to seize and hold the images tliat stand 
 out fi'oin tile wliii-l of rapid action passing before our eyes, nunuM-- 
 ous indelible inipi-essions are stamped upon our memories. The 
 foremost of these is that we liavi seen the work of a master hand, 
 which, after fashioning a certain number of characters, has, with 
 magic skill, given them motion, presenting them day after day 
 in an unlimited number of different combinations. Their speech 
 is never the same, never monotonous, their witticisms cannot fail 
 to arouse the laughter of the audience ; their emotions of pain, 
 anguish, hatred, jealousy, and love awaken in all a sympathetic 
 response. Yet in spite of the incredibly rapid action which 
 characterizes the great majority of Lope's comcdias and lends 
 his artistic formula all the outward manifestations of life, in 
 spite of the large amount of pure stage business, which, as is 
 apparent at every turn, permitted talented actors and actresses 
 to hold the attention and to win the favor of the public, we are 
 bound to ask ourselves again and again, is this the perfect image 
 of actual contemporary Spanish society which so many writers 
 take it to be? The answer must be in the negative. Let us look 
 at some of the phenomena which pass before us. 
 
 No art which professes to picture human society, family life, 
 dail.y episodes of the average man or woman, can set ilself any 
 restrictions ; it cannot omit arbitrarily nor overemphasize a cer- 
 tain number of facts or elements. Thus we are impressed with 
 the fact that human society in the comedia has with rare ex- 
 ceptions no mother. All reasons given in defense of this nmis- 
 sion but emiihasiz(^ the fact that we are not dealing so luucli 
 with a limitation imposed upon a great art by etiquette or cur- 
 rent manners as with a silent acquiescence in a litei-ary tradi- 
 tion which goes back through centuries of tlie life of Koine and 
 
18 DUAMAiir Airr of i.ori-: />/•; \ ec.a 
 
 ^ till- Latin nations, a tradition none tlic I.-ss fixcil liccansc it sliows 
 occasional exceptions. We may pi-csniiic that the niotlicr has 
 always ph-i.\-cil an untliamal ic a passive |*ai1 in actual liuniaii 
 society: Ii.t (hities and her intlu.Mice have l)een cii-cuiiiscribed ; 
 siie niie-lil hi' seen Imt not lieaid. and evi'ii thai oni\- in her own 
 jioine. The usual ajjpeal lo Moorish intlucn<-e on the seclusion 
 of women cannot be disregarded altogether, to he sure, N'et by 
 itself it makes a weak argument, because the daui^'htei's would 
 have to be incduded in the climinatiftn and we should have no 
 (■<)Hi<<li(i. Moreover, exceptions I'xplain this phenomenon which 
 was accepted by the ]\enascence drama all over Europe and nud<e 
 US realize that the introduction of a mother into the plot may 
 lead ns even fai-thei' awa\- fi'om the |)ictni-e of actual society 
 than her customai-\- omission. Take, for exami)le, la discn in 
 Enuiuoradd. in which the mother has all the gross traits of a 
 duenna, all the undignified weaknesses of a silly old woman who 
 courts the advances of a young gallant, and particii)ates in 
 rendezvous and other eonveutioiud eiusodes designtnl for con- 
 niving old females; or (Jiiicii (iiiKi IK) li(i(j(i fieros, in which mother 
 and daughter are rivals intriguing to win the same lover, in 
 which race the logical victory of the >oiuig daughter leaves the 
 mother angi-y and shamed, and the i)lay closes with the latter 
 reproaching her daughter for her cunning, "Tu has heeho esta 
 inveneion."" Or take los Md'uidrcs dc Ihlisa, in which the wid- 
 owed mother, Lisarda, is depicted as ready to accept another 
 husband. She falls in love with a supposed slave of the house- 
 hold, who has ali-eady taken the daughter's fancy, while the son 
 also falls in love with a supposed female slave. Lisarda, thera- 
 foi-e, impresses one merely as a duenna with the title of mother, 
 but without sweetness or dignity, for she, too, meets with dis- 
 comfiture an«l i-idicule at the close. Is this the retired and gentle 
 mother of Spanish society? Finally, in Lope's Dorotea, in whicli 
 critics see more personal history than is justifiable to assume, we 
 find the i-epulsive extreme of a mother. Teodora, who is willing 
 to sell her daughter's honoi' to a nabob for gold. Even if we 
 grant the possibility of an iiulividual case of such depravity in 
 
DRAMATIC Airr OF LOVE DE VECA 19 
 
 liuinaii society aiul admit that Lo])t' Iiad a liviiii;' modi'l in mind, 
 we need only compare Teodora witli the o()-l)(.i\vc('ii of lie! ion 
 and drama in Italy and Spain to sec that she s|)('aks tlic ]ani;iiagi' 
 of litciary tradition. Tlie plot, accordini;' to which the reader 
 is pcnniltt'd to sec the interioi' of Dorolca's home, re|)resents 
 Ihe hiltei' with ]io sjiotless charactei-, and imposes the conelnsion 
 that her conniving mother ottered no ol)ji'ct ions to the life winch 
 iicr daughter has led. In hi'ief. the omission of the mother was 
 a novelistic element which the coiiKdin had iiiliei-ited, ;ind as long 
 as the majority of plots in novel and play alik'e t\irned on seei'et 
 intrigues of amorous passion, games of hide-and-seek, honoriihh' 
 or othei-wise, lackeys' tricks and rendezvous, the mothei- could 
 ]»]a>' no dignified ]n)i-t without hringing down the i)oel"s scheme 
 like a house of cards; if included at all, she natiirall\- assumed 
 a rcle hy no means in keeping with hei' sacred position and name. 
 The ahsence of the mother nuide it iin])erative foi' the poet 
 to introduce an elderly I'enude who would lend authority to this 
 ])ictui'e of society, and at the same time he a conceivahle i)art 
 of the plot. We, therefore, havc^ either the aunt or simply a 
 charactei- not related to the household, ver\' often (le])icted as a 
 ^\•idow and partaking also of the chai'actei' of duentui and go- 
 hetween. That the lattei- ])ersonage existed in Spanish society 
 as elsewhere we cannot doul>t, l>ut everythinu has its I'easonahle 
 limits. In this particular case we are once more (hiding ^ith 
 a character on wliich novelistic and draumtic episodes have turne*! 
 foi' centuries as upon a main axis, and, howevei' much |)oets 
 ahuseil the type and distorted the actual figure of I'eality hy 
 adding the traditional touches, copied thiough ceiduries of lit- 
 ei'ary inntation, it nevei' lost its vogue or failed to orcui)y a 
 ]>rominent place in novel and theatre. Spanish literature of the 
 Renascence made many contrihutions to that long line of ahle 
 females beginning with the old hag of the classics and runiuiig 
 down through the trota-conv( nios, the ( 'elcst inns and 1 he dueiimis. 
 The dutMina especially became an obsession of mnnerous wi'iti'i-s 
 of the Golden Age, who set her up as an omnipresent, pei'vers.' 
 social manifestation, and so found a jtretty oppoit unit\- to rail 
 
20 DHAMATIC AllT OF LOPK 1)K VF.GA 
 
 ;il lu'i' in llif licsl litiTJifv maiuii'i'. In llic elderly woman of 
 Lope's ((DiKdld. \\r i\]\' coiiseiiuent Iv (lealiii^' with an inheritance 
 skillt'uilx- iiiodilied by tlie facts and made acceptable to the public 
 by his incomparable wit and graceful verse. 
 
 A theatre-goer of Lope's day would be impressed in the next 
 place by the numerous figures of the disguised oi- wandering 
 damsel, the maiden who, deceived or abandoned l)y her lover, 
 hides hei- identity under the gai'ments of a servant, a slave, or 
 even a lackey or a young gallant. This is a puzzling element in 
 Lope's fornuda. IIow many young women were wandering 
 through Spain or the streets of Spanish cities in disguise? Why 
 did the i)ublic accept this figure in its never-ending variety, and 
 why was it copied by all the playwrights of the seventeenth cen- 
 tury? It cannot be explained, unless we admit that a whole 
 audience nuiy become hypnotized by a literary type. That the 
 disguised damsel was nothing else is manifest not only from her 
 great age in fiction and legend but by the rather unoriginal way 
 in which she reappears in the histor,y of the comcdia. Did the 
 spectators find in the contrast between the restraints and limita- 
 tions of reality and the freedom of fiction a kind of esthetic or 
 artistic satisfaction ? I have searched through matter-of-fact 
 books and documents and yet never ran across the unrecogniz- 
 able, disguised maiden. Does not Shakespeare make it evident 
 as only he could that Viola of Tivelfth Night is but a child of 
 his poetic fancy ? In both Lope and Tirso examples of this 
 disguised damsel are fairly common, so that I need not pick out 
 particular characters, nor make the futile effort to demonstrate 
 that she must have been a common occurrence in actual society 
 because she is so thoroughly at home in novel and comedia. Yet 
 to be fair to 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 cclos que amor, act III, scene xiv. Lope appears not 
 only to regard the disguised maiden with a twinkle of fun in his 
 eye, but to admit frankly that she is a character inherited from 
 books. 
 
DBAMATIC AST OF LOPE BE VEGA 21 
 
 Condc. /^Habrause en el nmndo visto 
 
 mujeres que disfrazadas 
 
 hayan hecho extranas cosas? 
 Mendoza. ^Quien duda que han sido tantas 
 
 que han oeupado los libros, 
 
 y de la fama las alas? 
 
 Another puzzling feature of Lope's stage is tlie occasional 
 presence of courtesans of the better class ; these stand out in 
 glaring contrast with the refined girl hedged about by all the 
 restraints of her position. This feature gives rise to striking 
 contrasts in stage pictures because we have the freest morals 
 by the side of seclusion and modesty. In this type of woman, 
 however, Lope combined literary imitation witli fact, presenting 
 to us vivid local color in poetic guise. He unquestionably had 
 in mind now and then the type of woman presented with great 
 freedom in the Celestina literature, and, less frequently, that of 
 the Italian novelle, mingling with this imitation a study of local 
 morals and customs. 
 
 This is not the place to speak at great length of tlie manners 
 of the Latin capitals of the Renascence, especially the larger 
 cities : Paris, Rome, Madrid, Seville and others. But a few words 
 may serve to throw some light on the characters of the go-between 
 and the courtesan. Most accepted narratives of moral corruption 
 are always to be discounted to a certain degree, because they bear 
 many signs of exaggeration. Innumerable writers have indulged 
 their fancy in scandalous tales because unsavory morsels have 
 always made attractive and salable reading. Glaring pictures 
 of incredible freedom, descriptions of the immoral life of the 
 entire society of a city, have always caused an agreeable shud- 
 der in the credulous reader. In this, novelistic works especially 
 have contributed their share, and the modern critic forgets that 
 he is taking highly colored entertainment for fact. After sifting 
 all the evidence and building rather on silent archives and un- 
 adorned history, we are, to be sure, face to face with a condition 
 unlike anything today. Madrid and Seville especially, cities 
 which combined many cultures, in which Roman and Moorish 
 customs dominated, present a freedom of manners excellently 
 
V 
 
 22 ni;.\MATi(' Airr of lope dk vkga 
 
 tU'picti'ti in some of Lope's vivacious sceiics. The existence of 
 slavery, the denioeratie si>irit of the servants, the (juest of sex 
 wliieli is always in the atmosphere, the limitations of a society 
 thrown entirely npon its own resources for amusement because 
 I'estrietetl connnunications practically isolated it from the rest 
 of the world, the animation of street life developed to an un- 
 paralleled degree, and, finally, the unrestrained nuinifestations 
 
 -of the southern temperament, all these facts and many more 
 made possible the presence of the free woman and gave her an 
 established prominence in life and in art. It is, therefore, clear 
 that Lope introduced a very human element into his comcdia. 
 But the remarkable fact remains that he presented this side of 
 life Math an unusual delicacy of touch. Since comparisons are 
 often helpful, it is interesting to point out how much cleaner 
 and purer he has kept his tone than the Elizabethan and Ja- 
 cobean dramatists did in England, for these latter often sink 
 into unspeakable depths of filth and indecency. Lope's art con- 
 
 ' sciously sought to attain a high level in its moral tone, for which 
 we also owe a debt of gratitude, however slight, to the official 
 censor, who protected public morals from the evils of literature. 
 In short, we are dealing with a condition common to Latin society, 
 and reaching far back into the classical age, which prohibited the 
 virtuous maid from taking part in the social gatherings of men, 
 and so brought about the substitution of the courtesan. The 
 latter combined with her freedom of manners beauty and clever- 
 ness, and became in life a visible part of society, and in literature 
 the admitted companion of men. 
 
 Among the novelistic characters to whom Lope has given 
 traits of endless variety and originality is the young gallant, 
 spirited, alive and consequently full of action. The type k not 
 distinctively a Spanish creation, for we find him in all literature 
 of the Renascence; he is prominent in novel and memoir, but 
 especially on the stage, where his dashing qualities give him the 
 first place. Yet in the comedia of Lope he seems to me to sur- 
 pass all others on account of the astounding diversity given to 
 his speech, his moods, his impulses, his whims, his virtues and 
 
DRAMATIC ABT OF LOPE DE VEGA 23 
 
 his follies. Logically a character all action must have a foil, 
 and so Lope set by his side another traditional figure which he 
 presents with no less variety, the attending servant or lackey-. ' 
 This inseparable appearance of master and servant easily be- 
 comes dull and mechanical in the hands of an inferior genius, 
 and so betrays the fact that we are dealing with a stage device 
 rather than a common phenomenon of human society. Lope . 
 has managed to put into the servant the unbounded resources 
 of his wit and made him one of his chief claims to rank among 
 the world's great comic playwrights. The reason for the ex- 
 istence of a companion for the gallant derives chiefly from his 
 appearance in centuries of novel and drama. He was necessary 
 to the plot and assumed diverse forms, such as that of advising 
 friend, guardian, ayo, teacher, but especially that of servant, 
 slave or lackey. On comparing Lope's gallant with all the 
 types which preceded him we find how much this versatile play- 
 wright improved his literary models, how he managed to make 
 a dangerously stereotyped character alive. How he succeeded 
 in creating a never-ending series of comic scenes involving master 
 and servant will always appear a miracle of invention. Indeed, 
 he has so accustomed his reader to look for these witty scenes' 
 that any play without them causes genuine disaj^pointment. 
 
 But let us see to what extent the servant is an invention of 
 Lope's mind. Real life, as contrasted with literature, reveals 
 the presence of the commonplace rather than the witty servant, 
 and in Spanish society no doubt could be found numerous ex- 
 amples of the attending maid servant, the slave, the lackey, the 
 lady's escudero and the rest. But we are now dealing with a 
 personage endowed with far more than the average traits. The 
 latter are not conceivable as dramatic possibilities. Even the 
 average literary models, the servant that can be bribed or won 
 over, the serious guardian, the grave aijo, the sentimental com- 
 panion, or the mixture of messenger and go-between, these and 
 others would have failed to add the vivacious, living touch neces- 
 sary in plots based almost entirely on action. Lope, therefore, V 
 conceived a character to the flexibility of which there are no 
 
24 III:. iM. trie aut of i.opk df. ifca 
 
 l)OUiuls. His alti'iulinfi^ sci'vanls ciubracc oveiy conceivable 
 (|uality: tlicy arc slirewd and witty advisors, they invent tricks 
 and discover remedies, they overcome obstacles, they are full of 
 delightful saws, they draw on a vast amount of human experi- 
 ence, they are filled with ready informatioji, and not infrequently 
 with substantial learning and classical instances, they are loyal, 
 devoted and self-sacrificing friends, they may even be excellent 
 / philosophers, they represent in tlie most coiiii)rehensive sense 
 
 'y the perennial resourcefulness of Lope's own gifts. And all this 
 • is true, although to a much lesser degree, of the cn'ada wlio at- 
 tends the heroine. 
 
 In this very fullness and completeness of mental traits in 
 ~~1 the servant lies one of his chief defects, and we quite naturally 
 ask ourselves how likely it was that such attendants or lackeys 
 existed anywhere outside of Lope's fertile brain. Readers of 
 the comedia get the impression that innumerable gallants walked 
 the streets of the Spanish cities and that each was favored by 
 heaven with a servant in some way extraordinarily endowed. If 
 we may consider the best part of this figure as Lope's creation 
 we are nevertheless dealing with an inherited type modified by 
 the demands of the stage into a personage to whom his genius 
 gave the breath of life. It is apparent that he kept actual ser- 
 vants and lackeys sufficiently in mind to make his own characters 
 acceptable possibilities. They are alive, even if 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 
 of common day. They are alive because Lope borrowed with 
 consummate skill the color, the movement, the kaleidoscopic ani- 
 mation of the world about him, giving his handiwork Avarm blood 
 and poetic existence. 
 
 I do not presume to mention all the characters of Lope's 
 plays which would ordinarily find a place in this discussion ; 
 I shall limit myself to giving a few more which may be of interest 
 to the reader. They are the father, occasionally replaced by the 
 uncle, as the aunt so frequently took the place of the mother. 
 Here Lope again exceeds mere tradition, betraying in these per- 
 
DIIAMATIC ABT OF LOPE BE VEGA 25 
 
 sonages a more pains-taking observation of current nuinners. 
 Indeed, some of his old men are amongst the greatest creations 
 of his stage. To one traditional figure — the rich, old suiter who 
 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, 
 contemporary charactei-, the IndianOjOv nabob. The novelty and 
 romance which attached to an adventurer returning from tlie 
 Indies laden with i-iches and boasting of strange experiences 
 made a fruitful addition to the dramatic possibilities of the 
 comedia, and Lope could scarcely fail to give him on the stage 
 all the interest he awakened in real life. He is a part of the 
 adventure element of the comedia, and takes his position by the 
 side of the soldier who returns from campaigns in Flanders oi- 
 Italy, that much traveled, wandering pei'sonage who injects into 
 every plot new elenunits of intrigue, trickery and romance. 
 
 In speaking of the influence of inheritance and tradition 
 upon the characters a word must be said about the poetic nomen- 
 clature of the dramatiijpersqnae. We deal here with one of the 
 stereotyped features which characterizes not only the Spanish 
 drama of the Golden Age but the whole Renascence drama every- 
 where. The reason for the existence of these stereotyped names 
 is not far to seek : they were adopted under the influence of the 
 fiction sources of the drama, coupled with the exigencies of 
 dialogue in verse. They seem especially suitable in a drama 
 which is not entirely an image of contemporary conditions, l)ul 
 the picture of an idealized form of society. Lope presented on 
 the stage between seventeen thousand and twenty thousand char- 
 acters, for whom he devises a surprisingly wide range of names. 
 Their drawback will of course always be their inevitable repe- 
 tition, and the reader is sometimes hopelessly lost in the long 
 lists of Dorotea, Teodora, Belisa, Fenisa, Feniso, Finea, Fineo, 
 Laurencia, Laurencio, Turin, Chapin, Batin, Cliacon, and end- 
 less scores of others. They form one of the elements of Lope's 
 art, which has grown pale, but which we uuist leai'ii to endui-e 
 as an inoffensive feature of the poetic language of the cotnedia. 
 
DlxAMATIC Airr OF LOVE T)E VEGA 
 
 'IXJIKRITAXCE AND TRADITION MANIFP^ST IN SPECIFIC TRAITS 
 OF LOPE'S PLOTS 
 
 The rapidity of action which characterizes practically all of 
 Lope's plays has been touched upon above and will be discussed 
 in connection with the chief features of his dramatic technique. 
 At this point, however, it leads me to draw attention to the in- 
 evitable result of constant forward motion in the plot. Psycho- 
 logical changes due to meditation, delay and repose are replaced 
 in the majority of cases by stage devices of an external character, 
 novelistic episodes, striking theatrical effects admirably conceived 
 to surprise the spectators, by impulses, whims and passions which 
 do not represent any spiritual growth in the characters. One 
 of the excellent traits of Lope in this connection is his self- 
 restraint, the manner in which he lias refrained from overdoing 
 this side of his dramatic formula. Critics of past generations, 
 having taken for a starting point the work of Calderdn, who used 
 all these features with more mechanical skill than Lope and per- 
 fected his technique, at times to the point of rigidity, have seen 
 fit to include Lope in their schemes of classification, and made 
 him, because of these outward signs, a romantic dramatist. This 
 is misleading and inadequate, because no other fact stands out so 
 clearly after a prolonged reading of his plays as this, that it is 
 impossible to find any pigeonhole into which his vast genius 
 can be compressed. The spirit of his art has a thousand windows 
 and permits the reader to look upon a wide range of human 
 activities ; it shows a comprehension of all that goes on in the 
 hearts and brains of men, of which romantic dramatists and even 
 Calderon had an inadequate conception. His gift of invention 
 was so enormously taxed that it had to make concessions to 
 literary and academic traditions in certain elements of his plot 
 material which do not represent profound aspects of human 
 life ; therefore critics have singled out these external traits and 
 branded them as signs of the romantic drama. The fact is that 
 
BE AM AT IC ABT OF LOPE BE VEGA 27 
 
 Lope has romantic feat^ires as he has characteristics of every 
 school, if one chooses to search them out, but more light is thrown 
 upon his art if they are considered only from the point of view 
 of his own day and treated as accepted elements of an inheritance 
 which he received in common with the whole Renascence. 
 
 "What are some of these tangible outward stage devices or 
 plot episodes? They are those which novel and drama have 
 assimilated practically the w^orld over. Indeed, some of tliem 
 have their roots in folk-lore themes and are as old as the imagi- 
 nation 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 
 other way about, maidens as servants, doctors or even college 
 professors, deceptions, feigned relationships, lies ranging from 
 white to black, incredible experiences and adventures exempli- 
 fying the delightful saying de luengas vias luengas mentiras, the 
 substitution of one person for another, concealments which lead 
 to comic or tragic ends and many other novelistic motifs. Among 
 the common devices which help the plot forward are the bribery 
 of servants, the exchange of the usual lover's tokens such as 
 handkerchiefs, letters, rings, messages and the like. The tricks 
 employed to open a conversation, to obtain an interview or send 
 a bit of news include such methods as opportune stumbling and 
 falling on the part of the girl, the lover hastening to extend a 
 helping hand ; the use of the holy water font at church, where 
 a glove or letter may be left ; the traditional entrance into the 
 girl's house of the vendor of knickknacks or ladies' articles of 
 apparel, a personage who goes back to the institor of the classics, 
 and the trota-conventos of early Renascence literature ; and the 
 protected rendezvous carried out under the aegis of some servant, 
 friend, or relative. Possible meeting places are of course limited 
 to accepted custom, the most common being the streets or public 
 promenades, or the reja of the woman's house, if the lovers or 
 interlocutors are unobserved. Servants are not as a rule consid- 
 ered intruders. Next in importance is the church, to which 
 every woman would repair daily as surely as the sun rises in 
 
28 I ) II. \ MA TIC Airr OF I.Ol'F. DE IF.C.A 
 
 the inoniiiiti-. Krt'(|U('iit ly iiiiis arc .successful lucctiiig' places. 
 Tlic unlii-iaidctl cut raiirc of the lover into the very room of the 
 Itclovcd iHa\- he taken as an amusing, although arbitrary, breach 
 of custom on the part of the poet, since it is always greeted by 
 an exclamation of fear and disapproval on the part of the girl. 
 As a jnirely novelistic episode it is an inheritance out of the 
 classics, for we may recall that Ovid advises the lover to make 
 it one of his principles to force his way into the woman's house 
 if possible, a principle made use of especially by the Italian 
 novel. The proximity of the houses of the lovers, the possible 
 signs exchanged from balconies, were no doubt applicable to 
 local conditions, but are none the less common to all novels deal- 
 ing with episodes of life in cities. 
 
 We are bound to view any great liberty of action on the part 
 of young women, who are otherwise depicted as refined, and 
 educated according to the retired position occupied by the aver- 
 age mother and daughter, as a stage device by which the poet 
 broadened the actual conditions. In those female personages 
 who show independence of both thought and action Lope pre- 
 sented characters and conditions which gave his wit freer play 
 than colorless reality ; he entertained his audience by means of 
 a picture frankly intended as an exception rather than the rule. 
 This is one of the features which makes certain writers voice 
 'their enthusiasm over the lifelike descriptions of Spanish morals 
 and customs to be found in the comcdia, but, as I already stated 
 above, their assertions seem based on statements and pictures 
 whicli in tlieir turn are founded on inferences drawn from these 
 very plays. As an argument this procedure involves lis in a 
 vicious circle, the probability being that in this whole matter 
 we are dealing with another clever fusion of fact and fiction. 
 
 Considering the Avide range of poetic license, it is futile to 
 criticize 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 
 or acquaintance. This theme of universal acquaintanceship is 
 a part of the artistic formula which found no obstacles in dis- 
 
VBAMATIC AET OF LOPE DE V E<iA 29 
 
 tances, and took for granted that the imagination of the specta- 
 tors was equal to any rapidity of action, to a flight over any 
 distance, or to a removal to any place. The devices according 
 to which characters in localities widely apart are known to one 
 another are thoroughly accepted as stage possibilities, and are 
 necessary to connect scenes in plots which rejected tlie unity of 
 place, and wiiich are, after all, only a mixture of reality and 
 fancy. In connection with this fusion and the presence of in- 
 evitable artificial elements not only in the Spanish but in every 
 national drama, we are apt to overlook that a detailed study of 
 life in the European capitals at the period under consideration 
 makes evident a number of truths concerning human existence 
 widely differing from the facts of modern city life. The ab- 
 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 power and 
 vitality of gossip, conceding undue prominence to all local occur- 
 rences, however slight, to scandals, accidents, rumors, placards, 
 pamphlets, letters and the like. Therefore individuals dependent 
 upon their own resources lived a life measured by standards 
 wholly different from our OAvn. We may thus assume it to be 
 extremely likely that individuals in families of reasonable prom- 
 inence were M-idely acquainted among the inhabitants of the 
 same city. 
 
 But city life, however circumscribed, can never be dominated 
 by an artificial formula in every phase or level of society. Even 
 formal court manners have never meant that a whole city led 
 an existence of pure etiquette. The court life of monarch and 
 aristocrats maintained its course on one side of a cleavage, on 
 the other side of which the masses of the people pursued their 
 sane and commonplace ways. It must have been so with the 
 society of the Phillips, or the actual Spanish world would never 
 have survived. It seems more critical to accept with many quali- 
 fications the peculiar point of view which makes the artificial 
 traits found in the comedias of the seventeenth century a mirror 
 
30 DL'.lM.lTfC AUT OF LOPK DK VEGA 
 
 of reality. 'I'liis coiicliisioii is hardly borne out by objective 
 (loenineiits (lealiuf? with faets. The vast majority of the Spanish 
 men and woiiien who lived during the reign of the Phillips did 
 not constitute an unnatural or a non-moral community : they 
 were a mass of sound beings with red blood antl sane thoughts. 
 Yet we read of vogues in di-ess, for example, and imagine the 
 whole Spanish people pursuing the idle fashion of a Walloon 
 collar or a round-toed shoe ; we are told of rascals and picaros 
 in the streets of Spain, and so believe that every city swarmed 
 with them ; w'e are impressed by theatrical duels, and therefore 
 imagine that the streets rang at night Avith the clashing of swords, 
 and we visualize the processions of alguacilcs dragging culprits 
 to prison ; we recall the intriguing, adventure-seeking career of 
 certain young women, but fail to remember that the cities were 
 full of virtuous girls living the normal, secluded life. We have 
 heard repeatedly of the severities of the Inquisition, and picture 
 Spain tormented by a blind, inhuman tribunal. Contemporary 
 criticism of the actions 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 
 follies, and not at normal conditions. A playwright may draw 
 certain pictures of society on the admitted principle that a comic, 
 a pathetic, or a tragic scene need not be taken as a direct criti- 
 cism or a fixed image of contemporary life. In short, it is a 
 question of the balance he may strike between the artistic formula 
 and the formula of actual human life. The dramatic poet may 
 put on the stage episodes or events not because he considers them 
 .frequent occurrences, but isolated happenings worthy of recorcl. 
 This is especially so with tragedy. The conclusion drawn from 
 an Oedipus Tyrannus is not that this character or his career is 
 a common occurrence ; Electra is a unique creation of the poetic 
 mind. We cannot infer from Shakespeare's art that the world 
 lis full of foolish old men like King Lear, w'ho divide their prop- 
 [erty according to the hollow protestations of love made by their 
 daughters. How many Macbeths or Othellos or Falstaffs are 
 there ? Descending into the realm of comedy, the principle holds 
 
BEAM AT IC AFT OF LOPE BE VEGA 31 
 
 with a somewhat wider range of application. Specific events 
 of common life are duplicable, but successive series of artificial 
 combinations very rarely so, and that only when we are dealing 
 with arbitrary modifications of local customs or literary imitation 
 and inheritance. 
 
 Of poetic abuses, artificial or stereotyped language, of the 
 speech of love, courtship and intrigue I shall write "below, as 
 that demands a special chapter. Having mentioned devices of 
 plot and elements of plot-content, a few additional words will 
 suffice touching upon the repetition or limitation evident in the 
 range of thought of the personages, a quality to be attributed 
 not only to the rapidity of action which hinders a philosophic 
 treatment of life but to Lope 's artistic formula in general, which . 
 is devoted to an infinite number of combinations of the themes 1 
 of love, jealousy and honor. Lope undoubtedly recognized the 
 inadequacy of this formula when applied to the fullness of human 
 activities, and notably in his tragedies he knew how to descend 
 to the depths of all emotions which may stir the heart. A dis- 
 cussion of the variety of motive forces in his mighty themes of 
 self-sacrifice, duty, infidelity, revenge, his highly diversified pic- 
 tures of inner struggles can hardly find room within the scope 
 of this essay, and the reader will be best rewarded by studying 
 them in Lope himself. Of the prominent tliemes of love and 
 jealousy little need be said. No other poet of the world's liter- 
 ature has sounded their sombre depths more skillfully ; no one 
 has given them more graceful, witty or humorous turns and 
 definitions, or presented them in more different moods. 
 
 But we must dwell a moment upon the th eme of honor , ex- 
 panded into a veritable code which dominates all other senti- 
 ments. It was, like few other dramatic motives, the happy hunt- 
 ing ground for every dramatist. Much has been written about 
 it, and it is therefore trite to add a disquisition on the Spaniard's 
 character, showing that he was "jealous in honor, sudden and 
 quick in quarrel." Indeed, we know from formal works on the 
 subject that there were well defined grades of grievances, affronts 
 and insults, as there were also principles governing the amends 
 
32 DL'AM.iriC Airr OF UU'K DK VEGA 
 
 \\liicli could he t'xactcd. In other words, the Si)aiiiard is pre- 
 sented as metieulous in all niatteis concerning his honor. But 
 so were all peoples of the South: the Greeks, the Italians, and 
 the French. E]ven the colder northern races rehearse this tradi- 
 tional theme in novel and drama ; its effectiveness was so apparent 
 that it was seized and repeated for decades on eveiy stage. Is 
 it therefore a specifically Spanish theme, or is it not the fact 
 that the Spaniards have merely written moi-e and more impres- 
 sively about it? After comparing a great many writers and 
 plays, I find that the treatment of honor is, to no small extent, 
 a matter of formal phraseology, together with constant imitation 
 and copying which gave unoriginal minds a welcome opportunity 
 to deal with a lofty subject. Consequently the reader will fre- 
 f(uently come across a stilted disquisition on honor in the liter- 
 ature of the Renascence, which is generally in keeping wdth an 
 accepted, contemporary point of view. 
 
 To resume, no analysis of the elements of Lope's formula, 
 which I have just treated, can be as illuminating as his own 
 woi'ds, for he has, after all, an inimitable way of describing the 
 world which his fancy has set up. The traditional lines along 
 which so many of his plots move are best given in the following 
 verses: 
 
 Fenisa. iQue mancebo me pasea 
 
 destos que van dando el talle? 
 
 I, Que guijas desde la calle 
 
 me arroja, porque le vea? 
 
 I Que sefia me has visto hacer 
 
 en la iglesia? ^Quien me sigue, 
 
 que a estar celosa te obligue? 
 
 ^Que vieja me vino a ver? 
 
 ^Que billetes me has hallado 
 
 con palabras deshonestas? 
 
 jQue pluma para respuestas, 
 
 que tintero me has quebrado? 
 
 I Que cinta, que no sea tuya 
 
 o comprada por tu manof 
 
 ^ Que chapin, que toca? 
 Belisa. En vauo 
 
 quieres que mi honor te arguya. 
 
 — La discrcta Enamornda. 
 
DBAMATIC ABT OF LOPE BE VEGA 33 
 
 Or the following: 
 
 Hernando. ;, Quien ha heeho 
 
 milagro tan notable en tu sentido? 
 Lacindo. La confianza de que soy querido. 
 
 jBendiga el cielo la invencion, la traza, 
 
 la bora, el movimiento, el manto, el Prado, 
 
 los celos, los disgustos! 
 Hernando. Y ^no dices 
 
 que bendiga tanibien a Estefania ? 
 
 — La discreta Enamorada. 
 
DUAMATIC Airr OF LOPF. DF ]FGA 
 
 AirriFKIAL DKVKIvS IX THE TECIIXK^rK: BALANCE, THE 
 
 ])UPLr("ATION OF GROUPS OR COMBINATIONS 
 
 OF PERSONAGES 
 
 111 speakiiig above of certain characters in Lope's corned ia 
 who may be considered as taken in part from tradition, l)ut 
 modified by the poet's art, I gave one of the prominent places 
 to the yonng gallant and his servant, and to the heroine or dama 
 with her attendant, combinations or pairs repeated in infinite 
 ways and presented in such a manner that we cannot conceive 
 either master or servant existing without the other. We now 
 go one step further and examine the artificial result obtained 
 by balancing these pairs one against the other. This devicfe 
 has already been spoken of by writers on the comedia, and its 
 unnatural character condemned. It, therefore, requires a 
 defence or an explanation only if we cling to the untenable idea 
 that everything in the comedia reflects real life. But if we 
 keep in mind certain wholly artistic elements of Lope's stage, 
 and get his own point of view on the dramatic interaction, the 
 theatrical effectiveness of these games of duplication, we shall 
 find in them a conscious development of infinite possibilities in 
 situation, humor and comic confusion. It is apparent that the 
 servant may not only duplicate the master's love affair (see, 
 for example, el Ac era de Madrid, Act III, scene vii) but he may 
 also find himself involved in the same predicament as his em^ 
 ployer and frankly burlesque, by the absurdity of his own situ- 
 ation, the mock-serious plight of his master. These possibilities 
 Lope recognized as a source of comedy, and occasionally a ser- 
 vant makes plain the object of this invention. Thus Fisberto in 
 el Ausente en el Lugar tells us: 
 
 Sabina, ya tu sabes que danzamos 
 los criados al son de nuestros dueiios. 
 El vuelve a Elisa, y yo me vuelvo a Paula; 
 Dios sabe que me pesa., 
 
DEAMATIC ABT OF LOPE DE VEG. 
 
 35 
 
 And in los Comendadores de Cordoba, the servants, we are told, 
 must duplicate the relationship between master and mistress: 
 
 Luego, donde uu amo honrado 
 tiene alguna j)rima honrada, 
 ^no viene a ser la criada 
 la prima de su eriado? 
 
 Were it not for lack of space many examples of amusing situa- 
 tions and witty dialogues arising from this invention might be 
 given. A single one will suffice. In el Ausente en el Lugav 
 Carlos tries to make Elisa believe that he is obliged to absent 
 himself while in reality he does not leave town. Esteban, the 
 servant of Carlos, has in the meantime agreed to have a ren- 
 dezvous with Paula, Elisa 's servant, and the following comic 
 scene takes place : 
 
 Estehan. "' ^Que es lo que habemos de liaoer? 
 Carlos. ^No dices que has coucertado 
 
 hablar con Paula? 
 Esteban. He pensado 
 
 que te podran conocer. 
 Carlos. No haran: que estare escondido; 
 
 aunque niucho mejor fuera 
 
 que yo ser tii nie fingiera, 
 
 J hablara a Paula atrevido. 
 Esteban. | No podre decirle yo 
 
 lo que tu le has de deeir? 
 Carlos. No lo sabras tii sentir. 
 
 |Abri6 la ventana ? 
 Esteban. Abrio. 
 
 Carlos. Apartate, como que eres 
 
 yo, que estoy alii arrimado. 
 Esteban. Habla como yo, embozado, 
 
 ya que ser lo que soy quieres. {Embozanse.) 
 (Elisa y Paula, que salen a una ventana. Carlos y Esteban, 
 
 en la calle embosados.) 
 Eliza I Aqui dijo que vendria 
 
 Esteban a hablarte agora? 
 Paula. Esto me dijo, Seiiora, 
 
 hoy; que le hable a mediodia. 
 Eliza Gente a nuestra puerta veo. 
 
 Que soy tu quiero fiiigir. 
 Paula. ; No le sabre yo decir 
 
 lo que til tienes deseo? 
 
36 Dn.tMJTic Airr of i.ope nr: ve(;a 
 
 Eliza Desviate; que ya llej^a. 
 
 ^Es Esteban? 
 Carlofi. Y tu acaso 
 
 eres Paula ? 
 Elisa. (Ap. ) jExtrafio catso! 
 
 jOli cuanto amor ])ue<le y ciega! 
 
 En la voz he conocido 
 
 a Carlos. 
 Carlos. (Ap.) Elisa es esta; 
 
 (|ue la yo7. lo nianifiesta, 
 
 auiKjue la voz lia fingido. 
 
 Tlio lovers now (iuai-ri4 and the rest of this scene as well as tlie 
 subsequent ones are among the best comedy that we have from 
 Lope's pen. For another example of this humorous balance see 
 Act I, scene viii, of this play. Technically the close interinflu- 
 ence of master and servant has the drawback of making them 
 too dependent upon one another, their exits and entrances ai"e 
 generally simultaneous, and the individuality of one overlaps 
 that of the other. But it is an element of Lope's formula to 
 wliich one grows accustomed as one does to a peculiarity of a 
 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 person- 
 ages is 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 
 both tragedy and comedy. In d Castigo sin Vcnganza the car- 
 riage which brings Casandra and her attendant has been over- 
 turned at the crossing of a stream ; both are rescued by Federico 
 and his servant : 
 
 SaU Federico con Casandra en las hrazos 
 Federico. Hasta poneros aqui, 
 
 los brazos nie dan licencia. 
 Casandra. Agradezeo, caballero, 
 
 vuestra muclia gentileza 
 Federico. Y yo a mi buena fortuna 
 
 traerme por esta selva, 
 
 casi fuera de oamino. 
 Casandra. ^ Que gente, Seiior, es esta? 
 
DRAMATIC AUT OF LOPE BE VEGA 37 
 
 Federico. Criados que me acompanaii. 
 
 No tengais, Senora, pena: 
 
 todos vienen a serviros. 
 
 Sale Batin con Lucrecia en los irazos 
 Batin. Mujer, dime, |c6mo pesas, 
 
 si dicen que sois livianas? 
 Lucrecia. Hidalgo, gdonde me llevas? 
 Batin. A sacarte por lo menos 
 
 de tanta enfadosa arena, 
 
 como la falda del rlo 
 
 en estas orillas deja. 
 
 Pienso que fue treta suya, 
 
 por tener ninfas tan bellas, 
 
 volcarse el coche al salir; 
 
 que si no fuera tan cerca, 
 
 corrierades gran peligro. 
 
 The same play offers an example of duplication in dialogue which 
 could easily pass unnoticed as such. In Act I Casandra asks her 
 servant, Lucrecia, what she thinks of the young count, Federico ; 
 when Casandra has left the room Federico asks Batin, his ser- 
 vant, to give his opinion of Casandra. In al Pasar del Arroyo 
 we have a typical duplication of situation and language. The 
 action of Jacinta in taking leave of her lover Carlos, is 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 Reij is in 
 Lope 's best vein : 
 
 SancJio; despues, Elvira 
 Sanclio. Sal, hermosa prenda mia; 
 
 sal, Elvira de mis ojos. (Sale Elvira) 
 Elvira. (Ap.) jAy, Dios! jCon cuantos enojos 
 
 teme amor y desconfia! 
 
 Que la esperanza prendada, 
 
 presa de un eabello esta. 
 Sanclio. Tu padre dice que ya 
 
 tiene la palabra dada 
 
 a un criado de don Tello. 
 
 iMira que estranas mudanzas! 
 
38 iti;.\M.\ric Airr or i.ori-: dk vkha 
 
 lilrini. No oil L.-iMo mis (•s|..m:miz:is 
 
 (•oljjal)a amor do iiii cabi'llo. 
 
 ^ Que mi padre me ha easado, 
 
 Sancho, con uu escudero? 
 
 Hoy pierdo la vida, hoy imiero. 
 
 Vivid, mi dulce cuidado; 
 
 que yo me dare la muerte. 
 Sancho. Paso; que me burlo, Elvira. 
 
 El alma en los ojos niira, 
 
 dellos la verdad advierte; 
 
 que, sin admitir espacio, , 
 
 dijo mil veces que si. 
 Elvira. Sancho, no lloro por ti, 
 
 siuo por ir a Palaeio; 
 
 que el criarme en la llaneza 
 
 desta humilde caseria, 
 
 era cosa que podia 
 
 causarme mayor tristeza. 
 
 y que es causa justa advierte. 
 Haiiclio. iQue necio amor me ha enganado! 
 
 vivid, mi necio cuidado; 
 
 que yo me dare la muerte. 
 
 Engafios fueron de Elvira, 
 
 en cuya nieve me abraso. 
 Elvira. Sancho, que me burlo, paso. 
 
 El alma en los ojos mira; 
 
 que amor y sus esperanzas 
 
 me han dado aquesta licion. 
 
 Su propia definicion 
 
 es que amor todo es venganzas. 
 Sancho. Luego ^yo soy tu marido? 
 Elvira. I'No dices que esta tratado? 
 
 Again the spirit of duplication and balance of cross-purposes 
 may deal only with groups of lovers as in Quien ama no haga 
 fieros. (Act II, scenes iv and v.) Here Felix and Ana are both 
 cousins and lovers, but Juana is also in love with Felix and 
 secretly asks Ana to help her win him, while Count Octavio is 
 also in love with Ana and secretly asks Felix to help him win 
 her. Thus each of the two lovers is supposed to lend a helping 
 hand to a rival. 
 
 A good example of duplication in situation, this time matri- 
 mony, can be found in d Domine Lucas, a charming jeu d 'esprit, 
 
BE AM AT IC AFT OF LOPE DE VEGA 39 
 
 full of life and action throughout. The chief characters are two 
 students, Floriano and Alberto, cousins, balanced against Luc- 
 recia and Leonarda, also cousins, constituting a formula accord- 
 ing to which one pair of cousins nuirries another, that is, Floi-iano 
 marries Lucrecia while his cousin, Alberto, marries her cousin. 
 Leonarda. 
 
 Alherto. ... 
 
 Si contigo me case, 
 no creo que te he enganado; 
 que soy caballero honrado 
 y alguna renta herede. 
 De Floriano soy primo; 
 y asi, pues eres tu prima 
 de Lucrecia, a mi me estima 
 en lo mismo que la estimo. 
 
 Leonarda. Digo que ya soy conteuta 
 
 de hacer tan buen casamiento, 
 y perdono el fingimiento. 
 
 In la Noche de iSan Juan artifice dominates, although the 
 romantic color and movement have made some critics very enthu- 
 siastic over the play. An occasional genuine note of real life is 
 struck, but many of the themes lack true inspiration, possibly 
 because all of them had been employed many times before by 
 Lope. He especially 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 
 brother naturally loving the other brother's sister, while the 
 sisters have secretly given their affections to two other men. 
 La Esclava dc su galan presents a balance and crossing of in- 
 trigues based 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 Serafina, 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 discvcta Enamovada. 
 
40 DRAMATIC MIT OF I.OPK DK VEGA 
 
 IIciT a fatlu'i-, (I Capihhi Uci-iiardo. and Ins son. Lncindo, are 
 set over against a niotlier, Belisa, and her daughter, Fenisa. 
 Hon and daughtei- are secretly lovers, but the plot really turns 
 on the fathei-'s desire to marry the daughter, while the son is 
 supposed to be courting the mother, an example of amusing 
 cross-purposes which Lope himself has put into gi'aceful verse: 
 
 ('(ipitdii. I a Rolisa I Si yo estuviera avisado 
 (le que Lueindo os queria 
 ■ — que en opinion le tenia 
 (le honibre menos asentado — 
 yo propio tratara aqui, 
 Belisa, del casaniiento; 
 que es dar a mi bieu aunieuto 
 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 Lueindo; y dara 
 a todo el mundo placer 
 la discrecion del trocar 
 las edades por los gustos. 
 
 Repetition in sentiment and verse form, a kind of poetic jeu 
 d 'esprit, is a characteristic manifestation of Lope's comedia. 
 As dialogue it is wholly artificial although frequently saved by 
 his wit or graceful verse or both. In el Acero de Madrid Lisardo 
 and Riselo together with the clever servant, Beltran, have agreed 
 to meet Belisa and her aunt, Teodora, on the Prado. Before 
 the latter appear with their servant, Leonor, Beltran recalls 
 the verses of a popular cantor, whereupon the idea is developed 
 by each in turn (a romance in a-o), the lackey closing with a 
 liumorous burlesque of the culto sentiments of tlie other two: 
 
 Pasco del Prado 
 Lisardo y Fiselo con capas dc color, biznrros; y Beltran 
 Lisardo. ;0, como tardan, Riselo! 
 
 ; Que he de hacer? 
 Riselo. Amor te valga. 
 
DRAMATIC AFT OF LOPE DK VEGA 41 
 
 Lisardo. Temo que de envidia saiga 
 
 deste mi sol el del cielo. 
 EiseJo. Antes uo saldra si sabe 
 
 que 63 sol y que fuera esta. 
 BeJtrdn. Las aves le cantan ya 
 a Belisa eu voz siiave: 
 Mananicas ftoridas 
 del mes de mayo, 
 recordad a mi niiia, 
 no duerma tanto. 
 Lisardo. Campos de Madrid dichosos, 
 si soys de sus pies pisados; 
 fuentes, que por ver la liuerta 
 del Duque subis tan alto 
 el eristal de vuestros ojos, 
 que asomais los blancos rayos 
 por las verdes celosias, 
 muros de sus verdes cuadros; 
 hermosa alfombra de flores, 
 donde tejiendo y pintando 
 esta la naturaleza 
 mas ha de ciuco mil afios; 
 arroyuelos cristalinos, 
 ruido sonoro y manso, 
 que parece que correis, 
 tonos de Juan Bias cautando, 
 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 nina, 
 no duerma tanto. 
 EiscJo. Aves que vais por el viento, 
 ya del sol clarificado, 
 
 sobre sus plumas tendiendo 
 
 vuestros vistosos penaclios; 
 
 las que asomais por los nidos 
 
 las 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, 
 
42 dhamativ Airr of i.ori-: in-: vkha 
 
 ii jK'sjir ilo Oftubre, mayo; 
 ]i;ii:i (|U(' la iiifia vciiga, 
 (jiu' c\sta esperaiulo Lisanlo, 
 lecordad a su tia, 
 no duerma tanto. 
 Biliran. Tabernas de San Martin, 
 generoso y puro santo, 
 que ya poneis reposteros 
 I'omo acemilas de Baeo; 
 cajones, que ya os cubris 
 con el pan de leche bianco; 
 franceses, que pregonais 
 aguardiente y letiiario; 
 carretones de basura, 
 que vais las calles linqiiando; 
 roperos, que amaneeeis 
 con solicito cuidado, 
 sin ser procesion del Corpus, 
 las tiendas entapizando; 
 y vosotros, aires frios, 
 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, 
 reeordad mi fregona, 
 no duerma tanto. 
 
 While this is a striking example of Lope's poetry and wit. he 
 repeats the feat later in the play (Act II, scene xxii), 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 
 romance in a-e), the idea being again burlesqued by Beltr^iif; the 
 servant. In la Viuda valenciana Lope presents three young gal- 
 lants, who generally appear together and on various occasions in- 
 dulge in a balance of dialogue with a repetition of verse form. In 
 Act I, scene v, each enters and recites a sonnet without being 
 aware of the presence of the others ; thereupon all agree to nar- 
 rate what kind of favors they had enjoyed at the hands of the 
 young widow. We have three evenly balanced, amusing accounts 
 of their unsuccessful courtship told in varied romance forms. As 
 
DEAMATIC ABT OF LOPE DE VEGA 43 
 
 a piece of narrative written with grace and sparkle, notliing conld 
 be better designed to amuse the audience. In a later scene we 
 find the three gallants together once more ; one calls for a verse, 
 whereupon the three proceed to compose a gloss on it. (Act III, 
 scene vii.) After these manifestations we are not surprised to 
 have the play close with another example of this trii)artite dia- 
 logue. 
 
 The division and equal distribution of verses or parts thereof 
 constitute a phenomenon common in the later comedia, espe- 
 cially that of Calderon and his school. It makes a highly arti- 
 ficial form of dialogue, capable of certain dramatic effect on the 
 stage, but is easily exaggerated and abused. A fair example 
 in a comic vein may be found in el Prcmio del hien hahlar: 
 
 Don Juan. Dejame, neeio. 
 
 Martin. irQue haces? 
 
 Don Juan. ^.Que teiigo de hacei? Morir. 
 
 Martin. Pues ^de esa manera sales.? 
 
 Leonardo, i Que es esto, Don Juan ? 
 
 Don Juan. Feidernie. 
 
 Leonardo. ^' A d 6 n d e v a s ? 
 
 Don Juan. A niatarnie. 
 
 Leonardo. ^Por que, sefioi? 
 
 Don Juan. Por tu gusto. 
 
 Leonardo. |, Gusto? |De que? 
 
 Don Juan. De easarte. 
 
 Leonardo. | Oiste a mi padre? 
 
 Don Juan. Si. 
 
 Leonardo. Pues | que dijo? 
 
 Don Juan. Que me mates. 
 
 Leonardo. Yo | que respoudi ? 
 
 Don Juan. Tibiezas. 
 
 Leonardo. Y i don Pedro ? 
 
 Don Juan. Necedades. 
 
 Leonardo. Sosiegate. 
 
 Don J^ian. iComo puedo ? 
 
 Leonardo. |Di yo el si? 
 
 Don Juan. Basto eallarle. 
 
 Leonardo. Neeio estas. 
 
 Don Juan. Soy ilesdiidiado. 
 
 Leonardo. Y yo mujer. 
 
 Don Juan. Eso ])aste. 
 
 Leonardo. Hablame bien. 
 
44 DUAMAI IC Ah'T OF LOPE DE VEGA 
 
 Don Juan. Estoy iiiuerto. 
 
 Lconarda. Ksi-iu-ha. 
 
 Don Juan. i Q"e lie <le escucharte? 
 
 Leonardo. Eso es loeiira. 
 
 ])(ui JiKin. Es por ti. 
 
 Martin. I'livovou lepresentantes 
 
 que sabcn l)ien el jiapel. {Ap.) 
 
 — Act II, scene ix. 
 
 And another in a serious tone in la Boha pura los otros ij discrcta 
 
 para si : 
 
 Alejandro. Escucha . . . 
 
 Diana. dYo? ; Para que? 
 
 Alejandro. Hasme de escuchar. 
 
 Diana. No quiero. 
 
 Alejandro. Teoilora nie hal)lt'> . . . 
 
 Diana. No hablalla. 
 
 Alejandro. |Por que? 
 
 Diana. Porque yo uie ofeiido. 
 
 Alejandro. lY si me detuvo? 
 
 Diana. Huir. 
 
 Alejandro. jHuir! 
 
 Diana. Y fueia bien hecho. 
 
 Alejandro. |C6mo pude? 
 
 Diana. Con los pies. 
 
 Alejandro. Loca estas. 
 
 Diana. Como tii uecio. 
 
 Alejandro. jTanto rigor! 
 
 Diana. Tengo amor. 
 
 Alejandro. Yo, mayor. 
 
 Diana. Yo no lo creo. 
 
 Alejandro. Mas [ que te pesa ? 
 
 Diana. No hara. 
 
 Alejandro. Eso ^ es valor? 
 
 Diana. Tengo celos. 
 
 Alejandro. ; Morir me dejas? 
 
 Diana. iQne graeia! 
 
 Alejandro. Y"a me enojo. 
 
 Diana. Y yo me vengo. 
 
 Alejandro. Dire quien soy. 
 
 Diana. Y"a lo has dieho. 
 
 Alejandro. ^'Aquieu? 
 
 Diana. A quien aborrezco. 
 
 Alejandro. jFuerte mujer! 
 
 Diana. Esto soy. 
 
 — Act III, scene v. 
 
DFAMATIC ABT OF LOPE DE VEGA 45 
 
 In my notes appended to l<i Duma hoha I had occasion to si)eak of 
 an artificial distribntion of stanzas, verses and verse fragments 
 occurring in laNochc toledana (Act III, scenes xi-xv), and repre- 
 senting the extreme to which this can be carried. A final example 
 of this feature, taken from a tragedy, and demonstrating that 
 there is no characteristic of form or content for which a parallel 
 cannot be found in the original inventor, Lope, is the last scene 
 of Act II of la Corona merecida: 
 
 Bey. Muy bien venidos seals. 
 
 Voy a aeompaiiar a la Eeiua; 
 
 vednie (lesjjues. 
 Don 'Ii'iigo. (ap.) Tiemblo. 
 
 Dona Sol. (a p.) Tenio. 
 
 Leonor. (ap.) Yo me abraso. 
 
 Bey. (ap.) Yo me qiiemo. 
 
 Leonor. (ap.) Celos vlveu. 
 
 Bey. (ap.) Amor reina. (van.se los rcyes). 
 
 Don Inigo. Yamos, Sol. 
 
 Don AJvaro. Conteiito estoy. (ranse Dona Sol, Don Jnigo 
 
 y Don Aharo). 
 Don Manriqiie. El Rev se abrasa. 
 Don Pedro. A Sol mira. 
 
 Don Manrique. | Que os ha dieho doiia Elvira? 
 Don Pedro. Que muy en su graeia estoy. 
 
 Don Manrique. Bella es Sol. 
 
 Don Pedro. De un angel copia. 
 
 Don Manrique. Mucho temo que este sol 
 
 a nuestro rey espaiiol 
 
 nos le ha de hacer de Etiopia. 
 
 Even in lo.s Cotncndadores dc Cordoha. in which one would 
 hardly expect such artifice, may be found a balance of thrct' son- 
 nets and other verse pendants (Act I, scene vi). 
 
 The mechanical features of the dialogue just discussed are by 
 no means a characteristic to be found only in Lope's latest man- 
 ner. 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. 
 
1)1! AM AT ir ART OF LOPE DE lECA 
 
 P()|;T1c I.ANCrACK AND TIIOlHillT: COXCEI'T/SMO AND (TLTO 
 
 It is a great misfortune that the language of poetry has in 
 so many eases proved to be a barrier between a great writer and 
 posterity. That this is so in the ease of the drama especially 
 is evident for two reasons. First, we do not speak in verse, and 
 tlie world of all verse-plays is therefore on a higher level and 
 moves in a finer atmosphere than that of common day. Second, 
 the appreciation of verse is the gift of a few : it demands a 
 special attribute of spirit, an esthetic emotion or effort of which 
 only a snudl minority of men is capable. If we add to tliis the 
 passing moods, the temporary vogues, individual and national 
 peculiarities, to say nothing of the structural and mechanical 
 difficulties of which verse is capable, the average student of 
 literature is apt to find himself in front of a stone wall. To all 
 this Lope's unlimited poetic gifts are no exception. While he 
 is unequalled in superior qualities of genius which will never 
 let a large part of his creation die, but will place him always in 
 the forefront of the world's great poets, his poetic language 
 possesses to no small degree certain elements of a local or transi- 
 tory quality. These demand in the reader not only an excep- 
 tional gift of esthetic appreciation but an intelligent grasp of 
 a peculiar type or vogue of literary culture distinctly a thing 
 of the past. The difficult characteristics of Lope 's style which 
 the average student may understand less and less as the years 
 go on are those of all poetry of his time, and are generally 
 designated, for the sake of convenience, as conceptismo and 
 (idfo. I sliall use the latter form instead of the longer cultc- 
 r(i)iisiii() since it is the one preferred by Lope himself. To stigma- 
 tize with tliese names everything poetic which has the earmarks 
 of either quality is a mistake, for isolated conceptos, or an occa- 
 sional culto verse by no means indicate a poet's manner. Indeed 
 it should be clearly understood in any criticism of Spanish 
 poetry of the Golden Age that the presence of these elements 
 
DRAMATIC ABT OF LOPE DE VEGA 47 
 
 would never have created the names concoptismo and culto had 
 it not been for their abuse. Poetic language has never been and 
 could never be devoid of either trait, and the centuries imme- 
 diately preceding Lope furnish many tine and illuminating 
 examples of them. I shall presently attempt to describe both 
 conceptismo and culto a little in detail, especially by giving cita- 
 tions from Lope himself. Nothing throws more light on his art 
 and his work than consideration of the growth of poetic language 
 and of the universality of peculiar thoughts, figures and word 
 colors. 
 
 Poetry may be the most assimilative and imitative, even if 
 it is the most original form of expression which the human spirit 
 has. To put it baldly everything is grist to its mill. It absorbs 
 from nature, science, philosophy 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 
 are consequently present in all poets. Let me be a little more 
 specitic as regards Spanish literature. Provencal poetry and 
 its lineal descendants in Spain are filled with concept os and 
 culto; the cancioneros, the chief poets of the fifteenth century, 
 whose name is legion, furnish excellent examples, and the great 
 poets of the sixteenth century employ this form of language, 
 though in varying degree. I do not believe that any date can 
 or need be set for the earliest presence of conceptismo and culto; 
 nor need we be concerned with anything but their abuse, and that 
 falls chiefly within the seventeenth century. 
 
 Our English poets furnish abundant examples of this form 
 of expression, but it has passed without a particular designation 
 as only the exaggeration of the phenomenon makes it offensive. 
 Neither Spanish term as such can be related to Euphuism. When 
 Shakespeare says: "All the world's a stage, and all the men 
 and women merely players," he puts a speech into the mouth of 
 Jacques which is full of conceptos. "To take up arms against 
 a sea of troubles" is "a concepto, as is also Hamlet's little dog- 
 gerel : 
 
48 DRAMATIC AUT OF LOI'K l)E VEGA 
 
 Iinperious Caosar dead and turiuMl to (day, 
 Mijrht stop a liole to koeji tlio wind away: 
 O, that that earth, which kept the world in awe 
 8houhl patrh a wall to expel the wiuter's flaw! 
 
 On tlu> other hand: 
 
 Now is the winter of our discontent 
 
 Made glorious summer Ijy this sun of York, 
 
 (Bichard III) 
 
 is pure culto in its figures of speech ; and "This to me in dreadful 
 secrecy impart they did" (Hamlet) is decidedly culto because 
 of the inverted syntax. Tennyson's charming verses, 
 
 Her feet have touched the meadows, 
 And left the daisies rosy, 
 
 present a beautiful conccpto for Avhich we have a parallel in 
 Lope's el Acero de Madrid: 
 
 Nina que, al salir el alba 
 dorando los verdes prados, 
 esmaltan el de Madrid 
 de jazmines tus pies blancos. 
 
 Lowell, so fond of over-fine writing, is full of conceptos and 
 culto, even in his prose. When Carlyle tells us of Burns that 
 "he has a poet's soul, and strives towards the Infinite and 
 Eternal, and soon feels that all this is but mounting to the 
 house-top to reach the stars," he indulges in a remarkably 
 beautiful conccpto. But why shall we give it this name, and 
 spoil what we are in the habit of calling pure poetry by an 
 absurd designation? Let us rather return to conceptismo and 
 culto, that abuse of legitimate, poetic language, and get a little 
 clearer idea of their nature. I shall then give some examples 
 taken from Lope's comedia. 
 
 To begin with, the two phenomena are closely related as are 
 most manifestations of darkness and obscurity in literature, and 
 the extended use of one was bound to involve the other. As the.y 
 overlapped in their uses, so they strengthened one another in 
 
BBAMATIC ABT OF LOPE BE VEGA 49 
 
 that vogue whieli was successful, in part at least, in ruining 
 Spanish poetry of the seventeenth century. Lope hardly seems 
 to make a very clear distinction between them, and when he 
 criticises his contemporaries he quite generally brands tlieir 
 defects only as culto. Thus he wrote in the Dorotca: 
 
 Cesar. Aquel.poeta es culto, que eultiva de suerto su ])oeiiia, que no 
 
 deja cosa aspera iii eseura, eomo un labrador un (•aiii])o; 
 que eso es eultura, aunque ellos diran que lo toiuan yov 
 ornamento. 
 
 Ludovico. La ley segunda de las cosas que no se tienen per escritas dice, 
 que son iguales lo no entendido y lo que no fue escrito. 
 
 Cesar. A mi me pareee que al nombre ciiUo no jjuede haber etimologia 
 
 que mejor le venga que la limpieza y el despejo de la seu- 
 teneia libre de la eseuridad; que no es ornamento de la 
 oracion la confusion de los terminos mal colocados, y la 
 barbara frase traida de los cabellos con metafora sobre 
 nietafora. 
 
 Ludovico. Vieiosa es la oracion en buena logica, que se saca por terminos 
 escuros y iniproprios, y que mas eseurece que deelara la 
 naturaleza de la cosa definida; y si las que entre si tienen 
 esencial correspondencia no se pueden definir la una sin la 
 otra, ^que relacion hara velera paJoma a las naves para 
 describirlas o definirlas por este termiuo, pues que lo niismo 
 fuera velero cernicalo a un galeon, velera cigiiena a una 
 fragataf 
 
 This justities the inference that a poet guilty of obscurity and of 
 using too many ciuiccptos is plainly culto. In many ways cidfo 
 writing was an abuse and distortion of conceptismo, as gougo- 
 risyno was a pathological and finally an insane exaggeration of 
 culto. Conceptismo as such, that is as an abuse, was a conscious 
 attempt at fine writing, the expression of a thought series in 
 peculiar figures, especially similes and metaphors which were, on 
 the whole, clear enough, but avoided normal denotations, descrip- 
 tions or sentiments too directly and baldly expressed. A marked 
 distinction of conceptismo is its decided leaning toward meta- 
 physical 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 
 "the butterfly is a winged flower." culto goes farther, drops 
 any comparison which explains, and speaks only of winged 
 
50 i>i:.\M.iTic Airr of i.ori-: de ieca 
 
 Howt'i's and statioiiai-y hutti-i-Hit's ; from wliicli absurdity the 
 ri'adeT inft'i-s thai ciif is mcaul foi- the olhfi'. Conccpthmo 
 involves tlie iiiHueiiecs of philosophy and wit, culto. the invi'ii- 
 tion of unknown hitinized words, the transfer of the function of 
 parts of s])eech, nouns being tortured into verb forms, color 
 phrases taking the place of the noun, and inseparable words being 
 separated. Culto is thus frequently a question of the mechanism 
 of speecli, together with an abuse of poetic license and the unwar- 
 ranted fonn of isolated and twisted expressions of thought. Con- 
 ceptismo is based on clever ideas ; culto is figured, obscured and 
 unwarranted phraseology, apparently intended to shock and im- 
 press by its originality. At their worst both are guilty of un- 
 natural, semiacademic phrase-making, influenced in many of its 
 earlier expressions of the fifteenth and sixteenth centuries by a 
 misguided attempt to imitate the classics. This etfort concerned 
 itself not only with the elements of style, such as inversion, trans- 
 position, and so on, but also of content, the verbiage of classic 
 mythology, fiction and legend being especially responsible for 
 much useless lumber in the language of the Renascence. Of this 
 I shall have a little more to say in a subsequent chapter. It is 
 impossible to overestimate the figures of speech which drew their 
 life's blood from the classics. We need think only of Aurora, 
 Phoebus, Diana and the long list of personifications to get a faint 
 idea of this inherited vocabulary. As early as the Celestina we 
 have a specimen intended to ridicule this growing mannerism. 
 Calisto exclaims: 
 
 . . . aunque primero seau los cauallos de Febo apaeeutados en aquellos 
 verdes prados, que sueleii, quando han dado fin a su Jornada. Sempronio — 
 Dexa, sefior, essos rodeos, dexa essas poesias, que no es habla conueniente 
 la que a todos no es comun, la que todos no participan, la que pocos 
 entienden. Di: aunque se ponga el sol, e sabran todos lo que dizes. 
 
 And how shall we estimate properly the influence exerted 
 upon this language by works of the realm of religion and phil- 
 osophy? The growth of the poetic language of the sixteenth 
 century can be admirably studied in the writings of the most 
 prominent authors, beginning with the one whose taste was always 
 unerringly good, Garcilaso de la Vega. In him the classic char- 
 
DBAMATIC AST OF LOPE BE VEGA 51 
 
 acter fused with the spirit of the Italian poets is iiotieeal)ly the 
 strongest, but as we advance in the century the influence of 
 neoplatonisin, followed by that of the mystic and ascetic writers, 
 makes itself felt more and more, so that before the close of the 
 century we have a fusion of the three. Both neoplatonism and 
 mysticism furnished spiritual and metaphysical conceptions and 
 their philosophic thought a pleasing semiobscurity which became 
 the hall-mark of most conceptismo. Imitation of vague imagery 
 was, Jiirtiiermoiie, justified on the ground that Plato himself 
 puso cortinas (veiled) his 'divine' writings. The philosophy of 
 such books as Leon Hebreo's Didlogos de Amor spread over the 
 whole Latin world ; in Italy and Spain especially it found an 
 echo in works of a novelistic or seminovelistic character, in love 
 and adventure stories, in the pastoral novel, and especially in 
 lyric poetry. It is small wonder, then, that among the poets of 
 Spain the influence of this philosophy and, close upon its heels, 
 tliat of mysticism should have added so greatly to the wealth of 
 their poetic language. Nor can there be any doubt that as long 
 as all imitation was kept within proper bounds it served to 
 develop new veins of exquisite expression. The writings of the 
 remarkable poets enumerated by Lope in his Dorotea (act IV, 
 scene ii) contain some of the best and some of the worst of 
 Spanish lyric verse; therefore a study of their speech could be 
 made in proper order from Garcilaso to Quevedo and Gongora 
 to show the development of all those poetic traits which make 
 verse of the siglo de oro h highly complex creation, and its reading 
 no unmixed enjoyment. From what has just been stated, it is 
 clear that prose fiction also contributed to strengthen the a^)ove 
 mentioned influences. This is especially true of the pastoral 
 novel, and careful consideration of the Dia»a of IMontemayor. 
 particularly that of the great poet, Gil Polo, the Galatea of Cer- 
 vantes, the Pastor de Filida by Galvez de Montalvo, and others, 
 will bear me out. All are full of innumerable specimens of this 
 language. 
 
 Lope, the greatest member of the brotherhood of poets as 
 well as the most assimilative and versatile genius of them all. 
 
ry2 nnAMAi ic Airr of i.ori-: in-: iega 
 
 ii;iturall\- ^avc expression to every pliase of j)Oetic speeeli of 
 his clay. Exaiui)les of his lyric vei'se in its pnrest form, least 
 affected by vogues or peculiarities of any kind, are known to all 
 lovers of Spanish literature. His corned ia furnishes examples 
 of every conceivable vein : fi'om profoundly tragic passages which 
 must have gri|)i)ed his audience, to the lightest and gayest verse 
 imaginable. There are models of every verse structure together 
 with an infinite range in sentiment. Passages with concessions to 
 conccptismo and culto are found as well as every tyi)e of purely 
 popular poetry ; this is generally marked by exquisite local flavor, 
 and is as full of life and sparkle today as it was three hundred 
 years ago. Ballads, Ictrillas, glosas, cantares, fables, anecdotes, 
 notably romancillos, which are a pure jcu cV esprit, and many 
 other forms, are a part of the treasure which he has left us. Of 
 his popular verse practically untarnished by culto innumerable 
 examples might be given of the flavor of the following ; here we 
 have a picture which recalls scenes painted by Goya, so vividly 
 do we see the dancer Gil before us. 
 
 Musicos. (cantando) 
 jOh que bien que baila Gil 
 con los mozos de Barajas, 
 la chacona a las sonajas 
 y el villano al tamboril! 
 iOh que bien, cierto j galan, 
 baila Gil, taSendo Andres! 
 O ijone fuego en los pies, 
 o al aire volando van. 
 No hay mozo que tan gentil 
 agora baile en Barajas, 
 la chacona a las sonajas 
 y el villano al tamboril. 
 ^Que nioza deseeharia 
 un mozo de tal donaire, 
 que da de coees al aire, 
 y a volar le desaf ia ? 
 A lo menos mas sutil, 
 cuando baila se hace rajas, 
 la chaeona a las sonajas, 
 y el villano al tamboril. 
 
 — Al pasar del Arroyo, 1, xii. 
 
DRAMATIC AET OF LOPE BE VEGA 53 
 
 Or of tlie following, a version of a well known fable : 
 
 Uu cuento viejo ha veuido 
 
 aqui a pedir de cogote. 
 
 Jutaronse los ratones 
 
 para librarse del gato, 
 
 y despues de un largo rato 
 
 de disputas y opiniones, 
 
 dijeron que aeertarian 
 
 en ponerle un cascabel; 
 
 que andando el gato con el, 
 
 guardarse mejor podlan. 
 
 Salio un raton barbicano, 
 
 colilargo, hoeiquiromo, 
 
 y enerespando el grueso lomo, 
 
 dijo al senado romano, 
 
 despues de hablar culto un rato: 
 
 ^Quien de todos ha de ser 
 
 el que se atreva a poner 
 
 ese cascabel al gato? 
 
 —La Esdava de su galdn, I, x. 
 
 Nothing, however, equals Lope's lyric inspiration at its best, 
 as, for example, the following: 
 
 Musicos. (Canten tj danzan) 
 Dente parabienes 
 el mayo garrido, 
 
 los alegres canipos, t> 
 
 las fuentes y rios. 
 Alcen las cabezas 
 los verdes alisos, 
 y con frutos nuevos 
 almendros floridos. 
 Echen las mananas, 
 despues del roeio, 
 en espadas verdes 
 guarnieion de lirios. 
 Suban los ganados 
 por el monte mismo 
 que cubrio la nieve, 
 a pacer tomillos. 
 
 (Folia) 
 Y a los nuevos desposados 
 eche Dios su bendicion; 
 
54 DL-AM.rnC ART OF LOPE DE VEGA 
 
 jiarabien les <leu los prados, 
 pues ho}' para eu uno son. 
 
 (vuelva a daiizar) 
 Montanas heladas 
 y soberbios riscos, 
 autiguas eneinas 
 y robustos piiios, 
 dad paso a las aguas 
 on arroyos linipios, 
 que a los valles bajan 
 de los hielos frios. 
 Canten ruisenores, 
 y con dukes silbos 
 sus amoves cuenten 
 a estos verdes mirtos. 
 Fabriquen las aves 
 con nuevo artifieio 
 para sus hijuelos 
 amorosos nidos. 
 
 (Folia) 
 Y a los nuevos desposados 
 eehe Dios su bendicion; 
 parabien les den los prados, 
 pues hoy para en uno son. 
 
 — Perihdnez y el comendador de Oeana, T. 
 
 I spoke above of the barrier which verse forms may be to a 
 reader of subsequent ages. How true this is becomes especially 
 evident from the passages where the language of genuine inspira- 
 tion is marred by lapses into culto. Lope rarely spoils the work of 
 his hand, but there are, nevertheless, verses in which the logical 
 clearness and simplicity receive an ugly and unnatural turn by 
 touches of the current vogue. Sometimes even the speech of char- 
 acters supposed to be of the people is artistically endangered and 
 given an artificial turn. This, in my opinion, is the case with the 
 rustic Peribaiiez, otherwise one of Lope's great creations. In 
 el Anzuelo de Fenisa the language is not always satisfactory 
 because the characters of low life — gamblers, soldiers, bawds, and 
 others at home in a shipping port — indulge in a singular purity 
 of speech. We have, however, another good bit of evidence here 
 of Lope's shrinking from unveiled improprieties and indecencies 
 
DBAMATIC ABT OF LOPE BE VEGA 55 
 
 which compel his worst enemies to admit that in his literary art 
 he is marked by a singular and pleasing fineness of feeling. He 
 is always at his best when he gives us pictures in little, brief 
 characterizations presenting an attitude of mind or a personal 
 trait in which his gift of succinct phrase is astounding. I can- 
 not refrain from quoting the following domestic scene, so that 
 the reader may judge for himself how deep were Lope's sympa- 
 thies with the people : 
 
 Cuando se muestra el lueero, 
 viene del campo mi esposo, 
 de su cena deseoso; 
 sientele el alma primero, 
 y salgo a abrille la puerta, 
 arrojando el almohadilla; 
 que siempre tengo en la villa 
 quien mis labores concierta. 
 El de las mulas se arroja, 
 J JO me arrojo en sus brazos; 
 tal vez de nuestros abrazos 
 la bestia hambrienta se enoja, 
 y sintiendola gruiiir, 
 dice: "En dandole la cena 
 V al ganado, cara buena, 
 
 volvera Pedro a salir. ' ' 
 Mientras el paja les echa, 
 ir por cebada me manda; 
 yo la traigo, el la zaranda, 
 y deja la que aprovecha. 
 Eevuelvela en el pesebre, 
 y alii 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 cebolla, 
 fuera del olor que da 
 por toda nuestra cocina, 
 tocan a la cobertera 
 el villano de manera, 
 que a bailalle nos inelina. 
 Sacola en limpios manteles, 
 no en plata aunque yo quisiera; 
 platos son de Talavera, 
 que estan vertiendo claveles. 
 
56 i)i:.iM.tri(' Airr of lope de vega 
 
 Avaliolo sii escoililla 
 (le sopas con tal priiiior, 
 que no la come lucjor 
 el senor de muesa villa; 
 y el lo i>aga porque a fee, 
 que apenas boeado toma, 
 lie que, como a su paloma, 
 lo que es mejor no me de. 
 Bebe y deja la mitad, 
 bebole las fuerzas yo; 
 traigo olivas, y si no, 
 es postre la voluntad. 
 Acabada la comida, 
 puestas las manos los dos, 
 damosle gracias a Dios 
 por la merced recebida; 
 y vamonos a aeostar, 
 donde le pesa a la aurora 
 cuando se llega la hora 
 de venirnos a llamar. 
 
 — Perihdnez y el comendador de Ocana. 1. 
 
 The following is the portrait of a fortune-hunting' Undo, with 
 realistic touches not unworthy of Velazquez, while the satirical 
 wit reminds of the great Quevedo : 
 
 ;No siuo venga un mancebo 
 
 destos de ahora, de alcorza, 
 
 con el sombrerito a orza, 
 
 pluma corta, cordon nuevo, 
 
 cuello abierto muy parejo, 
 
 pufios a lo veneciano, 
 
 lo de fuera limpio y sano, 
 
 lo de dentro sucio y viejo; 
 
 botas justas, sin podellas 
 
 descalzar en todo un mes, 
 
 las calzas liasta los pies, 
 
 el bigote a las estrellas; 
 
 jaboncillos y copete, 
 
 cadena falsa que asombre, 
 
 guantes de ambar, y grande hombre 
 
 de un soneto y un billete; 
 
 y con sus manos lavadas 
 
 los tres mil de renta pesque, 
 
 con que un poco se refresque 
 
 entre sabanas delgadas; 
 
DBAMATIC ABT OF LOPE DE VEGA 57 
 
 y pasados ocho dias, 
 
 se vaya a ver forasteras, 
 
 o en amistades primeras 
 
 vuelva a deshacer las mias! 
 
 Vendra tarde, yo estare 
 
 celosa, dara mi hacienda, 
 
 comenzara la contienda 
 
 desto de si fue o no fue. 
 
 Yo escondere y el dara; 
 
 buscara deudas por mi, 
 
 entrara justieia aqui, 
 
 voces y aun coces 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. 
 
 — No quiero. — jAh si! ^No quereis? 
 
 Yo OS hare, infame, que entreis, « 
 
 si el brio de ahora os dura. — 
 
 Y que mientras mas me postro, 
 
 me haga muy mas apriesa 
 
 de dos titulos condesa, 
 
 Cocentaina y Punoenrostro. 
 
 Yo he dicho. 
 
 — La Viuda vaJenciana, I, iv. 
 
 The soldier sketched in the following excerpt stands bodily 
 before the reader : 
 
 Los soldados no podemos 
 amar con secreto, y ser 
 constantes en el querer; 
 que estas dos faltas tenemos. 
 Apenas entra el soldado 
 con las medias de color, 
 ealzon de extraiia labor, 
 sombrero rico emplumado, 
 ligas con oro, zapato 
 bianco, jubon de Milan, 
 cuando ya todos estan 
 murmurando su recato. 
 Llevan colores y brio 
 los ojos, y en galas solas 
 mas jarcias y banderolas 
 que por la barra el navio. 
 
58 DL'.IM.iTIC Airr OF lAH'E DK VEGA 
 
 Pues jeonstaneia eii el querer? 
 
 ^como puede scr constancia? 
 
 Ya esta en Flandes, ya esta en Fiantia, 
 
 el ausente, ella niujer . . . 
 
 — jBien haya mi conilieion! 
 
 — La Noclie tohdaiia, II, i. 
 
 Or take an inimitable example of a servant's Avit ; he counsels 
 his master to steer away from the shoals of matrimony : 
 
 Considera una mujer 
 
 a tu lado al acostar, 
 
 a tu lado al levantar, 
 
 J al mismo lado al comer; 
 
 luego otra noche a tu lado, 
 
 si el pie alargas, mujer topa, 
 
 si quieres tirar la ropa, 
 
 mujer te gana el euidado; 
 
 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 mafiana. 
 
 — El Ausente en el higar. III, xvi. 
 
 In the latter passage we have the cynical attitude toward 
 womankind of the delightful Esteban, one of Lope's most note- 
 worthy creations. But these sparkling and natural passages are 
 occasionally impaired by concessions to the current vogue of 
 poetic speech. Perhaps Lope yielded in this, as he did in his 
 assimilation of literary inheritances, to the spirit of contemporary 
 verse. This is all the more to be regretted, because he had per- 
 fected his gift of expression in many ways since his experimental 
 beginnings. The elaborate, less facile, less plastic style of his 
 early verse had given place to simplicity, grace and flexibility, 
 to a fine sense of fitness in word and expression, to a variety of 
 
DRAMATIC ART OF LOPE BE VEGA .j9 
 
 melody in which sweetness alternates with force and depth, in 
 short, an abundance of qualities surpassed by no other Spanish 
 poet and equalled by very few. It is, therefore, to be regretted 
 that he included the defects of conceptismo and culto. Examples | 
 of the abuse of the latter are by no means excessive, although / 
 they increase in his later style, that is, during the last twelve^ 
 or fifteen years of his life. One of the most striking examples 
 of Lope's kind of culto may be found in la Noche de San Juan, 
 which has the excuse of having been written for a highly artificial 
 purpose, namely, a court festival. A great many passages of 
 this play appear to have been designed for the royal box, but if 
 Phillip and his court family understood them they should be 
 given credit for extraordinary powers of divination. 
 
 Una manana de abril 
 
 cuando nueva sangre cobra 
 
 cuanto en tierra, en aire, en agua, 
 
 corre, o vuela o se nioja; 
 
 cuando por los secos ramos 
 
 nuevo humor pimpollos brota, 
 
 en euyas pequeiias cunas 
 
 estan los frutos sin forma; 
 
 cuando Filomenas dulces 
 
 cantan y piensan que lloran 
 
 haciendo musicos libros 
 
 de los alamos las copas, 
 
 con achaques del calor 
 
 (invencion de gente moza 
 
 que contra el recogimiento 
 
 tal vez por remedio toma) 
 
 baje a la casa del campo 
 
 cuando la celeste concha 
 
 abierto el dorado nacar 
 
 flores baiiaba en aljofar. 
 
 Llevaba por compania 
 
 esas dos esclavas solas 
 
 que por el color pudieran 
 
 servir para el sol de sonibra, etc.. Act II. 
 
 Since every defect is more fairly judged by comparison with 
 the works of compatriots, it is only just to say tliat we mny find 
 examples like the above scores of times in Caldci'ou and liis eon- 
 
1)0 nn.lMATIC ART OF LOl'I-: UK lEGA 
 
 Iciuporai'it's wlicii we should liiid l)ul a single instance in Lope. 
 Let me now give a i'ew more examples of Lope's conceptismo and 
 cuUo. as they may aid in the necessary study of one of the features 
 of his art. A good example of concept isnw consisting of a clever 
 series of figures may be found in the following characterization 
 of el Amor: 
 
 Y es nioliuero el amor; 
 
 que tanibien dentro del peelio 
 
 uii iiioliiio tiene hecho 
 
 para moler mi dolor. 
 
 La piedra del pensamiento 
 
 cou el agua de mis ojos, 
 
 moliendo trigo de enojos, 
 
 hace harina de tormento. 
 
 De aquesta se cuece el pan 
 
 de dolor que me sustenta; 
 
 que cuaiKlo mas me alimenta, 
 
 es euando menos me dan. 
 
 —EI Molino, U, viii. 
 
 Or the following from la Viuda valenciana; Leonarda receives 
 her lover in the dark, so as not to be recognized ; he says : 
 
 Por Dios, que es hecho cruel. 
 
 Ya me enciende el corazon 
 
 amor sin luz, pues no veo; 
 
 que ha tocado en el deseo 
 
 como piedra el eslabon. 
 
 Como el hombre que esta a escuras, 
 
 y, para encender luz, toca, 
 
 fue en mi alma vuestra boca, 
 
 que ha dado eentellas puras. 
 
 Yesca ha sido el corazon, 
 
 que era materia dispuesta, 
 
 y el golpe fue la respuesta, 
 
 y la lengua el eslabon. 
 
 Tengo 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 ciego 
 
 dentro en la imaginacion, 
 
 porque pareee invencion 
 
 haber tinieblas y fuego. 
 
DRAMATIC AET OF LOPE BE VEGA 61 
 
 Si no es mi fianza buena, 
 110 se c'omience la historia; 
 y pues es limbo sin gloria, 
 no sea limbo con pena. 
 Sed vos, para que yo os vea, 
 como pintor extremado, 
 que aunque la noehe ha pintado, 
 deja luz con que se vea. 
 
 In these we find a relative simplicity of thought ; but the fol- 
 lowing forced play on the concepto, "ser", recalls the travesty 
 in Don Quixote on "la razon de la sinrazon." The metaphysical 
 nature of conccptismo is also evident in this passage : 
 
 iCreeras entonees, Senora, 
 lo que estimo tu belleza? 
 Diras tu que es mas riqueza 
 ser, Elena, mi mujer; 
 y sabre yo responder 
 que aun el propio ser perdiera, 
 si, 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 Esdava de su galdii, I, i. 
 
 An example of a mechanical heaping of brief conccptos may 
 
 be found in la Boha para los otros >j discrcta para st: 
 
 El brio naee en las almas, 
 
 la ejecucion en los jjechos, 
 
 lo gallardo en el valor, 
 
 lo altivo en los pensamieutos, 
 
 lo animoso en la esperanza, 
 
 lo alentado en el deseo, 
 
 lo bravo en el corazon, 
 
 lo valiente en el despeeho, 
 
 lo cortes en la prudencia, 
 
 lo arrojado en el desprecio, 
 
 lo generoso en la sangre, 
 
 lo amoroso en el empleo, 
 
 lo temerario en la causa, 
 
 lo apaeible en el despejo, 
 
 lo ])iiidoso en el amor, 
 V lo terrible en los celos. 
 
<i:2 1)I;.IM.IT1C ART OF LOPK DE ]EGA 
 
 In most of the passag^os just citt'd the iiu'tai)liysical eliaracter 
 of conccptismo is absent, but it is very frecjuently present in the 
 numerous sonnets wliicli Lope has introduced into his comedias 
 ill the form of h'tters or monologues. In many cases conceptismo 
 may be annising and unobjectionable when combined with Lope's 
 wit. Take, for example, the following passage in la Esclava de 
 sn Galdn: 
 
 Eh no. {YelSerafin? 
 
 Don Juan. Sera fin. 
 
 Ell mi vida le vere, 
 
 sino a ti, que lo eres mla. 
 Pedro. iQue glosa hacerse podia! 
 
 Elena. j,C6niof 
 
 Pedro. Escucha. 
 
 Elena. Di. 
 
 Pedro. Dire. 
 
 Es el ti diininutivo 
 
 del tu, y es hijo del mi, 
 
 porque le regala ansi 
 
 con el acento mas vivo. 
 
 El tu es bajo, y tiple el mi. 
 
 Tii manda, tu desafia, 
 
 tu es trompeta, tii es coehero; 
 
 ti es clarin, ti es chirimia: 
 
 y por eso al tu no quiero, 
 
 sino a ti, que lo eres mia. 
 
 But Lope's sane judgment always triumphs, and his ridicule 
 of the contemporary vogue with its unpoetic defects forms a 
 valuable contribution to the literary criticism of his time. In 
 Guardar y guardarse we have an amusing passage in whicl^^ a 
 lackey conjures his master in culto: 
 
 Bona Elvira. jlngrato! Quejosa quedo 
 
 de tu crueldad. 
 
 Chacon. (A su a mo.) ^No te mueven 
 
 aquellas perlas hermosas, 
 que en aquel jardin de rosas 
 dos cielos de nifias Uneven? 
 
 Don Felix | Cielos de ninas, Chacon? 
 
 Chacon. I No la ves hacer puclieros? 
 
BBAMATIC ART OF LOPE DE VEGA (33 
 
 Don Felix Ojos, traieion es perderos . . . 
 
 — Mas si quedarme es traieion, 
 el quedarme dificulto, 
 y el irme si ingrato soy. 
 
 Chacon. Para eonjurarte estoy, 
 
 Senor, en lenguaje eulto. 
 Por aquel candor brillante 
 que viva luz y alma ostenta, 
 aunque canoro se argenta 
 el pielago naufragante, 
 que de sus, te duelas, ojos. 
 
 And in the same play the servant burlesques the speech of Ines 
 who described her mistress as she rises and dresses, in exaggerated 
 culto. 
 
 Chacon. En efeto, Ines, |esta 
 toeandose tu senora, 
 "y es sol que los cielos dora?" 
 Ines. |,Pues no? 
 
 Chacon. . No. 
 
 Ines. ^Comienzas ya? 
 
 Chacon. Pareceme que la veo 
 
 con cuarenta redomillas, 
 cofrecillos y vajillas, 
 ir por extraiio rodeo 
 en busca de la hermosura. 
 
 In lo Cierto por lo diidoso a very obscure sonnet of Don Enrique 
 is ridiculed by the servant Rarairo (act III, scene iv). While 
 in Servir a Senor discreto we find a characterization of culto 
 poetry which classes it as a disease : 
 
 Elvira. Oigo decir que a poetas 
 
 suele venirles furor, 
 
 y mas en cosas de amor, 
 
 por ciertas causas secretas. 
 Giron. Dicen los libros verdad. 
 Elvira. Y aun un medico decia 
 
 que era esta negra pocsia 
 
 especie de enfermedad. 
 
 Sarna, dijo, a lo divino, 
 
 que de uno en otro se pega, 
 
 porque se rasca y se estriega, 
 
 y es todo un puro venino. 
 
 Digame, senor poeta, 
 
 |,Por mi lia hecho esta invencion. 
 
(;4 DUAMATIC AUT OF iJU'h DE TEGA 
 
 The lir.st sc'i'iie of act II of /(/ liobd pant los ofros y discrrfa 
 para si may also interest the reader. But best of all is the fol- 
 lowing sonnet with which we close Lope's ridicule bf the current 
 l)oetic fad : 
 
 Conjurote, denionio culterano, 
 
 que saigas deste mozo miserable, 
 
 que apenas sabe hablar, caso notable, 
 
 y ya presume de Anfion tebauo. 
 
 Por la lira de Apolo soberano 
 
 te conjuro, cultero inexorable, 
 
 que le des libertad para que hable 
 
 en su nativo idioma eastcllauo. 
 
 "^Por que me torques barbara tan mente? 
 
 iQue cultiborra y brindalin tabaco 
 
 caractiquizan toda intosa frente?" 
 
 " — Habla ciistiano, perro. — Soy polaeo. 
 
 — Tenedle, que se va. — No me ates, tente; 
 
 sueltame. — Aqui de Apolo. - — Aqui de Baco. ' ' 
 
 — Fima.s del Liccnciado BxrguiUos. 
 
 The above examples may suffice to show that certain qualities 
 of culto and conccptismo are not to be wholly condemned, that 
 they are capable of rising to genuine expressions of beauty and 
 wit, and that their danger lay not in their use but their exag- 
 geration and abuse. 
 
 Inasmuch as I am merely attempting to give a brief outline 
 of Lope's dramatic art I cannot do justice at this point to his 
 mind and thought, related and fascinating though they be. In- 
 deed, Lope deserves to have a comprehensive work written on 
 this subject on account of the richness and the wide scope of his 
 sympathies. It would be strange were it otherwise in a dramat- 
 ist 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 acqui- 
 escence in the constituted order of things makes one. His point 
 of view on a great variety of questions concerning the individual, 
 society and the state can be gleaned from his comcdias. His 
 loyal religious attitude, as expressed in words, at least, 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 
 
DSAMATIC AliT OF LOPE DE VEGA 6.3 
 
 current thought of his time. In no other sense is his comedia 
 a more complete or satisfactory picture of contemporary life. 
 This is the real, the unstudied Lope who presents an image of 
 ]iis times in those highly diversified thoughts of his innumerable 
 characters. Although the elements of his dramatic formula may 
 be circumscribed by tradition or stage limitations, still the 
 thought processes of the great playwright, consciously or un- 
 consciously, filled his dialogue with some of the best documentary 
 evidence that we possess on the mental and spiritual life of the 
 men and women of his day. As regards the political side, much 
 may be gleaned from the comedia on monarchy, kingship and 
 government in general, the utterance revealing now and then 
 a surprisingly frank criticism of the abuses and injustices inher- 
 ent in sovereign power. To be sure. Lope usuall.y sets up hypoth- 
 etical cases, discusses ideal states, and where he chooses to give 
 detailed examples of evil deeds or impulses in rulers, he places 
 his action in times long past and presents a king of distant cen- 
 turies or foreign lands. His attitude toward the power and 
 jiosition of aristocracies is on the whole fairly illuminating, his 
 most convincing expressions being those in which he depicts 
 injustice, violence, depravity, or other vices of the selfish grand 
 seigneur. No more striking condemnation than his can be found 
 of the undemocratic existence of the powerful lord whose chief 
 principle is that might makes right. But Lope is generally at 
 his best when he presents the Spanish people, the middle and 
 lower classes as they thought, spoke and acted. There can be no 
 doubt that his heart was with the great bourgeoisie in spite of 
 all his social intercourse and friendliness with aristocracy ; he 
 too would have voiced the sentiment so well expressed in La 
 Bruyere's words, "Faut-il opter, je suis peuple." 
 
 One of the most genuine notes in Lope is, therefore, liis cham- 
 pioning of the democratic spirit of the Spanish people, mani- 
 fest especially in his pictures of the lower classes, his country 
 folk, his sane types of the bourgeois, together with the simplicity 
 of speech and the sound common sense with which the latter are 
 endowed. Very frequently m'c find a defence of the lowly, the 
 
66 dhamatic jut of lote de vega 
 
 poor, llic un|)rivil('<i:('(l and disiiilicritcd iiu'inhors of a very im- 
 periVct iorm ol" society. Tliis does not necessarily imply any 
 incisive criticism directed against contemporary conditions, for, 
 as-«tated--aboye, Lope was not^ critical of his times, nor was he 
 by nature or gifts a satirist in any profound sense. He alsd- 
 ehampioned a saner and if we may call it so, a freer position for 
 women, he emphasized ag a t n and a^aiw the necessity of granting 
 them greater liberty of choice in determining their own happi- 
 ness in marriage or any other state. He justified their opposi- 
 tion to distasteful unions and their desire to see and speak 
 freely with the men they are to marry. We reach this conclu- 
 sion chiefly by inference from many scenes in his plays. Per- 
 haps the exaggerated liberties which some of his women char- 
 acters take, quite contrary to local custom, also imply a desire 
 on Lope's part to see a greater freedom for womankind, realized. 
 In this connection we may add that nowhere is the honor code so 
 overemphasized as in the cases in which arbitrary fathers or 
 brothers keep a hawk-like vigilance over the actions of daughter 
 or sister lest she bring discredit on their honor and name. These 
 pictures frequently imply a criticism of the selfishness and arbi- 
 trary authority of the man and a plea for a more reasonable 
 position for the woman. 
 
DBAMATIC AET OF LOPE BE VEGA 67 
 
 LOPE'S LEARNING: THE INFLUENCE OF THE CLASSICS 
 
 A prominent feature of Lope's language is the constantly 
 recurring reference to classical authors and ancient themel 
 No element of his speech is as antiquated as this, no note of his 
 dialogue finds as little response or awakens as little interest in 
 the modern reader. It does not mend matters to be told that the 
 classics still formed a part of the daily routine thought in his 
 day, that the popularity of the ancients during the Renascence 
 represented a sympathy for antiquity of which we have no 
 conception. The sound of the Latin language, although with a 
 Spanish pronunciation, was familiar to man, 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, 
 even if it passed over the heads of the listeners. In spite of 
 the unsurpassed originality of the literature and philosophy of 
 the I^enascence, imitation of standard classics was not only 
 countenanced but considered good taste. In all this the comedia 
 was no exception. But what a strange mixture this spirit of 
 imitation produced! It is fortunate indeed for our modern art 
 that these classic instances are no longer dragged in whether 
 they fit or not. This criticism is not altogether fair, to be sure, 
 if we judge literary tastes in the light of Lope's times. But 
 we are attempting to present all the reasons why the comedia. 
 notably the creation of Lope, has features which will survive 
 all changes of taste while certain others tend to reduce it to the 
 level of a literary curiosity. 
 
 It is not my purpose to give more than the briefest outline of 
 the influence of the classics on Lope, as manifested in his plays. 
 The material available for such a purpose would fill many a 
 volume. But the character of his art will be better understood 
 if the reader has an idea of this manifestation in his language. 
 
 The great body of classical literature, whether prose or verse, 
 reached the Renascence public of Spain through the medium of 
 
(iS DUAMATIC Airr OF LOPE DE VEGA 
 
 trMiisIalions, i)()i)ularizi'd versions, or muligosted compilations 
 of Itaniinj; of all kinds. The latter stricture may sound too 
 liai'sli until we wade tliroufjcli miscellanies, jest books, classical 
 eomnu'utaries, fiction, or philosophic discussions on the ancients, 
 whose utterances were now and then presented in a form hardly 
 recognizable by the authors. The same is true of dramas, lyric 
 vei-se, chronicles and the rest, the authors of which seem impressed 
 with the necessity of winning prestige by citing classical authors 
 when and wherever possible. In the majority of cases, there- 
 fore, the influence of the classics reduces itself to common-places. 
 Only in the rarer cases of such profoundly learned men as 
 Quevedo, the most striking intellect of his time, we find a 
 thoroughly satisfactory acquaintance with the classics. Lope 
 stands halfway between Quevedo and the popular, superficial 
 presentation of classical material. He is acquainted with every 
 author of old, every type of ancient literature is known to him. 
 Of the Greeks direct reference to Plato seems to me to be the most 
 common, and this nnist be due chiefly to the existence of neo- 
 platonic literature, to its interpreters, commentators, and imita- 
 tors who gave voice to its philosophy. Of the latter, Leon Hebreo 
 is mentioned most frequently by Lope, and his Avorks occupy a 
 prominent place in any consideration of this influence. They 
 contributed to Lope's comedia a peculiar metaphysical language 
 evident in discussions of love, beauty, desire and the like. Aris- 
 totle, too, is mentioned with reference to his Ethics, his treatise 
 on the soul and his work on animals. Among the historians 
 Herodotus occupies the first place, as far as I am aware, his 
 style of narrative, his fiction and folk-lore elements being more 
 appreciated than the writings of more scientific historians like 
 Thucydides. Of the Greek dramatists I have noticed only occa- 
 sional and unimportant reminiscences. The writers of later 
 ages were also known to Lope, especially Plutarch, whose Moralia 
 exerted an influence all through the Renascence not to be over- 
 stated. I am of the opinion that the influence of Plutarch's 
 Lives was not so great. To us it may be astounding that the 
 name of this writer should have carried with it such extra- 
 
DRAMATIC ART OF LOPE BE VEGA 69 
 
 ordinary weight ; yet even so great a thinker as Montaigne is 
 full of Plutarch's animadversions, some of which have the stamp 
 of the commonplace. But it must be remembered that the note- 
 worthy translations of Amyot in France and Diego Gracian in 
 Spain were much read books. Lope must have known the latter 
 well. Much more recent, but still belonging to Greek, literature, 
 are the Byzantine romances, Theagenes and Karikleia, KUtophon 
 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 comedia. 
 
 By constantly uniting the names of Homer and Vergil, the 
 fusion of the influence exerted by the Iliad, the Odysseij and the 
 Aeneid, became inevitable. It would be difficult to find a promi- 
 nent character in any one of these epics who is not mentioned by 
 Lope. The stories of Ilium and Rome, the adventures of Ulysses, 
 the tales of Helen 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, 
 Catullus, Juvenal, Martial and others. I spoke briefly of Ovid's 
 influence on Lope in my book on that Latin poet and the Rena- 
 scence. I need supplement what I said there merely by adding 
 that scores of Lope's plays show a very profound indebtedness 
 to the thoughts, episodes and amorous principles of the Meta- 
 morphoses, the Ars Amatoria, the Remedia Anions, and the 
 Heroides. 
 
 The Latin poets proved a mJne of information on the gods, 
 and demigods, the heroes and heroines of legend and mythology. 
 Venus and Adonis, Cupid and Psyche, Orpheus and Eurydice, 
 Jason and Medea, Perseus and Medusa, Pygmalion and Galatea, 
 the labors of Hercules and the stories connected with the Golden 
 Fleece, semihistorical heroes of Greek and Roman history, to 
 mention some instances disconnectedly and at random, these and 
 scores of others appear on Lope's pages again and again. 
 
 The numerous anecdotes connected with classical antiquity. 
 
7(t in:. iM. trie .uir of i.ovk de vkha 
 
 hioirrapliical details of famous men and the like, were taken 
 chietly from eompilatious whicli in their lui'n extracted them 
 from liistoi'ians and biographers, sueh as Li\\-, Tacitus, Suetonius 
 and others. One prominent work whieli furnished Lope witli 
 innumerable bits of lore and nonsense concerning nature and 
 the aninuU kingdom was Pliny's Natural History. No bird or 
 beast was too strange or rare to have its existence vouched for 
 by Pliny or his Renascence commentators who have won an 
 immortal place among "the spinsters and knitters in the sun," 
 or ''las viejas que dicen consejas tras el fuego." The matter 
 available for a study on the influence of Pliny alone would make 
 several large and entertaining books. 
 
 Among Latin works of fiction the chief place is occupied by 
 the Golden Ass of Apuleius; its uovelistic incidents are full of 
 vivacity and originality and prompted imitation among drama- 
 tists and novelists alike. Reference to medical treatises, espe- 
 cially Galen, to books on natural phenomena, superstitions and 
 the like, abound, but cannot be discussed now. How much of all 
 this was beyond the intelligence of the audience when recited 
 on the stage is difficult to determine. Suffice it to say that ser- 
 vants, lackeys, ruffians and courtesans are not ignorant of things 
 classic, and that we must take for granted that all this material 
 was in the air 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 
 as those just treated. Their presence in plays of a religious 
 character is natural, but a discussion of them falls without the 
 scope of this essay. 
 
DBAMATIC ATxT OF LOPE BE VEGA 
 
 LOPE'S ACQUAINTANCE WITH CONTEMPORARY LITERATURE 
 
 Among the meagre autobiographical details which Lope has 
 given us in his Dorotea a statement concerning his education, his 
 reading and literary taste in general is of interest. He there 
 tells us in the part of Don Fernando : 
 
 de la eclad que digo ya sabia yo la gramatica, y no ignoraba la ret(5rica; 
 deseubri razonable iiigenio, prontitud y doeilidad para cualquiera cicncia ; 
 pero para lo que mayor le tenia era para versos; de suerte que los carta- 
 pacios de las liciones nie Servian de borradores para mis pensamientos, y 
 muclias veces mas escribia en versos latinos o castellanos. Comenee a 
 juntar libros de todas letras y lenguas; que despues de los principios de la 
 griega y ejercicio graude de la latina, supe bien la toscana, y de la fran- 
 cesa tuve uotieia. 
 
 This tells us three things in regard to Renascence literature: 
 that French was not unknown to Lope, that he was well ac- 
 quainted with Italian, and that he was ever occupied in reading 
 and writing Spanish verse. If we limit ourselves only to the evi- 
 dence of the comedia, this conclusion is everywhere corroborated. 
 Although Lope may have known something of the French lan- 
 guage, I find practically no evidence of any acquaintance with 
 contemporary French literature. On the other hand, he must 
 have read Italian extensively, while every Spanish j^oet or col- 
 lection of Spanish verse must have been known to him. 
 
 With regard to Italian literature, the novellieri from Boc- 
 caccio on, including the extensive collections of the fifteenth and 
 sixteenth centuries, were familiar ground to Lope. Some of his 
 plots are not only directly traceable to Italian novelle, but cer- 
 tain episodes of others betray all the marks of Italian influence. 
 This is logical, if we recall that Spanish literature offered but 
 little in this style of fiction, that in the field of the short story 
 we have to deal with hardly more than third rate imitations of 
 Italian sources until we reach the novclas of Cervantes, which 
 strike the first independent note of importance. Italian litera- 
 ture of chivalry was also known to Lope, especially the epics 
 
71' DRAMATIC Airr OF LOPE DK VEGA 
 
 of I'.oiai'do, Ariosto ami Tasso, wiiilc Daiilc and Pcti-arcli are 
 frtMUK'Mtly iiu'iitioiiod, or some thouglit of theirs is repeated. 
 Among the jioets the influence of Petrarch overshadows that of 
 all others, not only because of the warm, living qualities of his 
 verse, but beeause his spirit had already been assimilated by 
 so many Spanish poets before Lope's day. All this deserves 
 an extensive, separate study in so far as it throws light not only 
 on the growth of Spanish lyric verse, but also on certain poetic 
 elements of Lope's artistic formula. 
 
 As regards Lope's extraordinary ac(piaintance with Spanish 
 verse the fact that the large body of Renascence lyrics had become 
 bone of his bone and flesh of his flesh would be evident from his 
 works at every turn, even if 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 
 a comprehensive history of contemporary literature. As Avas 
 the case Avith Cervantes, Lope's great model seems to have been 
 Garcilaso, whose musical line and unerring good taste very 
 justly placed 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 
 offer. 
 
 In prose literature Lope was no less at home than in verse, 
 but the type "which he mentions most frequently in ^he comedia 
 is the pastoral romance. His manner of referring to it lead^ me 
 to believe that he considered it the only other type of literature 
 outside of verse production with artistic finish. And this is so. 
 The pastoral novel has paled after all these years, above all 
 its artificiality is evident to us, but the fact remains that it very 
 often reaches high poetic levels which rightly give it a place be- 
 side lyric verse. Of far greater importance is the Celestina, and 
 Lope, who no less than the author of that unique work is a master 
 of dialogue and of the expression of passion, imitates it both con- 
 sciously and unconsciously in many scenes of his plays. Refer- 
 
DEAMATIC AST OF LOPE BE VEGA 73 
 
 ences to the story of Calisto and Melibea and to the great figure 
 of Celestina herself are a common occurrence, while similarities 
 in style, language and episodes can be pointed out Avitli fre- 
 quency. The indebtedness of Lope to any single creation is 
 not very pronounced, but if there is an exception to this rule, 
 it is the Celestina, which made a deep impression upon him as 
 well as upon all the writers of the Renascence. I have else- 
 where treated the influence of this remarkable book upon Lope's 
 Dorotea and his el Caballero de Olmedo, which are good examples 
 of how the spirit of the w^hole work manifested itself in the 
 comedia. As regards the Dorotea, I am inclined to see in that 
 strange play an extremely artificial fabric in which Gerarda, a 
 wonderful imitation of Celestina, is practically the only living 
 character, the others being too often spoiled by a display of 
 pedantry, academic dulness and bad art. The romances of 
 chivalry, contemporary chapbooks containing such novels as la 
 Doncella Teodor, besides novels of love and adventure, were 
 known to Lope, nor need I speak of the chronicles, lives of heroes 
 and saints from which he borrowed ideas and plots. Finally, the 
 late 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 would more than prove his case. 
 
74 DliAMATIC AUT OF I.OI'E l>E IKGA 
 
 8().MK TECHNICAL FKATURKS OF LOPE'S ART: EXPOSITION, 
 PLOTS, RECURRING THEMES 
 
 Inasmuch as Lope's inventive genius is characterized by free- 
 dom and spontaneity, he was at his best whenever the plot was 
 wholly his own creation. A mere suggestion was enough to give 
 him an idea for a whole play. It is therefore clear that he must 
 have been hampered in his construction, in the sequence of his 
 conception of scenes and episodes, when he undertook to repro- 
 duce dramatically a ready-made story. In so vast a creation 
 as his comedio we are enabled to reach the good productions 
 only by an elimination of the inferior ones, and, to me, his least 
 V inspired plays are almost always based on borrowed plots. These 
 were, for the greater part, taken from fiction sources, chiefly 
 Italian, and, therefore, absorbed many episodic adventure ele- 
 ments which strike a false note on the stage. They represent 
 an artistic blunder, and spoil a certain portion of his work. It 
 would add but little to my argument to mention here the many 
 plays related to stories of Boccaccio, Bandello and others, but 
 the influence of Italian novelle throws a certain light upon his 
 plot construction.' In certain plays which may be characterized 
 as extravanganzas, or novels in dialogue, we may note that Lope 
 hesitates to localize them in Spain, for he gives the plot an 
 Italian background as if to make the spectator believe that the 
 events of his play are more likely to take place outside of the 
 Peninsula. I refer also to plays in which Lope made concessions 
 to improbable romantic themes, ill-suited to any stage, and 
 though these may have been acted in an amusing way, they add 
 nothing original or enduring to his artistic formula. Take, for 
 example, el Alcalde mayor in which the heroine's lover is im- 
 plicated in a murder plot ; she flees to Salamanca disguised as a 
 man, attains the degree of doctor after years of study, and being 
 considered worthy of higher honors she finally becomes "alcalde 
 mayor of Toledo." As such she again meets her lover and all 
 
DRAMATIC AFT OF LOPE BE VEGA 75 
 
 mysteries are cleared up. Or take Servir a Se)lor discreto, in 
 which a tyrannical father favors an aged suitor of his daughter. 
 The latter consequently throws herself into the arms of a 
 younger and more acceptable lover. But the young man, of 
 humble fortune and station, sets out for Madrid in order to 
 improve his position, whereupon daughter and father follow 
 him to the capital. In Madrid the young lover assumes the posi- 
 tion and fortune of a certain "Senor discreto" whose service he 
 had entered, and thus he is enabled to win the lady of his affec- 
 tions. In los Embustes de Celauro there is an inartistic confusion 
 of themes taken from fiction and folklore, while even la Viiida 
 valenciana, one of the most charming, sparkling and poetic crea- 
 tions from Lope's pen, is marred by an occasional jarring note 
 due to concessions to these elements. It is also of interest to 
 observe that Lope, who did not fail to touch every conceivable 
 dramatic note, suggests the lines along which the subsequent 
 drama of fate, which the Germans called the Schicksalsdranm, 
 was conceived. In los Comendadores de Cordoba the two crim- 
 inal lovers are warned of their impending fate by unexpected 
 occurrences, and in el Cahallero de Olmedo, one of the great 
 masterpieces of the siglo de oro, don Alonso is forewarned of his 
 tragic end in a profoundly impressive manner. On the whole i ^ 
 Lope's great comedies are those which deal with a simple theme, 
 handled with extraordinary lightness and grace, a theme which 
 plays flexibly and quickly with an idealized form of Spanish 
 society, while his best tragedies are based on subjects so intense 
 and so overwhelming that there is little room for the accessories 
 of unrelated novelistic material. 
 
 One of Lope's chief claims to being a complete master of his ^ 
 art is his exposition. In most of his plays the opening could 
 not be improved upon. But we realize that he wrote altogether 
 too much to carry this perfection to the end of every plot, and 
 no special critical acumen is necessary to note that some of his 
 plays betray a distinct falling off in the construction as they 
 proceed. Having conceived his formula with its dominating ele- 
 ment of rapidity of action, the great simplicity of almost every 
 
 < 
 
76 I)I;AMATIC art of lope !)[•: lEGA 
 
 exposition is normally modified as we move forward by the addi- 
 tion of subplot, secondary action or explanatory scenes, and 
 wlicn the audience possesses all the factors necessary to under- 
 stand the story. Lope is merely concerned with his forward 
 process, with weaving in and out action, counter-action, senti- 
 ments, cross-purposes, and impulses until he comes to the logical 
 end of his various threads, or chooses arbitrarily to cut his skein. 
 The usual analysis of Lope's characters fails to lay stress on the 
 fact that in rapidity of action impulses must dominate over 
 reason and deliberation because the latter demand too many 
 delaj^s to fit into his formula. 
 
 Another mistaken procedure pointed out above is that of 
 appb'ing the principles of other national dramas to the comedia. 
 No other type of play in the world is so thoroughly an improvised 
 creation as that of Lope. As a highly endowed musician may sit 
 down at an instrument and compose without premeditation, so 
 Lope always had at his disposal, without any seeming effort, all 
 the unusual gifts w^hich nature had so generously bestowed on 
 him. It is, therefore, futile to look for deliberate processes, 
 mechanical construction or a conscious rearing of his artistic 
 edifice. Careful scrutiny of the majority of Lope's plays reveals 
 that he had no fixed conception of dramatic steps purely by acts 
 and scenes, and only a sense of forward movement, of progressive 
 exits and entrances, Avhich carry the game through its successive 
 steps until an end satisfactory to the author is reached. In 
 many cases the solution could be attained earlier in the play, but 
 the fanciful creation of new impulses bridges every gap until 
 the improvisor sees fit to stop. Inasmuch as the dramatic 
 formula of Lope depends entirely upon a successful opening, 
 and thereafter upon rapidity of procedure, he Avas wont to 
 observe carefully what kind of exposition won his hearers, nor 
 did he hesitate to repeat such scenes if popular. A good example 
 of this repetition can be found in la discreta Enamorada (Act I, 
 scene i), and el Acero de Madnd (Act I, scene ii) ; in the former 
 mother and daughter enter followed by a young gallant, while in 
 the latter it is an aunt with her niece. The dialogues are verv 
 
DRAMATIC ART OF LOPE BE VEGA 77 
 
 similar. A study of model expositions might also be made in 
 such plays as el Premio del hien hablar, la Moza de Cdntaro, 
 Quien ama no haga fieros, los Melindres de Belisa, el Domine 
 Lucas, not to mention scores of others like Fuente Ovejuna, 
 Peribdnez y el Comendador de Ocaiia, and los Comendadores de 
 Cordoha of tragic content. 
 
 As a consequence of all this we must be prepared for recur- 
 ring themes not only at the opening of Lope's plays, but woven 
 into the bodies of the plots. Although this element of repetition 
 has been ascribed to popular applause, it was a logical result of 
 the superhuman amount which he produced. I have already 
 touched on some of his more common stage devices, such as tricks 
 which enable the lovers to converse, the stumbling theme, acci- 
 dents upon the highway, disguises of all kinds, concealment, the 
 entrance of a messenger who pretends to be a hawker or vendor 
 of ladies' articles, or books and the like, all of which generally 
 produce light and sparkling episodes. A character who enjoyed 
 great popularity, whether male or female, was the simpleton 
 {hoho and hoha) either real or feigned, and by this I do not mean 
 the gracioso, but one of the leading characters. Examples are 
 la Dama hoha, la Boha para los otros y discreta para si, el Boho 
 del Colegio, and many others. Among the more serious themes 
 which recur is that of parental authority, or of that of uncle or 
 brother, involving questions of honor and morality. Although 
 Lope frequently praises modesty, humility and other domestic 
 traits in woman, he also advocated, if not always by direct propa- 
 ganda, a freer and saner social position for her. He presents 
 his plea, as I have stated above, more by making plain the abuses 
 to which the subservience of womankind may lead. 
 
 A highly dramatic theme is the protection of a murderer 
 by a relative of the murdered man who is ignorant of the nature 
 of the crime or not aware of the identity of victim and murderer. 
 Again, in other dramas, in which some criminal plot is afoot, the 
 personage who is an obstacle to the plotter must be removed, and 
 this object is achieved in an arbitrary manner by entrusting to 
 the former some distant military post, or some official occupation 
 
7s I) i: AM A TIC Airr of loi'K />/•; iFdA 
 
 which may lake him out ol" Ihc way for a sufficient space of time. 
 Tlie eliief tlieine of tliis kind of plot is the base desire of some 
 one hi{j;li in authority to possess the wife, fiancee or sister of 
 a vassal or dejiendent, a theme very old in fiction, so that many 
 examples could be cited. Among them is the well-known .story 
 contained in Juan ]\Iann(4's J.ihro de Patronio: "De lo que 
 contescio a Saladin con una buena dueiia, mujer de un caballero 
 su vasallo. ' ' Saladin washes to seduce the wife of a vassal ; he, 
 therefore, creates him mayoral and sends him to distant lands, 
 but his evil scheme is frustrated by the wdse conduct of the wife. 
 The reader will also recall that in the story of David, Bathsheba 
 and Uriah we have a variant of the same theme. 
 
 We may summarize certain features of Lope's technique as 
 follows: exits and entrances are treated more arbitrarily and 
 whimsically than would be permissible in less spontaneous drama, 
 tlie characters moving rather with the motive force of Lope's 
 
 J fancy. His conception of time is so indefinite as to make us 
 believe that in the vast majority of his plays the question of a 
 limited number of hours, days or even months w^as entirely dis- 
 regarded. The audience was transported into an idealized world 
 not confined by the limits of the stage nor controlled by the usual 
 flight of time. In a number of plays Lope falls into the technical 
 error of leaving the stage empty various times during an act. 
 Take for example, la Esclava dc su galdn, in which on twelve 
 separate occasions every person quits the stage leaving the plot 
 disconnected and so interfering with smooth action. Finally, as 
 regards the frequent interw-eaving of a subplot, this feature was 
 very often a necessary addition to the principal action, giving 
 more body to the main plot when it was thin and w^eak in con- 
 tent. It also furnished matrimonial material for the secondary 
 characters. Cervantes ridiculed this device of having everybody 
 married off at the end of the play in his comedy la Entrcicnida. 
 Exaggeration in the heaping of tone and color effect is rare 
 
 f\n Lope, and consequently his great themes are seldom marred, 
 as in los Comendadores de Cordoba where the spirit of vengeance 
 of the Veinticuatro consciously turns into a sanguinary chase, 
 
DEAMATIC AET OF LOPE BE VEGA 79 
 
 and the tragic close fails to maintain the solemn grandeur of 
 the rest. The apparent defects of Lope's formula are due to an 
 excessive number of combinations of recurring elements which 
 are entirely possible and acceptable, if the probability of the 
 resulting picture be not too closely 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 Avriters like Alarcon or Moreto to his disadvantage. Yet 
 nothing can take from his art the claim to a unique charm of 
 presentation unlimited in its variety, a sound mixture of youth 
 and maturity which never knew the touch of old age, a knowledge 
 of the depths of human experiences without overemphasizing 
 their weight on the soul, a comprehensiveness of poetic expres- 
 sion which makes every attempt at comparison futile and every 
 effort of analysis unsatisfactory. 
 
80 DHAMATIC AUT OF l.OPE DE VEGA 
 
 DIALOOrE. MONOLOGUE, AND NARRATIVE 
 
 No task seems more liopeless at tlie outset than a discussion 
 of Lope's dialogue, so astounding is its variety, so vast its range 
 in tone, color, feeling, speech and situation. No critical presen- 
 tation can embrace more than a part of his work, nor can a 
 limited number of examples hope to give more than a bare sug- 
 gestion of all the forms of emotion, thought and experience for 
 which Lope has found expression. Any specimen taken out of 
 its content cannot give the full measure of the effect intended, a 
 thing especially so in the case of comedy. But the examples 
 which I have chosen may suffice to show his masterly touch. The 
 number of his genuinely comic scenes cannot be counted, and no 
 better reason could be alleged for giving unstinted praise to his 
 miraculous inventive power than the hundreds of plays with 
 which he unceasingly amused the Spanish public. 
 
 In his tragedies Lope has shown a remarkable gift of impress- 
 ing the audience by the sudden and unexpected tragic turns in 
 the career of hero or heroine. This is the case where light 
 dialogue is followed by an event entirely changing the face of 
 things. Thus in la Moza de cdntaro the heroine is discussing 
 with her maid the qualities of her many suitors when her aged 
 father enters, and tells her of a mortal affront inflicted upon him, 
 the result of which alters her whole career. 
 
 Luisa. 
 
 Don Diego esta eonfiado; 
 
 
 joyas te ha hecho famosas. 
 
 Dona Maria. 
 
 £ Jovas? 
 
 Luisa. 
 
 Y galas costosas; 
 
 
 hasta coclie te ha comprado. 
 
 Dona Maria. 
 
 Dou Diego de noche y coche. 
 
 Luisa. 
 
 jDe noehe un gran caballero! 
 
 Dona Maria. 
 
 Mas jay Dios! que no le quiero 
 
 
 para don Diego de noehe. 
 
 
 Otra le goce, Luisa, 
 
 
 no yo. jDe noche visiones! 
 
 Luisa. 
 
 Oigo Unas tristes razones. 
 
DBAMATIC AET OF LOPE BE VEGA 
 
 81 
 
 BoTia Maria. 
 Luisa. 
 
 Don Bernardo. 
 Dona Maria. 
 
 Don Bernardo. 
 
 Dona Maria. 
 Don Bernardo. 
 
 Dona Maria. 
 
 Don Bernardo. 
 
 Volviose en llanto la risa. 
 ^No es este mi padre? 
 
 El es. 
 {Don Bernardo, de hdbito de Santiago, eon un, 
 
 lienso en Jos ojos. Dichas.) 
 jAy de mi! 
 
 Seiior, ^que es esto? 
 Vos llorando y deseompuesto, 
 jy yo no estoy a esos pies! 
 I^Que teneis, padre y senor, 
 mi solo y unico bien? 
 Vergiienza de que me ven 
 venir vivo y sin honor. 
 ^Como sin honor? 
 
 No se. 
 Dejame, por Dios, Maria. 
 Siendo vos vida en la mia, 
 |,Como dejaros podre? 
 
 ^Habeis acaso caido? 
 Que los anos muehos son. 
 Cayo toda la opinion 
 y nobleza que he tenido. 
 
 No es de los hombres Uorar; 
 
 pero lloro un hijo mio 
 
 que esta en Flandes, de quien fio 
 
 que me supiera vengar. 
 
 Siendo hombre, llorar me agrada; 
 
 porque los viejos, Maria, 
 
 somos ninos desde el dia 
 
 que nos quitamos la espada. 
 
 Sin color, y el alma en calma, 
 
 OS oigo, padre y seiior; 
 
 mas ^que mueho sin color, 
 
 si ya me teneis sin alma? 
 
 I Que habia de hacer mi hermano? 
 
 |,De quien os ha de vengar? 
 
 In cl Cahallero de Olmcdo extraordinary naturalness, vivacity 
 and wit running through more than two acts make as delightful 
 comedy as Lope ever penned, the whole giving place suddenly to 
 a brief and tragic close. The happy days of Don Alonso's court- 
 ship are gradually filled with a foreboding of his untimely end 
 and few effects which Lope has devised are artistically more 
 successful ; he is returning home at night after the ci-owning day 
 of his career : 
 
 Dona Maria. 
 
82 
 
 Dh'.iM.rnc Airr of lope dk vkca 
 
 Don Aloiiso. . . . jQue est-uridad! Todo es 
 
 horror, hasta que el aurora 
 
 eu las alfombras ile Flora 
 
 ponga los dorados pies. 
 
 Alii cautaii. ^Quien sera? 
 
 Mas sera algiiu labrador, 
 
 que eaniina a su labor. 
 
 Lejos parece que esta; 
 
 I^ero acercando se va. 
 
 Pues jcomo! Lleva instrumeuto, 
 
 y no es rustico el acento, 
 
 sino sonoro y siiave. 
 
 iQue mal la niusica sabe, 
 
 si esta triste el pensamieiito! 
 Una Fos. (Dcntro.) (Canta desde lejos y viene acercundose.) 
 
 Que de nochc Je mataron 
 
 al cdballero, 
 
 la gala de Medina, 
 
 la flor de Olmedo. 
 Don Alonso. jCielos! ^Que estoy escuchaudo? 
 
 Si es que avisos vuestros son, 
 
 ya que estoy en la ocasion, 
 
 ide que me estais informando? 
 
 Volver atras ^como puedo? 
 
 Invencion de Fabia es, 
 
 que quiere, a ruego de Ines, 
 
 hacer que no vaya a Olmedo. 
 La Voz. (Dentro.) Sombras le avisaron 
 
 que no saliese, 
 
 y le aconsejaron 
 que no se fuese 
 
 el caballero, 
 
 la gala de Medina, 
 
 la flor de Olmedo. 
 
 Don Alonso. iQue de sombras finge el miedo! 
 
 jQue de enganos imagina! 
 Oye, escueha. |D6nde fue, 
 que apenas sus pasos siento? 
 (Ah, labrador! Oye, aguarda. 
 Aguarda, responde el eco. 
 jMuerto yo! Pero es cancion 
 que por algun hombre hicieron 
 de Olmedo, y los de Medina 
 en este camino han muerto. 
 A la mitad del estoy: 
 I que han de deeir si me vuelvo? 
 
DEAMATIC AST OF LOPE DE VEGA 83 
 
 Gente viene. . . . No me pesa. 
 Si alia vau, ire cou ellos. 
 
 {Don Eodrigo, Don Fernando, Mendo, Criudos.) 
 Don Eodrigo. tQuien va? 
 
 Don Alonso. Un bombre. ^No me ven? 
 
 Don Fernando. Detengase. 
 
 Don Alonso. Caballeros, 
 
 si aeaso ueeesidad 
 los fuerza a pasos como estos, 
 (lesde aqui a mi casa hay poco: 
 no habre menester dineros; 
 que de dia y en la calle 
 se los doy a euautos veo 
 que me hacen honra en pedirlos. 
 Don Eodrigo. Quitese las armas luego. 
 
 Yo vengo a matar, no vengo 
 a desafios; que entonees 
 te matara c-uerpo a cuerpo. 
 (a Mendo.) 
 Tirale. 
 
 (Dispara Mendo.) 
 Don Alonso. Traidores sois; 
 
 pero sin armas de fuego 
 no pudierades matarme. 
 jJesiis! (Cae.) 
 
 Bien lo has hecho, Mendo. 
 {Vanse don Eodrigo, don Fernando y su gente.) 
 Don Alonso. iQue poco credito di 
 
 a los avisos del cielo! 
 Valor propio me ha engaiiado, 
 y muerto envidias y celos. 
 jAy de mi! ^Que hare en un campo 
 tan solo? 
 {Tello entra.) 
 Tello. Pena me dieron 
 
 estos hombres que a eaballo 
 van haeia Medina huyendo. 
 Si a don Alonso habian visto, 
 pregunte; no respondieron. 
 Mala senal. Voy temblando. 
 Don Alonso. jDios mio, piedad, yo muero! 
 
 Vos sabeis que fue mi amor 
 dirigido a casamiento. 
 ;Ay, Tnes! 
 Xello. ^^ lastimosas 
 
 quejas siento tristes ecos. 
 Hacia aquella parte suenan. 
 
 Don Fernando. 
 
nL'.nf.lTIC AUT OF LOPK VE VEGA 
 
 Bon Alonso. 
 Tello. 
 
 Don Alonso. 
 TeUo. 
 
 Don Alonso. 
 
 Tello. 
 
 No esta del caniino lejos 
 quien las da. No me ha quedado 
 sangre. Pienso que el sombrero 
 puede tenerse en el aire 
 solo en cualquiera cabello. 
 jAh, hidalgo! 
 
 I Quien es? 
 
 Ay, Die 
 
 [Por que dudo lo que veo? 
 Es mi senor. jDon Alonso! 
 Seas bien venido, Tello. 
 jComo, Senor, si he tardado ? 
 ^Como, si a mirarte llego 
 hecho un pielago de sangre? 
 Traidores, villanos, perros, 
 volved, volved a matarnie, 
 pues habeis, infames, muerto 
 el mas noble, el mas valiente, 
 el mas galan caballero 
 que cifio espada en Castilla. 
 Tello, Tello, ya no es tiempo 
 mas que de tratar del alma. 
 Ponme en tu eaballo presto, 
 y llevame a ver mis padres. 
 jQue buenas nuevas les llevo 
 de las fiestas de Medina! 
 ^„Que dira aquel noble viejo? 
 ^Que hara tu madre y tu patriae 
 jVenganza, piadosos cielos! 
 (Llevase a don Alonso.) 
 
 Fueiite Ovejiina presents the vigor of au untutored, demo- 
 cratic community standing out for its rights against the vicious 
 overlord, and we have side by side with rustic dialogue deeply 
 impressive tragic passages of which the following may serve" as 
 an example. The peasants sitting in council against the scoundrel 
 who has ruined their lives are moved to action by a woman's 
 appeal : 
 
 Eegidor. Ya, todo el arbol de paciencia roto, 
 eorre la nave de temor perdida. 
 La hija quitan con tan gran fiereza 
 a un hombre honrado, de quien es regida 
 la patria en que vivis, y en la cabeza 
 
DBAMATIC AFT OF LOPE BE VEGA 
 
 85 
 
 la vara quiebran tan injustaniente. 
 
 ^Que esclavo se trato con mas bajeza? 
 Juan Mojo. |Que es lo que quieres tu que el pueblo intente? 
 Eegidor. Morir, o dar la muerte a los tiranos, 
 
 pues somos muchos, y ellos poca gente. 
 Barrildo. j Contra el senor las armas en las manos! 
 Estehan. El Eey solo es senor despues del cielo, 
 
 y no barbaros honibres inhumanos. 
 
 Si Dios ayuda nuestro justo celo, 
 
 ^que nos ha de costar? 
 Mengo. Mirad, senores, 
 
 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. 
 
 (Laurencia, desmelenada. Dichos.) 
 Laurencia. Dejadme entrar, que bien puedo, 
 
 en consejo de los hombres; 
 
 que bien puede una mujer, 
 
 si no a dar voto, a dar voces. 
 
 ^Conoceisme? 
 Esteban. i Santo cielo! 
 
 ^No es mi hija? 
 Juan Eojo. I No conoces - 
 
 a Laurencia? 
 Laurencia. Vengo tal, 
 
 que mi diferencia os pone 
 
 en contingencia quien soy. 
 Esteban. jHija mia! 
 Laurencia. No me nombres 
 
 tu hija. 
 Esteban. ^Por que, mis ojos? 
 
 ^Por que? 
 Laurencia. Por muchas razones, 
 
 y sean las prineipales, 
 porque dejas que me roben 
 tiranos sin que me vengues, 
 traidores sin que me cobres. 
 
 |Vosotros sois hombres nobles? 
 iVosotros padres y deudos? 
 ^Vosotros, que no se os rompen 
 las entranas de dolor, 
 
86 DHAMAIIC AUT OF I.Ol'K DK VEGA 
 
 tie verme eu tantos dolores? 
 Ovejas sois, bien lo dice 
 lie Fueute Ovejuna el noinbre. 
 Dadme mias armas a mi, 
 
 l)ues sois piedras, pues sois l)roiifOs. 
 ********** 
 
 Los Comcndadorcs de Cordoba reprosents, as far as I know, 
 the extreme to which Lope has gone in giving the whole plaj' 
 an atmosphere of gloom, without attaining the tragic depth and 
 dignity either of the foregoing play or of that masterwork, la 
 Estt'dla dc Scvilla. No tone in this mars the exquisite presenta- 
 tion of the character of the heroine, and when we see her over- 
 whelmed by a course of tragic events which take place inevitably 
 one after the other, we feel justified in claiming that no finer 
 example of a fearful peripeteia exists on any stage. Estrella 
 is in the midst of her wedding preparations, when without warn- 
 ing the fateful hour is upon her : 
 
 {Sala en casa de Busto. Estrelhi ji Todora.) 
 Estrella. No se si me vesti bien, 
 
 como me vesti de prisa. 
 ' ""ii'^ Dame, Teodora, ese espejo. 
 Teodora. Verte, Senora, en ti misma 
 
 puedes, porque no hay crista! 
 
 que tantas verdades diga, 
 
 ni de hermosura tan grande 
 
 haga verdadera cifra. 
 Estrella. Alterado tengo el lostro ' 
 
 y la color encendida. 
 Teodora. Es, Senora, que la sangre 
 
 se ha asomado a las mejillas 
 
 entre temor y vergiienza, 
 
 solo a celebrar tus dichas. 
 Estrella. Ya me parece que Hega, 
 
 el rostro banado de risa, 
 
 mi esposo a darme la mauo 
 
 entre mil tiernas caricias. ' 
 
 Ya me parece que dice, 
 
 mil ternezas y que oidas 
 
 sale el alma por los ojos, 
 
 disimulando las niiias. 
 
 jAy venturoso dia! 
 
 Esta ha sido, Teodora, estrella mia. 
 
DRAMATIC AET OF LOPE BE VEGA 
 
 87 
 
 Teodora. 
 
 EstreUa. 
 Teodora. 
 EstreUa. 
 
 Clarlndo. 
 
 EstreUa. 
 
 Clarindo. 
 
 EstreUa. 
 
 Teodora. 
 Clarindo. 
 
 EstreUa. 
 
 EstreUa. 
 Don Pedro. 
 
 Parece que geute sueua. 
 
 Cayo el espejo. De euvidia (dJzale), 
 
 el cristal, dentro la hoja, 
 
 (le una luna hizo infinitas. 
 
 iQuebrose? 
 
 Seiiora, si. 
 Bien hizo, porque iniagina 
 que aguardo el cristal, Teoilora, 
 en que mis ojos se miran. 
 Y pues tal espejo aguardo, 
 quiebrese el espejo, amiga; 
 que no quiero que con el, 
 este de espejo me sirva. 
 {Clarindo, inuy galdn. — Diclias.) 
 Ya aquesto suena, Seiiora, 
 a gusto y volateria; 
 que las plunias del sombrero 
 los casamientos publican. 
 A mi dueno di el papel, 
 y diome aquesta sortija 
 en albricias. 
 
 Pues yo quiero 
 feriarte aquestas albricias. 
 Damela y toma por ella 
 este diamante. 
 
 Partida 
 esta por medio la piedra: 
 sera de melancolia; 
 que los jacintos padecen 
 de ese mal aunque le quitan. 
 Partida por medio esta. 
 No importa que este partida; 
 que es bien que las piedras sientan 
 mis contentos y alegrias. 
 jAy, venturoso dia! 
 Esta, amigos, ha sido estrella mia! 
 Gran tropel suena en los patios. 
 Y ya la esealera arriba 
 parece que sube gente. 
 I Que valor hay que resista 
 al placer? 
 {Los dos Alcaldes mayores, con gciite que trac el cadaver 
 
 de Busto. — Dichos. ) 
 Pero . . . jque es esto? 
 Los desastres y desdichas 
 se hicieron para los hombres; 
 que es mar de llanto esta vida. 
 
88 
 
 DJi'AMATIC AliT OF LOPE DE VEGA 
 
 EsirdUi. 
 Don Feiho. 
 
 EstreUa. 
 
 Bon Pedro. 
 
 EstreUa. 
 
 Don Pedro. 
 Far fan. 
 Don Pedro. 
 Clarindo. 
 E.'itreUa. 
 
 El Senor Busto Tabera 
 es muerto. 
 
 jSuerte enemiga! 
 El consuelo que aqui os queda 
 es que esta el fiero honiicida, 
 SaiK'ho Ortiz de las Roelas, 
 preso, y del se hara justicia 
 •nianana sin falta. . . . 
 Dejadme, gente enemiga; 
 que en vuestras lenguas traeis 
 de los infiernos las iras. 
 jlNIi hermano es muerto, y le ha muerto 
 Sanc-ho Ortiz! ^ Hay quien lo diga? 
 ^Hay quien lo escuehe y no muera ? 
 Piedra soy, pues estoy viva. 
 jAy riguroso dia! 
 Esta, amigos, ha sido estrella mia. 
 Pero si hay piedad humana, 
 matadme. 
 
 El dolor la priva, 
 y con razon. 
 
 i Desdichada 
 ha sido la estrella mia! 
 j Mi hermano es muerto, y le ha muerto 
 Sancho Ortiz! jEl quien divida 
 tres almas de un corazon! . . . 
 Dejadme que estoy perdida. 
 Ella esta desesperada. 
 jlnfeliz beldad! 
 
 Seguidla. 
 Seiiora . . . 
 
 Dejame, ingrato, 
 sangre de aquel fratricida. 
 Y pues acabo con todo, 
 quiero acabar con la vida. 
 jAy riguroso dia! 
 Esta ha sido, Teodora, estrella mia. 
 
 Satisfactory selections from his comedies are, as I have stated, 
 extremely difficult to make, but a survey of their variety may be 
 attempted. At the opening of el Au.'>cnte en el Lugar we have a 
 delightful scene which repeats the characteristic gossip of ser- 
 vants who meet on the street ; in los MeUndres de Belisa we have 
 the whimsicality and capricious action of a young daughter who 
 finds nothing to her liking, who ridicules her suitors, finds fault 
 
DEAMATIC AET OF LOPE DE VEGA 89 
 
 with all her surroundings and makes life unbearable for those 
 nearest to her. La Noche de ISan Juan is an example of Lope's 
 ability to paint laughter, gaiety and confusion, in which the 
 spectator follows a whirl of amusing, loosely connected scenes. 
 For wit and clever jeu de mots combined with admirably comic 
 episodes la Viuda valenciana and el Molina are noteworthy ex- 
 amples. Plays so uniformly good in their exposition must have 
 held the attention of the public from the very outset, and Lope 
 no doubt consciously put some of his most graceful verse, his 
 finest wit and humor into the opening scenes. As it was also his 
 purpose to capture the good will and enduring patronage of the 
 multitude, a large number of the expositions are filled with amus- 
 ing dialogues designed to appeal to the people. In Quien arna 
 no haga fieros we have the following conversation between master 
 and servant : 
 
 Gaston. ... 
 
 I Has alguna vez tenido 
 
 (lama cou ciinado? 
 Don Felix. No. 
 
 Gaston. jDichoso tu! porque yo 
 
 desdichadisimo he sido 
 
 eu materia de cuiiados. 
 Don Felix. Amor es siempre importuiio, 
 
 y querria que ninguno 
 
 se metiese eu sus euidados. 
 
 Todo estorba a los que quiereu: 
 
 padres, hermanos, sobriuos, 
 
 hasta vecinos. 
 Gaston. ^, Vecinos? 
 
 Esos son los que refieren 
 
 toda una historia de amor; 
 
 que, no atendiendo a su casa, 
 
 ven lo que en las otras pasa. 
 Don Felix. Eso es general error. 
 Gaston. No se aeostara un vecino 
 
 hasta ver al otro entrar, 
 
 si alii se pensase helar. 
 Dot Felix. De eualquier desgraeia es dino. 
 Gaston. Yo eonozco una riiujer, 
 
 adonde un galan hablaba, 
 
 que toda la noche estaba 
 
 a una ventana, por ver 
 
90 dhamatic akt of i.ope de vega 
 
 \ jior osrmhar los toques; 
 
 y obligi'ile (lescoiiijtuesta, 
 
 a traer una ballesta 
 
 y disparalle bodoques. 
 
 Mas ella, con la flaqueza 
 
 lie escuehar, o la porfia, 
 
 caila noche se ponia 
 
 uii laldero en la cabeza, 
 
 con que el galan que le tiraba 
 
 hacia tanto riiido, 
 
 que despertaba al niarido, 
 
 y a la senora llamaba. 
 Bon Felix. Yo, por ver caza tan nueva, 
 
 con arcabuz la tirara. 
 Gaston. ^Que importa? Tambien buscara 
 
 algi'ni morrion a pruelia. 
 
 Pcrihanez y cl Comcndador de Ocana offers an example of Lope's 
 rare gift of putting into facile verse a domestic dialogue in which 
 husband and wife demonstrate their mutual obligations and 
 necessary qualifications by means of the alphabet : 
 
 Casilda. ^Que ha de tener para buena 
 
 una niujer ? 
 Perihdnez. 0\e. 
 
 Casilda. Di. 
 
 Perihdnez. Aniar y lionrar su marido 
 
 es letra deste abece, 
 
 siendo buena por la B, 
 
 que es todo el bien que te pido. 
 
 Harate cuerda la C, 
 
 la D dulce, y entendida 
 
 la E, y la F en la vida 
 
 firme, fuerte y de gran fe. ^ 
 
 La G grave, y, para honrada, 
 
 la H, que eon la I 
 
 te hara ilustre, si de ti 
 
 queda mi easa ilustrada. 
 
 Limpia seras por la L, 
 
 y Jior la M, niaestra 
 
 de tus hijos, eual lo muestra 
 
 quien de sus vicios se duele. 
 
 La N te ensena un no 
 
 a solicitudes locas: 
 
 que este no, que aprenden pocas, 
 
 esta en la N v la O. 
 
DBAMATIC AST OF LOPE BE VEGA 91 
 
 La P te hara pensativa, 
 
 la Q bien quista, la E 
 
 con tal razon, que destierre 
 
 toda locura excesiva. 
 
 Solieita te ha de hacer 
 
 de mi regalo la S, 
 
 la T tal que no pudiese 
 
 hallarse mejor mujer. 
 
 La V te hara verdadera, 
 
 la X buena cristiana, 
 
 letra que en la vida humana 
 
 has de aprender la primera. 
 
 Por la Z has de guardarte 
 
 de ser zelosa; que es eosa 
 
 que nuestra paz amorosa 
 
 puede, Casilda, quitarte. 
 
 Aprende este canto llano; 
 
 que con aquesta cartilla, 
 
 tu seras flor de la villa, 
 
 y yo el mas noble villauo. 
 Casilda. Estudiare, por servirte, 
 
 las letras de ese abece; 
 
 pero dime si podre 
 
 otro, mi Pedro, decirte, 
 
 si no es acaso licencia. 
 Perihdtiez. Antes yo me huelgo. Di; 
 
 que quiero aprender de ti. 
 Casilda. Pues escucha y ten paeiencia. 
 
 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 eompanero 
 
 en mis trabajos; la D 
 
 dadivoso por la fee 
 
 con que regalarte espero. 
 
 La F de facil trato, 
 
 la G galan para mi, 
 
 la H honesto y la I 
 
 sin pensamiento de ingrato. 
 
 Por la L liberal 
 
 y por la M el mejor 
 
 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 DRAMATIC ANT OF I.OPK DK I Ed A 
 
 todas las horas teiidras. 
 
 Por la P me has de hacer obras 
 
 (Ic padre ; porque (|uererme 
 
 por la Q, sera poneniie 
 
 en la obligation que cobras. 
 
 Por la E regalarme 
 
 y por la S servirnie, 
 
 por la T tenerte firme, 
 
 por la V verdad tratarnie; 
 
 por la X con abiertos 
 
 brazos imitarla asi (Abrdzalc), 
 
 y como estanios aqui, 
 
 estemos despues de muertos. 
 
 TIh' pleasing description of Peribafiez's home-coming has already 
 been quoted above. A comic reversal of fortune may be found 
 in la Esclava de su galdn, in which we have a delightful picture 
 of the sudden collapse of the son's position in his father's good 
 graces. Don Juan arouses the latter 's rage by confessing that 
 he is engaged to be married to a poor but virtuous girl ; the 
 father slams the door in the son's face and orders that his cloth- 
 ing and books be thrown out of the window. Don Juan and his 
 servant are left in the street stunned and disconcerted. 
 
 Pedro. iQue cerca estas de llorar! 
 
 Bon Juan. Pues j de eso, Pedro, te espantas? 
 
 Ayer un coche y criados, 
 
 casa, hacienda, padre y galas, 
 
 y hoy icerradas estas puertas! 
 
 Then follows the comic anguish of the two, as the son's posses- 
 sions come flying through the window. 
 
 Pedro. 
 
 Ya arrojan por las ventauas 
 
 
 tus vestidos. 
 
 Don Juan. 
 
 i Bravo enojo! 
 
 Pedro. 
 
 Anda la mar alterada, 
 
 
 y alijeran el navio. 
 
 
 Voy a buscar mi sotana. 
 
 Don Juan. 
 
 jAy Dies! jsi se han de perder 
 
 
 de dona Elena las cartas 
 
 
 y una cinta de cabellos! 
 
 Pedro. 
 
 iQue joyas! 
 
 Don Juan. 
 
 Joyas del alma. 
 
DEAMATIC AFT OF LOPE BE VEGA 
 
 93 
 
 Pedro. Cierto que hay almas buhoneras, 
 
 pues andan siempre cargadas 
 
 de cintas y de i^apeles. 
 Boh Juan. jAy, mi Elena! 
 Pedro. jAy, mi sotana! 
 
 Bon Juan. jAy, papeles! 
 Pedro. jAy, gregiieseos! 
 
 Bon Juan. jAy, mis piutas! 
 Pedro. jAy, mi camal 
 
 Bo)i Juan. Quien supiere que es amor, 
 
 apruebe mis esperanzas; 
 
 quien no, diga que estoy loco, 
 
 pues quedo con sola el alma. 
 
 Indelicacy is, as I have asserted above, exceedingly rare in Lope, 
 and such a conversation as that carried on between the Countess 
 and the escudero Durango in las Flores de don Juan (act II, 
 scene xviii), during which he narrates a coarse anecdote, would 
 have to be curtailed on the stage of today. It may be explained, 
 however, in view of the fact that throughout Europe society of 
 the Renascence indulged in topics of conversation not counte- 
 nanced today because we have become more reserved and also 
 less naive and less natural. On the other hand, broad luimor 
 and farcical play intended for the masses are fairly common in 
 the comedies and even in the tragedies. La Nochc tohdana 
 offers an excellent specimen. Florencio and his servant are 
 attempting to escape from an inn over a neighboring housetop, 
 in order to get away from the police whom they imagine in 
 pursuit ; the scene must have delighted the populace. 
 
 (Vista de Tejados: Florencio y Belt ran.) 
 Florencio. ^ Haste hecho mal? 
 
 Beltrdn. No tengo hueso sano. 
 
 Florencio. |Ad6nde estanios? 
 
 Beltrdn. ^Puedo yo sabello? 
 
 I Hay mapas de tejados eu el mundo ? 
 
 I Hay carta que sefiale rumbo o liuea 
 
 de chimeneas ni de eaballetes? 
 
 ^Hay Tolomeo ni otro algiin cosmografo 
 
 que trate de azoteas? 
 Florencio. Esta casa 
 
 me parece meson. 
 
Di:.\M.\TIC AKT OF J.OVE DK VFXiA 
 
 Bdtrdii. Y eslo sin duila; 
 
 lioitjue lo son las desta acera todas 
 desde la Concei)c'i6n al Carmen. 
 
 Flonncio. Creo 
 
 que es palomar aqueste o gallinero. 
 
 BcJtidn. Yo pienso que en algun tejado destos 
 
 hay alguna colniena. 
 
 Flnrencio. Y no dc abejas, 
 
 sine de aleves zanganos o avispas, 
 que la cara, las piernas y las nianos 
 me tienen hechas criba. 
 
 Bcltrdn. En las nariees 
 
 me lia dailo un avispon un picotazo, 
 que me ha hecho elefante, vive el cielo. 
 
 Florencio. |Si estaremos mejor con las gallinas? 
 
 Beltrdn. Dalas al diablo; porque entraba apenas, 
 
 cuando cerro conmigo el senor gallo, 
 creyendo que robarle quise alguna, 
 y me ha sacado un ojo con el pico. 
 
 Florencio. ^Estoy muy sucio? 
 
 Beltrdn. Estas como un estiereol. 
 
 Florencio. I Que es aquello primero donde eUtramos? 
 
 Beltrdn. Una pocilga, donde he sacado 
 
 tal cantidad de pulgas que estoy muerto. 
 
 Florencio. Escapar de aquel perro fue milagro. 
 
 Beltrdn. Y''©, a lo menos, no fui tan venturoso. 
 
 Florencio. | Mordiote ? 
 
 Beltrdn. Traigo menos libra y media 
 
 de carue desta izquierda pantorrilla. 
 
 Florencio. Morderte perro es seda sobre seda. 
 
 Beltrdn. No quiso respetar al parentesco; 
 
 que perro soy, aunque parezeo hidalgo. 
 
 Florencio. ; Cruel noche por Dios! 
 
 Beltrdn. Si yo creyera 
 
 al buen humor que tengo escarmentara 
 de enamorarme. *" 
 
 Florencio. Amor ; que culpa tiene? 
 
 Beltrdn. Amores en Toledo son muy buenos, 
 
 si son de dia, pero no de noche; 
 que hay cuestas espantosas y ladrillos, 
 hombres del diablo, avispas, perros, pulgas, 
 tejados, gallineros y alguaciles. 
 
 Voces. (Dentro.) Ladrones son! jLailrones! 
 
 Beltrdn. Esto es bueno. 
 
 Florencio. jOh, pesia tal! la casa se alborota. 
 
 Una Voz. (Dentro.) Dame aquese arcabuz, suelta ese perro. 
 
BEAM AT IC ABT OF LOPE BE VEGA 95 
 
 BcUrdn. Por mi lo dice; ya me sabe el nombre; 
 
 conocido nos han. 
 
 FJorencio. Por aqui aba jo, 
 
 en la caballeriza nos entremos, 
 y en saliendo algi'm huesped nos iiemos. {J'aiisc) 
 
 In my opinion, one of the comic masterpieces worthy to rank 
 with the best of any stage may be found in la Dorotea (act II, 
 scene vi). It is a drinking scene in which Gerarda, an okl 
 woman of the Celestina type and one of Lope's great creations, 
 is seated at table with Teodora and the latter 's daughter Dorotea. 
 Here her relative indifference to food is more than counter- 
 balanced by her fondness for the cup, and we are told that her 
 favorite philosopher is not Plutarch, but the more famous wine, 
 Alaejos. Since it is futile to analyze all the features of this 
 scene, I have preferred to let the following extract speak for 
 me. The reader will note the spontaneous humor, the richness 
 in popular phrases, the many details of a domestic scene intime, 
 the light which some of the customs depicted throw on contem- 
 porary manners, and, above all, the art of the great dramatist 
 who has laid bare the soul of the old woman Gerarda, by leading 
 lier in the most subtle manner out of her first condition of witty 
 sobriety, tlirough all the subsequent stages of garrulous self- 
 confession, of heavy-tongued but amusing nonsense to the inevit- 
 able stupor of intoxication. This scene, as well as others in Avhich 
 Gerarda appears, is not only the best portion of la Dorotea, but 
 shows Lope as a master of psychological analysis worthy of liis 
 famous prototype, the coniedia de Calisto \j Melibea, the fountain 
 of his inspiration. 
 
 Teodora. No tauta fruta, Dorotea, que estas nuiy convaleeiente. Deja 
 
 las uvas. 
 Borotea. ^, Que me han de liacer? Que ya estoy buena. 
 Teodora. Tonia estos higos, Gerarda. 
 Gerarda. Por ti tomare uno, que no lo hieiera ]ior el padre que me 
 
 engendro; pero es menester que sepas que con un higo se 
 
 bebe tres veces. 
 Teodora. | Quien lo escribe? 
 Gerarda. El filosofo Alaejos: ^pensaste que era Plutarco? Alirole por 
 
 medio. . . . Dame, Celia, la primera. 
 
DL'.iM.rnc Airr of Lone />/■; ikga 
 
 Tcodora. 
 
 Gcrarda. 
 
 Teodora. 
 
 Gerarda. 
 
 Cclia. 
 
 Gerarda. 
 
 Teodora. 
 Gerarda. 
 
 I Sin conierle bebes ? 
 
 Agora le echo un poco ilo sal. Daiiio la scguiKJa. 
 
 Ya tienes las ilos apaite; 4 que haras agora? 
 
 Cerrar el higo. Dame la tercera. 
 
 Bebe y bueu proveoho; pero mira que es fuerte. 
 
 Mas fuerte era Sanson, y le veneio el amor. jBien haya quien 
 
 te erio! 
 ^El higo eehas por la ventana, despues de tantas ])revenciones? 
 Pues {el habia de entrar aca ? No se vera en ese gozo. 
 
 Teodora. 
 Gerarda. 
 CeJia (A p.) 
 
 Gerarda. 
 
 Teodora. 
 
 Gerarda. 
 
 Celia. 
 
 Gerarda. 
 
 Teodora. 
 
 Gerarda. 
 
 Celia. 
 Gerarda. 
 
 Teodora. 
 Dorotea. 
 Teodora. 
 
 Dorotea. 
 Teodora. 
 Celia. 
 
 Tu me agradas, Gerarda, que hablas y comes. 
 
 Ese nino me alaba, que come y mama. 
 
 Otro refrancito. jQue eolorada esta la madre! Parece nia- 
 droiio y la nariz zanahoria. 
 
 Cuando yo me acuerdo de mi Nuflo Eodriguez a la mesa. . . . 
 iQue decia el de cosas! [Que gracias! [Que cuentos! Del 
 aprendl las oraciones que se. Era un bendito, no hizo en 
 su vida mal a un gato; que cuando le saearon a la ver- 
 giienza fue por ser tan hombre de bien, que nunca quiso 
 decir quien habia tornado los platos del canonigo. Ahora 
 parece que 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 mucho el desen- 
 fado con que picaba aquella bestia lerda. Ya le decia yo 
 que no saliera sin acicates. 
 
 Gerarda, no bebas mas; que dices desatinos, y en otr? 
 
 parte 
 que lloras? 
 
 pensaran que era verdad lo que dices. | Pai 
 Porque fue crueldad llevarle a galeras. 
 Ya lo enmienda. 
 
 Dios nianda que se digan las verdades. 
 No en'dafio del projimo. 
 |,Que dano es contar sus alabanzas, Teodora, ni refrescar la 
 
 memoria del bien que se ha perdido? 
 A lo menos refrescar lo bien que se ha bebido. 
 La primera vez que me hallo en aquella niueria del estudiiite, 
 
 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 el se preciaba mucho: "A los bellacos 
 
 mojallos. " 
 I No adviertes, Dorotea, la condicion del vino? 
 Fiale tus secretes; que esa es la primera de sus faltas. 
 jOh infame vieio, 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, se sube a la cabeza. 
 ^Para que me haces senas, tia? 
 
DFAMATIC ABT OF LOPE BE VEGA 
 
 97 
 
 Gerarda. 
 
 Celia. 
 Gerarda. 
 
 CeJia. 
 Gerarda. 
 Celia. 
 Gerarda. 
 
 Teodora. 
 Gerarda. 
 
 Celia. 
 Gerarda. 
 
 ^Para que me lo preguntas, net-ia? ^Cuanto va que me levauto, 
 pues no me entiendes? 
 
 Ha caido un mosquito. 
 
 No hayais miedo que se descalabre; no le saques, Celia, que 
 son los espiritus deste lieor, como los atomos del aire; el 
 vino los engendra y a nadie le pareeieron sus hijos feos. 
 Y cuando dieres vino a tu seiior, no le mires al sol. 
 
 Que quiera, que no quiera, el asno ha de ir a la feria. 
 
 Pesa presto, Maria, cuarteron por media libra. 
 
 No cabe mas la taza, que no es saca de lana. 
 
 La leche de los viejos es el vino: no se si lo dice Cieeron o el 
 obispo de Mondoneilo. jAy mi buen Nuflo Rodriguez! 
 
 A la tenia vuelve. 
 
 En su vida reparo en mosquito, todo cuanto venia colaba, que 
 era una bendicion. Llamaba grosera al agua, porque criaba 
 ranas; una de las cosas con que me vencio para que no la 
 bebiese, cuando me case con el, fue decirme que habian de 
 cantar en el estomago; y pusome tanto miedo, que desde 
 entonces, sea Dios bendito, no la he probado. Pues ya, 
 para lo que me queda, con su ayuda bien sabre salir deste 
 peligro. 
 
 Mira que se duerme, tia. 
 
 Vieneme el mal que me suele venir; cjue despues de harto me 
 suelo dormir. 
 
 Gerarda. Cuando dan por los aladares, canas son, que no lunares. Dame 
 sin que lo vean. 
 
 Celia. Nueve veces has bebido. 
 
 Gerarda. Escuderos de Hernan Daza, nueve debajo de una manta. 
 
 Celia. No la habras menester esta noche. 
 
 Gerarda. No tiene mas frio nadie que la ropa que trae. 
 
 Teodora. 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. 
 
 Gerarda. Cuando el guardian juega a los naipes, ^que haran los frailes? 
 
 Teodora. Quitale esas aceitunas, negra. 
 
 Gerarda. Bien puede; que una hora habra que estoy con el hueso de una, 
 pidiendo una consolacion. 
 
 Teodora. Alza esta mesa, y dale, nina, un poco desa grajea a Gerarda. 
 
 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 arri- 
 mando 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. 
 
 Celia. Ande aca, tia; que no esta para firmar. 
 
98 i)i;.\M.\Ti(' .urr of Lori-: dk vkga 
 
 Gcrarda. Si conio tieiie oiejas, tuvieie boea, a imulios Uamara la picota. 
 
 CcUa. ' Con bueiias oraeiones se alza la mesa. 
 
 Gcrarda. No quito los iiiaiiteles; dare gracias, puos ocIk' la hoiulirioii. 
 
 Tcocloro. Di; veaiiios. 
 
 Gcrarda. Quod liaboinus tomiilo, de Doiiiiuus Doiniui sea benedito, y 
 
 a iiiicos y a vobis miiu-a faltetur, y agora dicamus el 
 
 saiitificetur. 
 Dorotca. No se le puede negar que tiene gracia, y yo conozco imulios 
 
 presumidos de ciencias que saben meuos latin. 
 Gcrarda. Despues de comer sieiiipre tengo yo mis devociones. — Llevame 
 
 al oratorio, Celia. 
 Celia. Tia, mejor es la cama. No te cargues tanto, que pesas mucho. 
 
 Gerarda. La puerta pesada, puesta en el quicio no pesa nada. 
 Celia. Topaste con la silla. Por aca, tia. 
 
 Teodora. iQue golpe que se ha dado! Llevala con tiento, ignorante. 
 Celia. I Que tiento, si no le tiene? (Vaiise.) 
 
 I must add a brief word on monologue and narrative. The 
 former is a common device or feature of Lope's formula, and I 
 had occasion to speak of it in the notes appended to la Dama 
 hoha. In so far as the soliloquy was intended solely to reveal the 
 inner self of the person speaking it must be logically character- 
 ized by directness, sincerity and simplicity. These qualities, how- 
 ever, are easily marred by artificial speech, while the success of 
 the play whose keynote is rapidity of action may be jeopardized 
 if anything hampers its forward motion. It must be said to 
 Lope's credit that he recognized the soundness of this principle 
 far more than did any of his successors, and that his monologues, 
 while not always free from the artifice of conceptismo and culto, 
 are generally well timed and in keeping with the plot. The 
 conclusion which imposes itself upon the reader, however, is that 
 the soliloquy is artistically far more satisfactory in serious scenes 
 and in tragedy than in comedy for the reason stated in my notes 
 to la Dama hoha, namely, that the former normally contains more 
 moments of reflection and self-analysis. Pure comedy, accord- 
 ing to Lope's formula, is based, as I tried to show, on impulse 
 rather than deliberation. 
 
 The chief poetic forms used in the monologue are the sonnet, 
 the glosa. used by Lope with great variety and flexibility, the 
 rcdondilla and quintilla, the octava and the romance. As far 
 
DHAMATIC ART OF LOPE BE VEGA 99 
 
 as I am aware, practically all of his soliloquies are brief. No 
 monologue of the length of those found in Shakespeare, Corneille, 
 Schiller, Victor Hugo and others has come to my notice in Lope. 
 The purpose of the monologue in his comedia, when it has no 
 serious, introspective character, is one of the following : it creates 
 a pause between the exit of one personage and the entrance of 
 another without leaving the stage empty ; it may give a person 
 whose approach is imminent time to arrive ; it may permit one or 
 more persons to leave the stage for a brief time to accomplish an 
 act or deed necessary to the plot (such as the fetching of a desired 
 object, the bringing in of another person, the hindrance of soin,e- 
 tliing about to happen, etc.) ; it may serve especially, and in this 
 I include the aparte uttered with others on the stage, to express 
 all the emotions of surprise, anguish, joy, and the like. In the 
 latter case it is thoroughly justifiable as an artistic device. 
 
 The narrative, varying in length, is a device justified only by 
 its rhetorical qualities and because of the opportunities it gave 
 certain types of actors and actresses to show their declamatory 
 talent. But it can hardly be defended otherwise, as it lacks the 
 dramatic character of action, and is open to many abuses. While 
 it reminds one of the messenger's speech in Greek tragedy, there 
 is no reason for believing that the narrative in the comedia was 
 in any sense influenced by it. As regards its use by Lope, it is 
 one of the elements of his formula in which he made concessions 
 more and more to a growing vogue. Without wishing to gener- 
 alize too much, I venture to state that lengthy narratives are 
 more common in his latest plays, while his early and middle 
 period show greater artistic restraint, and an effort to keep the 
 narrative within proper bounds. We cannot, however, take our 
 stand upon absolutely solid ground in this conclusion, because 
 the vast majority of texts which have come down to us are based 
 on badly mutilated prompters' copies. Wherever I have been 
 able to make any comparison with an original it was noticeable 
 that the narrative portions had been cut an 1 modified. Those 
 examples v,hich we possess must therefore almost always be 
 considered shorter than the poet's own version. 
 
100 DUAMATIC ART OF I.OI'F. ]>E VEGA 
 
 The narrative serves various purposes, a-nong them that of 
 making the audience acquainted with the history of the narrator, 
 or of some one of tlie characters of the play ; it is a device to 
 connect past events with the present, and it serves in general 
 to make known what has happened behind the stage. While 
 the narrative was naturally intended for those persons not yet 
 acfiuainted with its content, there are cases in which it rehearses 
 wliat the audience already knows. This constitutes an inartistic 
 blunder, in so far as it is a hindrance to the action and makes 
 the public yawn. Lope's successors retained the narrative, but 
 increased the defects which in the great master were. still in- 
 offensive. They introduced a greater number of narratives in 
 a single play and not infrequently made a single one several 
 hundred verses in length, thereby contributing effectually to 
 tlie artificial elements which caused the final decadence of the 
 conudia as a work of art. 
 
DRAMATIC ART OF LOPE DE VEGA 
 
 CHARACTERS AND CUSTOMS 
 
 The fabric of Lope's formula, so intricately woven with its 
 mixed elements of fancy and reality, cannot be adequately an- 
 alyzed and discussed in all of its details in a short space: of 
 that I am aware. But the serious student may be able, by con- 
 tinual labor carried on in a sympathetic spirit, to master the 
 seemingly overwhelming material of Lope's creation. His work - 
 is not characterized by a specific manner or method. The great 
 improvisor was a tool in the grasp of an inventive, a creative -^ 
 impulse over which the conscious reasoning processes had little 
 control. His dramatic technique, such as it is, leaves the im- 
 pression of having been acquired by a hit-or-miss process; it 
 was constantly modified, we may presume, not in the midst of 
 a creative mood, but after the author had seen his work as a 
 whole upon the stage and viewed it objectively for the first time. 
 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 of his art, the mas- 
 terly delineation of various living types of men and women, and 
 the abiding results embodied in vivid pictures of contemporary 
 customs. This particular phase of his creation reveals the height 
 to which his dramatic genius could attain. 
 
 One of Lope's most enduring inspirations was the type of '^ 
 man or woman cast in a heroic mould. His conception of great 
 and virtuous women has been a model for other playwrights, 
 and the history of the stage offers no loftier scenes than those 
 in which are depicted the moral courage, the fearless self-sacrifice, 
 the purity of heart, the unswerving devotion of such women as 
 Estrella {la Estrella de Sevilla), dona Maria {la Moza de Cdn- 
 taro), dona Sol {la Corona merecida), Dorotea {la Nina de 
 Plata), Elena {la Llave de la Jionra), Elvira {el mejor Alcalde 
 el Rey), Casilda {Pcnhdnez y el Comendador de Ocana), Lau- 
 
1111^ dhamatic art of /.on-: />/•; iay/j 
 
 rciic'iu {FtKiiU Ov(juiia), and others. It is worthy of note also 
 that the list contains women of humble as well as exalted station. 
 A satisfaetory presentation of all these ehai-aeters, who deserve 
 to he better known to tlie i-cader. cannot tx' undertaken here; 
 theii- rare delineation lias already been pointed out by occasional 
 writers whose sincere admiration liad been aroused by Lope's 
 l)lays of good women. It will suffice to add that the}' rank among 
 his greatest creations, that tlie unusual spiritual dignity and 
 nobility of these heroines may be felt throughout the entire plot, 
 ennobling all those who come into contact with them. 
 
 Among his prominent types of men, the first place is due to 
 those sterling old characters who incarnate the solid qualities 
 of rugged peasant simplicity, honor, and loyalty to inherited 
 standards of living, who, as enemies of sham and innovation, 
 embody the uncorrupted ancient Spanish virtues. There is no 
 more inspiring reading in all Spanish literature than the senti- 
 ments 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. An admirable example of this type 
 is Tello el viejo, in los Tellos de Meneses, a rustic of the moun- 
 tains of Leon, whom Lope places in the time of Ordoilo I with 
 the apparent intention of making the contrast between the man- 
 ners and morals of his own day and those of an idealized old 
 Spain very clear to his audience. The following passage gives 
 in a nutshell the author's conception of Tello, his native dignity 
 and high personal character ; it is also an example of Lope's rare 
 gift of presenting the choicest spirit of Horace modified by the 
 qualities of Luis de Leon. "^ 
 
 Tello el viejo. \ Cuau bienaventurado 
 
 puede llamarse el hombre 
 
 que con escuro nombre 
 
 vive en su casa, honrado 
 
 de su familia, atenta 
 
 a lo que mas le agrada y le eontenta! 
 
 Sus deseos no buscan 
 
 las cortes de los reyes, 
 
 adonde tantas leyes 
 
 la ley primera ofuscan. 
 
DBAMATIC ABT OF LOPE DE VEGA 
 
 y por el nuevo traje 
 
 la simple antigiiedad padece ultraje. 
 
 No obliga poca renta 
 
 al costoso vestido, 
 
 que al uso conocido 
 
 la novedad inveuta, 
 
 y con pocos desvelos 
 
 conserva la igualdad de sus abuelos. 
 
 No ve la loca dania 
 
 que por vestirse de oro, 
 
 se desnuda el decoro 
 
 de su opinion y fama, 
 
 y hasta que el arco rompa, 
 
 la cuerda estira de la vana pompa. 
 
 Yo salgo con la aurora 
 
 por estos verdes prados, 
 
 aun antes de pisados 
 
 del bianco pie de Flora, 
 
 quebrando algunos liielos 
 
 tal vez de los cuajados arroyuelos. 
 
 Miro con el cuidado 
 
 que salen mis pastores; 
 
 los ganados mayores 
 
 ir retozando al prado, 
 
 y humildes a sus leyes, 
 
 a los barbechos eondueir los bueyes. 
 
 Aqui las yeguas blaneas 
 
 entre las rubias reses, 
 
 las emes de Meneses 
 
 impresas en las ancas, 
 
 relinchan por los potros, 
 
 viendolos retozar unos con otros. 
 
 Vuelvo, y al mediodia 
 
 la comida abundante 
 
 no me pone arrogante; 
 
 que no pienso que es niia, 
 
 porque mirando al cielo 
 
 el dueiio adoro con liumilde celo. 
 
 Todos los aiios miro 
 
 la limosna que he dado 
 
 y lo que me ha quedado, 
 
 y diciendo suspiro, 
 
 viendo lo que se aumenta: 
 
 "Siempre me alcanza Dios en esta cuenta. 
 
 Voy a ver por la tarde, 
 
 ya cuando el sol se hum ilia, 
 
 Ijor esta verde orilla. 
 
104 DUAMATIC Ah'T OF LOPE BE VEGA 
 
 el esnialtailo alarde 
 
 (Ic tautas arboledas, 
 
 locos pavones de sus verdes ruedas; 
 
 y, como en ellos ojos, 
 
 frutas entre sus hojas, 
 
 blancas, palidas, rojas, 
 
 del verauo despojos, 
 
 y en sus ranias siiaves 
 
 canciones cultas componer las aves. 
 
 Cuando la noche baja, 
 
 y al claro sol se atreve, 
 
 cena me aguarda breve, 
 
 de la salud ventaja; 
 
 que, aunque con nienos sueiio, 
 
 mas alentado se levanta el dueiio. 
 
 De todo lo que digo 
 
 le doy graeias al cielo, 
 
 que fertiliza el suelo, 
 
 tan liberal conmigo; 
 
 poique quien no agradece 
 
 la deuda al cielo, ni aun vivir nierece. 
 
 In Juan Labrador, el Villa no en su rincon, we have another 
 example of the peasant, single-minded, self-sufficient, loyal to 
 church and state, but fixed in his abhorrence of court and cour- 
 tiers. Lope has placed the scene in France, but in spite of this 
 the customs depicted are all those of Spain. Juan Labrador 
 hopes to die without seeing the king, not because of any disdain 
 for the latter but because of his modesty, and the consciousness 
 of the abyss which separates monarch and vassal. The king may 
 be served without gazing upon him. This the latter finds out 
 and, disguising himself, he visits the peasant in his retreat. 
 There he is profoundly impressed by his host's splendid virtiies 
 and convinced of his loyalty to the crown. The play offers a 
 striking contrast between the point of view of the two men with 
 the advantage frankly on the side of the man of humble station. 
 Some of the scenes which unfold before the spectator resemble 
 genre paintings, so carefully worked out are they in their details. 
 The best ones depict first the hospitality of the peasant Juan 
 Labrador, the routine of his daily life, his habits being minutely 
 drawn ; the author then presents in amusing fashion the old 
 
DM AM AT IC ART OF LOPE DE VEGA 105 
 
 man's enforced visit to the king, who tries to vie with his guest 
 in generosity and courtesy. These are among the finest things 
 in all the Spanish comedia, 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. 
 Juan Labrador is entertaining the king, whom he takes for a 
 mere courtier from Paris. 
 
 (El Bey y Juan Labrador.) 
 Juan. Tomad esa silla, os ruego. 
 
 Bey. Sentaos vos; que tiempo hay luego. 
 
 Juan. iQue cortesan'o de fama! 
 
 Sentaos; que en mi casa 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 haeer, 
 
 mientras en mi casa estais, 
 
 lo que OS mandare. 
 Bey. Mostrais 
 
 un hidalgo proeeder. 
 Juan. Hidalgo no; que me precio 
 
 de villano eu mi riucon ; 
 
 pero en el sera razon 
 
 que no me tengais por necio. 
 Bey. Si a Paris vais algi'm dia, 
 
 buen amigo, os doy palabra 
 
 que el alma y la puerta os abra 
 
 en amor y hacienda mia, 
 
 por veros tan liberal. 
 Juan. jA Paris! 
 
 Bey. Pues ^que decis? 
 
 ^No ireis tal vez a Paris 
 
 a ver la casa real? 
 
 Mai mi gusto persuadis. 
 Juan. jYo a Paris! 
 
 Bey. ^No puede ser? 
 
 Bey. De ningun modo, por Dios. 
 
 Si alia OS he de ver a vos, 
 
 en mi vida os pienso ver. 
 Bey. Pues 4 que os enfada de alia? 
 
 Juan. No haber salido de aqui 
 
 desde el dia en que naci, 
 
 y que aqui mi hacienda esta. 
 
DUAMATIC Airr (IF LOPE UK \FJiA 
 
 Dos caiiias teiiiro, una en cjisa, 
 
 _v otia oil la iglesia: i-stas son 
 
 on vida y nmerte el rincon 
 
 tloiule una y otra se pasa. 
 Hey. Segiin eso, en vuestra vida 
 
 debeis de haber visto al Rey. 
 Juan. Nadie ha guardado su ley, 
 
 iii es de alguno obedecida 
 
 como del que estais mirando; 
 
 pero en mi vida le vj. 
 Bry. Pues yo se que por aqui 
 
 jiasa mil veces eazando. 
 Jnan. Todas esas me he escoudido 
 
 por no ver el mas honrado 
 
 de los hombres en cuidado, 
 
 que nunca le cubre olvido. 
 
 Yo tengo en este rineon 
 
 no se que de rey tambien; 
 
 mas duermo y como mas bien. 
 Hey. Pienso que teneis razon. 
 
 Juan. Soy mas rico, lo primero, 
 
 porque de tiempo lo soy; 
 
 que solo si quiero estoy, 
 
 y acompanado si quiero. 
 
 Soy rey de mi voluntad, 
 
 no me la ocupan negocios, 
 
 y ser muy rico de ocios 
 
 es suma felicidad. 
 Bey. (Ap.) jOh filosofo villano! 
 
 mucho mas te envidio agora. 
 Juan. Yo me levanto a la aurora, 
 
 si me da gusto, en verano, 
 
 y a misa a la iglesia voy, 
 
 donde me la dice el cura; 
 
 y aunque no me la procura, 
 
 cierta limosna le doy, 
 
 eon que comen aquel dia 
 
 los pobres deste lugar. 
 
 Vuelvome luego a almorzar. 
 Bey. i, Que almorzais? 
 
 Jnan. Es nineria. 
 
 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 
 
BEAM AT I C ABT OF LOPE BE VEGA 
 
 comeiiios juntos los tres. 
 Biy. Conozco la envidia niia. 
 
 Juan. Aqui sale algun pavillo 
 
 que se crio de migajas 
 
 de la mesa, entre las jiajas 
 
 de ese corral como un grillo. 
 Beij. A la fortuna los pone 
 
 quien de esa manera vive. 
 Juan. Tras aquesto se apereibe 
 
 (el Eey, Senor, me perdone) 
 
 una olla, que no puede 
 
 comella con mas saz(5n; 
 
 que en esto nuestro rincon 
 
 a su gran palacio excede. 
 Eey. ^Que tiene? 
 
 Juan. Vaoa y carnero 
 
 y una galli 
 
 107 
 
 Eey. 
 
 Y j,no mas? 
 
 Juan. De un pernil (porque jamas 
 
 dejan de sacar primero 
 esto) verdura y chorizo, 
 lo sazonado os alabo. 
 En fin, de comer acabo 
 de alguna caja que liizo 
 mi hija, y conforme al tiempo, 
 fruta, buen queso y olivas. 
 No hay ceremonias altivas, 
 truhanes ni pasatiempo, 
 sino algun nino que alegra 
 con sus gracias naturales; 
 que las que hay en hombres tales 
 son como gracias de suegra. 
 Este escojo en el lugar, 
 y cuando grande, le doy, 
 conforme informado estoy, 
 para que vaya a estudiar, 
 o siga su inclinacion 
 de oficial o cortesano. 
 Eey. (Ap.) No he visto mejor villano 
 para estarse en su rincon. 
 Juan. 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 viiias, 
 trigos, huertas y heredades 
 (porque estas son mis ciuda<1ps). 
 
108 niriM.lTIC ART OF LOPE DEJEC.A 
 
 cono y iiiato eii sus caiiipinas 
 un par de liebres, y a veecs 
 (los perdices: otras voy 
 a uu rio en que diestro estoy, 
 y traigo faniosos peces. 
 Ceno poco, y ansi a vos 
 poco OS dare de cenar, 
 conque me voy a acostar 
 daudo mil gracias a Dies. 
 
 Bey. Envidia os puedo teiier 
 
 con una vida tan alta; 
 mas solo os hallo una falta 
 en el sentido del ver. 
 Los ojos j,no han de mirar? 
 I No se hicieron para eso? 
 
 JiKui. Que no les niego, os confieso, 
 
 c-osa que les pueda dar. 
 
 Eey. ^Que importa? ^Cual hermosui 
 
 puede a una corte igualaise? 
 ^En que mapa puede hallarse 
 mas variedad de pintura ? 
 Rey tienen los animates, 
 y obedecen al leon; 
 las aves, porque es razon, 
 a las aguilas caudales. 
 i Las abejas tienen rey, 
 
 y el cordero sus vasallos, 
 los ninos rey de los gallos; 
 que no tener rey ni ley 
 es de alarbes inhumanos. 
 
 Juan. Nadie como yo le adora, 
 
 ni desde su casa ahora 
 besa sus pies y sus manos 
 con mayor veneracion. 
 
 Rey. Sin verle, no jjuede ser 
 
 que se pueda echar de ver. 
 
 Juan. Yo soy rey de mi rincon; 
 
 pero si el Rey me pidiera 
 estos hijos y esta casa, 
 haced cuenta que se pasa 
 adonde el Rey estuviera. 
 Pruebe el Rey mi voluntad, 
 y vera que tiene en mi; 
 que bien se yo que naci 
 p)ara servirle. 
 
 Eey. En verdad, 
 
 si necosidad tuviese, 
 
DEAMATIC AET OF LOPE BE VEGA 109 
 
 iprestareisle algiin dinero? 
 Juan. Cuanto tengo, aunque primero 
 
 tres mil afieiitas me hiciese; 
 
 que del Sefior soberano 
 
 es todo lo que tenemos, 
 
 porque a nuestro Eey debemos 
 
 la defensa de su mano. 
 
 El nos guarda y tiene en paz. 
 Eey. Pues |por que dais en no ver 
 
 a quien noble os puede haeer? 
 Juan. No soy de su bien capaz, 
 
 ni pienso yo que en mi vida 
 
 puede haber felicidad 
 
 como es esta soledad. 
 
 Scattered through Lope's comedias may be found other ad- 
 mirable exampk^s, taken from among the common people, of this 
 fine sense of honor and loyalty, of respect for high personal traits. 
 In las Florrs dc don Juun the Countess, secretly in love with 
 don Juan, who, though poor is the soul of honor, amuses herself 
 at his expense by letting him buy for her articles of value far 
 above his means. But she takes the merchant Laurencio aside 
 and, telling him the truth of the situation, offers herself to pay 
 for everything and to give him a diamond as surety. 
 
 (Laurencio, con unos papeJes atados.) 
 Laurencio. Aqui viene todo, y bueuo, 
 
 si ha veuido de Milan. 
 Cviidensa. Oid. 
 Laurencio. Deeid. 
 
 Condesa. (Ap. a Laurencio.) A don Juan 
 
 que esta de vergiienza lleno, 
 
 no pidais nada; que yo 
 
 soy mejor que habeis pensado. 
 
 Por piobarle me he burlado. 
 
 ^Sabeis de piedras? 
 Laurencio. Pues ^-nof 
 
 Condensu. Guardad aqueste diamante; 
 
 que yo 03 enviare el dinero. 
 Laurencio. Ni vuestro diamante quiero 
 
 ni otra prenda semejante; 
 
 que mas estimo servir 
 
 a un hombre como don Juan 
 
 que cuanto vale Milan; 
 
 y si volveis a pedir. 
 
110 in; AM AT u- Airr of I.OPE de vega 
 
 la casa Ic lio do fiar, 
 los hijos y la iniijer; 
 que la virtud ha tie ser 
 riqueza en cualquier lugar. 
 ,4 Hay cosa de mas estima 
 que ver este caballero 
 justar, con el acero, 
 en el torneo, en la esgrima? 
 Y en los aetos militares, 
 cuando en la plaza se ven, 
 ; hay eosa que no haga bien? 
 Giacias tiene singulares. 
 !Mal he hecho en alaballe; 
 que es oficV» de tercero. 
 
 In previous chapters other rare types created by Lope have 
 been touched upon. Among them are monarchs and noblemen, 
 both good and base, whose delineation involves Lope's conception 
 of righteousness among men and justice for society; soldiers M'ho 
 combine valor and boasting and introduce features of comedy ; 
 the nabob who returns to Madrid to become the cynosure of all 
 eyes, and thereafter the victim of money-seeking swindlers or 
 courtesans ; the young gallant portrayed with ceaseless variety, 
 endowed with many virtues well summed up in the following 
 lines which refer to one of the characters of el Molino: 
 
 es uu honibre tan bien hecho, 
 que algunas veces sospecho 
 que es persona principal. 
 Buen rostro, gran cortesia, 
 gran musico de vihuela. . . . 
 jPues danzar! conio 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 cabra, 
 y gracia que no hay palabra 
 que no parezca de oro. 
 
BEAM AT IC ART OF LOPE BE VEGA 111 
 
 Or he has every kind of vice and defect, as, for example, the 
 typical Undo so well described in la Viuda valenciana. The 
 passage has already been quoted. Then we find Lope's heroine 
 or ingenue no less diversified than the youthful gallant or lover, 
 and showing an astounding insight into woman's soul. An at- 
 tractive portrait gallery could be formed of all the servants and 
 lackeys, among whom are finely individualized types. Many 
 other personages could be added, but I will mention only the 
 caricature or fignron whom Lope presented now and then to' 
 ridicule the many foibles and weaknesses of us all. He has given 
 us a resume himself of those characters which had served as 
 models. 
 
 Fisberto. Es aquel hombre <le aquellos 
 
 que se llaman en la eorte 
 
 figuras. 
 Paula. De hablar acoite: 
 
 I en que le parece dellos"? 
 Fisberto. Todo hombre euya persona 
 
 tiene alguna garatusa, 
 
 o cara que no se usa, 
 
 o habla que no se entona; 
 
 todo hombre cuyo vestido 
 
 es flojo o amunecado, 
 
 todo espetado o mirlado, 
 
 todo efetero o fruncido; 
 
 todo mal cuello o cintura, 
 
 todo criminal bigote, 
 
 toda bestia que anda al trote, 
 
 es en la corte figura. 
 
 — El Auseiite en eJ Iiigar, II, viii. 
 
 In stating above wherein Lope's artistic formula did not 
 always reflect the actual world about him, I tried to make clear 
 that he constantly modified it by mingling fact with fiction, by 
 copying contemporary manners, and thus approaching more 
 nearly the formula of human life. Therefore, by carefully glean- 
 ing innumerable details here and there from his comedia, the 
 student of Spanish culture may put together an unsurpassed 
 picture of Spanish life during the sight de ovo. Street scenes 
 and glimpses of domestic life furnish ample nuiterial, while the 
 
112 nUAMATIC AUT OF lAH'E DE I EGA 
 
 cu.stoiiis wliii'li coiiti'ollcd the relations Ix'twccii men mikI iiumi, or 
 men and women, eoukl be admirably illustrated. Jjope was too 
 great a realist to let the facts of life escape him, and we may 
 thus sunder the more artificial features of his creation from the 
 genuine. The reader will find liis own effort to appreciate the 
 real Lope amply repaid ; he will find in him that rarest of rare 
 combinations, the inspired poet and the unconscious chronicler 
 of his times. 
 
BEAM AT IC ABT OF LOPE DE VEGA 113 
 
 TWO EXAMPLES OF LOPE 'S COMEBIA : A TRAGEDY AND A 
 COMEDY 
 
 It is evident to any open-minded critic that so large a number 
 of good plays as Lope has written might easily make some readers 
 prefer this play or that which others would set aside for a very 
 different choice ; it is also a vain task in so short a space to give 
 long lists of my preferences with the reasons therefor. But if 
 we keep in view the chief elements of Lope's formula it is pos- 
 sible to pick out a number of plays which contain them in their 
 most perfect form ; that these may betray the defects of his 
 creation as well as his great qualities Is to be expected. To 
 illustrate them here, let me select one tragedy and one comedy, 
 Fuente Ovcjnna and el Auscnte en el Lugar. 
 
 No better example of Lope's courage in attacking overwhelm-- 
 ing 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 its overlord, a comendador of one of the great , 
 military orders. From the moment the curtain rises we are / 
 under the spell of the sinister authority which dominates the ' 
 whole play to the very end, a crude, primitive and mighty force, 
 brutal and repelling, but whollj'' in keeping with the object which 
 Lope had set himself. This was none other than to depict a 
 primitive culture as exemplified by a naive, tolerant, unculti- 
 vated people in conflict with the injustice, animal passion and 
 base impulses of a powerful individual. Lope's art never ex- 
 pressed itself in broader or bigger strokes. The prevailing theme , 
 that miglit makes right, reaches so much farther, its meaning is 
 made so iiuich decider than is evident from the character drawing 
 of the brutish comendador, that the reader may deduce there- 
 from a veritable political philosophy. The whole play is a plea 
 for liberty, for the rights of a community and its individuals, 
 coupled with a fierce arraignment of inherited privileges used 
 for selfish and wicked ends. iTechnieally; the play moves with 
 
in DHAMATIC Airr OF I.OPK DE VEGA 
 
 extraordinary i-apidity from scciu' lo sci'iio, at times too fast 
 to let tlu' spcctatoi- t^rasp the lull meaning of word or action. 
 Xt'Vt'rllit'lt'ss. a cci-tain lack of smoothness which may he imputed 
 to the phi\' is in ki'ei)ing with tlie impulses which dominate it. 
 Here we hchold a single l)eing who has incessantly wronged a 
 wiiole community, and it is the community as a whole which 
 taki\s vengeance on the fiend. Thus the village of Fuente Ove- 
 juna is the chief personage of the play. The qualities which 
 stand out in this tragedy are thefeontrast^ between the terror- 
 inspiring scenes wlicn the vomcndador is on the stage and the 
 simplicity of the pictures which present the people as they live, 
 the variety of poetic speech with which the author has painted 
 all the passions of men and women. As an example of Lope's 
 genius in giving expression to widely differing elements of so- 
 ciety colored by a note of primitive culture this play is unsur- 
 passed. We have the terse utterances of the overbearing comen- 
 dador, the natural and simple speech of the village folk, homely 
 wit, and, above all. a popular element in song and public amuse- 
 ments in the delineation of which Lope has few peers. _At^ no 
 tune are we permitted to shake off the power of the monster, 
 we are never free from his pursuit. Repeatedly a pleasing rustic 
 scene is interrupted by his entrance, and the shadow hanging 
 over the community again darkens the whole picture. 
 
 Few plays of Lope present so many living characters, actual 
 types of the Spanish people who have thus been preserved for 
 us. The alcalde and regidor of the early days w4th their rugged 
 honesty and frankness, village maid and rustic^you^h, besides 
 various other peasant types, are depicted on the same canvas w'ith 
 the grim representative of despotic nobility. For there can be 
 no doubt that the comcndador, far from being a mere individual, 
 represents the privileged class, which the sane and democratic 
 people of Spain have never thoroughly assimilated, the over- 
 bearing lord who, in the words of Lope, does not deign to take 
 his hat off to all, who considers the lower classes merely as tools 
 to his own ends. A play with such a theme of crime and revenge 
 is bound to have some scenes of unparalleled violence, such as 
 
DRAMATIC AET OF LOPE BE VEGA 115 
 
 the abduction of the comendador's victims, floggings and cruelties 
 followed by rioting and the summary revenge of the whole village, 
 the torture inflicted by the examining judge on those whom he 
 deems acquainted with the guilty. Yet the wliole is brought with 
 such mastery to a logical conclusion that the spectator finds every 
 esthetic and moral demand satisfied. 
 
 The dialogue is relatively free from artifice and the language 
 on the whole is simple. As regards the construction, any division 
 into acts and scenes could really be dispensed with, as there is 
 no logical pause anywhere in the progress of the plot. There 
 are^sojpassag^ with a distinct bearing on the culture of the 
 author's day, such as satire on false learning and the academic 
 spirit, or ridicule of certain insincerities of society. 
 
 One of Lope's best comedies is, in my opinion, el Auscnte en 
 el Lugar. If a 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 
 ability of getting every reaction desired out of the audience. 
 Above all, it must not have tlie 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. 
 Comedy demands a reaction, a stirring of the public's risibility 
 with every comic incident, or it is a failure as comedy. To me 
 it seems that el Ausente en el Lugar fills these prerequisites 
 admirably. This play, too, should be presented with no fall of 
 curtain from start to finish; it is an unbroken jeu d' esprit, a 
 bit of royal fooling dominated by the wit and resourcefulness of 
 Esteban, a servant, one of Lope's most delightful and tangible 
 creations. Here is a personage who lives and breathes, and 
 incidentally lends the vigor of real being to his master. No 
 simpler plot could be devised, since it is in reality a naive game 
 of hide-and-seek, in which the young gallant Carlos tries to make 
 others believe that he has left town when he is actually present, 
 thereby getting into a network of contradictions and difficulties. 
 The necessity of amusing stage business, of varied gifts and 
 
116 i)i:.fM.i/ic Airr of i.ori-: df. \ fga 
 
 resourcefulness on tlie part of the actors, is apparent everywhere, 
 and the i)lay in the hands of a pfood company must have de- 
 ligliled till' audience and justified tlie current opinion that to 
 attract the |)uhlic there was no inventor like the inimitable Lope. 
 The play has all his predominant qualities of facile verse, sim- 
 plicity of tlialogue. and, to a marked extent, freedom from poetic 
 verbiage. Tlu're is no great motive force behind the incidents, 
 aiul the coming and going of the characters are not based on 
 reason, as may be expected in a play of pure fancy and wit. 
 The element of balance also is present, the young lover and his 
 (lama being offset by the servant Esteban, who is attached to 
 the lady's servant; incidents and ideas now and then run in 
 pairs, traditional novelistic features are not lacking, such as con- 
 ceahnent, deception, and the like. But the author's invention 
 moves with such smoothness, even stereotyped elements are han- 
 dled with such a light touch, the traits of surprise in incident 
 and sparkling dialogue are so lavishly spread over the whole, 
 the verse is so admirable throughout, that fault-finding is dis- 
 armed at every turn. Superficial it all may seem now, Init to 
 the public of Lope's day it was for the hundredth time a source 
 of gratitude for two hours delightfully spent. Few comedias 
 retain such vitality after so great a lapse of time. 
 
 In both of these plays we thus find Lope's great qualities as 
 well as the defects of his artistic formula. But many others 
 could be selected to demonstrate with equal clearness how fre- 
 quently and successfully^ he approached the formula of human 
 life. The reader may then fairly see how in the vast range of 
 his poetic creation Lope carried his audiences from utterailces 
 of the merest amusement and gaiety, which represent the pass- 
 ing phases of life, to the deep and genuine voice of tragedy and 
 pain which must always endure. 
 
LA DAMA BOBA 
 
 II 
 
 LA DAMA BOBA 
 
 The fundamental idea, of our play, that love makes the simple- 
 minded clever, is an old one, having been best voiced by Ovid, 
 as I have had occasion to state before. Tlie far-reaching influ- 
 ence of the Latin poet carried this conception of the passion of 
 love over all parts of Europe, where it found highly diversified 
 expression in fiction and drama. The earliest narratives of in- 
 terest to us, because they embody this power of love over the 
 rude or untutored mind, may be found among the Italian novelle, 
 whence it spread into amorous literature of other countries. 
 The principal conception is so fiexible and so easily used in 
 scores of difi'erent plots or stories that the presence of the idea 
 in any literary work by no means always implies indebtedness 
 to other material. This is markedly so in the case of Lope and 
 of the play of la Dama hoha which rests on a very meager idea, 
 namely, that the mind of a silly girl may be improved by love. 
 This could well have been considered a classic commonplace in 
 the author's day, but he amplified it in his own peculiar way, 
 conceiving a complete plot to serve as a frame. The comedia 
 of la Duma hoha is, therefore, a noteworthy specimen of Lope's 
 facile play of fancy. It is his own from beginning to end. An- 
 other example of play embodying the main idea is Calderon's 
 De una causa dos efectos. Here we have the contrast of two 
 sons, of whom the one is given to learning and serious living with 
 a? touch of pedantry, while the other is light-headed and irre- 
 sponsible. Here love, depicted as containing within itself all the 
 sciences, also works a cure, teaching and ennobling the inferior 
 character. As is the case with Finea of Lope, the regenerate 
 Fadrique confesses his transformation gratefully, paying to love 
 the following tribute : 
 
118 LA DAM A BOB A 
 
 Dc gala, ingenio y valor 
 amor es dueuo; pucs fuera 
 eierto, que ingenio no liuliicMa, 
 gala y valor sin amor. 
 El honibre (|ue con mayor 
 perfeceion lueir desea, 
 y en solo salir se emplea 
 mas galan que el mismo Apolo, 
 amor lo hace, pues es solo 
 porque su dama le vea. 
 El que mas ansia ha tenido 
 de mirarse sefialado 
 por su ingenio y celebrado 
 de cortesano entendido, 
 la principal causa ha sido 
 amor, para que pretenda 
 en una y otra contienda 
 de ingenio, por varios 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, 
 no es solo opinion y fama 
 las que le ilustran valiente, 
 pues lo hace solamente, 
 porque lo escuche su dama. 
 Yo asi, como nunca he amado 
 hasta ahora, ni he tenido 
 dama, ni galan he sido, 
 ni entendido, ni atentado; 
 pero ya que enamorado 
 sigo la iniposible estrella 
 de la hermosura mas bella, 
 los medios he de buscar; 
 que con nadie quiero estar 
 mas airoso que eon ella. 
 
 It is more than likely that Calderon had la Dama boha in mind 
 when he conceived his play De una causa dos efectos, for in 
 spite of the vast difference in the two stories the fundamental 
 contrast between two brothers (in Lope we have two sisters) and 
 
INTRODUCTION 119 
 
 a few details of the action make a slight connection in the plots 
 probable. 
 
 The exposition of la Dama hoha is excellent. It is s])irite(l 
 and leads the audience at once into the story. Nor does it lack 
 in immediate comic eflfect, for Liseo, who is presented at the rising 
 of the curtain as a self-confident, eager lover, filled with high 
 hopes as regards his fiancee, no sooner learns the real state of her 
 mind from the newly arrived Leandro, than his marital project 
 comes tumbling about his ears. He finds that his family has 
 contracted him to a simpleton. Yet the word of a gentleman 
 cannot be broken. So, leaving the audience expectant as to the 
 solution of his difficulty, the exposition closes. "We are then 
 introduced into the home of Octavio, the father of Nise and Finea, 
 and the main plot, an exceedingly simple one, begins to unfold. 
 Octavio tells of his perplexity regarding his two daughters, how 
 little fit they are in their extremes of ignorance and learning 
 to enter into the married state. As this introductory scene is 
 omitted in all printed versions the structure of the play has 
 been greatly marred. In the following scenes we make the ac- 
 quaintance, first, of the blue-stocking Nise, and then of the silly 
 Finea, each being admirably portrayed with her characteristic 
 qualities. In subsequent entrances we meet a number of young 
 gallants, especially one Laurencio, w^io all belong to the culto 
 circle of Nise. The latter seems deeply interested only in Lau- 
 rencio, but here, too, the course of true love does not run smooth. 
 For presently we find Laurencio abandoning the clever Nise for 
 the simple Finea, whose dowry has been greatly increased over 
 that of her sister by an indulgent uncle in order that her defects 
 of mind may prove less repellent to a prospective suitor. The 
 latter has been found in Liseo, who now enters, and, having been 
 introduced to his 7iovia in an amusing domestic scene, he finds 
 his worst fears realized. In despair he decides to break off the 
 engagement and to turn his attentions to the more clever sister. 
 
 In the second act Nise has learned of Laurencio 's perfidy 
 and a quarrel ensues between the two lovers. Liseo, for his part, 
 now thoroughly interested in Nise, finds Laurencio guilt}' of 
 
120 LA DAM. I HOHA 
 
 (Iduhlc-dcjilin^' ill so far as lie makes love to Finca, ami also leads 
 Xise to believe that he is still eourtiiig her. He challenges him 
 to a duel, which, however, is subsequently avoided by their recon- 
 ciliation and the arrival of Octavio. The gradual improvement 
 of Finea *s mind is also shown ; she acquires some independence 
 of thought, wit and resourcefulness, and, above all. she becomes 
 conscious of the influence of Laurencio's suit. In the second act, 
 however, she is still a hoha, unacquainted with tlie wiles of love 
 or the dangers of her ignorant state. As a consequence we have 
 some amusing scenes betwen her and her lover, who finds it 
 necessary to explain to her every step taken in the course of his 
 wooing^ The father, for his part, is filled with great anxiety 
 when he learns from lier own lips of the new courtsliip, lest her 
 folly and ignorance mislead her. Liseo and Laurencio have in 
 the meantime agreed to help one another in their respective suits. 
 But Nise is not at all inclined to listen to Liseo 's unexpected 
 advances, while Laurencio is more successful, having received 
 Finea 's promise of marriage in the presence of various witnesses. 
 In the third act Finea 's regeneration is almost complete ; she 
 commends the power of love as does Fadrique in Calderon's play. 
 Liseo, having been rebuffed by Nise and finding such marked 
 improvement in Finea, determines to return to the latter, and 
 thus live up to his contract w^ith the father. This places Lau- 
 rencio, whose suit has met wnth violent opposition on the part 
 of the girl's famil.y, in a difficult situation, and he and Finea 
 s devise a trick to deceive Liseo into believing that she is still as 
 simple as ever. In this effort Finea succeeds by playing^the 
 fool in her next intervicAV with Liseo, and, the latter completely 
 hoodwinked, again plans to woo Nise, whose intelligence is pref- 
 erable at all costs to the follies of Finea. At this juncture the 
 father decides to refuse Laurencio further admittance into the 
 house, whereupon Finea and her servant Clara conceal the lover 
 and his servant Pedro in the attic. There the four are discov- 
 ered enjoying a fine spread, and Octavio, seeing that further 
 opposition to Finea 's union with Laurencio is useless, gives his 
 consent ; Nise also yields to the suit of Liseo. 
 
INTRODUCTION 121 
 
 The close is less abrupt than usual, because Lope brings his 
 main idea, the cure of Finea and her victory over the others as 
 well as herself, to a logical conclusion. The fact that the lovers 
 all change their allegiance at least once is not surprising in a 
 play dependent, as a game of chess, on a series of moves and 
 countermoves which are born of rapid decisions and impulses. 
 Many of the elements of Lope's formula are present in la Dama 
 hoha. We have duplication in the criada hoha, who is cured by 
 love, as is her mistress, clearly a theatrical combination. In 
 addition to the contrast between the two sisters, a clever touch 
 is added in the differentiation of the characters of Laurencio and 
 Liseo. The former displays a frankness almost brazen in his 
 preference for money over wits, while the latter prefers intelli- 
 gence to wealth. Therefore each forsakes his original choice, 
 Laurencio abandoning Nise for Finea, and Liseo turning from 
 Finea, who was contracted to him by his relatives, to Nise. There 
 is no reason for shaking the head over this code of ethics which 
 emphasizes the superior attraction of a larger dowry. Apart 
 from the fact that it reflects the cold and calculating attitude on 
 the part of certain young men the world over, the contrast of the 
 two young gallants afforded Lope an occasion for satirizing the 
 •ways of human society. 
 
 The play also voices an amusing criticism of poetic fads, of • 
 stilted speech, and ridicules what our modern slang would desig- 
 nate as high-brow affectation. This is delightfully accomplished 
 in such scenes as that in which the servant Celia brings the blue- 
 stocking Nise a copy of Heliodorus, and the latter remarks : 
 
 . . . Es Helioiloro 
 
 griego poeta divino. 
 and the prosaic servant asks : 
 
 ^ Poeta? Pues pareciome 
 
 prosa. 
 and Nise characteristically answers: 
 
 Es que hay poesia 
 
 en prosa. 
 and Celia replying on behalf of common sense says : 
 No lo sabia. 
 
\-2-2 LA D.iM.t BOB A 
 
 Iiiasiiuicli as the jtowfr oi" love may make the simpleton -wise 
 and clcxcr, it is iiol astonisliiiif,' lo liiid llio miracle of learning 
 willioiit slii.ly added. Xol oidy Fiiica, \)\\\ hw servant Clara 
 refer to the classics, and thereby live up to the tradition of the 
 stage language and demonstrate to the most exacting of critics 
 that the reform of their wits is complete. 
 
 ^ere are interesting popular elements adtled to the plot, 
 such as singing and dancing. We are led to infer that tlie latter 
 reflected a feature in the education of young women of good 
 families, who took lessons in these arts from professional teachers. 
 We have other evidence for this, and may consider it an imita- 
 tion of practices at court and in aristocratic families, where 
 singing and dancing were a common diversion. 
 
 Finally, it would be difficult to find a play, in which there 
 are greater opportunities for talented actors. It is evident 
 throughout that Lope had in mind specific players, presumably 
 those whom he himself affixed to the list of dramatis pcrsonae. 
 The title-role above all others demands a nicety of interpretation 
 and refinement of action which would make the actress strike a 
 happy mean between exaggerated imbecility and unwarranted 
 intelligence. 
 
 My notes to the play are intended especially for the average 
 student of Lope, whose native language is not Spanish. I am 
 aware that so extensive a commentary as I have added is open 
 to criticism, and I am no less certain that as long as I am per- 
 mitted to labor at these choice tasks, my results may contain 
 some grave misjudgments. In this particular case it was not 
 my intention to overwhelm a simple comedy by floods of use- 
 less erudition. It was my desire not only to illustrate various 
 points of the play, but to illuminate Spanish culture of the 
 Golden Age by quoting interesting contemporary evidence. 
 Every detail of the play which tells us something of Spanish 
 life as it once was is worthy of careful consideration. I have tried 
 to take the point of view of the average person who may be inter- 
 ested in Lope de Vega and the Spanish drama as much as that 
 
INTEODUCTION 123 
 
 of the scholar who is apt to be better informed than the erring 
 commentator. It is also undeniable, that mere references without 
 extensive quotations do not impel the reader to take the trouble 
 of informing himself in the matter referred to. I must repeat, 
 therefore, that many a note may seem gratuitous to a Spaniard, 
 but that I none the less entertain the hope that my effort to 
 stimulate the study of Lope may not fall on barren ground in my 
 own country. 
 
/..f DAM. I BOBA 
 
 THK AUTOGRAPH 
 
 The aiitograpli manuscript of tlic Dama boha has l)('en pre- 
 served in an unnsnally good condition. There are only a. few 
 insignificant erasures made by Lope liimself, and these concern 
 verses which the author crossed out, 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 manu- 
 script, as well as the few licenses to act (often appended in large 
 numbers to the last pages of manuscripts), indicate that this 
 original was carefully kept by its owners from the very begin- 
 ning. We know that the play was written for the actress 
 Jeronima de Burgos, but it is by no means clear how long she 
 had the autograph in her possession. All that Lope says (in a 
 letter to the Duke of Sessa, date? 1617) is: "nunca V. Ex. tubo 
 ki dama boha, porque esta es de Jeronima de Burgos, y yo la 
 imprimi por una copia, firmandola de mi nombre," which may 
 be interpreted to mean that since the play belonged to the actress, 
 Lope (whether he still had the autograph or not) could not send 
 it either to the Duke or to the printer. 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 
 discarded. In the Catdlogo de las piezas de teatro que se con- 
 servan en el departamento de manuscritos de la Biblioteta 
 Nacional, compiled by A. Paz y Melia (Madrid, 1899), it is no. 
 810(1). 
 
 A comparison of the autograph with the first printed edition 
 makes it hard to believe that Lope examined with any great care 
 the copy which was given to the printer. He says, as we have 
 seen, that he signed it, and so makes himself responsible for 
 the form in which the play has hitherto been known. How 
 many omissions and discrepancies there are in the early editions 
 
INTRODUCTION 12r, 
 
 I 
 
 may be seen from the appended list of variants (p. 129). I am 
 inclined to believe that a fairly acceptable prompter's copy was 
 handed to Lope to sign, and that he glanced at it very hastily 
 before sending it to the printer. The chief passages omitted are 
 precisely such as might have been cut by the manager before 
 the parts were distributed among the company ; but to this loss 
 must be added not only the changes for the worse in occasional 
 phrases, which surely could not have been countenanced by the 
 author, but also a large number of typographical errors, so com- 
 mon in the printed comcdias. A great many stage directions had 
 to be added as Lope does not indicate all exits and entrances, 
 and the modern division of each act into scenes was to him, of 
 course, an unnecessary device although it is a helpful one to us. 
 Generally, but not always, any entrance or exit is indicated by a 
 cross (*) ; saiga and entre are used interchangeably for en- 
 trances, and cntresc despidasc or vdyase for exits. 
 
 I have ventured to add a minimum of stage directions in 
 order to make these exits and entrances clearer than they are in 
 the original; in every case the addition is enclosed in brackets. 
 Any superfluous letter, syllable, or word has been left in paren- 
 thesis or indicated in the notes, but this occurrence is very rare. 
 
 I have, of course, left untouched the many discrepancies in 
 spelling, such as ynteres, interes ; hombre, onbre ; casa, cassa ; 
 hablaban, hablauan ; dijo (very rare) dixo; and many others. 
 The original, with negligible exceptions, omits all punctuation. 
 This necessitated the capitalization of the first word of every 
 sentence, and brought me face to face with Lope's arbitrary use 
 of capitals in general, a feature which has been modified, since 
 it seemed absurd to retain capital letters in the middle of a word, 
 or proper names with a small letter, and such words as Rayo, 
 Planeta, with a capital. These phenomena only annoy the aver- 
 age reader, and tell the scholar nothing that lie does not already 
 know of seventeenth century manuscripts. The very few ac- 
 cents of the original, chiefly forms of the third singular pre- 
 terite, have been retained. Wherever the name of the person 
 sjoeaking is indicated by only a letter or two, I have written it 
 
12(5 /..I n.iM.i nor.t 
 
 ill full: ;ililinvi;i1 ions in llic text are exceedingly rare, and •nive 
 Ix'cii wrillcn owl : tlicy cinhfacc sucli forms as qu, or r/ for qur. 
 lira \'ov iiiKsIro: jxiIiikiI" for pal iiidturid. and the like. In sliort, 
 I liave tried to present a careful edition of Lope's text which 
 will give a faithful idea of his manuscript and manner of com- 
 posing, and yet not frighten ofif anyone about to begin a study 
 of this great dramatist. Only two other methods of reproduction 
 remained : eitlier a complete modernization of tlie spelling, wliieh 
 would spoil my main purpose — to present an edition of one of 
 Lope's autographs; or a photographic reprint, which would 
 reach only a few interested ones. In the latter case the study of 
 Lope's art might not be furthered as I am anxious it should be. 
 There exists also in the Biblioteca Nacional a manuscript 
 copy of the Dama hoha in a hand of the first third of the seven- 
 teenth century ; it has many characteristics of the first printed 
 editions, and my judgment, set down several years ago, was that 
 it is an unimportant copy of a stage version, but nearer the 
 autograph than the known versions. This is borne out by the 
 fact that it is apparently a copy made by Luis Ramirez de Are- 
 llano who, according to both Cristobal Suarez de Figueroa and 
 Vicente Espinel, had the reputation of being able to reproduce 
 a play which he had heard but three times in the theatre ; among 
 the plays he is reported to have thus reproduced was the Dama 
 hoha. Compare Rennert : The Spanish Stage, p. 176. Such a 
 copy is scarcely calculated to throw light on an autograph manu- 
 script, even if we needed it, which is fortunately not the case. 
 It, therefore, seemed more profitable to show the relation between 
 the two versions directly connected Avith Lope's name, that is, 
 the first printed form which he signed for press, and the auto- 
 graph, tlian the variants of a manuscript of less importance 
 than either of these. 
 
 Printed copies, in general, scarcely do more than a very poor 
 reproduction of a great painting might do, that is, they may 
 serve, if the original is lost, to give an idea of the author's crea- 
 tion. But since we have the original in this ease, the copies 
 seem pale and unsatisfactory withal. Indeed, the only lesson. 
 
INTEODVCTION 
 
 and that a pathetic one, which a careful comparison of tlie orig- 
 inal with the printed versions teaches, is that our loss in the 
 disappearance of the autographs of Spanish writers, such as 
 Lope, Cervantes, and others, is beyond the power of any words 
 to express. 
 
 The relation between autograph and printed versions. 
 a. 
 
 a. Ai;tograph MS. (Osiina Library, 
 1613). 
 
 c. The Ramirez MS (cf. above). 
 
 d. Printer's copy (signed by 
 
 Lope) ; generally destroyed 
 or lost, and presumably so in 
 this case. 
 
 b. Acting versions or prompter's 
 copies; in the case of a large 
 number of plays these copies 
 Avere preserved and exist in 
 the Biblioteca Municipal of 
 Madrid. I have seen none of 
 la Davia hoha. 
 
 \^g. Madrid, suelta of 18th century, entitled 
 la Boha discreta] 
 
 t 
 
 h. Bihliotcca de autores espailoles, vol. 1 of 
 Lope's works (with slight arbitrary 
 changes ) . 
 
 I. Teatro Selceto: I (segunda parte) 
 
128 LA n.lM.i BOB. I 
 
 The editions kudwii lo iiic may, tlici-cfore, be* considered in the 
 following Older : 
 
 I. Do/.o coim-ilias de Lope de Vega sacadas de sus originales jior ol 
 iiiisnio. Dirigidas al. . . . Duque de Sessa. . . . Noveua parte, 
 Ano 1617. Cou privilegio. Eu Madrid. (Cf. La Barrera, Nueva 
 bioprafia, op. cit., p. 283). 
 
 /. The same volume reprinted at Barcelona, 1(5 IS. It improves some 
 typographical errors, changes the punctuation liere and there 
 together with half a dozen single words. 
 
 g. A Madrid siielta of the eighteenth century witli the title la Bobn 
 discreta, based on the prijited versions. 
 
 h, Hartzenbusch's edition of Lope's Comedias, in Biblioteca de autores 
 espanoles, I, 297-316. As this version is accessible to all, its 
 imperfections can be studied by the reader without any com- 
 ment. Reprinted from e or f. 
 
 i. A reprint by Francisco Jose Orellana in his teatro sdecto antiguo y 
 modcnio nacional y extranjero. . . . (Barcelona, 1866-68), 8 vols, 
 (pt. I in 2 vols.); cf. I, vol. 2, pp. 759-786. Reprinted from 
 Hartzeubusch with very little change. 
 
 The play entitled la Boha discreta by Caiiizares 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 Bochel, vol. I 
 (Paris, 1900), p. 5ff. 
 
INTEODVCTION 129 
 
 VARIANTS OF THE FIRST EDITION OF MADRID, 1G17 
 
 The edition of Barcelona, 1618, reprinted this version with 
 very few discrepancies, emending some typographical errors and 
 pnnctuation. 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 
 to the press a very defective acting version. The changes and 
 cuts wliich w^ere made are of an arbitrary cliaracter having, no 
 doubt, been hastily adopted either during rehearsal, or while the 
 play was being acted. As it is humanly impossible to note every 
 insignificant variant, I have tried to limit myself to such as may 
 have some importance. All differences in spelling have been 
 noted but are not given to avoid useless repetition ; they can 
 be illustrated by the following examples : inuencion, inuenzion ; 
 nacen, nazen ; piezas, pieeas ; licencia, licenoia ; igual, ygual ; 
 ygnorancias, inorancias ; prouisiones, probissiones ; oficios, offizios ; 
 cosa, cossa ; f e, fee ; enriquece, enrriqueze ; traes, trahes ; creer, 
 creher ; nombre, nonbre, nobre ; entranbas, entrabas ; tejado, 
 texado; jamas, xamas; deben, deuen; habra, aura; Octauio, 
 Otabio. Words which may indicate a popular pronunciation 
 have been added. Examples are : discipulo, dicipulo ; objec- 
 cion, objecion ; darle, dalle. I must emphasize again, that w^here 
 we possess the autograph, these differences in spelling of the 
 first edition have no scientific value. Misprints such as numeto 
 for numero, fingas for fin j as, and the like have been omitted. 
 The numbers indicate the verses of the manuscript version. 
 
130 
 
 LA DAM A no HA 
 
 Conicdia faiiiosa dc la Dama boba de Lope do Vega Car|)io. 
 Hablan en ella las jx-i-sonas sijjuiente.s: 
 
 Laureneio 
 
 Duanlo 
 
 Fen i so 
 
 Liseo 
 
 ^lisono 
 
 Oetauio 
 
 Lope 
 
 Turin 
 
 IV.lro 
 
 Vn estudiante 
 
 Finea 
 
 Nise 
 
 Celia 
 
 Clara 
 
 Vn maestro de dan(;ar 
 
 Otro (le escriiiir 
 
 Salen Liseo, y Tuiin 
 criado (s) (B) de camino 
 
 120. y vn roble 
 
 124. de discurso v ile razon 
 
 1. 
 
 buenas posadas 
 
 125-: 
 
 128. omitted 
 
 10. 
 
 Corte, de Castilla 
 
 129. 
 
 eontar 
 
 11. 
 
 de Andaluzia, y Seuilla 
 
 130. 
 
 casaua 
 
 13. 
 
 vnos de los otros cuentan 
 
 140. 
 
 haze 
 
 
 (B) 
 
 150. 
 
 boba 
 
 15. 
 
 cargos 
 
 154. 
 
 dotes 
 
 17. 
 
 cosas . . . alimenta (B) 
 
 155. 
 
 era 
 
 19. 
 
 Turin continues: de ima- 
 
 158. 
 
 le 
 
 
 genes eon la fe 
 
 169. 
 
 puedes dexallo 
 
 20. 
 
 adquiridas 
 
 (171) 
 
 Vase el Estudiante 
 
 22. 
 
 aquesta oeasion 
 
 172. 
 
 omits iQue haremos? 
 
 23. 
 
 las tiene la deuoeion 
 
 
 Ponte Turin a cauallo 
 
 24. 
 
 de Espafia 
 
 174. 
 
 Ten pacieneia — hecho 
 
 26. 
 
 esperar 
 
 176. 
 
 propria 
 
 27. 
 
 a que guise (B) 
 
 185-: 
 
 272. omitted 
 
 30. 
 
 quanto 
 
 (273) 
 
 Vanse, y salen Nise, dama. 
 
 . 31. 
 
 antes instead of luzir 
 
 
 y Celia, criada 
 
 33. 
 
 va 
 
 278. 
 
 tiene 
 
 40. 
 
 ia (B) 
 
 279. 
 
 las 
 
 52. 
 
 muy hobre 
 
 282. 
 
 Es que ay poesia 
 
 54. 
 
 y desposado 
 
 284. 
 
 canseme ^ 
 
 58. 
 
 transparentes 
 
 288. 
 
 todo se dexa entender 
 
 61. 
 
 essa 
 
 294. 
 
 e historial 
 
 64. 
 
 acucar . . . galea 
 
 296. 
 
 muestra 
 
 66. 
 
 eon tres puntos 
 
 297. 
 
 por 
 
 73. 
 
 tambien 
 
 299. 
 
 oeulta 
 
 75. 
 
 Oygo dezir que es liermosa 
 
 300. 
 
 y obseura. aun en ingenios 
 
 78. 
 
 nada se 
 
 
 raros (B) 
 
 80. 
 
 mas estima 
 
 303. 
 
 obscuras 
 
 81- 
 
 84. omitted 
 
 305. 
 
 objeeion 
 
 (89) 
 
 Sale vn estudiante de 
 
 (307) 
 
 Salen un maestro de leer, 
 
 
 camino 
 
 
 y Finea 
 
 91. 
 
 Y omitted 
 
 308. 
 
 esta 
 
INTEODUCTION 
 
 131 
 
 316. 
 
 Assi. ya, ya, ya, ya 
 
 460. 
 
 tirar 
 
 319. 
 
 K 
 
 464. 
 
 todos sus deudos 
 
 325. 
 
 Letras sou estas tambieu 
 
 465. 
 
 Lamieol, Aramizaldo 
 
 328. 
 
 le dire 
 
 466. 
 
 Miscito 
 
 329. 
 
 Esta? no se 
 
 467. 
 
 Tumbahollin, con piel de 
 
 331. 
 
 Y estotra? Fin. Aquolla 
 
 
 (;orra 
 
 
 redoda letra 1 
 
 469. 
 
 bianco 
 
 333. 
 
 Assi, si, si 
 
 470. 
 
 y otros de negro vestidos 
 
 336. 
 
 Esta es r 
 
 471. 
 
 y otros con ropas de martas 
 
 343. 
 
 omits Ya niiro; reads: Di 
 
 472. 
 
 (japatillos 
 
 
 aqui, be, e, n, ben 
 
 484. 
 
 correr canas 
 
 346. 
 
 dize 
 
 485. 
 
 ves 
 
 347. 
 
 precedes 346 
 
 (493) 
 
 Vanse Finea, y Clara 
 
 350. 
 
 omits saca vna pabnatoria 
 
 499. 
 
 esso 
 
 (351) 
 
 Dale una palmeta y ella 
 
 (500) 
 
 Salen Laurencio. Duardo, y 
 
 
 echa a correr tras el 
 
 
 Feniso, galancs 
 
 353. 
 
 0, perro, aquesta 
 
 503. 
 
 given to Duardo 
 
 355. 
 
 Celia. Ella le mata. Ma. 
 
 504. 
 
 given to Feniso and 
 
 
 Ya 
 
 
 Laurencio 
 
 357. 
 
 omits jAy, que me mata! 
 
 505. 
 
 given to Feniso 
 
 357. 
 
 Nise. |A tu maestro? | Que 
 
 506-i 
 
 307. transposed 
 
 
 es esto? 
 
 518. 
 
 elecion 
 
 358. 
 
 Ma. Tenganla ay. 
 
 522. 
 
 a Duardo 
 
 360. 
 
 Dilo 
 
 535. 
 
 imbidia 
 
 362. 
 
 K 
 
 538. 
 
 contradicion 
 
 368. 
 
 gentil 
 
 544. 
 
 es pintar al que ya llega 
 
 369. 
 
 Y luego que la tomo 
 
 546. 
 
 la luz 
 
 370. 
 
 toma, y cas la ma no 
 
 550. 
 
 e intencion 
 
 
 assienta 
 
 551. 
 
 Feniso instead of 
 
 372. 
 
 abraso 
 
 
 Laurencio 
 
 373. 
 
 discipulo ignora 
 
 552. 
 
 muchos se; given to 
 
 378. 
 
 dalle 
 
 
 Laurencio 
 
 (379) 
 
 Vase el maestro 
 
 556. 
 
 bien os 
 
 384. 
 
 dizen ban 
 
 562. 
 
 con quietud 
 
 398. 
 
 Sale Clara criada de Finea 
 
 566. 
 
 claro 
 
 405. 
 
 omits pues — Que ya pario 
 
 568. 
 
 y luego 
 
 407. 
 
 iQuando Clara? 
 
 579. 
 
 Du. Escriue facil Platon 
 
 425- 
 
 428. omitted 
 
 582. 
 
 qual estas; esta (B) 
 
 441. 
 
 hablan 
 
 586. 
 
 obscuras 
 
 443. 
 
 girigonqa entre ellos (B) 
 
 588. 
 
 es a todos agradable 
 
 444. 
 
 ni es espaiiol 
 
 (589) 
 
 omits Nise apart e 
 
 445. 
 
 viuda 
 
 593. 
 
 contigo a quien 
 
 446- 
 
 448. larga, y compuesta ile 
 
 594. 
 
 assi 
 
 
 ozico, sospecho que era su 
 
 605. 
 
 la que 
 
 
 abuela, de negro, y bianco 
 
 (610) 
 
 Haze Nise como que cae 
 
 
 vestido 
 
 610. 
 
 Du. Que es esto 
 
 449- 
 
 452. omitted 
 
 (618) 
 
 Vanse Nise y Celia 
 
L.i DAM. I liOIi.l 
 
 G19. 
 
 givoii to P"'oiiiso 
 
 845. 
 
 Cla: Tu padre 
 
 020. 
 
 Nise 
 
 846. 
 
 A DJos, acordaos 
 
 fiLM. 
 
 Au..ys (B) 
 
 (847) 
 
 Vase Laurenzio 
 
 <il*7. 
 
 Diiar.. 629 Fen. 
 
 (850) 
 
 Vase Pedro 
 
 (6;?o) 
 
 A'aiise Duardo, y Feiiito, 
 
 857. 
 
 Hame querido casar 
 
 
 queda Laurenzio 
 
 859. 
 
 Toledano o Seuillano 
 
 645. 
 
 tarda en 
 
 860. 
 
 tres 
 
 (649) 
 
 Sale Pedro, sii eriado dc 
 
 862. 
 
 de la caxa 
 
 
 Lanrencio 
 
 86.3. 
 
 repolido 
 
 655. 
 
 diuertir mi luouiiniento 
 
 866. 
 
 este . . . fuese 
 
 657. 
 
 nunoa; omits que 
 
 871. 
 
 pero dime, amiga Clara 
 
 658. 
 
 que en iin lugar 
 
 872. 
 
 polido 
 
 659. 
 
 firme suele siempre estar 
 
 874. 
 
 de la ropilla 
 
 662. 
 
 y tal en las doze esta 
 
 877. 
 
 Digo que 
 
 665. 
 
 deste puesto en 
 
 878. 
 
 A^eamos, tienesle ay? 
 
 670. 
 
 Por(|ue la 
 
 (879) 
 
 Saea Finea un retrato en 
 
 674. 
 
 sen a la a 
 
 
 un naype de la manga 
 
 681. 
 
 a 
 
 886. 
 
 pierna y 
 
 684. 
 
 ])reciosa (B) 
 
 888. 
 
 que el Pedro 
 
 693-' 
 
 700. omitted 
 
 (889) 
 
 Salen Octauio viejo, y 
 
 706. 
 
 la empresa 
 
 
 Nise su hija 
 
 707. 
 
 prouar tu osadia 
 
 901. 
 
 que estaua alii 
 
 709. 
 
 •^Y es? 
 
 (903) 
 
 Sale Celia 
 
 710. 
 
 necia 
 
 904. 
 
 una posta 
 
 711. 
 
 ha 
 
 905. 
 
 Mira hija que has de estar 
 
 722. 
 
 neeio 
 
 (908) 
 
 Salen Liseo, y Turin de 
 
 725. 
 
 que con oro no se 
 
 
 camino 
 
 729. 
 
 Yo tengo de enamorar 
 
 908. 
 
 licion (?) (B) the copy 
 
 (741) 
 
 Omits fSalgan] Finea y 
 
 
 before me is blurred 
 
 
 Clara 
 
 912. 
 
 qual de las dos es mi es- 
 
 742. 
 
 Harelo si esta 
 
 
 posa? 
 
 (745) 
 
 Salen Finea y Clara 
 
 913. 
 
 ya no me ve 
 
 745. 
 
 Buena 
 
 915. 
 
 la 
 
 75.3. 
 
 Y si agora que salis 
 
 918. 
 
 Esta 
 
 759. 
 
 famosas 
 
 921. 
 
 abra^a a vuestra 
 
 763. 
 
 tengan 
 
 923. 
 
 hablo de 
 
 768. 
 
 limpio y sano 
 
 928. 
 
 discreta soys 
 
 784. 
 
 que en mi vida no he que- 
 
 929. 
 
 grande 
 
 
 rido 
 
 930. 
 
 B omits a 
 
 788. 
 
 Esperad 
 
 932. 
 
 bobo 
 
 794. 
 
 a redro vaya 
 
 939. 
 
 pudieras auer 
 
 797-804. omitted 
 
 942. 
 
 Oct. Aunque honesta . . . 
 
 806. 
 
 cuerpo 
 
 044. 
 
 truxiste 
 
 807. 
 
 passa el que 
 
 951. 
 
 ealor teneys 
 
 816. 
 
 dexar 
 
 956. 
 
 y como venis 
 
 817-820. omitted 
 
 958. 
 
 esta 
 
 829. 
 
 _querer assi 
 
 959. 
 
 Ni. Calla hermana. 
 
INTEODUCTION 
 
 133 
 
 960. 
 
 especie, es linda eosa 
 
 1001. 
 
 Quando 
 
 (961) 
 
 Sale Celia con una caxa, y 
 
 1012. 
 
 y con tal censo se cobra 
 
 
 agua 
 
 1017. 
 
 esse. . . . pues vemos 
 
 961. 
 
 Cel. Aqui esta el agua 
 
 1018. 
 
 experiencia notoria 
 
 
 corned. 
 
 1021. 
 
 Es verdad 
 
 962. 
 
 El agua sola prouooa 
 
 1030. 
 
 las palabras se rompan 
 
 964. 
 
 omits direction Beba 
 
 1031. 
 
 rompanse letras 
 
 969. 
 
 Aguardad 
 
 1032. 
 
 cobra 
 
 970. 
 
 tu te 
 
 1035. 
 
 dizen que vn hombre eno- 
 
 971. 
 
 lleuado 
 
 
 jado 
 
 973. 
 
 Ay padre mas desdiehado 
 
 1037. 
 
 si le pouen 
 
 978. 
 
 J?:ntrad adentro vosotras 
 
 1038- 
 
 1039. transposed 
 
 979. 
 
 a prevenirle la cama 
 
 1038. 
 
 en el su imagen 
 
 980. 
 
 La mia pienso 
 
 1039. 
 
 que represente su sombra 
 
 981. 
 
 Octab: Tu no ves 
 
 1040. 
 
 Templa 
 
 982. 
 
 que aun no estan hechas 
 
 1043. 
 
 cristal del 
 
 983. 
 
 entra adentro. Fin. Que 
 
 1044. 
 
 libertad pregona 
 
 
 me plaze 
 
 1045. 
 
 tu yra, 
 
 984. 
 
 Ni. Vamos hermana. Fin. 
 
 1046. 
 
 Es verdad 
 
 
 A Dios, ola. 
 
 1051. 
 
 trocar 
 
 (98.5) 
 
 Yanse Nise, y Finea 
 
 1053- 
 
 1056. omitted 
 
 (991) 
 
 Vase Octauio, y quedan 
 
 1060. 
 
 horas 
 
 
 Liseo, y Turin 
 
 1061. 
 
 distintas 
 
 991. 
 
 el cielo . . . Lis: no se 
 
 (1063) 
 
 omits: Fin del primero 
 
 993. 
 
 mis desdiclias: ay Turin 
 
 
 acto de la Dama boba. 
 
 996. 
 
 mas espantosa 
 
 
 
 AcTO Segundo de La Dama Boba 
 Omits: Personas del Segundo Acto 
 
 (1063) 
 
 Salen Laurencio, Duardo, 
 
 1161. 
 
 
 y Feniso. 
 
 
 1167. 
 
 1063. 
 
 se ha 
 
 
 1168. 
 
 1065. 
 
 vence 
 
 
 1169. 
 
 1092. 
 
 del admirarse 
 
 
 1170. 
 
 1094. 
 
 pueda 
 
 
 1171. 
 
 1095. 
 
 Todo es 
 
 
 1172. 
 
 1099- 
 
 1122. omitted 
 
 
 1173. 
 
 1123. 
 
 ya que a Finea 
 
 
 1175. 
 
 1125. 
 
 ie 
 
 
 1176. 
 
 1128. 
 
 tendra 
 
 
 1178. 
 
 1133. 
 
 saben amar 
 
 
 1179. 
 
 1135- 
 
 6. Order: Lau. Fen. 
 
 Du. 
 
 1181. 
 
 1143. 
 
 para hazer tales agrauios 
 
 1184. 
 
 1144. 
 
 y desprecios. 
 
 
 1187. 
 
 1147. 
 
 Fen. and Du. speak 
 
 
 1188. 
 
 (1149) 
 
 Salen Nise, y Celia. 
 
 
 1189. 
 
 1160. 
 
 Fue Sol que las alumb 
 
 ro 
 
 1190. 
 
 mientras ella se eclipso 
 
 verde velo subtil 
 
 la alegre ribera 
 
 placentera 
 
 cantando los Buyseiiores 
 
 y van creciendo las flores 
 
 mostrando 
 
 vuestra salud y sembrando 
 
 rian (B) 
 
 dieron 
 
 vuestros eristales 
 
 aguas 
 
 para poder celebraros 
 
 con que procura alegraros 
 
 almas 
 
 las que 
 
 efetos hareys 
 
 omitted 
 
LA DAM A BOB A 
 
 11J>I. 
 
 iiisortcd: visto .-on taiita 
 
 (1365) 
 
 Vase Laurencio, y sale uu 
 
 
 alojTiia 
 
 
 maestro de dancar, dan- 
 
 1193. 
 
 luz destos ojos 
 
 
 do licion a Finea: em- 
 
 1195. 
 
 enferino llegue 
 
 
 pie^a el a dancar, y ella 
 
 1201. 
 
 mouiniientos 
 
 
 se queda 
 
 1207. 
 
 viuiinos 
 
 1367. 
 
 omits no 
 
 1208. 
 
 con la quo mostrays aqui 
 
 1379. 
 
 ya saiga 
 
 1210. 
 
 ya que 
 
 1382. 
 
 Traed 
 
 1223. 
 
 Desse 
 
 1386. 
 
 a cascabclcs confiesso 
 
 (1231) 
 
 Vaiiso Duanlo y Ft'iiiso 
 
 1394. 
 
 omits me 
 
 1236. 
 
 falso 
 
 1405. 
 
 mas yo no 
 
 1243. 
 
 mi nuierte creiste 
 
 1406. 
 
 no ontreys mas aqui 
 
 1245. 
 
 con gentil atreuimiento 
 
 1407. 
 
 no 
 
 1249. 
 
 pobre y ella rica 
 
 1408. 
 
 baylar 
 
 1250. 
 
 tu discrete, ella 
 
 1415. 
 
 Tened, sefiora 
 
 1261- 
 
 1265. omitted 
 
 1417. 
 
 aspereza 
 
 1272. 
 
 es su creeiente, y men- 
 
 1420. 
 
 mansedumbre 
 
 
 guanto 
 
 (1427) 
 
 Vase el Maestro, y sale 
 
 
 After 1276. inserted: ay 
 
 
 Clara 
 
 
 Laureneia, que buen pago 
 
 1428. 
 
 persigueme. 
 
 
 de fe, y amor tan con- 
 
 1444. 
 
 Por esso vengo 
 
 
 stante? Yo enferme de 
 
 1445. 
 
 por essa 
 
 
 mis tristezas, que son bien 
 
 1448. 
 
 diferencia 
 
 
 terribles males, por re- 
 
 1449. 
 
 Costilla 
 
 
 galos tuyos tuue enganos. 
 
 1453. 
 
 assi para 
 
 
 mentiras, fraudes. Pero 
 
 1454. 
 
 y aun mas, mny bien 
 
 
 pues tan duros fueron di, 
 
 1465. 
 
 Puse en la estopa 
 
 
 que me diste diamantes. 
 
 1475. 
 
 me ves 
 
 1277. 
 
 lo has visto 
 
 1478. 
 
 ringlones 
 
 1281. 
 
 dicho requiebros 
 
 1479. 
 
 donde 
 
 1282. 
 
 a Finea. omits me 
 
 1481. 
 
 Clara continues: mas bien 
 
 1290. 
 
 mas que te 
 
 
 se podra leer 
 
 1293. 
 
 yo a la boba 
 
 1483. 
 
 Libre Dios 
 
 1294. 
 
 la 
 
 (1485) 
 
 Sale Octauio 
 
 1295. 
 
 De que te quexas 
 
 I486. 
 
 omitted 
 
 1296. 
 
 necio 
 
 1487. 
 
 ni el leer, ni el dancar 
 
 1301-: 
 
 1304. omitted 
 
 1491. 
 
 Aquel 
 
 1309-1325. omitteil: cf. above: 
 
 1495. 
 
 buelue luego 
 
 
 after 1276 
 
 1499. 
 
 todos hombres 
 
 1321. 
 
 Aora dexanie, Laurencio. 
 
 1500. 
 
 no digays 
 
 (1326) 
 
 Sale Liseo solo. 
 
 1501. 
 
 diga (s) 
 
 1335. 
 
 ruegala 
 
 1503. 
 
 Pues tome por su vida 
 
 (1339) 
 
 Vanse Nise, y Celia. 
 
 (1505) 
 
 Carta. Estoy muy agra- 
 
 1340. 
 
 Espantome 
 
 
 decido a la merced que 
 
 1341. 
 
 essos rigores 
 
 
 me hazes aunque he pas- 
 
 1352. 
 
 eon las lenguas 
 
 
 sado toda esta noche 
 
 (1355) 
 
 Vase Liseo 
 
 
 contemplando tu hermo- 
 
 1357. 
 
 simple sin duda 
 
 
 sura. Easguele 
 
INTFODUCTION 
 
 135 
 
 150... 
 
 Xo (lize mas? Oct. Xo 
 
 1640. 
 
 Pues yo OS prometo de 
 
 
 tlize, y justaineiite 
 
 1642. 
 
 por bien 
 
 1506. 
 
 lo que falta rompi 
 
 1644. 
 
 y no como fingidos 
 
 1509. 
 
 por estremo 
 
 (1648) 
 
 Abraqanse, y salen Octauio, 
 
 1511. 
 
 ser hermosa 
 
 
 y Turin 
 
 1512. 
 
 el galan, el liiido, el Olo- 
 
 1648. 
 
 Oct. Turin aquesta dizes 
 
 
 roso 
 
 
 que es pendencia? 
 
 1513. 
 
 omitted 
 
 1649. 
 
 y auran disimulado. Oct. 
 
 1514. 
 
 el afeytado, el limpio, y el 
 
 
 caualleros 
 
 
 curioso 
 
 1650. 
 
 omitted 
 
 1522. 
 
 vendra a entender 
 
 1651. 
 
 solos aqui 
 
 1523. 
 
 hija, mirad 
 
 1653. 
 
 llegue 
 
 1525. 
 
 No lo hare mas 
 
 1654. 
 
 salimonos entrambos mano 
 
 1526. 
 
 porqiie . . . bieii el li om- 
 
 
 a mano 
 
 
 bre 
 
 1655. 
 
 a tratar nuestras cosas 
 
 (1528) 
 
 Sale Turin. 
 
 1658. 
 
 holgare de que os boluays 
 
 1529. 
 
 Oct. Que ay Turin? Tur. 
 
 1659. 
 
 omitted 
 
 
 Que a matarse van al 
 
 1662. 
 
 Porque en viendote auran 
 
 
 eampo 
 
 
 disimulado 
 
 1530. 
 
 en este punto mi 
 
 (1678) 
 
 Vanse, y salen Nise, y 
 
 1531. 
 
 vn hidalgo 
 
 
 Finea 
 
 1536. 
 
 de esse Laureueio 
 
 1680. 
 
 La misnia que 
 
 1538. 
 
 adonde yran? Tur. Yran 
 
 1693. 
 
 el me dixo aqui 
 
 (1541) 
 
 Vanse Octauio, y Turin. 
 
 1696. 
 
 Desde oy 
 
 1548. 
 
 sentir. 
 
 1699. 
 
 a enojarte 
 
 1549. 
 
 . Yo no se lo que esto ha sido 
 
 1704. 
 
 No creo 
 
 1550. 
 
 despues que el homljre me 
 
 (1707) 
 
 Yase Nise 
 
 
 vio 
 
 1708. 
 
 tan desdichada 
 
 1552. 
 
 el se ha lleuado 
 
 (1710) 
 
 Sale Laurencio 
 
 1553. 
 
 Si como, iniagino en el, 
 
 1725. 
 
 me ha dieho aqui 
 
 1554. 
 
 si duermo, le estoy so- 
 
 1730. 
 
 ya 
 
 
 nando, 
 
 1732. 
 
 Tambien ha dieho 
 
 1556. 
 
 su imagen 
 
 (1743) 
 
 Ponele el lien(jo en los ojos. 
 
 1558. 
 
 buelve un espejo 
 
 1743. 
 
 omits no 
 
 1561. 
 
 en ella miro 
 
 1744. 
 
 Pues quita luego los tuyos 
 
 1565. 
 
 trasfornias 
 
 1748. 
 
 Finea continues : Lleuas- 
 
 1572. 
 
 romper 
 
 
 telos en el lienqo? 
 
 1579. 
 
 presumo 
 
 1749. 
 
 Lau.: Si, senora, no — 
 
 (1581) 
 
 Yanse, y salen Laurencio, 
 
 1751. 
 
 omits a 
 
 
 y Liseo. 
 
 1757. 
 
 No me ha de renir por esto 
 
 1582. 
 
 me dezid la ocasion que a 
 
 1759. 
 
 sabras 
 
 
 esto OS obliga? 
 
 1761. 
 
 entonces, muy bien me 
 
 1588. 
 
 andays del 
 
 
 acuerdo 
 
 1590. 
 
 lo diga 
 
 1762. 
 
 omits y 
 
 1592. 
 
 su dote 
 
 1765. 
 
 Pues no 
 
 1598. 
 
 dezir 
 
 (1765) 
 
 Sale Nise, y velos abra- 
 
 1600- 
 
 1639. omitted 
 
 
 (^ados. 
 
LA DAM A BOB A 
 
 1765. 
 
 que bien 
 
 1907. 
 
 Si, Duardo. Dua: Y Nise 
 
 (1779) 
 
 Vansc Laurencio. y Nise de 
 
 
 bella? 
 
 
 las manos 
 
 (1909) 
 
 Vanse Laurencio, y Duardo, 
 
 1784. 
 
 propria voluntad 
 
 
 queda Finea, salen Octa- 
 
 1786. 
 
 mi padre viene 
 
 
 uio, y Nise. 
 
 (1788) 
 
 Sale Octauio 
 
 1911. 
 
 essas 
 
 1793. 
 
 yo agora 
 
 1919. 
 
 Y con ser negro 
 
 1796. 
 
 Ay ignorancia tal, pues 
 
 1920. 
 
 era 
 
 
 dime bestia 
 
 1921. 
 
 Sessa 
 
 1798. 
 
 al principio fue hecho 
 
 1922. 
 
 honra 
 
 
 aquel abraqo . 
 
 1923. 
 
 Vino a casarse 
 
 1799. 
 
 alto el bra^o derecho de 
 
 1927. 
 
 llama al 
 
 
 Laurencio 
 
 1932. 
 
 rinirme. (B) Nise: 
 
 1802. 
 
 luego desabra^ada quedo 
 
 
 Quien . . . 
 
 
 agora 
 
 1934. 
 
 sabed 
 
 180.3. 
 
 piensa 
 
 1942. 
 
 y ya estoy 
 
 1806. 
 
 se llama 
 
 1944. 
 
 que tanta pena me dauan 
 
 1809. 
 
 Si', tu no ves 
 
 1948. 
 
 tu no ves que estas casada 
 
 1812. 
 
 del que 
 
 1949. 
 
 omits me 
 
 1813. 
 
 tomando ya, por cierto 
 
 1950. 
 
 Oct. Locura estrana 
 
 
 ereo 
 
 1951. 
 
 No entre aqui Laurencio. 
 
 1818- 
 
 1819. omitted 
 
 
 Ni: Es yerro 
 
 1820. 
 
 donde tu hermana esta? 
 
 1952. 
 
 que el, y Liseo la engaiian 
 
 (1825) 
 
 Vase Octauio 
 
 1953. 
 
 y aquesta tra^a ban tomado 
 
 1828. 
 
 omits me 
 
 1955. 
 
 0, pues con esso yo callo 
 
 (1831) 
 
 Sale Laurencio 
 
 1956. 
 
 con essa nos tapas 
 
 1834. 
 
 escusase 
 
 1957. 
 
 Ven alia dentro 
 
 1838. 
 
 Porque te fuyste 
 
 1958- 
 
 1959. omitted 
 
 1841-: 
 
 1844. omitted 
 
 (1961) 
 
 Vanse Octauio, y Finea. 
 
 1846. 
 
 (B) omits lo 
 
 1963. 
 
 el, y Liseo, por ver 
 
 1847. 
 
 dino nombre 
 
 1964. 
 
 aquesta 
 
 1851. 
 
 y assi podre 
 
 (1966) 
 
 Sale Liseo solo 
 
 1856. 
 
 Otro mejor puede auer. 
 
 1974. 
 
 rudeza 
 
 (1859) 
 
 Salen Duardo, Feniso, y 
 
 1975. 
 
 ingenio 
 
 
 Pedro. 
 
 1977. 
 
 darte 
 
 1860. 
 
 Dua. y el. . . . 
 
 1979. 
 
 mi amor, Nise, no mentiras 
 
 1873. 
 
 Yo voy aqui con mi ingenio 
 
 1980- 
 
 1983. omitted 
 
 1878. 
 
 casarte 
 
 1984. 
 
 Liseo continues: escu- 
 
 1883- 
 
 1888. omitted 
 
 
 chame. Ni. Que incon- 
 
 1895. 
 
 Duardo, Feniso, Pedro 
 
 
 stancia 
 
 1896. 
 
 Finea continues: yo doy 
 
 1988. 
 
 Desta 
 
 
 aqui la palabra 
 
 (1991) 
 
 Sale Laurenzio 
 
 1898. 
 
 Fen: cosa, etc. 
 
 1991. 
 
 esta con Liseo 
 
 1899. 
 
 Todos. Si 
 
 1993. 
 
 de entender sin duda 
 
 1900. 
 
 Haz cuenta que ya estas 
 
 1995. 
 
 sospecho que ya me ha 
 
 
 sana 
 
 
 visto 
 
 1906. 
 
 Dua: Pues . . . casas 
 
 (1997) 
 
 omits stage direction 
 
INTRODUCTION 
 
 137 
 
 1998. 
 1999. 
 2008. 
 2011. 
 2013. 
 (2013) 
 
 Hanme dicho que 
 . . . yo uo lo creo 
 que de manera nu 
 destos fauores 
 No puedo menos 
 Vase Nise 
 
 2019-2022. omitted 
 
 2023. Liseo aquesta es discreta 
 
 2032. Es la mayor alabanqa 
 
 Omits: 
 
 Fin del segundo acto de 
 
 la Dama boba. 
 
 Acto Tercero de la Dama Boba 
 Omits: Los que hablan en el tercero acto 
 
 Sale Finea sola con otro vestido. 
 (Directions like this indicate that 
 
 we are dealing with stage copy.) 
 
 2036. acidente, o elecion 
 
 2051. omits en 
 
 2058. En el lugar en que estoy 
 
 2062. estoy 
 
 2063-2072. omitted 
 (2073) Sale Clara 
 
 2077-2080. omitted 
 
 2081. Atribuyen 
 (2091) Salen Octauio, y Miseno 
 
 2109. la 
 
 2121. Zamoes; Zamores (B) 
 
 (2125-2128) and (2129-2132) 
 
 transposed 
 
 2130. Y de Herrera 
 
 2131. cancioues, el Peregrino 
 
 2132. el picaro de Guzman 
 (2149) Salen Nise, Liseo, y Turin 
 
 2154. que ya Finea 
 
 2157-2168. omitted 
 
 2175-2184. replaced by: Nis. 
 Poner freno a la muger 
 es poner limite al mar. 
 Estranas quimeras son; 
 que amor como es aci- 
 dente tienese donde se 
 siente, no donde fuera 
 razon 
 
 2187. falta 
 
 2188. en la 
 
 2189. hizo 
 
 2192. curso natural 
 (2201) Sale un criado 
 2206. Liseo 
 
 (2213) 
 
 Sale un criado, y los 
 
 
 musicos 
 
 2213. 
 
 ya los musicos veniau 
 
 (2221) 
 
 Cantan los musicos, y bay- 
 
 
 Ian Nise, y Finea lo que 
 
 
 quisieren; this direc- 
 
 
 tion indicates that the 
 
 
 printed copy was inde- 
 
 
 pendent of the auto- 
 
 
 graph. 
 
 2221-: 
 
 2318. omitted 
 
 2320. 
 
 a Dios 
 
 2321. 
 
 este -agrauio 
 
 2322. 
 
 Tratemos nuestro coneierto 
 
 2324. 
 
 Yo OS tengo 
 
 2325. 
 
 omits OS 
 
 2326. 
 
 mis dichas 
 
 (2327) 
 
 Vanse todos, quedan Liseo, 
 
 
 y Turin 
 
 2327. 
 
 Turin? Tur. Seiior, que 
 
 2338. 
 
 essa discrecion 
 
 2339-2342. omitted 
 
 2343. 
 
 y no ha 
 
 2347. 
 
 discreta 
 
 (2356) 
 
 Vase Liseo 
 
 (2365) 
 
 Salen Laurencio, y Pedro 
 
 2366. 
 
 el fin 
 
 2382. 
 
 El no OS pretende agra- 
 
 
 uiar 
 
 2384. 
 
 cumplirse? 
 
 2387. 
 
 omits el 
 
 (2394) 
 
 Vase Turin 
 
 2395. 
 
 Lo mismo que presumi 
 
 2398. 
 
 se viene a mostrar aqui 
 
 2400. 
 
 discreta, la voluntad 
 
 2401. 
 
 habilidad 
 
/.J DA MA BOB A 
 
 (2405) Sale Finea 
 2406. nuoua 
 241."?. en mi nioinoria 
 2416. cubierto 
 2420. y si a otra parte 
 
 2425. tu 
 
 2426. y tu imagen bella mira 
 2434. consejos 
 
 2442. traerle al ouello 
 
 2443-2446. omitted 
 
 2455. Mira lo que ha resultado 
 
 2459. Liseo te quiere bien, 
 
 2461. plegue 
 
 2465. partes 
 
 2469-2470. omitted 
 
 2489. la tierra donde naeen 
 
 2490. andarla 
 
 2494. ya — ya con zelos 
 2498. Ya estoy atento 
 2505. a su regalo 
 
 2510. a sus desseos 
 
 2511. esso si pensaron 
 
 2512. hijo varon, y 
 2516. senora 
 
 2519. Aqui me quiero 
 
 2520. Ya llega 
 
 2521. En grandes 
 
 2522. aun no lo siento 
 
 (2523) Eseondense Laureneio, y 
 Pedro, salen Liseo, y 
 Turin. 
 
 2523. Yo lo dexo eoneertado 
 
 2524. Al fin 
 2528. ha querido 
 2533. me ha dicho 
 
 2541. luna nueua 
 
 2542. Ay tal loeura? Tur. 
 2.543. given to Liseo 
 2544-2547. omitted 
 
 2548. Creo 
 
 2560. given to Turin 
 
 2561-2568. omitted 
 
 2582. le vemos 
 
 2583. con alas pero el en fin 
 
 2584. es espiritu. Fin. Yo os 
 
 creo 
 
 2585. Andan 
 
 2590. Porque 
 2610-12. given to Liseo 
 (2613) Yanse Liseo, y Turin, 
 salen Laureneio; y Pe- 
 dro. 
 
 2613. Fin. Queteparece? Lau. 
 
 Muy bien 
 
 2614. que has dado 
 2617. omits a 
 2622. a un espejo 
 2629. despicarme 
 
 (2630) Salen Nise y Celia 
 2633. engaiias 
 2638. el alma 
 2651-2654. omitted 
 2655. Fin. Ay cielos 
 
 2657. vo^vme. Nis. Los pasos 
 
 reporta 
 
 2658. Lau. Que (juieres? 
 2660. las que trato son 
 2663. Querraste casar ansi 
 2664-2667. omitted 
 
 2668. leuantando 
 
 2669. y de aqueste 
 
 2670. heeharme la culpa a mi 
 2672. omits a mi. Que bien 
 
 (2672) A^ase Laureneio 
 (2676) Yase Pedro 
 
 2677. aquello 
 
 2683. buena 
 
 2691-2694. omitted 
 
 2700. Cel. Queesesto? Ni. A 
 tocta se buelue 
 
 2707. quieres 
 
 2708. con quien el alma viuia 
 (2719) Salen Oetauio, Miseno, 
 
 Duardo, y Feniso 
 2723. No me direys la ocasion 
 2725. del saber 
 2730. pienso que tu la 
 2731-2734. omitted 
 2739. expresamente 
 2744. Como? . . . ha tracado 
 
 2747. mas facil 
 
 2748. En paz tu casa tendras 
 (2749) Salen Laureneio, y Pedro 
 
 2749. en estremo 
 
INTBODVCTION 
 
 139 
 
 2757. 
 
 iliscreta 
 
 2758. 
 
 inclinaua 
 
 2760. 
 
 a la muger 
 
 2766. 
 
 ya son poci 
 
 2767. 
 
 podeys 
 
 2772. 
 
 tales 
 
 2775. 
 
 de estar 
 
 2776. 
 
 esse 
 
 2777. y es 
 
 2778. deys mi muger 
 2779-2782. omitted 
 
 2784. Lau. Finea. Oct. Finea? 
 Laii. Aqui 
 
 2789. given to Duardo 
 
 2790. darsela 
 
 2791. Oct. Ay tal cosa ? 
 
 2792. dixera? 
 
 2793. la diera 
 (2801) Vase Octauio 
 
 2801. tras mi 
 
 (2803) Vanse Nise, y Celia 
 
 2803. Yd los dos tras el por Dies 
 
 (2809) Vanse Duardo, y Feniso, 
 y quedan Laurencio, y 
 Finea. 
 
 2811. Dime, que auemos de liazer 
 
 2815. Yo tengo un 
 
 (2817) Sale Clara 
 
 2819. por secreto 
 
 2821. Y Pedro? 
 
 2826. consuelo me de 
 
 2827. Otra cenara 
 
 2828. vamos 
 
 (2829) Vanse Clara, Pedro, y Lau- 
 rencio, queda Finea. 
 
 2830. aqueste mi loco amor 
 
 (2837) Sale Octauio 
 
 2839. estas 
 
 2845. Boluera ? 
 
 2848. milagro 
 
 2849. perdiste 
 
 2850. como a ser boba boluiste? 
 2855. Pues yo lo he de 
 
 2859. Adonde? 
 
 (2867) Salen Liseo, y Turiu 
 
 2871. Oct. Tente loca, donde vas? 
 2874-2875. omitted 
 
 2877. que no me ha de ver jamas 
 (2879) Vanse Finea, y Clara 
 2879-2884. Reads: 
 
 Li. Que es esto? Oct. No 
 se por Dios; ella ha dado 
 en esconderse de los hom- 
 bres, porque dize que la 
 enganan facilmente. 
 Li. En gentil locura ha 
 dado: donde esta Lau- 
 rencio? 
 
 2885. A Toledo. Lis. Muy bien 
 
 hizo. 
 
 2886. Y tu por ventura crees 
 2889. Ay de que tu entres aqui 
 2890-2891. omitted 
 
 2902. escudos 
 2904. es tuerta? 
 
 2914. quiero que 
 
 2915. desta casa 
 (2918) Vase Octauio 
 
 2918. Que me dizes? 
 2923. Sino te casas, sefior 
 
 2928. ease 
 
 2929. dinero 
 
 (2931) Vanse, y salen Finea, y 
 
 Clara 
 2937. cosa 
 2939-2962. omitted 
 2967-2974. omitted 
 2983-2986. omitted 
 (2989) Salen Octauio, Miseno, 
 Duardo, y Feniso. 
 
 2989. Que esso le dixistes? 
 
 2990. furia 
 2991-2994. omitted 
 2995. resueltamente 
 
 2997. tratasse 
 
 2998. de 
 3006. tienesme 
 3013. oyd 
 3016. sino 
 
 (3019) Vanse Finea y Clara 
 3019-3026. Reads: 
 
 Duar. Vuestra desdicha he 
 sabido y siento como es 
 razon. 
 
140 
 
 LA DAM A BOB A 
 
 
 Fen. Y yo que en esta oca- 
 
 3112. 
 
 given to Feniso 
 
 
 sion aya perditio el seu- 
 
 3113. 
 
 Lis. Siempre 
 
 
 tido. 
 
 3115. 
 
 Duar. De esso os podreys 
 
 
 Oct. Que ya era cuerda en- 
 
 (3118) 
 
 Salen Laurencio , con la 
 
 
 tendi y estaua loco de 
 
 
 espada desnuda, y Finea 
 
 
 vella. 
 
 
 a sus espaldas, Peilro y 
 
 
 Mis. Que lastima. Dua. 
 
 
 Clara, y Octauio detras 
 
 
 Nise boUa con Liseo viene 
 
 
 de todos. 
 
 
 aqui. 
 
 3123. 
 
 Dua. Teneos, Ocauio: es 
 
 (3027) 
 
 Salen Liseo, Turin, y Nise. 
 
 
 Laurencio? 
 
 3027- 
 
 3072. cut to the following: 
 
 3127. 
 
 Traydora 
 
 
 Nise: Es doblar la volun- 
 
 3136. 
 
 soga 
 
 
 tad de mi afieion. Lis. 
 
 3143-; 
 
 3146. omitted 
 
 
 Templa agora, bella Nise, 
 
 3155. 
 
 Ya 
 
 
 tus desdenes, que se va 
 
 3156. 
 
 omits y; Nise tambien 
 
 
 amor por la posta a la 
 
 3158. 
 
 le quiere . . . le adora 
 
 
 casa del agrauio. 
 
 3159. 
 
 given to Du. 
 
 (3072) 
 
 Sale Celia 
 
 3160. 
 
 gozen los que el 
 
 3072-. 
 
 3075. omitted 
 
 3166-: 
 
 3169. omitted; inserted: 
 
 3076. 
 
 Cel. Seiiora? Nis. que ay? 
 
 
 Tur. Y la Clara socarrona 
 
 
 Cel. una cosa. 
 
 
 que lleuaua los gazapos? 
 
 3077. 
 
 causar espanto 
 
 
 Cla. Mandomelo mi seiiora. 
 
 3078. 
 
 Di lo que es 
 
 
 Tur. qual los engu- 
 
 3081. 
 
 dos conejos 
 
 
 llirian. 
 
 3084. 
 
 caminauan 
 
 3173. 
 
 Ni. y tuya Celia 
 
 3086. 
 
 given to Turin 
 
 3174-; 
 
 3177. omitted 
 
 3087-; 
 
 3090. omitted 
 
 3178. 
 
 mi bota sera 
 
 3093. 
 
 eorri 
 
 3179. 
 
 solos quedamos 
 
 3104. 
 
 given to Nise 
 
 3180. 
 
 dadme 
 
 3107. 
 
 Senor tu furia los dos 
 
 3181. 
 
 given to Fen. 
 
 3108. 
 
 lo veremos 
 
 3182. 
 
 perdonan 
 
 3109. 
 
 injuriado 
 
 
 
 (3110) 
 
 Vase Octauio 
 
 Fin de 
 
 ( la Comedia de la Dama 
 
 3110. 
 
 given to Duardo 
 
 Boba. 
 
INTBODUCTION 
 
 LA VEES1F1CACI6N 
 ACTO I. 
 
 Eedondillas verses 1 to 184 
 
 Octavas verses 185 to 272 
 
 Redondillas verses 273 to 412 
 
 Romance (en i-o) verses 413 to 492 -^ 
 
 Redondillas verses 493 to 524 
 
 Soneto verses 525 to 538 
 
 Eedondillas verses 539 to 634 
 
 Soneto verses 635 to 648 - 
 
 Redondillas verses 649 to 888 
 
 Romance (en o-a) verses 889 to 1062 
 
 ACTO IT. 
 
 Redondillas verses 1063 to 1154 
 
 Quintillas verses 1155 to 1214 
 
 Redondillas verses 1215 to 1230 
 
 Romance (en a-e) verses 1231 to 1364,,„_^_ 
 
 Redondillas verses 1365 to 1484 
 
 Endeeasilabos sueltos y algunos pareados aconsonantados 
 
 verses 1485 to 1540 
 
 Redondillas verses 1541 to 1580 
 
 Pareados, aconsonantados y versos sueltos, todos 
 
 endeeasilabos verses 1581 to 1667 
 
 Redondillas verses 1668 to 1787 
 
 Pareados, aconsonantados y versos sueltos, todos 
 
 endeeasilabos verses 1788 to 1824 
 
 Redondillas verses 1825 to 1860 
 
 Romance (en a-a) verses 1861 to 2032 
 
 ACTO III. 
 
 Quintillas verses 2033 to 2072 
 
 Redondillas verses 2073 to 2220 
 
 Baile y cantar con estribillo* verses 2221 to 2318 
 
 Redondillas verses 2319 to 2426 - 
 
 Romance (en e-o) verses 2427 to 2634 
 
 Redondillas verses 2635 to 2870 
 
 Romance (en e-e) verses 2871 to 2930 
 
 Redondillas verses 2931 to 3026 
 
 Romance (en o-a) verses 3027 to 3184 
 
LA DA MA BO HA 
 
 * It is a great loss to the history of Spanish music and of the dance 
 that in the great majority of cases these cantarcs are omitted in the printed 
 versions of the comcdias. 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. («) 20 verses without refrain, the even ones being assonant in a-a; 
 they are of unequal length, from five to eight syllables. This 
 division forms a kind of prelude or preface without refrain, 
 and may well have been sung by both girls, or by the musi- 
 cians, and perhaps without dance accompaniment. 
 (&) verso suelto con estribillo (2241-2). 
 11. (o) 14 verses, the odd ones of eight syllables being assonant in e-o; 
 the even one is the refrain (estribillo). If this dance had the 
 character of a mxidanza, we may imagins 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. 
 (ft) verso suelto con estribillo (2257-8). 
 
 III. (a) 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, 
 (ft) verso suelto eon estribillo (2279-80). 
 
 IV. (a) 12 verses without refrain, the even ones being assonant in a-a, 
 
 and thus corresponding to division I; presumably again sung 
 by both girls, 
 (ft) verso suelto con estribillo (2293-4). 
 
 V. (fl) 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. 
 (ft) verso suelto con estribillo (2417-8). 
 
 A special study in these cantares with their dances would Ite of the 
 greatest interest. A similar composition can be found in Velez de Guevara's 
 In Scrrana de la Vera (cf. the edition of Professor Menendez Pidal and 
 Seiiora de Menendez Pidal (Madrid, 1916), p. 151) and in the same poet's 
 Sosa de Alexandria, II, fol. 189 v. 
 Los Labradores cantan: 
 
 Esta nouia se lleua la flor, 
 — que las otras no — 
 
 Copla. ^ 
 
 Lupino y Tierrena, 
 para en vno son — 
 su gala y belleza, 
 para en vno son — 
 el sol y la estrella, 
 para en vno son — 
 etc., etc. 
 The popular character of these songs and dances is so pronounced that 
 they have a special charm, even after this great lapse of time. As in the 
 case of Lope's songs, traditional copla.i, or verses, were absorbed by them 
 (cf. for example, vs. 2313-2315). 
 
LA DAM A BOB A 
 
 LA DAMA BOBA 
 
 COMEDIA DESTE AXO DE 1613 
 PeRSOXAS DESTE ACTO 
 
 Lisseo, cauallcro - Ortiz 
 
 Turin, lacaijo - Caruajal ( ?)* 
 
 Leandro, cauallero Almonte (?)* 
 
 Otahio, vie jo Quinones 
 
 Misseno, su amigo --. ...Villanueba 
 
 Duardo f 1 Guebara 
 
 Laurenzio \cauallcros V - Benito 
 
 Feniso [ J .....Simon 
 
 Rufino, maestro .'- Aguado 
 
 Nise, dama -. - Jeronima 
 
 Fined>, su hermana Maria 
 
 Qelia, criada Ysabel 
 
 Clara, criada{s) --.. Ana Maria 
 
 Pedro, lacayo - 
 
 * The name Almonte has been scratched so as to be scarcely legible 
 and Caruajal written directly over it, as though the latter were intended 
 to take the part of Leandro. Lope's intention, however, may have been 
 to assign the part of Turin to Caruajal (cf. also the note on the actors 
 and actresses). 
 
 ACTO p[rIMERO]^ 
 
 [SaJfjan] Lisseo, cavallero, y Turin, lacayo. Los dos dc camino. 
 
 Liseo. i Que lindas possadas ! 
 
 Turin. Frescas. 
 
 Liseo. No ay calor. 
 
 Turin. Cliinehes y ropa 
 
 tienen fama en toda Eiiropa. 
 Liseo. Famoso lugar Yllescas; 
 
 no ay en todos los qne miras 5 
 
 qnien le ygnale. 
 
 1 An asterisk in the margin indicates that the corresponding verse has 
 a note. 
 
144 
 
 ACTO PFIMEEO 
 
 Turin. 
 
 Liseo. 
 Turin. 
 
 Liseo. 
 
 Turin. 
 Liseo. 
 Turin. 
 
 Liseo. 
 
 Turin. 
 Liseo. 
 
 Turin. 
 
 Liseo. 
 Turin. 
 
 Ann si supieses 
 la causa. . . . 
 
 ^,Qual es? 
 
 Dos messes 
 dc guindas y de mentiras. 
 Como aqui, Turin, se juntan 
 de la Corte y de Sebilla, 
 Andaluzia y Castilla, 
 vnos a otros preguntan, 
 vnos de las Yndias euentan, 
 y otros eon discursos largos 
 de probissiones y eargos, 
 cossas que el vulgo alimentan. 
 I, No tomaste las medidas ? 
 Vna dozena tome. 
 i, Y ymagenes ? 
 
 Con la fee 
 que son de Espafia adniitidas, 
 por milagrosas en todo 
 quanto en qualquiera ocasion 
 les pide la deboeion 
 y el nonbre. 
 
 Pues, dese modo 
 lleg[u]en las postas y vamos. 
 ^. No has de comer? 
 
 Aguardar 
 a que se guise, es pensar 
 que a media noche llegamos ; 
 y vn despossado, Turin, 
 ha de llegar quando pueda 
 luzir. 
 
 Mui atras se queda 
 con el repuesto Marin; 
 pero yo traygo que comas. 
 I. Que trahes ? 
 
 Ya lo veras. 
 
 10 
 
 15 
 
 20 
 
 25* 
 
 30 
 
Liseo. 
 
 Dilo. 
 
 Turin. 
 
 Guarda. 
 
 Liseo. 
 
 Necio estas. 
 
 Turin. 
 
 ^Desto pesadumbre tomas? 
 
 Liseo. 
 
 Plies i^ara dezir lo que es . . . 
 
 Turin. 
 
 Ay a quien pesa de oyr 
 
 
 su noubre ; basta decir 
 
 
 que tu lo sabras despues. 
 
 Liseo. 
 
 Entretienese la hanbre 
 
 
 con saber que ha de comer. 
 
 Turin. 
 
 Pues sabete que ha de ser. . . . 
 
 Liseo. 
 
 ; Presto ! 
 
 Turin. 
 
 tozino fianbre. 
 
 Liseo. 
 
 Pues ^a quien puede pessar 
 
 
 de oyr nonbre tan hidalgo, 
 
 
 Turin? Si me has de dar algo, 
 
 
 ^que cossa me puedes dar, 
 
 
 que tenga ygual a esse nombre? 
 
 Turin. 
 
 Esto y vna hermosa caxa. 
 
 Liseo. 
 
 Dame de queso vna raxa ; 
 
 
 que nunca el dulce es mui onbre. 
 
 Turin. 
 
 Esas liziones no son 
 
 
 de galan ni despossado. 
 
 Liseo. 
 
 Aun agora no he llegado. 
 
 Turin. 
 
 Las damas de Corte son 
 
 
 todas vn fino cristal : 
 
 
 trasparentes y diuinas. 
 
 Liseo. 
 
 Turin, las mas cristalinas 
 
 
 comeran. 
 
 Turin. 
 
 Es natural ; 
 
 
 pero esta hermosa Finea, 
 
 
 con quien a eassarte vas, 
 
 
 comera. . . . 
 
 Liseo. 
 
 Dilo. 
 
 Turin. 
 
 no mas 
 
 
 de azucar, mana y xalea. 
 
 LA DAMA BOBA 145 
 
 35 
 
 40 
 
 45 
 
 *50 
 
 55 
 
146 
 
 AC TO ri!IMi:i;(} 
 
 Pasai'asc vua sciiiaiia 
 
 con dos puntos en A ayre 
 
 de azucar. 
 Lisco. Gentil donavre. 
 
 Turin. ^ Que piensas dar a su lierniana? 
 
 Lisco. A Nise, su hennana bell a, 
 
 vna rosa de dianiantes ; 
 
 que asi tengan los amantes 
 
 tales firmezas con ella. 
 
 Y vna cadena tanbien 
 
 que conpite con la rossa. 
 
 Dizen que es tanbien liermossa. 
 
 Mi esposa pareze bien, 
 
 si doy eredito a la fama. 
 
 De su hermana poco se ; 
 
 pero basta que me de 
 
 lo que mas se estima y ama. 
 
 i Bello golpe de dinero ! 
 
 Son quarenta mil ducados. 
 
 i Brabo dote ! 
 
 Si contados 
 
 los llego a ver como espero. 
 Turin. De vn macho eon guarniziones 
 
 verdes y estribos de palo 
 
 se apea vn hidalgo. 
 Liseo. Malo, 
 
 si la merienda me pones. 
 
 Turin. 
 Liseo. 
 
 Turin. 
 Lisco. 
 Turin. 
 Lisco. 
 
 70 
 
 * [Saiga] Jjcandro, de camino 
 
 Leandro. Huesped, ^Jiabra que comer? 
 Liseo. Seays, seiior, bien llegado. 
 
 Leandro. Y vos en la misma hallado. 
 Liseo. I A Madrid ? . . . 
 
 Leandro. Dexele ayer 
 
 cansado de no sailir 
 
 90 
 
LA DAMA BOBA 
 
 14^ 
 
 eon preteusiones eansadas. 
 Lisro. Essas van adjetiuadas 
 
 con esperar y sufrir. 
 
 Holgara por yr con vos: 
 
 llebaramos vn camino. 
 Leandru. Si vays a lo que ymagino, 
 
 nunca lo permita Dios. 
 Lisco. No llebo que pretender ; 
 
 a negocios echos voy. 
 
 I Soys de esse lugar ? 
 Leandvo. Si soy. 
 
 Lisco. Luego podreys eonozer 
 
 la persona que os nonbrare. 
 Leandyo. Es Madrid vna talega 
 
 de piezas donde se anega 
 
 quanto su maquina pare : 
 
 los reyes, roques y arfiles 
 
 eonozidas cassas tienen, 
 
 los demas que van y vienen 
 
 son como peones viles ; 
 
 todo es alii confussion. 
 Liseo. No es Otabio pieza vil. 
 
 Leandro. Si es quien yo pienso, es arfil, 
 
 y pieza de estimacion. 
 Liseo. Quien yo digo es padre noble 
 
 de dos hijas. 
 Leandro. Ya se quien ; 
 
 pero dixerades bien 
 
 que de vna palma y de un roble. 
 Liseo. I Como ? 
 
 Leandvo. Que entranbas lo son ; 
 
 pues Nise bella es la palma, 
 
 Finea vn roble, sin alma 
 
 y discurso de razon. 
 
 Nise es muger tan discreta, 
 
 sabia, gallarda, entendida, 
 
 95 
 
 100 
 
 105 
 
 110 
 
 115 
 
 120 
 
 125 
 
ACTO PBIMEBO 
 
 Lisro. 
 L< andro. 
 
 Liseo. 
 
 Turin. 
 Liseo. 
 
 Leandro. 
 
 Liseo. 
 
 Leandro. 
 
 Liseo. 
 
 Leandro. 
 
 qnanto Finea encogida, 
 boba, indigna y ynperfeta ; 
 y aim pienso que ohi tratar 
 que la casauan. 
 
 \a Turin] ^No escuchas? 
 
 Verdad es que no habra muchas 
 que la puedan ygualar 
 en el riquissimo dote. 
 Mas j ay de aquel desdichado 
 que espera vna bestia al lado ! 
 Pues mas de algun marquesote 
 a codieia del dinero 
 pretende la boberia 
 desta dama, y a porfia 
 hacen su calle terrero, 
 [a Turin] Yo llebo lindo concierto; 
 a gentiles vistas voy. 
 [a Liseo] Disimula. 
 
 Tal estoy, 
 que apenas a hablar aeierto. [a Turin 
 En fin, seiior, ^ Nise es bella 
 y discreta? . . . 
 
 Es celebrada 
 per vnica, y desseada 
 por las partes que ay en ella 
 de gente mui principal. 
 I, Tan neeia es esa Finea ? 
 Mucho sentis que lo sea. 
 Contenplo de sangre ygual 
 dos cosas tan desiguales ; 
 mas /, como en dote lo son? 
 Que hermanas fuera razon %- 
 
 que los tubieran yguales. 
 Oygo decir que vn hermano 
 de su padre la dexo 
 esta hazienda, porque vio 
 
 130 
 
 13o 
 
 140 
 
 145 
 
 150 
 
 155 
 

 LA DAMA BOBA 
 
 149 
 
 
 que sill ella fiiera en vaiio 
 
 160 
 
 
 cassarla con honbre ygual 
 
 
 
 a su noble nacimiento, 
 
 
 
 supliendo el entendimiento 
 
 
 
 eon el oro. 
 
 
 Liseo. 
 
 El hizo mal. 
 
 
 Leandro. 
 
 Antes bien ; porque con esto 
 tan discreta vendra a ser 
 como Nise. 
 
 165 
 
 Turin 
 
 ^Has de comer? 
 
 
 Liseo. 
 
 Ponme lo que dizes presto, 
 aunque ya puedo escusallo. 
 
 
 Leandro. 
 
 ^Mandays, seiior, otra cossa? 
 
 170 
 
 Liseo. 
 
 Seruiros. [Entrese Leandro]. 
 i Que linda esposa ! 
 
 
 Turin. 
 
 l Que haremos 1 
 
 
 Liseo. 
 
 Ponte a caballo; 
 que ya no quiero comer. 
 
 
 Turin. 
 
 No te aflixas, pues no es echo. 
 
 
 Liseo. 
 
 Que me ha de matar, sospecho, 
 si es necia, y propia muger. 
 
 175 
 
 Turin. 
 
 Como tu no digas si, 
 
 I quien te puede cautibar ? 
 
 
 Liseo. 
 
 Verla, i no me ha de matar, 
 
 
 
 aunque es basilisco en mi? 
 
 *180 
 
 Turin. 
 
 No, seiior. 
 
 
 Liseo. 
 
 Tanbien aduierte 
 que, siendo tan entendida 
 Nise, me dara la vida, 
 si ella me diere la muerte. 
 
 
 * Entrense, y salgan Otahio, vie jo, y Miseno 
 
 Otdbio. Esta fue la intension que tuuo Fabio. 
 
 Miseno. Pareze que os quexais. 
 Otahio. Bien mal enplea 
 
 mi liermano tanta hazienda, no fue sabio : 
 
 185* 
 
150 
 
 ACTO riilMKUO 
 
 Miscno. 
 
 Otabi 
 
 Misow. 
 
 Otahic 
 
 Miseno. 
 
 Otahio. 
 
 Miseno. 
 
 Otahio. 
 
 bicn es que Fabio, y (iiic no sabio sea. 
 
 Si en dexaros liazieiida os hi/o agra])io, 
 
 vos jM-opio lo juzgad. 
 
 Dexo a Finea, 190 
 
 a titnlo de sinple, tan gran renta, 
 
 que a todos hasta agora nos sustenta. 
 
 Dexola a la que mas le parezia 
 
 de sus sobrinas. 
 
 Vos andais discrete; 
 
 pues a quien beredo sii boberia, 
 
 dexo su hazienda para el misrao effete. 
 
 De Nise la diuina gallardia, 
 
 las altas esperanzas, y el eoneeto 
 
 OS deben de tener apasionado. 
 
 I, Quien duda que le soys mas inclinado ? 
 Mis hijas son entranbas ; mas yo os juro, 
 
 que me enfadan y cansan cada vna 
 
 por su camino, quando mas procure 
 
 mostrar amor y ynclinacion a alguna. 
 
 Si ser Finea sinple es case dure, 
 
 ya lo suplen los bienes de Fertuna 
 
 y algunos que le die naturaleza, 
 
 sienpre mas liberal de la belleza. 
 
 Pero ver tan discreta y arregante 
 
 a Nisse mas me pudre y martiriza, 
 
 y que de bien hablada y elegante 
 
 el vulgazo la aprueba y soleniza. 
 
 Si me cassara agora — y no te espante 
 
 esta opinion, que algune la autoriza — , 
 
 de dos estremos, boba e bachillera, 
 
 de la boba eleccien sin duda hiziera. '■ 
 
 No digays tal, per Dies ; que estan sujetas 
 
 a no acertar en nada. 
 
 Eso es engafio ; 
 que ye no trato aqui de las discretas ; 
 solo a las bachilleras desengaiio. 220 
 
 195 
 
 200 
 
 205 
 
 2104 
 
 215 
 
LA DAMA BOBA 
 
 Miseno. 
 
 Otabio. 
 
 Miseno. 
 Otahio. 
 
 Miseno. 
 Otahio. 
 
 Miseno. 
 
 De Vila cassada son partes perfetas 
 
 virtiid y oiiestidad. 
 
 Parir cadafio, 
 
 no dixerades mal, si es argumento 
 
 de que vos no quereys entendimiento. 
 
 Esta la discrecion de vna eassada 
 
 en amar y servir a su marido, 
 
 en vivir reeogida y recatada, 
 
 honesta en el hablar y en el vestido ; 
 
 en ser de la familia respetada, 
 
 en retirar la vista y el oydo, 
 
 en enseiiar los hijos euidadosa, 
 
 preciada mas de linpia que de hermosa. 
 
 i, Para que quiero yo que bachillera 
 
 la que es propia muger concetos diga ? 
 
 Esto de Nise por cassar me altera ; 
 lo mas corao lo menos me fatiga. 
 
 Resuelbome en dos cosas que quisiera, 
 
 piles la virtud es bien que el medio siga : 
 que Finea supiera mas que sabe, 
 y Nise menos. 
 
 Hablais cuerdo y grabe. 
 Si, tod OS los estremos tienen vizio ; 
 yo estoy con justa causa discontento. 
 Y i que ay de vuestro yerno 1 
 
 Aqui el oficio 
 de padre y diieno alarga el pensamiento. 
 Casso a Finea, que es notable yndicio 
 de las leyes del miindo al oro atento. 
 Nise, tan sabia, docta y entendida, 
 apenas halla vn onbre que la pida ; 
 y por Finea simple, por instantes 
 me solieitan tantos pretendientes, 
 — del oro mas que del yngenio amantes — 
 que me cansan amigos y parientes. 
 Razones ay al parezer bastantes. 
 
 225 
 
 230 
 
 240 
 
 245 
 
152 ACTO PBIMEKO 
 
 [Otahio.] \\\i\ liallo yo, sin imu-lios apareiites, * 
 
 y OS el buscar vn onbre en todo estado 255 
 
 lo que le falta mas, eon mas enidado. 
 
 Miscno. Eso no entiendo bien. 
 
 Otahio. Estadme atento. 
 
 Ningun honbre nacido a pensar viene 
 que le falta Miseno entendimiento, * 
 
 y con esto no busca lo que tiene. 260 
 
 Ve que el oro le falta y el sustento, 
 y piensa que buscalle le eonuiene ; 
 pues como ser la falta el oro entienda, 
 dexa el entendimiento, y busca hazienda. 
 
 Miscno. i Piedad del cielo que ningun nazido 265 
 
 se quexe de faltarle entendimiento! 
 
 Otahio. Pues a muchos, que nunea lo ban crehido, 
 
 les falta, y son sus obras argumento. 
 
 Miseno. Nise es aquesta. 
 
 Otahio. Quitame el sentido 
 
 su desbanecimiento. 
 
 Miseno. Vn casamiento 270 
 
 OS traygo yo. 
 
 Otahio. Casemosla ; que temo 
 
 alguna necedad de tanto estremo. 
 
 * 
 
 [Entrense Otahio y Miseno, y salgan] Nise y Celia, 
 
 
 criada 
 
 Nise. 
 
 I Diote el libro ? ^ 
 
 Celia. 
 
 Y tal, que obliga 
 
 
 a no abrille ni tocalle. 
 
 Nise. 
 
 Pues, ^porque? 
 
 Celia. 
 
 Por no ensucialle, 275 
 
 
 si quieres que te lo diga ; 
 
 
 en eandido pergamino 
 
 
 vienen muchas flores de oro. 
 
 Nise. 
 
 Bien lo mereze Eliodoro, * 
 
 
 griego poeta diuino. 280 
 
LA DAMA BOBA 153 
 
 Celia. ^Poeta? Pues pareziome 
 
 prosa. 
 Nisc. Tanbien ay poessia 
 
 en prosa. 
 Celia. No lo sabia ; 
 
 mire el principio, y cansome. 
 Nise. Es que no se da a entender 285* 
 
 con el artificio griego 
 
 liasta el quinto libro, y luego 
 
 todo se viene a saber 
 
 qiianto precede a los quatro. 
 Celia. En fin, i es poeta en prosa ? ■ 290 
 
 Nise. Y de vna historia amorosa 
 
 digna de aplauso y teatro. * 
 
 Ay dos prosas diferentes, 
 
 poetica y historial : 
 
 la historial, lisa y leal, 295 
 
 cuenta verdades patentes 
 
 con frasi y terminos claros; 
 
 la poetica es hermosa, * 
 
 varia, culta, licenciosa 
 
 y escura, aim a ingenios raros; 300 
 
 tiene mil exornaciones 
 
 y retoricas figuras. 
 Celia. i, Pues de cosas tan escuras 
 
 juzgan tantos? 
 Nise. No le pones, 
 
 Celia, pequeHa objeccion ; 305 
 
 pero asi corre el engaiio 
 
 del mundo. 
 
 '^[Salgan] Finea, dama, con mas cartillas, 
 
 y Rufino, maestro. 
 Finea. Ni en todo el afio 
 
 saldre con essa lizion. 
 Celia. Tu hermana con su maestro. \a Nise] 
 
 # 
 
154 
 
 ACTO FL'JMEIiO 
 
 Nis(\ I Conoze las k-tras ya ? 
 
 (.'<Iia. En los prinoipios esta. 
 
 Rufino. Pacjiencia, o no letras nnicstro. 
 
 ," Que OS esta ? 
 Fi)i><i. Lt'ti-a sera. 
 
 Rufiuo. i. Letra? 
 
 Finca. ^Pnes es otra cosa? 
 
 Rufino. i No sino el alba ! j Que hennosa 
 
 bestia! [apart e] 
 Finca. Bien, bien ; si, ya, ya : 
 
 el alba debe de ser, 
 quando andaua entre las coles. 
 Rufino. Esta es ca: los espaiioles 
 
 no la solemos poner 
 en nuestra lengua xamas. 
 Usanla muclio alenianes 
 y flamencos. 
 Finea. i Que galanes 
 
 van todos estos detras ! 
 Rufino. Estas son letras tanbien, 
 Finea. i Tantas ay ? 
 
 Rufino. Beyntitres son. 
 
 Finea. A [o] ra baya de licion, 
 
 que yo lo dire mui bien. 
 Rufino. ^Que es esta? 
 
 Finea. ^Aquesta? No se. 
 
 Rufino. Y^esta? 
 
 Finea. No se que responda. 
 
 Rufino. Y^esta? 
 
 Finea. ^Qual? ^Esta redonda 
 
 letra ? 
 Rufino. Bien. 
 
 Finea. Luego i acerte ? 
 
 Rufino. ] Linda bestia ! 
 
 Finea. j Assi, assi! 
 
 Bestia, por Dios, se llamaua ; 
 
 310 
 
 320 
 
 32- 
 
 3^ 
 

 LA DAM A BOB A 
 
 155 
 
 
 pero no se me acordaua. 
 
 335* 
 
 Rufino. 
 
 Esta es erre, y esta es y. 
 
 
 Finea. 
 
 ^ Pues si tu lo trahes errado ? 
 
 # 
 
 Nise. 
 
 i Con que pesadunbre estan ! 
 
 
 Rufino. 
 Finea. 
 
 Di aqiii: b, a, n, ban. 
 ^Donde van? 
 
 
 Rufino. 
 
 i Gentil cnidado ! 
 
 340 
 
 Finea. 
 
 Qne se van i no me dezias 1 
 
 
 Rufino. 
 
 Letras son : miralas bien. 
 
 
 Finea. 
 
 Ya miro. 
 
 
 Rufino. 
 
 B, e, n, ven. 
 
 
 Finea. 
 
 i, Adonde ? 
 
 
 Rufino. 
 
 Adonde en mis dias 
 
 
 
 no te buelba mas a ver. 
 
 345 
 
 Finea. 
 
 ^ Ven, no dizes ? Pues ya voy. 
 
 
 Rufino. 
 
 ; Perdiendo el juicio estoy ! 
 Es ynposible aprender. 
 ; Vine Dios ! que te he de dar 
 vna palmeta. 
 
 
 Finea. 
 
 ^Tu a mi? 
 
 * [El maestro] saca vna palmatoria. 
 
 350 
 
 Rufino. 
 
 Muestra la mano. 
 
 
 Finea. 
 
 Ela aqui. 
 
 
 Rufino. 
 
 Aprende a deletrear. 
 
 
 Finea. 
 
 j Ay, perro ! i aquesto es palmeta ? 
 
 
 Rufino. 
 
 Pues /, que pensauas? 
 
 
 Finea. 
 
 i Aguarda ! 
 
 
 Nise. 
 
 Ella le mata. 
 
 
 Celia. 
 
 Ya tarda 
 tu fabor, Nise discreta. 
 
 355 
 
 Rufino. 
 
 i Ay, que me mata ! 
 
 
 Nise. 
 
 I Que es esto ? 
 I A tu maestro ? 
 
 
 Finea. 
 
 Hame dado 
 causa. 
 
 
l.-.fi 
 
 ACTO PEIMEKO 
 
 Nise. 
 
 i, Conio ? 
 
 Finea. 
 
 llainc ('iiganado. 
 
 Rufino. 
 
 tYo ongafiado? 
 
 Nise. 
 
 Dila presto. 
 
 Finea. 
 
 Estaiia aprendiendo aqui 
 
 
 la letra bestia y la ea. 
 
 Nise. 
 
 La priinera sabes ya. 
 
 Finea. 
 
 Es verdad : ya la aprendi. 
 
 
 Saeo vn coquete de palo, 
 
 
 y al cabo vna media bola, 
 
 
 pidiome la mano sola, 
 
 
 — i mira que lindo regalo ! — 
 
 
 y apenas me la tomo, 
 
 
 quando ; cas ! la bola asienta, 
 
 
 que pica como pimienta, 
 
 
 y la mano me quebro. 
 
 Nise. 
 
 Quando el dicipulo ygnora, 
 
 
 tiene el maestro licencia 
 
 
 de castigar. 
 
 Finea. 
 
 i Linda ciencia ! 
 
 Rufino. 
 
 Aunque me diese, sefiora, 
 
 
 vuestro padre quanto tiene, 
 
 
 no he de darle otra lizion. 
 
 Celia. 
 
 Fuesse. [Entrcsc Rufino] 
 
 Nise. 
 
 No tienes razon ; 
 
 
 sufrir y aprender conuiene. 
 
 Finea. 
 
 Pues las letras que alii estan, 
 
 
 I yo no las aprendo bien ? 
 
 
 Vengo quando dize ven, 
 
 
 y voy quando dize van. 
 
 
 I Que quiere, Nise, el maestro, 
 
 
 quebrandome la cabeza 
 
 
 eon ban, bin, bon ? 
 
 Celia. 
 
 Ella es pieza 
 
 
 de rey. [apart e] 
 
 Nise. 
 
 Quiere el padre nuestro 
 
 *360 
 
 365 
 
 370^ 
 
 375 
 
 380 
 
 385 
 
LA DAM A BOB A 157 
 
 390 
 
 
 que aprendainos. 
 
 Finca. 
 
 Ya yo se 
 
 
 el Padre Nnestro. 
 
 Nise. 
 
 No digo, 
 
 
 sino el niiestro, y el castigo 
 
 
 por darte memoria fue. 
 
 Finca. 
 
 Pongame vn ylo en el dedo, 
 
 
 y no aquel palo en la palma. 
 
 Celia. 
 
 Mas que se te sale el alma, 
 
 
 si lo sabe . . . 
 
 Finea. 
 
 Muerta quedo. 
 
 
 i Celia ! no se lo digas, 
 
 
 y veras que te dare. 
 
 
 * [Saiga] Clara, criada 
 
 Clara. 
 
 Tope contigo, a la fee. [a Finca 
 
 Nise. 
 
 Ya, Celia, las dos amigas 
 
 
 se ban juntado. 
 
 Celia. 
 
 A nadie quiere 
 
 
 mas en todas las criadas. 
 
 Clara. 
 
 i Dame albricias, tan bien dadas, 
 
 
 como el sueeso requiere ! 
 
 Finea. 
 
 Pues fede que son? 
 
 Clara. 
 
 Ya pario 
 
 
 nuestra gata la romana. 
 
 Finca. 
 
 ^Qierto, cierto? 
 
 Clara. 
 
 Esta mailana. 
 
 Finea. 
 
 ^ Pario en el tejado? 
 
 Clara. 
 
 No. 
 
 Finea. 
 
 Pues ^donde? 
 
 Clara. 
 
 En el aposento ; 
 
 
 que cierto se echo de ber 
 
 
 su entendimiento. 
 
 Finca. 
 
 Es muger 
 
 
 notable. 
 
 Clara. 
 
 Escucha vn momento. 
 
 
 Salia por donde suele 
 
 395* 
 
 400 
 
 405* 
 
 410 
 
ir.8 ACTO PFIMEEO 
 
 »'] sol, imii ^alan y rico, 
 
 con la librea del re}', 415* 
 
 eolorado y amarillo; 
 
 aiidauan los carretones * 
 
 (juitandole el romadizo * 
 
 que da la iioehe a Madrid. 
 
 Aunqiie no se quien me dixo 420 
 
 que era la ealle Mayor * 
 
 el soldado mas antiguo, 
 
 pues nunca el mayor de Flandes 
 
 presento tantos seruizios. * 
 
 Pregonauaii agua ardiente, 425* 
 
 — agua viznieta del vino — , 
 
 los honbres earnestolendas, * 
 
 tod OS naranjas y gritos. 
 
 Dormian las rentas grandes, 
 
 despertauan los offizios, 430* 
 
 toeauan los boticarios * 
 
 sus almirezes a pino, 
 
 quando la gata de cassa 
 
 comenzo con mil suspiros 
 
 a dezir : ; Ay, ay, ay, ay, 435 
 
 que quiero parir, marido ! 
 
 Lebantose Oziquimocho, * 
 
 y fue eorriendo a dezirlo 
 
 a sus parientes y deudos, 
 
 que deben de ser moriscos, 440 
 
 porque el lenguage que hablaban "^ * 
 
 en tiple de monazillos, * 
 
 si no es gerigonza entrellos, * 
 
 no es espaiiol, ni latino. 
 
 Vino vna gata biuda, 445 
 
 eon bianco y negro vestido, 
 
 — sospecho que era su aguela — , 
 
 gorda, y conpuesta de oeico ; 
 
 y si lo que arrastra onrra, * 
 
LA DAM A BOB A 159 
 
 como dizen los antigiios, 450 
 
 tan onrrada es por la cola 
 
 como otros por sus oficios. 
 
 Truxole cierta manteca, 
 
 desayunose, y prebino 
 
 en que reeeuir el parto ; 455 
 
 hubo temerarios gritos ; 
 
 no es bui'la, pario seys gatos 
 
 tan remendados y lindos, 
 
 que pudieran, a ser pias, * 
 
 llebar el eoche mas rico. 460 
 
 Regozijados baxaron 
 
 de los texados vezinos, 
 
 caballetes y terrados, 
 
 todos los deudos y amigos : 
 
 Lamicola, Araiiicaldo, 465 
 
 IMarfuz, Marramao, Mizilo, 
 
 Tnmbaollin, Mico, Miturrio, 
 
 Rabicorto, Zapaquildo; 
 
 vnos vestidos de pardo, 
 
 otros de bianco vestidos, 470 
 
 y otros con forros de martas, 
 
 en cueras y capotillos. 
 
 De negro vino a la fiesta 
 
 el gallardo Golosino, 
 
 Into que mostraua entonzes 475 
 
 de su padre, el gaticidio. 
 
 Qual la morzilla presenta, 
 
 qual el pez, qual el cabrito, 
 
 qual el gorrion astuto, 
 
 qual el sinple palomino. 480 
 
 Trazando quedan agora, 
 
 para mayor regozijo, 
 
 en el gatesco senado, 
 
 correr gansos cinco a cinco. * 
 
 Ven presto ; que si los oyes, ^^5 
 
]<;o 
 
 ACTO PIUMEFO 
 
 Finca. 
 
 Clara. 
 Finca. 
 
 diras que parezen nifios, 
 
 y daras a la parida 
 
 ol parabien de los hijos. 
 
 No me pudieras coutar 
 
 eossa para el gusto mio 
 
 de mayor conteiitamicnto. 
 
 Camilla. 
 
 Tras ti camiiio. 
 
 4!iu 
 
 Nise. 
 Celia. 
 Nise. 
 Celia. 
 
 Nise. 
 
 Duardo. 
 
 Feniso. 
 
 Laurencio. 
 
 Duardo. 
 
 Feniso. 
 
 Nise. 
 
 Laurencio. 
 
 Nise. 
 
 Laurencio. 
 
 [Ent reuse Finea y Clara] 
 5 Ay locura semejaiite? 
 I Y Clara es boba tanbien ? 
 
 Por esso la qiiiere bien. 4li5 
 
 La semejanza es bastante ; 
 aiinque yo pienso que Clara 
 es mas bellaca que boba. 
 Con esto la engana y roba. 
 
 [Salgan] Duardo, Feniso, Laurenzio, cahalleros 
 
 Aqui como estrella clara 500 
 
 a su hermosura nos guia. 
 Y aun es del sol su luz pura. 
 i reyna de la hermosura ! 
 i Nise ! 
 
 i sefiora mia ! 
 Caballeros . . . 
 
 Esta vez, 505 
 
 por vuestro yngenio gallardo, 
 de vn soneto de Duardo 
 
 OS hemos de hazer juez. ; 
 
 I A mi, que soy de Finea 
 hermana y sangre ? 
 
 A vos sola, 510 
 
 que soys Sibila espaiiola, 
 
 no cumana, ni eritrea, * 
 
 a vos, por quien ya las Graeias 
 
LA DAM A BOB A 
 
 son qiiatro y las Musas diez, 
 
 es justo hazeros juez. 
 Nise. Si ygnoranzias, si desgracias 
 
 triixerades a juzgar, 
 
 era justa la eleccion. 
 Feniso. Vuestra rara discrezion, 
 
 ynposible de alabar, 
 
 file justamente elegida ; 
 
 oyd, seiiora, a Eduardo. 
 Nise. Baya el soneto ; ya aguardo, 
 
 aunqiie de yndigna corrida. 
 D liar do. La calidad elementar resiste 
 
 mi amor que a la virtud eeleste aspira, 
 y en las mentes angelicas se mira, 
 donde la ydea del calor consiste. 
 
 No ya como elemento el fuego viste 
 el alma ciiyo buelo al sol admira ; 
 que de ynferiores mundos se retira, 
 adonde el serafin ardiendo asiste. 
 
 No puede elementar fuego abrasarme. 
 La virtud celestial que viuifica, 
 enuidia el verme a la suprema alcarme ; 
 
 que donde el fuego angelico me aplica, 
 liComo podra mortal poder tocarme, 
 que eterno y sin contradiccion inplica? 
 Nise. Ni vna palabra entendi. 
 
 Duardo. Pues en parte se leyera, 
 
 que mas de alguno dixera 
 
 por arroganzia : — Yo si. 
 
 La yntencion, o el argumento, 
 
 es pintar a quien ya llega 
 
 libre del amor, que ciega 
 
 con luz del entendimiento, 
 
 a la alta contenplacion 
 
 de aquel puro amor sin fin, 
 
 donde es fuego al serafin. 
 
 515 
 
 520 
 
 525* 
 
 530 
 
 540 
 
 545 
 
1(>2 ACTO PBIMERO 
 
 Nisc. Arguinciito y ynteiizion 550 
 
 (|U('(la ciilcndido. 
 Laurcncio. ; I'l-ofiuulos 
 
 coiitji'ptos! 
 Fcniso. Mucho la escoiulcn. * 
 
 Duarilo. Tres fuegos que corresponden, 
 
 lierinosa Nise, a tres mundos, 
 
 dan fundamento a los otros. 555 
 
 Nise. Bien los podeys declarar. 
 
 Duardo. Calidad elementar 
 
 es el calor en nosotros ; 
 
 la celestial es virtud 
 
 que ealienta y que recrea, 560 
 
 y la angelica es la ydea 
 
 del calor. 
 Nisc. Con ynquietud 
 
 escucho lo que no entiendo. 
 Duardo. El eleniento en nosotros 
 
 es f uego. 
 Nise. ^Entendeys vosotros? 565 
 
 Duardo. El puro sol que estays viendo 
 
 en el cielo fuego es, 
 
 y fuego el entendimiento 
 
 serafico ; pero siento 
 
 que asi difieren los tres ; 570 
 
 que el que elementar se llama, 
 
 abrasa quando se aplica ; 
 
 el celeste viuifica, 
 
 y el sobreceleste ama. 
 Nise. No discurras, por tu vida ; 575 
 
 vete a escuelas. * 
 
 Duardo. Donde estas, 
 
 lo son. 
 Nise. Yo no escucho mas, 
 
 de no entenderte corrida. 
 
 Escriue facil ... 
 
Duardo. 
 
 Nisf. 
 
 Fcniso. 
 
 Duardo. 
 
 Feniso. 
 
 Duardo. 
 
 LA DAMA BOBA 163 
 
 a lo que en cosas diuinas 580 
 
 Platon, * 
 
 escriiiio, piiso cortinas ; 
 que tales, eomo estas, son 
 matemathicas figuras 
 y enigmas. 
 
 Oye, Laurenzio. 
 Ella OS ha puesto silenzio. [a Duardo] 585 
 
 Temio las cosas escuras. 
 Es muger. 
 
 La claridad * 
 
 a todos es agradable, 
 que se escriua, o que se liable. 
 
 Nise. 
 Laurencio 
 
 Nise. 
 
 Lau) 
 
 * Nise aparte 
 l Como va de voluntad ? 
 Como qiiien la tiene en ti. 
 Yo te la pago mui bien. 
 No traygas contigo quien 
 me eclipse el hablarte ansi. 
 Yo, seiiora, no me atrebo 
 por mi humildad a tus ojos ; 
 que dando en viles despojos 
 se af renta el rayo de Febo ; 
 pero, si quieres passar 
 al alma, hallarasla rica 
 de la fee que amor publica. 
 Vn papel te quiero dar ; 
 pero ^como podra ser, 
 que destos visto no sea ? 
 
 Laurencio. Si en lo que el alma dessea 
 me quieres faborezer, 
 mano y papel podre aqui 
 asir juntos atreuido, 
 como finjas que has cahido. 
 
 Nise. j Jesus! [cae] 
 
 Nise. 
 
 590 
 
 595 
 
 600 
 
 605 
 
164 
 
 ACTO PEIMEIiO 
 
 Laurcncio. ^Que cs eso? 
 
 Nise. Cahi. 610* 
 
 Laurcncio. Con las obras ri'.sj)on(liste. 
 
 Nise. Essas respond en mexor; 
 
 que no ay sin obras amor. 
 Laurcncio. Amor en obras consiste. 
 Nise. Laurencio mio, a Dios queda. 615 
 
 Duardo y Feniso, adios. 
 Duardo. Y tanta ventura a vos, 
 
 como hermosura os conceda. [entrensc Nise y Celia] 
 
 I Que OS ha dicho del soneto 
 
 Nisse ? 
 Laurencio. Que es mui estremado. 620 
 
 Duardo. Habreys los dos murmurado; 
 
 que hazeys versos en efeto. 
 Laurencio. Ya no es menester hazellos 
 
 para saber murmurallos ; 
 
 que se atrebe a censurallos, 625 
 
 quien no se atrebe a entendellos. 
 Feniso. Los dos tenemos que hazer; 
 
 licencia nos podeys dar. 
 Duardo. Las leyes de no estorbar 
 
 queremos obedezer. 630 
 
 Laurencio. Malicia es esa. 
 Feniso. No es tal. 
 
 La diuina Nise es vuestra, 
 
 o, por lo menos, lo muestra. 
 Laurencio. Pudiera, a tener ygual. 
 
 * Despidanse, y quede solo Laurencio. 
 Laurencio. Hermoso soys, sin duda, pensamiento, 635* 
 
 y aunque honesto tan bien, con ser hermoso, 
 si es calidad del bien ser probechoso, 
 vna parte de tres que os falta siento. 
 Nise, con vn diuino entendimiento, 
 
 OS enrriqueze de vn amor diehoso ; 640 
 
LA DAM A BOB A 165 
 
 mas soys de dueiio pobre, y es forzoso, 
 que en la necessidad falte el contento. 
 
 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, muderaos de sujeto ; 
 
 si voy neeio tras vos, y en yr me canso, 
 quail do vengays tras mi, sereys discreto. 
 
 * Entre Pedro, lacayo de Laurenzio 
 Pedro. i Que neeio andaua en buscarte 
 
 fuera de aqueste lugar ! 6^0 
 
 Laurencio. Bien me pudieras hallar 
 
 con el alma en otra parte. 
 Pedro. Luego ^, estas sin ella aqui? 
 
 Laurencio. Ha podido vn pensamiento 
 
 reducir su mobimiento 655 
 
 desde mi, fuera de mi. 
 
 ^No has visto que la saeta 
 
 del relox en vn lugar 
 
 firme siempre suele estar, 
 
 aunque nunca esta quieta, 660 
 
 y tal vez esta en la vna, 
 
 y luego en las dos esta ? 
 
 Pues assi mi alma ya, 
 
 sin hazer mudanza alguna 
 
 de la eassa en que me ves, 665 
 
 desde Nisse que ha querido 
 
 a las doze se ha subido, 
 
 que es numero de ynteres. * 
 
 Pedro. is Pues como es essa mudanza ? 
 
 Laurencio. Como la saeta soy, 670 
 
 que desde la vna voy 
 
 por lo que el eirculo alcanza. 
 
 Seiialaua a Nise. 
 Pedro. Si. 
 
166 ACTO PRIMKRO 
 
 Laurcncio. Piies ya senalo en Finea. 
 
 Pedro. i, Esso qiiieres que te crea ? 675 
 
 Laurcncio. /, Poi- que no, si ay causa? 
 
 Pedro. Di. 
 
 Laurencio. Nise es vna sola licnnosa, 
 
 Finea las doze son : 
 
 ora de mas bendiziou, 
 
 mas deseansada y copiosa. 680 
 
 En las doze el ofizial * 
 
 descansa, y bastale ser 
 
 ora entonzes de comer 
 
 tan precissa y natural. 
 
 Quiero decir que Finea 685 
 
 ora de sustento es, 
 
 euyo descanso j^a ves 
 
 quanto el honbre le dessea. 
 
 Denme pues las doze a mi, 
 
 que soy pobre, con muger, 690 
 
 que dandome de comer, 
 
 es la mexor para mi. 
 
 Nise es ora ynfortunada, * 
 
 donde mi planeta ayrado 
 
 de sestil y de quadrado 695 
 
 me mira con frente armada. 
 
 Finea es ora dichosa, 
 
 donde Jupiter benigno 
 
 me esta mirando de trino, 
 
 con aspecto y faz hermosa. TDo 
 
 Doyme a entender, que poniendo 
 
 en Finea mis cuidados, 
 
 a quarenta mil ducados 
 
 las manos voy preuiniendo. 
 
 Esta, Pedro, desde oy 705 
 
 j ha de ser enpressa mia. 
 Pedro. Para aprobar tu ossadia, 
 
 en vna sospecha estoy. 
 
LA DAMA BOBA 167 
 
 Laiirencio. ^Qual? 
 
 Pedro. Que te has de arrepentir 
 
 por ser sinple esta muger. 710 
 
 Laurencio. ^. Quien has visto de comer, 
 
 de descansar y vestir 
 
 arrepentido xamas ? 
 
 Plies esto viene eon ella. 
 Pedro. i,A Nise discreta y bella, 715 
 
 Laurenzio, dexar podras 
 
 por vna boba ynorante ? 
 Laurencio. ; Que ynorante niaxadero! 
 
 ^No ves que el sol del dinero * 
 
 va del yngenio adelante? 720 
 
 El que es pobre, ese es tenido 
 
 por sinple, el rico por sabio. 
 
 No ay en el nazer agrabio, 
 
 por notable que aya sido, 
 
 que el dinero no le encubra ; 725 
 
 ni ay falta en naturaleza, 
 
 que con la mucha pobreza 
 
 no se aumente y se descubra. 
 
 Desde oy quiero enamorar 
 
 a Finea. 
 Pedro. He sospechado 730 
 
 que a vn yngenio tan cerrado, 
 
 no ay puerta por donde entrar. 
 Laurencio. Yo se qual. 
 Pedro. Yo no, por Dios. 
 
 Laurencio. Clara, su boba criada. 
 Pedro. Sospecho que es mas taymada 735 
 
 que boba. 
 Laurencio. Demos los dos 
 
 en enamorarlas. 
 Pedro. Creo 
 
 que Clara sera terzera 
 
 mas facil. 
 
168 
 
 ACTO. PEIMEEO 
 
 Laurcncio. Desa inaiiera, 
 
 seffiiro va mi desseo. 
 
 740 
 
 Pedro. 
 
 Laurcncio. 
 
 Pedro. 
 
 Laurcncio. 
 
 Pedro. 
 
 Laurcncio. 
 
 Finea. 
 
 iMurcncio. 
 
 Finca. 
 
 Laurcncio. 
 
 Finea. 
 
 Laurcncio. 
 
 Finea. 
 
 * [Salgan] Finea y Clara 
 Ellas vienen ; disimiila. 
 Si puede ser en mi mano. 
 i Que lia de poder vn eristiano 
 enamorar vna mula ! 
 Linda eara y talle tiene. 
 ; Asi fuera el alma ! 
 
 Agora 
 conozeo, liermosa sefiora, 
 que no solamente viene 
 el sol de las orientales 
 partes, pues de vuestros ojos 
 sale con rayos mas rojos, 
 y luzes piramidales. 
 Pero si, quando salis, 
 tan grande fuerza traheys, 
 al mediodia i que hareys ? 
 Comer, como vos dezis, 
 no piramides ni peros, 
 sino eosas probechosas. 
 Esas estrellas hermosas, 
 esos nocturnes luzeros 
 me tienen fuera de mi. 
 Si vos andays con estrellas, 
 ^que mucho que os traygan ellas 
 arromadizado ansi ? 
 Acostaos sienpre tenprano, 
 y dormid con tocador. 
 ^No entendeys que os tengo amor 
 puro, onesto, linpio y llano? 
 ^Que es amor? 
 
 I, Amor ? Desseo. 
 ^De que? 
 
 745 
 
 750 
 
 r55 
 
 roo 
 
780 
 
 LA DAM A BOB A 
 
 Laurencio. De vna cossa ennosa. 
 
 Finea. ^Es oro? ^es diamante? ^es cosa 
 
 destas que mui lindas veo? 
 Laurencio. No, siiio de la hermosura 
 
 de vna muger como vos, 
 
 que, como lo ordena Dios, 
 
 para buen fin se procura ; 
 
 y esta, que vos la teneys, 
 
 engendra desseo en ml. 
 Finea. Y yo ^que he de hazer aqui, 
 
 si se que vos me quereys? 
 Laurencio. Quererme. ^No habeys oydo 
 
 que amor con amor se paga ? 
 Finea. No se yo como se haga, 
 
 porque nunca yo he querido, 
 
 ni en la cartilla lo vi, 785 
 
 ni me lo enseiio mi madre. 
 
 Preguntarelo a mi padre , . . 
 Laurencio. Esperaos, que no es ansi. 
 Finea. ^Pues como? 
 
 Laurencio. Destos mis ojos 
 
 saldran vnos rayos vivos, 790 
 
 como espiritus visiuos, 
 
 de sangre y de fuego rojos, 
 
 que se entraran por los vuestros. 
 Finea. No, seiior ; arriedro bay a 
 
 cossa en que espiritus aya. 795 
 
 Laurencio. Son los espiritus nuestros, 
 
 que juntos se han de encender, 
 
 y causan vn dulce fuego, 
 
 con que se pierde el sosiego, 
 
 hasta que se viene a ver 800 
 
 el alma en la posicion, 
 
 que es el fin del cassamiento; 
 
 que con este santo yntento 
 
 justos los amores son, 
 
ACTO PniMERO 
 
 FiiK a. 
 
 P,drn. 
 
 Clara. 
 Pedro. 
 Clara. 
 Pedro. 
 
 Clara. 
 Pedro. 
 
 Clara. 
 
 Finea. 
 Tjaurencio. 
 
 Finea. 
 
 Laurencio. 
 Finea. 
 
 Laurencio. 
 
 Finea. 
 
 Laurencio. 
 
 porque el alma (iiu' yo tciigo 
 
 a viiostro ])('t'lio se ])assa. 
 
 ; Taiito jiasa (juicii sc cassa ? 
 
 ("on I'l. eoino os digo, vengo 
 
 tan niuerto por vuestro amor, 
 
 que aquesta ocasion busque. [a Clara] 
 
 I Que es amor ? que no lo se. 
 
 ^, Amor? locura, furor. 
 
 ^Pues loca tengo de estar? 
 
 Es vna dulce locura, 
 
 por quien la mayor cordura 
 
 suelen los hombres trocar. 
 
 Yo lo que mi ama hiziere, 
 
 eso hare. 
 
 Cieneia es amor, 
 que el mas rudo labrador 
 a poeos cursos la adquiere. 
 En eomenzando a querer, 
 enferma la voluntad 
 de vna dulce enfermedad. 
 No me la mandes tener, 
 que no he tenido en mi vida 
 sino solos sabaiiones. 
 Agradanme las lieiones. 
 Tu veras, de mi querida, 
 como has de quererme aqui, 
 que es luz del entendimiento 
 amor. 
 
 Lo del eassamiento 
 me quadra. 
 
 Y me inporta a mi. 
 I Pues llebarame a su cassa, 
 
 y tendrame alia tanbien ? 
 Si, seiiora. 
 
 Y I eso es bien ? 
 Y mui justo en quien se cassa. 
 
 810 
 
 815 
 
 830^ 
 
 835 
 
LA DAM A BOB A 
 
 171 
 
 Finea. 
 
 Laurencio. 
 
 Finea. 
 
 Laurencio. 
 
 Finea. 
 
 Laurencio. 
 
 Finea. 
 
 Clara. 
 
 Pedro. 
 
 Clara. 
 Finea. 
 
 Clara. 
 
 Fini 
 
 Viiestro padre y vuestra madre 
 cassados fueroii ansi : 
 deso nacistes. 
 
 feYo? 
 
 Si. 
 Qiiando se casso mi padre, 
 I no estaua yo alii tan poco ? 
 i Ay seme j ante ygnoranzia ! 
 Sospecho que esta gananzia 
 camina a bolberme loco, [aparte] 
 Mi padre pienso qne viene. 
 Pues voyme : aeordaos de mi. 
 Que me plaze. [entrese Laurenzio] 
 Fuesse. 
 
 Si. 
 Y seguirle me eonviene. 
 
 Tenedme en vuestra memoria. [entrese Pedro] 
 Si OS vays ^ eomo ? 
 
 ^Has visto, Clara, 
 lo que es amor ? i, Quien pensara 
 tal cosa? 
 
 No ay pepitoria 
 que tenga mas menudenzias 
 de manos, tripas y pies. 
 Mi padre, como lo ves, 
 anda en mil inpertinenzias. 
 Tratado me ha de cassar 
 con vn caballero yndiano. 
 seuillano o toledano. 
 Dos vezes me vino a hablar, 
 y esta postrera saco 
 de vna carta vn naypecito 
 mui repulido y bonito, 
 y luego que le miro, 
 me dixo: "Toma, Finea; 
 ese es tu marido." Y fuesse. 
 
 840 
 
 845 
 
 855 
 
 865 
 
ACTO PIUMKEO 
 
 Fined. 
 Clara. 
 Finea. 
 
 Clara. 
 
 Finea. 
 Clara. 
 
 Finea. 
 
 Clara. 
 
 Yo eoino en fin no supiesse 
 esto de cassar que sea, 
 tome el negro del marido, 
 que no tiene mas de cara, 
 cuera y ropilla ; mas, Clara, 
 jque ynporta que sea pulido 
 este marido, o quien es, 
 si todo el euerpo no passa 
 de la pretina? Que en casa 
 ninguno sin piernas ves. 
 Pardiez, que tienes razon. 
 feTienesle ay? 
 
 Vesle aqui. Saca vn ret rat o 
 I Buena cara y euerpo ! 
 
 Si. 
 Mas no passa del jubon. 
 Luego este no podra andar. 
 i Ay, los ojitos que tiene ! 
 Senor con Nise . . . 
 
 i, Si viene 
 a easarte 1 
 
 No ay cassar ; 
 que este que se va de aqui 
 tiene piernas, tiene traza. 
 Y mas, que con perro caza ; 
 que el mozo me muerde a mi. 
 
 870 
 
 875 
 
 880 
 
 885 
 
 * Entre Otahio con Nise 
 Otabio. Por la calle de Toledo 
 
 dizen que entro por la posta. 
 Nise. ^Pues como no llega ya? 
 
 Otahio. Algo por dicha acomoda. 
 
 Tenblando estoy de Finea. 
 Nise. Aqui esta, senor, la nobia. 
 
 Otabio. Hija, /,no sabes? 
 
 Nise. No sabe ; 
 
 que esa es su desdicha toda. 
 
 890 
 
 895 
 
LA DAMA BOBA 173 
 
 Otahio. Ya esta en Madrid tii marido. 
 
 Finca. Sienpre tu memoria es poca: 
 
 I no me le diste en vn naype ? 
 Otahio. Esa es la figura sola, 900 
 
 que estaua en el retratado ; * 
 
 que lo vino viene agora. 
 
 * Celia entre 
 
 Cclia. Aqui esta el senor Lisseo, 
 
 apeado de vnas postas. 
 Otahio. Mira, Finea, que estes 905 
 
 mni prudente, y mui seiiora. 
 
 Llegad sillas y almohadas. * 
 
 * [Salgan] Lisseo, Turin y criados 
 Lisco. Esta licencia se toma 
 
 quien viene a ser hijo vuestro. 
 Otahio. Y quien viene a darnos onrra. 910 
 
 Lisco. Agora seiior, decidme ; 
 
 l quien es de las dos mi esposa ? 
 Finca. Yo: pio lo ve? 
 
 Lisco. Bien raerezco 
 
 los brazos. 
 Finea. ^Luego no inporta? 
 
 Otahio. Bien le puedes abrazar. 915 
 
 Finea. Clara . . . 
 
 Clara. i Sefiora ? 
 
 Finca. Aun agora 
 
 biene con piernas y pies. 
 Clara. Esto ^ es burla o xerigonza ? * 
 
 Finca. El verle de medio arriba 
 
 me daba mayor congoxa. 920 
 
 Otahio. Abrazad vuestra cunada. 
 
 Lisco. No fue la fama enganosa. 
 
 que hablaua en vuestra hermosura. * 
 
 Nise. Soy mui vuestra servidora. 
 
]74 
 
 ACTO rUIMEKO 
 
 Lisfo. 
 
 Lo que es el eiiti'iKliiiiicnto, 
 
 
 a toda Espafia alhorota. 
 
 
 La diuina Nise os llaman ; 
 
 
 soys discreta coino hermosa, 
 
 
 y hennosa con miicho estrerao. 
 
 Fiiua. 
 
 <= Plies como reqiiiebra a esotra, 
 
 
 si viene a ser mi marido ? 
 
 
 I No es mas necio ? . . . 
 
 Ofahio. 
 
 Calla, loca, 
 
 
 Sentaos, hijos, per mi vida. 
 
 Liseo. 
 
 Turin . . . 
 
 Turin. 
 
 l Seiior ? 
 
 Liseo. 
 
 Linda tonta. 
 
 Otahio. 
 
 I Como venis del camino ? 
 
 Liseo. 
 
 Con los desseos enoja ; 
 
 
 que sienpre le hazen mas largo. 
 
 Finea. 
 
 Ese macho de la noria 
 
 
 pudierays haber pedido, 
 
 
 que anda como vna persona. 
 
 Xise. 
 
 Calla, hermana. 
 
 Finea. 
 
 Callad vos. 
 
 Nise. 
 
 Aunque hermosa y virtuosa, 
 
 
 es Finea deste humor. 
 
 Liseo. 
 
 Turin, ^traxiste las joyas? 
 
 Turin. 
 
 No ha llegado nuestra gente. 
 
 Liseo. 
 
 i Que de olvidos se perdonan 
 
 
 en vn camino a criados ! 
 
 Finea. 
 
 i JoA^as traheys ? 
 
 Turin. 
 
 Y le sobra 
 
 
 de las joyas el principio. 
 
 
 tanto el jo se le acomoda. [aparte] 
 
 Otahio. 
 
 Calor traheys. /.Quereys algo? 
 
 
 I Que OS aflixe ? ^ Que os congoxa ? 
 
 Liseo. 
 
 Agua quisiera pedir. 
 
 Otahio. 
 
 Haraos mal el agua sola. 
 
 
 Traygan vna caxa. 
 
 925 
 
 930 
 
 935 
 
 940 
 
 945 
 
LA DAM A BOB A 
 
 Finea. A fee, 
 
 que si como viene agora 
 
 fuera el sabado passado, 
 
 que hizimos, yo y esa moza, 
 
 vn menudo . . . 
 Otahio. Calla, nezia. 
 
 Finea. Mucha espeeia, linda cossa. 
 
 * Entren con agua, toalla, salha ij vna caxa. 
 
 Cclia. El agua esta aqui. 
 
 Otahio. Corned. 
 
 Liseo. El verla, seiior, proboca, 
 
 porque con su risa dize 
 
 * que la beba, y que no coma. Beha. 
 Finea. El bebe como vna mula. 
 
 Turin. Buen requiebro. [aparte] 
 
 Otahio. I Que enfadosa 
 
 que estas oy ! Calla, si quieres. 
 Finea. Aun no habeys dexado gota. 
 
 Esperad : os linpiare. 
 Otahio. Pues Itii le linpias? 
 
 Finea. ^, Que ynporta ? 
 
 Liseo. Media barba me ha quitado ; 
 
 lindamente me enamora. [aimrtc] 
 Otahio. Que descanseys es razon. 
 
 Quiero, pues no se reporta, 
 
 llebarle de aqui a Finea. 
 Liseo. Tarde el descanso se cobra, 
 
 que en tal desdicha se pierde. [aparte] 
 Otahio. Aora bien : entrad vosotras, 
 
 y aderezad su apossento. 
 Finea. Mi cama pienso que sobra 
 
 para los dos. 
 Nise. feTu no ves 
 
 que no estan echas las bodas? 
 Finea. Pues ^ que jaiporta ? 
 
 175 
 955 
 
 965 
 
 970 
 
 980 
 
ACTO PFIMEHO 
 
 Nisc. 
 
 Finra. 
 
 Nisr. 
 
 Finca. 
 
 Lisco. 
 
 Otabio. 
 
 Liseo. 
 
 Turin. 
 Liseo. 
 
 Turin. 
 
 Liseo. 
 
 Veil eonniisro. 
 
 ^Alla dentro? 
 
 Si. 
 
 Turin. 
 Liseo. 
 
 Adios. i Ola ! 
 Las del mar do mi desdicha 
 me anegan entre sus ondas. [apart e] 
 Yo tanbien, hijo, me voy, 
 para prebenir las eosas, 
 que para que os desposeys 
 con mas aplauso me tocan. 
 Dios OS guarde. 
 
 No se yo 
 de que manera disponga 
 mi desbentura. [Ay de mil [aparte] 
 
 Todos se van; queden Liseo y Turin. 
 feQuieres quitarte las botas? 
 No, Turin, sino la vida. 
 i, Ay boba tan espantosa ? 
 Lastima me ha dado a mi, 
 eonsiderando que ponga 
 en vn cuerpo tan hermoso 
 el eielo vn alma tan loca. 
 Aunque estubiera eassado 
 por poder en causa propia, 
 me pudiera descassar. 
 La ley es liana y notoria, 
 pues coneertando muger 
 con sentido, me desposan 
 con vna bestia del canpo, 
 con vna villana tosca. 
 Luego I, no te cassaras? 
 i Mai aya la hazienda toda 
 que con tal pension se adquiere, 
 que con tal eenso se toma ! 
 Demas que aquesta muger, 
 
 9S5 
 
 990 
 
 995 
 
 1000 
 
 1005 
 
 1010 
 
LA DAMA BOBA 177 
 
 si bien es hermosa y moza, 
 
 I, que piiede parir de mi, 1015 
 
 sino tigres, leones y onzas? 
 Turin. Eso es engaiio; que vemos 
 
 por esperieneias y historias 
 
 mil hijos de padres sabios, 
 
 que de necios los desonrran. 1020 
 
 Liseo. Verdad es que Ciceron . * 
 
 tubo a Marco Tulio en Roma, 
 
 que era vn caballo, vn camello. 
 Turin. De la raisma suerte consta 
 
 que de necios padres suele 1025 
 
 salir vna fenis sola. 
 Liseo. Turin, por lo general, 
 
 y es consequenzia forzosa, 
 
 lo semejante se engendra. 
 
 Oy la palabra se ronpa, 1030 
 
 rasganse cartas y firmas; . * 
 
 que ningun tesoro conpra * 
 
 la libertad. Aun, si fuera 
 
 Nise . . . 
 Turin. i que bien te reportas ! 
 
 Dizen que si a vn honbre ayrado, 1035 
 
 que colerico se arroja, 
 
 le pusiessen vn espejo, 
 
 en mirando en el la sonbra 
 
 que representa su cara, 
 
 se tienpla y desapasiona. 1040 
 
 Assi tu, como tu gusto 
 
 rairaste en su liermana bermosa, 
 
 — que el gusto es cara del alma, 
 
 pues su libertad se nonbra — 
 
 luego tenplaste la tuya. 
 Liseo. Bien dizes, porque ella sola 
 
 el enojo de su padre, 
 
 que, como ves, me alborota, 
 
 me puede quitar, Turin. 
 
 1045 
 
178 ACTO PIUMEBO 
 
 Turin. i Quo no ay que tratar tie esotra ? 1050 
 
 List a. iPues he de dexar la vida 
 
 por la niuerte temerosa, 
 
 y por la noche enlutada 
 
 el sol que los cielos dora, 
 
 por los aspides las aves, 1055 
 
 por las espinas las rosas, 
 
 y por vn demonio vn angel ? 
 Turin. Digo que razon te sobra: 
 
 que no esta el gusto en el oro ; 
 
 que son el oro y las oras 1060 
 
 mui dibersas. 
 Lisco. Desde a(]ui 
 
 renunzio la dama boba. 
 Fin del prime ro acta dc la Dama boba 
 
LA DAMA BOBA 179 
 
 SEGUNDO ACTO DE LA DAMA BOBA 
 
 PERSONAS DEL SEGUNDO ACTO 
 
 Duardo 
 
 Laurenzio 
 
 Feniso 
 
 Lisseo 
 
 Nisse 
 
 Qelia 
 
 Clara 
 
 Finea 
 
 Pedro 
 
 Turin 
 
 Otauio 
 
 Vn maestro de danzar 
 
 Rdhrica de Lope de Vega 
 
 AcTO Segundo 
 Duardo, Laiirencio, Feniso 
 
 Feniso. En fin ha passado vn mes, 
 
 y no se cassa Lisseo. 
 Duardo. No sienpre muebe el desseo 
 
 el codizioso ynteres. 
 Laurcncio. De Nise la enfermedad 
 
 ha sido causa bastante. 
 Feniso. Ver a Finea ignorante 
 
 tenplara su voluntad. 
 Laurencio. Menos lo esta que solia. 
 
 Temo que amor ha de ser 
 
 artificioso a enzender 
 
 piedra tan elada y fria. 
 Duardo. Tales milagros ha hecho 1075 
 
 en gente rustica amor. 
 
 1070 
 
180 ACTO SEGUNDO 
 
 Fcniso. No se tendra por monor 
 
 dar alma a su rudo pecho, 
 Laurcncio. Amor, scnorcs, ha sido 
 
 atiuel ingenio profundo, lOSO 
 
 que llaman alma del mundo, 
 
 y es el dotor que ha tenido * 
 
 la catreda de las eienoias, * 
 
 porque solo con amor 
 
 aprende el honbre mexor 1085 
 
 sus diuinas diferenzias. 
 
 Assi lo sintio Plat on ; * 
 
 esto Aristoteles dijo, 
 
 que como del cielo es hijo, 
 
 es todo contenplazion. 1090* 
 
 (El'desseo de saber, 
 
 que es al honbre natural, 
 
 enseiia con fuerza ygual) 
 
 Delia nazio el admirarse, 
 
 y de admirarse nazio 
 
 el filosophar que dio 
 
 luz con que pudo fundarse 
 
 toda eieneia artificial. 1095 
 
 Y a amor se ha de agradezer 
 
 que el desseo de saber 
 
 es al hombre natural. 
 
 Amor con fuerza suaue * 
 
 dio al honbre el saber sentir, lioo 
 
 dio leyes para viuir, '^ 
 
 politico, honesto y graue. 
 
 Amor republicas hizo ; 
 
 que la concordia nazio 
 
 de amor, con que a ser boluio 1105 
 
 lo que la guerra desizo. 
 
 Amor dio lengua a las aves, 
 
 vistio la tierra de frutos, 
 
 y como prados enxutos. 
 
LA DAMA BOBA 
 
 ronpio el mar con fiiertes naues. 
 
 Amor enseiio a escriiiir 
 
 altos y dulees concetos, 
 
 como de su causa effetos ; 
 
 amor enseiio a vestir 
 
 al mas rudo, al mas grosero ; 
 
 de la eleganzia fue amor 
 
 el maestro, el ynbentor 
 
 fue de los versos primero ; 
 
 la musica se le debe, 
 
 y la pintura ; pues, i quien 
 
 dexara de saber bien, 
 
 como sus effetos pruebe? 
 
 No dudo de que a Finea, 
 
 como ella comienze a amar, 
 
 la dexe amor de enseiiar, 
 
 por ymposible que sea. 
 
 Feniso. Esta bien pensado ansi, 
 
 y su padre lleba yntento 
 por dicha en el cassamiento 
 que ame y sepa. 
 
 Duardo. Y yo de aqui, 
 
 ynfamando amores locos, 
 en linpio vengo a sacar, 
 que pocos deben de amar 
 en lugar que saben pocos. 
 
 Feniso. i Linda malicia ! 
 
 Laurencio. Estremada. 
 
 Feniso. Difieil cosa es saber. 
 
 Laurencio. Si; pero facil creher 
 
 que sabe el que poco o nada. 
 
 Feniso. \ Que diuino entendimiento 
 
 tiene Nise ! 
 
 Duardo. (^'elestial. 
 
 Feniso. i Como, siendo necio el mal, 
 
 ha tenido atreuimiento 
 
 181 
 1110 
 
 1115 
 
 1120 
 
 1125 
 
 1130 
 
 1135 
 
 1140 
 
182 AC TO SEGVNDO 
 
 \)i\vd ha/crlc cstos agrabios, 
 
 de tal yiigeiiio dospreq-ios ? 
 Laurcncio. Porque de sufi-ir a iieeios ll-^-'J 
 
 sueleii eiiferinar los sabios. 
 Duardo. Ella viene. 
 F( iiiso. Y eon razon 
 
 se alegra qiiaiito la niira. 
 
 * [Salgan] Nise y Cclia 
 
 Nisc. IMucho la historia me adinira. [a Celia] 
 
 Cclia. Ainores pienso que son, 1150 
 
 fundados en el dinero. 
 Nisc. Nunca fundo sii balor 
 
 sobre dineros amor, 
 
 que busea el alma primero. 
 Duardo. Seiiora, a vuestra salud 1155 
 
 oy quantas cosas os ven 
 
 dan alegre parabien, 
 
 y tienen vida y quietud ; 
 
 que como vuestra virtud 
 
 era el sol que se la dio, 1160 
 
 mientras el mal le eclipso, 
 
 tanbien lo estuuieron ellas; 
 
 que hasta ver vuestras estrellas 
 
 fortuna el tiempo corrio. * 
 
 Mas como la primavera li65 
 
 sale eon pies de marfil, 
 
 y el vario velo sutil 
 
 tiende en la verde ribera ; 
 
 corre el agua lisongera, 
 
 y estan rinendo las flores 1170 
 
 sobre tomar las colores. ' * 
 
 Assi vos salis, trocando 
 
 el triste tiempo, y senbrando 
 
 en canpos de almas, amores. 
 Feniso. Ya se rien estas fuentes, 1175* 
 
LA DAM A BOB A 18: 
 
 y son perlas las que fueron 
 lagrimas, con que sintieron 
 esas estrellas ausentes ; 
 y a las aues sus corrientes 
 
 hazen instrumentos claros 1180 
 
 con que quieren celebraros. 
 Todo se anticipa a veros, 
 y todo yntenta ofrezeros 
 con lo que puede alegraros. 
 
 Pues si con veros hazeys ^^^^ 
 
 tales effetos agora, 
 donde no ay alma, seiiora, 
 mas de la que vos poneys, 
 en mi i que muestras hareys, 
 
 que senales de alegria 1190 
 
 este venturoso dia, 
 despues de tantos enojos, 
 siendo vos sol de mis ojos, 
 siendo vos alma en la mia ? 
 Laurencio. A estar sin vida lleg[u]e 1195 
 
 el tiempo que no os serui ; 
 que fue lo mas que senti, 
 aunque sin mi culpa fue. 
 Yo vuestros males pase, 
 
 como cuerpo que animals; 1200 
 
 vos mouimiento me days ; 
 yo soy instrumento vuestro, 
 que en mi vida y salud muestro 
 todo lo que vos passays. 
 
 Parabien me den a mi 1205 
 
 de la salud que ay en vos, 
 pues que pasamos los dos 
 el mismo mal en que os vi ; 
 solamente os offend i, 
 
 aunque la disculpa os muestro, 1210 
 
 en que este mal que fue nuestro. 
 
184 ACTO SEGUNDO 
 
 solo tenerle debia, 
 
 no vos, que soys alma inia ; 
 
 yo si, que soy cuerpo vuestro. 
 Nisc. Pienso que de oposieion 1215 
 
 me days los tres parabien. 
 Laurcncio. Y es bien, pues lo soys por (luicu 
 
 viuen los que vuestros son. 
 Nise. Diuertios, por mi vida, 
 
 cortandome algunas flores 1220 
 
 los dos, pues con sus colores 
 
 la diferenzia os conuida 
 
 deste jardin, porque quiero 
 
 hablar a Laurenzio vn poco. 
 Duardo. Quien ama y sufre, o es loco, 1225 
 
 o necio. 
 Fcniso. Tal premio espero. 
 
 Duardo. No son vanos mis recelos. 
 Feniso. Ella le quiere. 
 
 Duardo. Yo hare 
 
 vn ramillete de fee, 
 
 pero sembrado de celos. 1230 
 
 [Entrense Fcniso y Duardo] 
 Laurencio. Ya se ban ydo. ^Podre yo, 
 
 Nise, con mis brazos darte 
 
 parabien de tu salud? 
 Nise. Desbia, fingido, facil, 
 
 lisongero, engailador, 1235 
 
 loco, inconstante, mudable 
 
 honbre, que en vn mes de ausencia, 
 
 — que bien mereze llamarse 
 
 ausenzia la enfermedad — 
 
 el pensamiento mudaste. . 1240 
 
 Pero mal dixe en vn mes, 
 
 porque puedes disculparte 
 
 con que crehiste mi muerte, 
 
LA DAMA BOBA 18; 
 
 y si mi miierte pensaste, 
 
 con gracioso sentimiento 12^5 
 
 pagaste el amor que sabes, 
 
 mudando el tiiyo en Finea. 
 Laurencio. ^Quedizes? 
 Nise. Pero bien hazes: 
 
 tu eres pobre, tii discreto, 
 
 ella rica y ygnorante ; ^250 
 
 buscaste lo que no tienes, 
 
 y lo que tienes dexaste. 
 
 Diserezion tienes, y en mi 
 
 la que celebrauas antes 
 
 dexas con mucha razon ; 1--55 
 
 que dos yngenios yguales 
 
 no conozen superior. 
 
 Y ^por dicha, ymaginaste 
 
 que quisiera yo el ynperio 
 
 que a los honbres debe darse? 
 
 El oro que no tenias, 
 
 tenerle solicitaste 
 
 enamorando a Finea. 
 Laurencio. Escucha. 
 
 Nise. is Que he de escucharte ? 
 
 Laurencio. i Quien te ha dicho que yo he sido 
 
 en vn mes tan inconstante? 
 Nise. ^Parezete poco vn mes? 
 
 Yo te disculpo, no hables ; 
 
 que la luna esta en el cielo 
 
 sin intereses mortales, 
 
 y en vn mes, y aun algo menos, 
 
 esta creziente y menguante. 
 
 Tu en la tierra, y de Madrid, 
 
 donde ay tantos vendabales 
 
 de ynteresses en los honbres, 
 
 no fue milagro mudarte. 
 
 Dile, Qelia, lo que has visto. 
 
 1260 
 
 1270 
 
18:5 ACTO SKaiNDO 
 
 ('did. Ya, Laurcn/io. no tc cspantes, 
 
 de (luo Nise, mi senora, 
 
 desta manera te trate. 1280 
 
 Yo se (lue lias dielio a Finea 
 
 reqiiiebros. 
 Laurciicio. \ Que ine lebantes, 
 
 i^elia, tales testimonios! 
 Cclia. Til sabes que son verdades; 
 
 y no solo tu a mi dueiio 1285 
 
 yngratamente pagaste, 
 
 pero tu Pedro, el que tiene 
 
 de tus seeretos las llabes, 
 
 ama a Clara tiernamente. 
 
 I Quieres que mas te declare ? 1290 
 
 Laurencio. Tus celos ban sido, Celia, 
 
 y quieres que yo los pag[u]e. 
 
 i, Pedro a Clara, aquella boba ? 
 Nise. Laurenzio, si le enseiiaste, 
 
 l por que te af rentas de aquello 1-95 
 
 en que de ciego no caes ? 
 
 Astrologo me parezes ; * 
 
 que sienpre de agenos males, 
 
 sin reparar en los suyos, 
 
 largos pronosticos hazen. 1300 
 
 i Que bien enpleas tu ingenio ! 
 
 "De Nise confieso el talle, 
 
 mas no es solo el esterior ^ 
 
 el que obliga a los que saben. ' ' 
 
 i quien os oyera juntos ! 1305 
 
 Debeys de hablar en romanzes, 
 
 porque vn discreto y vn neeio * 
 
 (hablando son-sonantes 
 
 al fin? tendreys correspondenzia) 
 
 no pueden ser eonsonantes. * 
 
 i Ay, Laurencio, que buen pago 
 
 de fee v amor tan notable ! 1310 
 
LA DAM A BOB A 
 
 187 
 
 Laurencio. 
 
 Nise. 
 
 Laurencio. 
 
 Bieii dizeii, quo a los aniigos 
 prueba la cama y la carzel. 
 Yo enferme de mis tristezas, 
 y de no verte ni hablarte, 
 sangraronme muchas vezes. 
 i Bien me alegraste la sangre ! 
 Por regalos tuyos tube 
 mudanzas, trayciones, fraudes, 
 pero, pues tan duros fueron, 
 di que me diste diamantes. 
 Aora bien : esto cesso. 
 Oye, aguarda. 
 
 I Que te aguarde 1 
 Pretende tu riea boba, 
 aunque yo hare que se easse 
 mas presto que tu lo piensas. 
 Seilora . . . 
 
 1315 
 
 1320 
 
 1325 
 
 « 
 
 Entre Liseo, y asga Laurenzio a Nisse 
 
 Liseo. 
 
 Esperaua tarde 
 
 
 los dessenganos ; mas ya 
 
 
 no quiere amor que me engaiie. [apart e] 
 
 Nise. 
 
 i Suelta ! 
 
 Laurencio. 
 
 No quiero. 
 
 Liseo. 
 
 feQue es esto? 
 
 Nise. 
 
 Dize Laurenzio que rasg[u]e 
 
 
 vnos versos que me dio 
 
 
 de cierta dama ynorante, 
 
 
 y yo digo que no quiero. 
 
 Laurencio. 
 
 Tu podra ser que lo aleanzes 
 
 
 de Nisse. Ruegalo tu. 
 
 Liseo. 
 
 Si algo tengo que rogarte, 
 
 
 haz algo por mis memorias, 
 
 
 y rasga lo que tu sabes. 
 
 Nise. 
 
 Dexadme los dos. [Vayanse Nise y Celia 
 
 Laurencio. 
 
 \ Que ayrada ! 
 
 1330 
 
 1335 
 
188 
 
 ACTO SEGUNDO 
 
 Lisco. 
 
 Yo uie espanto que te trate 
 
 
 con estos rigores Nisse, 
 
 Lauren CIO. 
 
 Plies, Lisseo, no te espantes ; 
 
 
 que es defeto en los diseretos 
 
 
 tal vez el no ser afables. 
 
 Liseo. 
 
 I Tienes (jue hazer ? 
 
 Laurencio. 
 
 Poco nada. 
 
 Lisco. 
 
 Pues bamonos esta tarde 
 
 
 por el Prado arriba. 
 
 Laurencio. 
 
 Vamos 
 
 
 dondequiera que tu mandes. 
 
 Liseo. 
 
 Detras de los Recoletos 
 
 
 quiero hablarte. 
 
 Laurencio. 
 
 Si el hablarme 
 
 
 no es con las lenguas que dizen. 
 
 
 sino con lenguas que hazen. 
 
 
 aunque me espanto que sea, 
 
 
 dexare cauallo y pajes. 
 
 Liseo. 
 
 Bien puedes. [Entrese] 
 
 Jjaurencio. 
 
 Yo voy tras ti. 
 
 
 i Que celoso y que arrogante ! 
 
 
 Finea es boba, y, sin dud a, 
 
 
 de haberle contado, naze, 
 
 
 mis amores y papeles. 
 
 
 Ya para consejo es tarde ; 
 
 
 que deudas y desafios 
 
 
 a que los honrrados salen, 
 
 
 para tranpas se dilatan, 
 
 
 y no es bien que se dilaten. [Vai/a 
 
 * Ruhrica dc Lope de Vega 
 
 1340 
 
 1345 
 
 1350 
 
 1355 
 
 1360 
 
 [Salgan] rn Maestro de danzar, y Finea. 
 Maestro. f, Tan presto se cansa ? 
 Finea. Si. 
 
 Y no quiero danzar mas. 
 Maestro. Como no danza a conpas, 
 base enfadado de si. 
 
 1365 
 
LA DAMA BOBA 
 
 189 
 
 Finea. 
 
 Maestro. 
 
 Finea. 
 Maestro. 
 Finea. 
 Maestro. 
 
 Finea. 
 
 Maestro. 
 Finea. 
 
 Maestro. 
 
 Finea. 
 Maestro. 
 
 Finea. 
 
 Por poeo diera de oeicos 
 
 saltando ; enfadada vengo. 
 
 i, Soy yo urraca que andar tengo 
 
 por cassa dando salticos? 
 
 Vn paso, otro contrapaso, 
 
 floretas, otra floreta . . . 
 
 i Q^^e locura ! 
 
 i Que ynperfeta 
 cossa, en vn liermoso vasso 
 poner la naturaleza 
 licor de vn alma tan ruda ! 
 Con que yo salgo de duda 
 que no es alma la belleza. [aparte] 
 Maestro . . . 
 
 ^ Seiiora mia t 
 Trae maiiana vn tanboril. 
 Esse es instrumento vil, 
 aunque de mucha alegria. 
 Que soy mas afizionada 
 al cascabel, os eonfiesso. 
 Es mui de caballos esso. 
 Hazed vos lo que me agrada, 
 que no es mucha rustiqueza 
 el trahellos en los pies. 
 Harto peor pienso que es 
 trahellos en la cabeza. 
 Quiero seguirle el humor, [aparte] 
 Yo hare lo que me mandays. 
 Yd danzando quando os bays. 
 Yo OS agradezco el fabor, 
 pero llebare tras mi 
 mucha gente. 
 
 Vn pastelero, 
 vn sastre, y vn capatero 
 f.lleban la gente tras si? 
 
 1380 
 
 1385* 
 
 1395 
 
 1400 
 
190 ACTO SEGUNDO 
 
 M<i(stro. Xo: pci-o tan poco ellos 
 1)01- la ealle haziendo van 
 
 siis officios. 
 Finra. iKo i)odraii, 
 
 si quieren ? 
 Mdistro. Podran hazellos; 
 
 (y yo no quiero danzar. 
 [Finea.] Pnes no entreys aqui. 
 Maestro. No hare, 
 
 ni en mi vida bolvere.) 
 
 y yo no quiero danzar. 
 Finca. Pnes no entreys aqni. 
 
 Maestro. No hare. 
 
 Finea. Ni quiero andar en vn pie, 
 
 ni dar bueltas ni saltar. 
 Maestro. Ni yo enseilar las que sueiian 
 
 disparates atrevidos. 
 Finea. No ynporta ; que los maridos 
 
 son los que mexor enseilan. 
 Maestro. i Han visto la mentecata 1 
 Finea. iQne es mentecata, villano? 
 
 Maestro. Senora, tened la mano. 
 
 Es vna dama que trata 
 
 con grauedad y rigor 
 
 a quien la sirbe. 
 Finea. I, Eso es ? 
 
 Maestro. Puesto que buelbe despues 
 
 con mas blandura y amor. 
 Finea. ^. Es eso cierto ? 
 
 Maestro. ^.Pues no? 
 
 Finca. Yo os juro. aunque nunca ingrata, 
 
 que no ay mayor mentecata 
 
 en todo el mundo que yo. 
 Maestro. El creher es cortesia : 
 
 adios, que soy mui eortes. 
 
 1405 
 
 1410 
 
 1415 
 
 1420 
 
 1425 
 
LA DAM A BOB A 
 
 191 
 
 Clara. 
 Finea. 
 
 Clara. 
 
 Finea. 
 
 Clara. 
 Finea. 
 
 Clara. 
 
 Finea. 
 
 Clara. 
 
 Finea. 
 Clara. 
 
 Vayase. y enfre Clara 
 
 I Danzaste ? 
 
 I Ya no lo ves 1 
 Persig[u] enme todo el dia 
 con leer, con escriiiir, 
 con danzar, y todo es nada ; 
 solo Laurenzio me agrada. 
 I Como te podre deeir 
 vna desgracia notable? 
 Hablando ; porqne no ay cosa 
 de decir dificultosa 
 a muger que viua y liable. 
 Dormir en dia de fiesta 
 I es malo ? 
 
 Pienso que no ; 
 aunque si Adan se durmio, 
 buena costilla le cuesta. 
 Pues si nacio la muger 
 de vna dormida costilla, 
 que duerma no es marauilla. 
 Agora vengo a entender, 
 solo con esa aduertenzia, 
 porque se andan tras nosotras 
 los hombres, y en vnas y otras 
 hazen tanta diligenzia ; 
 que si aquesto no es asilla, 
 deben de andar a buscar 
 su costilla, y no ay parar 
 hasta topar su costilla. 
 Luego si para el que amo 
 vn aiio y dos, harto bien 
 le diran los que le ven, 
 que su costilla topo. 
 A lo menos los cassados. 
 Sabia estas. 
 
 1430 
 
 1435 
 
192 JCTO HEGVNDO 
 
 Finca. ApriMido ya ; 
 
 (|ui' mo ensefia amor quiza 
 
 coil lii'iones de ciiidados. Hoo 
 
 Cloro. Boluicndo al ciiento, Laurenzio 
 
 me dio vn papel para ti. 
 
 Pusseme a ylar. ; Ay de mi, 
 
 qiianto proboca el silonzio ! 
 
 Meti en el copo el papel, 1465 
 
 y como ylaua al candil, 
 
 y es la estopa tan sutil, 
 
 aprendiose el copo en el. * 
 
 Cabezas ay disculpadas 
 
 qiiando duermen sin cogines, 1470 
 
 y sueiios como rozines, 
 
 que vienen con cabezadas. * 
 
 Apenas el copo ardio, 
 
 qnando, puesta en el de pies, 
 
 me chamusque, ya lo ves. 1475 
 
 Finea. ^Y el papel? 
 
 Clara. Libre quedo, 
 
 como el santo de Paxares. * 
 
 Sobraron estos renglones 
 en que hallaras mas razones 
 
 que en mi cabeza aladares. 1480* 
 
 Finea. [, Y no se podran leer ? 
 
 Clara. Toma y lee. 
 
 Finca. Yo se poco. ^ 
 
 Clara. Dios libre de vn fuego loco 
 
 la estopa de la muger. 
 
 Entre Otabio 
 Otabio. Yo pienso que me canso en enseiiarla, 1485 
 
 porque es querer labrar con bidro vn porfido ; * 
 
 ni el danzar ni el leer aprender puede, 
 aunque esta menos ruda que solia. 
 
LA DAM A BOB A 
 
 193 
 
 Pinca. i padre mentecato y generoso, 
 
 bien seas venido ! 
 
 Otcibio. ^ Como mentecato? 
 
 Finea. Aqiii el maestro de danzar me dixo 
 
 que era yo mentecata, y enojeme ; 
 mas el me respondio que este vocablo 
 signifieaua vna muger que riiie, 
 y luego buelbe con amor notable, 
 y eomo vienes tu riiiendo agora, 
 y has de mostrarme amor en brebe rato, 
 quise tanbien llamarte mentecato. 
 
 Otahio. Pues hija, no crehays a todas gentes, 
 
 ni digais esse nonbre ; que no es justo. 
 
 Finea. No lo hare mas. Mas diga, seiior padre, 
 
 ^sabe leer? 
 
 Otahio. ^Pues esso me preguntas? 
 
 Finea. Tome por vida suya, y este lea. 
 
 Otahio. I Este papel 1 
 
 Finea. Si, padre. 
 
 Otahio. Oye, Finea. 
 
 1490 
 
 149.J 
 
 1.500 
 
 Lea an si 
 Agradezco mueho la merzed que me has echo, aunque toda 
 esta noche la he passado con poco sosiego, pensando en tu her- 
 mosura. 
 
 I, No ay mas ? 
 
 No ay mas ; que esta mui justamente 150-5 
 
 quemado lo demas. i Quien te le ha dado ? 
 
 Laurenzio, aquel discreto caballero 
 
 de la academia de mi hermana Nise, * 
 
 que dize que me quiere con estremo. 
 
 De su ignoranzia mi desdicha temo. l-^l*^ 
 
 Esto truxo a mi casa el ser discreta 
 
 Nise, el galan, el musico, el poeta, 
 
 el lindo, el que se precia de oloroso, * 
 
 el afeytado, el loco, y el ocioso. [aparte^ 
 
 Finea. 
 Otahio 
 
 Finea. 
 
 Otahio. 
 
194 
 
 ACrO SEGUNDO 
 
 iHate passado mas con este, acaso? 
 Fiiua. Aver, on la t'scalera, al primer paso 
 
 inc (lio vn a])razo. 
 Otahio. I En bnenos pasos anda 
 
 mi i)ol)i-(' honoi- poi- vna y otra vanda! 
 
 La disereta con neeios en coneetos, 
 
 y la boba en amores con discretos. 
 
 A esta no ay llebarla por eastigo, 
 
 y mas, que lo podra entender su es])oso. [apart e 
 
 Hija, sabed que estoy mui enojado. 
 
 No OS dexeys abrazar. ^ Entendeys, hija ? 
 Finca. Si, senor padre ; y cierto que me pesa, 
 
 aunque me parezio mui bien entonzes. 
 Otahio. Solo vuestro marido ha de ser digno 
 
 desos abrazos. 
 
 1520 
 
 1525 
 
 Turin. 
 Otahio. 
 Turin. 
 
 Otahio. 
 
 Turin. 
 Otahio. 
 
 * Entrc Turin 
 
 En tu busca vengo. 
 feDe que es la prisa tanta? 
 
 De que al canpo 
 van a matarse mi seiior Lisseo 1530 
 
 y Laurenzio, ese hidalgo marquesote, 
 que desbaneze a Nise con sonetos. 
 ^ Que ynporta que los padres scan discretos, 
 si les f alta a los hijos la obedienzia ? 
 Liseo habra entendido la inprudeneia 1535 
 
 deste Laurenzio atreuidillo y loco, 
 y que sirbe a su esposa. — ; Caso estrailo ! 
 ^Por donde fueron? 
 
 Van, si no me engano, 
 haeia los Recoletos Agustinos. 
 
 Pues ven tras mi. \ Que estranos desatinos ! 1540 
 Vayansc Otahio y Turin 
 
 Clara. Pareze que se ha enojado 
 
 tu padre. 
 
LA DAM A BOB A 193 
 
 Finea. ^Que puedo hazer? 
 
 Clara. ^Poi" tine le diste a leer 
 
 el papel ? 
 Finea. Ya me ha pesado. 
 
 Clara. Ya no piiedes proseguir ^^^^> 
 
 la voluntad de Laurenzio. 
 Finea. Clara, no la diferenzio 
 
 con el dexar de viuir. 
 
 Yo no entiendo como ha sido 
 
 desde que el honbre me hablo, l-'''^0 
 
 porque si es que siento yo, 
 
 el me ha llebado el sentido. 
 
 Si duermo, sueiio con el, 
 
 si como, le estoy pensando, 
 
 y si bebo, estoy mirando ^^^^ 
 
 en agua la ymagen del. 
 
 I No has visto de que manera 
 
 muestra el espejo a quien mira 
 
 su rostro, que vna mentira 
 
 le haze forma verdadera? 1^60 
 
 Pues lo mismo en vidro miro 
 
 que el cristal me representa. 
 Clara. A tus palabras atenta, 
 
 de tus mudanzas me admiro. 
 
 Pareze que te transformas 1565 
 
 en otra. 
 Finea. En otro diras. 
 
 Clara. Es maestro con quien mas 
 
 para aprender te conformas. 
 Finea. Con todo esso sere 
 
 obediente al padre mio; 
 
 fuera de que es desbario 
 
 quebrar la palabra y fee. 
 Clara. Yo hare lo mismo. 
 
 Finea. No ynpidas 
 
 el camino que llebauas. 
 
 1570 
 
19(5 ACTO SEGUNDO 
 
 Clara. ^No vos que ame porque amauas, ^5'5 
 
 y ohiidare porque oluidas? 
 Fiuia. Ilarto ine pessa de amalle, 
 
 pero a ver mi daiio vengo, 
 
 aunque sospecho que tengo 
 
 de oluidarme de oluidalle. 1580 
 
 * VayaHsc. y entrcn Lissro y Lanrenzio. * 
 
 Laurcncio. Antes, Lisseo, de sacar la espada, 
 
 quiero saber la causa que os obliga. 
 Lisco. Pues bien sera que la razon os diga. 
 
 Laurcncio. Lisseo, si son celos de Finea, 
 
 mientras no se que vuestra esposa sea, 1585 
 
 bien puedo pretender, pues fui primero. 
 Liseo. Disimulays, a fee de eaballero; 
 
 pues tan lexos llebays el pensamiento 
 
 de amar vna muger tan inorante. 
 Laurcncio. Antes de que la quiera no os espante ; 1590 
 
 que soy tan pobre como bien nazido, 
 
 y quiero sustentarme con el dote. 
 
 Y que lo diga ansi, no os alborote, 
 pues que vos, dilatando el casamiento, 
 
 haueys dado mas fuerzas a mi yntento ; 1595 
 
 y porque, quando llegan obligadas 
 
 a desnudarse en canpo las espadas, 
 
 se ban de tratar verdades llanamente ; 
 
 que es honbre vil quien en el canpo miente. 
 Lisco. (Y) ^luego no querej's bien a Nise? 
 
 Laurcncio. A Nise 1600* 
 
 yo no puedo negar que no la quise, 
 
 mas su dote seran diez mil ducados,. 
 
 y de quarenta a diez, ya beys, van trej'nta. 
 
 Y pase de los diez a los quarenta. 
 
 Liseo. Siendo esso ansi, como de bos lo creo, 1605 
 
 estad seguro que xamas Lisseo 
 OS quite la esperanza de Finea ; 
 
LA DAMA BOBA 197 
 
 que auiiqiie no es la ventura de la fea, * 
 
 sera de la ygnorante la ventura, 
 
 que asi Dios me la de, que no la quiero, 1610 
 
 pues desde que la vi por Nise muero. 
 Lauvencio. ^ Por Nise? 
 Liseo. Si, por Dios. 
 
 Laurencio. Pues vuestra es Nise, 
 
 y con la antiguedad que yo la quise, 
 
 yo OS doy sus esperanzas y fabores. 
 
 Mis desseos os doy, y mis amores, 1615 
 
 mis ansias, mis serenos, mis desbelos, 
 
 mis versos, mis sospechas, y mis celos. 
 
 Entrad con esta rumfla, y dalde pique ; * 
 
 que no hara mucho en que de vos so picpie. * 
 
 Liseo. Aunque eon cartas tripuladas jueg[u]p, 1620* 
 
 aceto la merzed, seilor Laurenzio, 
 
 que yo soy rico, y eonprare mi gusto. 
 
 Nise es discreta, yo no quiero el oro ; 
 
 hazienda tengo, su belleza adoro. 
 Laurencio. Hazeys mui bien, que yo, que soy tan jjobre, 1625 
 
 el oro solicito que roe sobre ; 
 
 que aunque de entendimiento lo es Finea, 
 
 yo quiero que en mi casa alhaja sea. 
 
 ^No estan las escrituras de vna renta 
 
 en vn caxon de vn escritorio, y rinden 1630 
 
 aquello que se come todo el aiio ; 
 
 no esta vna casa principal tan firme 
 
 como de piedra, al fin, yeso y ladrillo, 
 
 y renta mil ducados a su dueiio? 
 
 Pues yo hare cuenta que es Finea vna cassa, 1635 
 
 vna eseritura, vn censo, y vna viiia, 
 
 y serame vna renta con vasquiiia. 
 
 Demas, que si me quiere, a mi me basta ; 
 
 que no ay mayor yngenio que ser casta. 
 Liseo. Yo os doy palabra de ayudaros tanto, ^640 
 
 que venga a ser tan vuestra conio creo. 
 
198 
 
 ACTO SEGUNDO 
 
 Lauvcncio. Y yo con Nise luii-c, poi- Dios, Lisseo, 
 
 lo (lue vereys. 
 Lisco. Plies (Iciiionos las manos 
 
 de ainij^os, no fingidos eortesanos, 
 
 sine conio si fiierainos de Greoia, 1645* 
 
 adonde tauto el amistad se preeia. 
 Laurcncio. Yo sere vuestro Pilades. 
 Lisco. Yo Orestes. 
 
 * Entrc Otahio ij Turin 
 Otahio. ^Son estos? 
 Turin. Ellos son. 
 
 Otahio. i,Y esto es pendenzia? 
 
 TuHn. Conozieron de lexos tu pressenzia. 
 
 Otahio. Caballeros . . . 
 
 Liseo. Senor, seays bienvenido. 1650 
 
 Otahio. [, Que hazeys aqui ? 
 
 Liseo. Como Laurenzio ha sido 
 
 tan grande amigo mio desde el dia 
 
 que vine a vuestra cassa, o a la mia, 
 
 venimonos a ver el canpo solos, 
 
 tratando nuestras cossas yguahnente. 1^55 
 
 Otahio. Desa amistad me huelgo estraiiamente. 
 
 Aqui vine a vn jardin de vn grande amigo, 
 
 y me holgare de que bolbays conmigo. 
 Liseo. Sera para los dos merzed notable. 
 
 Laurencio. Vamos aconpanaros y seruiros. 1660* 
 
 Otahio. Turin, ^por que razon me has enganado? 
 
 Turin. Porque deben de haber disimulado, 
 
 y porque, en fin, las mas de las pendenzias 
 
 mueren por madurar ; que a no ser esto, 
 
 no hubiera mundo ya. 
 Otahio. Pues di, ^, tan presto 1665 
 
 se pudo remediar? 
 Turin. 6 Que mas remedio 
 
 de no reiiir, que estar la vida en medio? 
 
LA DAMA BOBA 
 
 199 
 
 * [Vajjanse, ij salgan] Nise rj Finca. 
 
 Nise. De suerte te has engreydo, 
 
 que te voy desconoziendo. 
 Finca. De que eso digas me ofendo. 
 
 Yo soy la que sienpre he sido. 
 Nise. Yo te vi menos discreta. 
 
 Finca. Y yo mas segura a ti. 
 
 Nise. I Quien te va troeando ansi ? 
 
 I Quien te da licion secreta ? 
 
 Otra meraoria es la tuya. 
 
 ^Tomaste la anaeardina? 
 Finca. Ni de Ana ni Catalina 
 
 he tornado licion suya. 
 
 Aquella que ser solia 
 
 soy, porque solo e mudado 
 
 vn poco de mas euidado. 
 Nise. i, No sabes que es prenda mia 
 
 Laurenzio ? 
 Finea. ^ Quien te enpeilo 
 
 a Laurenzio? 
 Nise. Amor. 
 
 Finea. lA. fee? 
 
 Pues yo le desenpeiie, 
 
 y el misrao amor me le dio. 
 Nise. Quitarete dos mil vidas, 
 
 boba dichosa. 
 Finea. No creas 
 
 que si a Laurenzio desseas, 
 
 de Laurenzio te diuidas. 
 
 En mi vida supe mas 
 
 de lo que el me ha dicho a mi. 
 
 Esso se, y eso aprendi. 
 Nise. Mui aprobechada estas. 
 
 Mas de oy mas no ha de pasarte 
 
 por el pensamiento. 
 Finea. ^ Quien? 
 
 1670 
 
 1675 
 
 1680 
 
 168.3 
 
 ]690 
 
 1695 
 
200 ACTO SEGUNDO 
 
 Nisc. 
 
 Laurcn/io. 
 
 Finra. 
 
 Dizt's iiiui bicu 
 
 
 110 bolberas a qiiexarte. 
 
 Nisc. 
 
 Si los ojos piisso en ti, 
 
 
 ({uitelos hiego. 
 
 Finra. 
 
 Quo sea 
 
 
 coino til quieres. 
 
 Xisc. 
 
 Finea, 
 
 
 dexame a Laurenzio a mi ; 
 
 
 marido tienes. 
 
 Finra. 
 
 Yo creo 
 
 
 que no rinainos las dos. 
 
 Nise. 
 
 Quedate con Dios. 
 
 Finea. 
 
 Adios. 
 
 1700 
 
 1705 
 
 * Vaijasr Nise, y cut re Laurenzio. 
 
 i En que eonfussion nie veo ! 
 
 I. Ay muger mas desdichada? 
 
 Todos dan en perseguirnie. 
 Laurencio. Detente en vn punto firme, 1710 
 
 Fortuna veloz y ayrada, 
 
 que ya pareze que quieres 
 
 ayudar mi pretension. 
 
 ;0 que gallarda ocasion ! [aparte] 
 
 I Eres tu, mi bien ? 
 Finea. No esperes, 1715 
 
 Laurenzio, verme xamas. 
 
 Todos me riiien por ti. 
 Laurencio. Pues ^que te ban dicbo de mi? 
 Finea. Esso agora lo sabras. 
 
 ^, Donde esta mi pensamiento? 1720 
 
 Laurencio. <, Tu pensamiento? 
 Finea. Si. 
 
 iMurencio. En ti : 
 
 porque si estuuiera en mi, 
 
 yo estuuiera mas contento. 
 
LA DAMA BOBA 
 
 201 
 
 Finea. ^Vesle tu? 
 
 Laurencio. Yo no, xamas. 
 
 Finea. Mi herniana me dixo aqui, 
 
 que no has de passarme a mi 
 
 por el pensamiento mas. 
 
 Por esso alia te desbia, 
 
 y no me passes por el. 
 Laurencio. Piensa que yo estoy en el, 
 
 y hecharme fuera querria. [aparte] 
 Finea. Tras esto dize, que en mi 
 
 pusiste los ojos. 
 Laurencio. Dize 
 
 verdad ; no lo contradize 
 
 el alma que viue en ti. 
 Finea. Pues tu me has de quitar luego 
 
 los ojos que me pusiste. 
 Laurencio. i Como, si en amor eonsiste? 
 Finea. Que me los quites, te ruego, 
 
 con ese lienzo de aqui, 
 
 si yo los tengo en mis ojos. 
 Laurencio. No mas: cessen los enojos. 
 Finea. |,No estan en mis ojos? 
 
 Laurencio. Si. 
 
 Finea. Pvies linpia y quita los tuyos; 
 
 que no han de estar en los mios. 
 Laurencio. [Que graciosos desbarios! 
 Finea. Ponlos a Nise en los suyos. 
 
 Laurencio. Ya te linpio con el lienzo. 
 Finea. ^ Quitastelos ? 
 
 Laurencio. ^No lo ves? 
 
 Finea. Laurenzio, no se los des ; 
 
 que a sentir penas comienzo. 
 
 Pues mas ay ; que el padre mio 
 
 brabamente se ha enojado 
 
 del abrazo que me has dado. 
 Laurencio. Mas ^que ay otro desbario? [aparte] 
 
 1725 
 
 1735 
 
 1745 
 
 1755 
 
202 
 
 ACTO SEGUNDO 
 
 FiiK (I. 
 
 Lauvcncio. 
 FiiK a. 
 
 Laurcncio. 
 
 Finca. 
 Laurcncio. 
 
 Tiiiiliicii iiic Ic lias (Ic (juitar. 
 Xo ha de renirnie por csto. 
 I Coino ha de ser ? 
 
 Siendo presto. 
 iNo sabes desabrazar? 
 El brazo derecho alge, 
 — tienes razon, ya me acnerdo — 
 y agora aloare el izquierdo, 
 y el abrazo desare. 
 ^, Estoy ya desabrazada? 
 I, No lo ves ? 
 
 * Nise cut re 
 
 Nise. Y yo tanbien. 
 
 Finca. Hnelgome, Nise, tan bien, 
 
 que ya no me diras nada ; 
 
 3^a Laurencio no me passa 
 
 por el pensamiento a mi ; 
 
 ya los ojos le bolui, 
 
 j:)nes que contigo se cassa. 
 
 En el lienzo los llebo, 
 
 y ya me ha desabrazado. 
 Laurcncio. Tu sabras lo que ha passado 
 
 con harta risa. 
 Nise. Aqui no : 
 
 bamos los dos al jardin ; 
 
 que tengo bien que riiiamos. 
 Laurcncio. Donde tu quisieres bamos. 
 
 * Vayanse Laurcnzio y Nise 
 
 Finca. Ella se le lleba en fin. 
 
 l Que es esto que me da pena 
 de que se baya con el ? 
 Estoy por yrme tras el. 
 I Que es esto que me enagena 
 de mi propia libertad ? 
 
 17G0 
 
 1770 
 
LA DAM A BOB A 203 
 
 No me hallo sin Laurenzio. 1785 
 
 Mi padre es este ; silenzio, 
 callad, lengua; ojos, hablad. 
 
 * Otahio entre 
 
 Otahio. ^Adonde esta tu esposo? 
 
 Finca. Yo peiisaua 
 
 que lo primero en viendome que hizieras, 
 
 fuera saber de mi si te obedezco. 1790 
 
 Otahio. Pues ^eso a qne proposito? 
 
 Finca. ^: Enojado 
 
 no me dixiste aqni qne era mal echo 
 
 abrazar a Laurenzio? Pues agora 
 
 que me desabrazasse le he rogado, 
 
 y el abrazo passado me ha quitado. 1795 
 
 Otahio. ^ Ay cosa semejante? Pues di, bestia, 
 
 ^,otra vez le abrazauas? 
 Finea. Que no es eso: 
 
 fue la primera vez alcado el brazo 
 
 derecho de Laurenzio aquel abrazo, 
 
 y agora lebanto, que bien me aeuerdo, 1800 
 
 porque fuesse al rebes, el brazo yzquierdo. 
 
 Luego desabrazada estoy agora. 
 Otahio. Quando pienso que sabe, mas ygnora. 
 
 Ello es querer hazer lo que no quiso 
 
 naturaleza. [apart e] 
 Finca. Diga, senor padre, 1805 
 
 ^como llaman aquello que se siente, 
 
 quando se va con otro lo que se ama ? 
 Otahio. Esse agrauio de amor eelos se llama. 
 
 Finca. ^Qelos? 
 
 Otahio. Pues pio lo ves que son sus hijos? *. 
 
 Finca. El padre puede dar mil regozijos, 1810 
 
 y es mui onbre de bien ; mas desdichado 
 
 en que tan malos hijos ha criado. 
 Otahio. Luz va tiniendo ya pienso ; que bien pienso, * 
 
204 
 
 ACTO SEGUNDO 
 
 (jiu' si amor la ensenase, aprenderia. \aparte 
 Finca. j Con que se quita el mal de celosia ? 
 
 Otabio. Con desenamorarse, si ay agrabio, 
 
 que es el remedio mas prudente y sabio; 
 
 que mientras ay amor ha de haber eelos, 
 
 pension que dieron a este bien los eielos. 
 
 ^Adonde Nise esta? 
 Finea. Junto a la fuente. 
 
 Con Laurenzio se fue. 
 Otabio. i Cansada eosa ! 
 
 Aprenda normala a hablar su prosa ; 
 
 dexesse de sonetos y canziones. 
 
 Alia voy a rronperles las razones. 
 * Vayase 
 
 1815^ 
 
 1820 
 
 Finea. [, Por quien en el mundo passa 
 
 esto que passa por mi ? 
 ^ Que vi denantes ? [, Que vi 
 que assi me enciende y me abrasa 
 Celos dize el padre mio 
 que son. j Braba enfermedad ! 
 
 1830 
 
 * Entre Laurenzio 
 
 Lanrencio. Huyendo su autoridad, 
 de enojarle me desbio, 
 aunque en parte le agradezco 
 que estorbasse los enojos 
 de Nisse. Aqui estan los ojos 
 a cuyos rayos me ofrezco. [apartc] 
 Seilora . . . 
 
 Finea. Estoy por no hablarte. 
 
 i, Como te fuiste con Nise ? 
 
 Laurencio. No me fui porque yo quise. 
 
 Finea. Pues ^. por que? 
 
 Laurencio. Por no enojarte. 
 
 1835 
 
 1840 
 
LA DAM A BOB A 
 
 20r 
 
 Finea. 
 
 Laurencio. 
 Finea. 
 
 Laurencio. 
 Finea. 
 
 Laurcncia. 
 
 Finea. 
 
 Laurencio. 
 
 Pesame si no te veo, 
 y en viendote ya querria 
 que te fuesses, y a porfia 
 anda el temor y el desseo. 
 Yo estoy celosa de ti ; 
 que ya se lo que son celos, 
 qiie su dure nonbre [ ay cielos ! 
 me dixo mi padre aqui. 
 Mas tanbien me dio el remedio. 
 i Qual es ? 
 
 Desenamorarme ; 
 porque podre sosegarme, 
 quitando el amor de en medio. 
 Pues I esso como ha de ser ? 
 El que me puso el amor 
 me le quitara mexor. 
 Vn remedio suele haber. 
 &Qual? 
 
 Los que vienen aqui 
 al remedio ayudaran. 
 
 1850 
 
 1855 
 
 * Entrcn Pedro, Duarelo y Feniso 
 
 Pedro. Finea y Laurenzio estan 
 
 juntos. 
 
 Feniso. Y el fuera de si. 
 
 Laurencio. Seays los tres vien benidos 
 a la ocasion mas gallarda 
 que se me pudo ofrezer. 
 Y pues de los dos el alma 
 a sola Nise discreta 
 ynclina las esperanzas, 
 oyd lo que con Finea 
 para mi remedio passa. 
 
 Dueirdo. En esta eassa pareze, 
 
 segun por los ayres andas, 
 que te ha dado echizos Qirce. 
 
 1860 
 
 1865 
 
 1870* 
 
ACTO SEGUNDO 
 
 Nunea sales desta cassa. 
 
 Laur< vein. Yo voy eon mi pensamiento, 
 luiziciulo vna rica traza 
 para hazer oro do akpiiinia. 
 
 Pedro. La sahid y el tieinpo gastas. 
 
 Ygual seria, sefior, 
 cansarte, pues todo cansa 
 de pretender ynposibles. 
 
 Laurencio. Calla, necio. 
 
 Pedro. El nonbre basta, 
 
 para no callar xamas ; 
 que nunca los necios callan. 
 
 Laurencio. Aguardadme mientras bablo 
 a Finea. 
 
 Duardo. Parte. 
 
 Laureneio. Hablaiia, 
 
 Finea hermosa, a los tres, 
 para el remedio que aguardas. 
 
 Finea. Quitame presto el amor 
 
 que con sus celos me mata. 
 
 Laurencio. Si dizes delante destos 
 como me das la palabra 
 de ser mi esposa y muger, 
 todos los celos se aeaban. 
 
 Finea. i Eso no mas? Yo lo hare. 
 
 Laurencio. Pues tu misma a los tres llama. 
 
 ^Finea. Feniso, Duardo, Pedro . . . 
 
 Los Tres. Seiiora . . . 
 
 Finea. Yo doy palabra 
 
 de ser esposa y muger 
 de Laurenzio. 
 
 Duardo. \ Cosa estraiia ! 
 
 Laurencio. ^Soys testigos desto? 
 
 Los Tres. Si. 
 
 Laurencio. Pues haz cuenta que estas sana 
 del amor y de los celos 
 que tanta pena te daban. 
 
 1875 
 
 1880 
 
 18S5 
 
 1890 
 
 1895 
 
 1900 
 
LA DAM A BOB A 
 
 Fine a. Dios te lo pag[u]e, Lanreiizio. 
 
 Laurcncio. Venid los tres a mi casa ; 
 
 que tengo vn notario alii. 
 
 Peniso. Piies ^ con Finea te cassas ? 
 
 Laure7icio. Si, Feniso. 
 Feniso. i Y Nise bella ? 
 
 Laurcncio. Troqiie discrezion por plata. 
 
 * [Vayanse Laurcnzio, Feniso, Duardo y Pedro, y] 
 ciuedc Finea sola, y entren Nise y Otahio 
 Nise. Hablando estaua con el 
 
 cossas de poca inportanzia. 
 Otahio. Mira, hija, que estas cosas 
 
 mas desonor que onor causan. 
 Nise. Es vn onesto mancebo 
 
 que de buenas letras trata, 
 
 y tengole por maestro. 
 Otaljio. No era tan bianco en Granada 
 
 Juan Latino, que la hija 
 
 de vn Beyntiquatro enseiiaua ; 
 
 y siendo negro y esclauo, 
 
 porque fue su madre esclaua 
 
 del claro duque de Seso, 
 
 honor de Espaiia y de Ytalia, 
 
 se vino a cassar con ella: 
 
 que gramatica estudiaua, 
 
 y la enseno a conjugar 
 
 en llegando al amo, amas; 
 
 que asi llama el matrimonio 
 
 el latin. 
 Nise. Deso me guarda 
 
 ser tu hija. 
 Finea. ^Murmurays 
 
 de mis cosas? 
 Otahio. ^Aqui estaua 
 
 esta loca ? 
 
 1905 
 
 1910 
 
 1915 
 
 3920 
 
 1930 
 
AC TO SEGUNDO 
 
 Fitx a. 
 Otahio. 
 Finca. 
 
 Otabio. 
 Finca. 
 
 OtaMo. 
 
 Nise. 
 
 Fine a. 
 Otahio. 
 Nise. 
 
 Otahio. 
 Finea. 
 
 Otahio. 
 
 Finea. 
 
 Otahio. 
 
 Ya no I's liempo 
 dc iH-riiniio. 
 
 /. Quicii te liabla? 
 l- Quit'ii te rifie ? 
 
 Nise y tu. 
 Pues sepan que agora aeaba 
 de quitarme el amor todo 
 Laurenzio, eomo la palma. 
 Ay alguna boberia. [aparte] 
 Dixoine que se quitaua 
 el amor eon que le diese 
 de su muger la palabra, 
 y delante de testigos 
 se la he dado, y estoy sana 
 del amor y de los celos. 
 Esto es eosa temeraria. 
 Esta, Nise, ha de quitarme 
 la vida. 
 
 ^Palabra dabas 
 de muger a ningun onbre ? 
 ^,No sabes que estas eassada? 
 Para quitarme el amor 
 I que ynporta ? 
 
 No entre en mi casa 
 Laurenzio mas. 
 
 Es error, 
 porque Laurenzio la engana; 
 que el y Liseo lo dizen 
 no mas de para enseiiarla. 
 Desa manera yo callo. 
 I ! pues con esso nos tapa 
 la boea . . . 
 
 Vente eonmigo. 
 I, Adonde ? 
 
 Donde te aguarda 
 vn notario. 
 
 1935 
 
 1940 
 
 1945 
 
 1950 
 
 1955 
 
LA DAM A BOB A 209 
 
 Finea. Bamos. 
 
 Otahio. Yen. 
 
 i Que descanso de mis canas! [apartc] 
 
 * [Vojjansc Otahio y Finea] 
 
 Nise sola 
 Nise. Hame contado Laurenzio 
 
 que han tornado aquesta traza 
 Lisseo y el, para ver 
 si aqiiella rudeza labran, 
 y no me pareze nial. 
 
 1965 
 
 * Lisseo entre 
 
 Liseo. ^. Hate contado mis ansias 
 
 Laurenzio, discreta Nise? 
 Nise. I Que me dizes ? ^ Sueiias o hablas ? 
 
 Liseo. Palabra me dio Laurenzio 
 
 de ayudar mis esperanzas, 1970 
 
 viendo que las pongo en ti. 
 Nise. Pienso que de hablar te cansas 
 
 con tu espossa, o que se enbota 
 
 en la dureza que labras 
 
 el cucbillo de tu gusto, 1975 
 
 y para bolber a hablarla, 
 
 quieres darle vn filo en mi. ^ 
 
 Liseo. Verdades son las que trata 
 
 eontigo mi amor, no burlas. 
 Nise. ^,Estasloco? 
 
 Liseo. Quien pensaua 1980 
 
 eassarse con quien lo era, 
 
 de pensarlo ha dado causa ; 
 
 yo be mudado pensamiento. 
 Nise. i Que necedad, que yneonstanzia, 
 
 que locura, error, trayzion 
 
 a mi padre, y a mi hermana ! 
 
 Yd en buen ora, Lisseo. 
 
 19So 
 
:io 
 
 AC TO SEGUNDO 
 
 Lis((). jDesa inaiifra inr i)aga.s 
 
 tan dosatiiiado amor? 
 Nisc. Piu'S si I'S desatiiio, l)asta. 
 
 * E litre Laurenzio 
 Lauvcncio. Ilablando estan los dos solos. 
 
 Si Liseo se declara, 
 Nise ha de saber tanbien 
 que mis lisonjas la engaiian. 
 Creo que me ha visto ya. [apartc] 
 Nise. j gloria de mi esperanza ! 
 
 * Nise dizc corno que hahla con Lisseo 
 Liseo. i,Yo vuestra gloria, seiiora? 
 
 Nise. Aunque dizen que me tratas 
 
 con trayzion, yo no lo creo ; 
 
 que no lo consiente el alma. 
 Liseo. i Trayzion, Nise ? Si en mi vida 
 
 mostrare amor a tu hermana, 
 
 me mate vn rayo del eielo. 
 Lourcncio. Es conmigo con quien habla 
 
 Nise, y presume Liseo 
 
 que le requiebra y regala. [apart e] 
 Nise. Quierome quitar de aqui, 
 
 que con tal fuerza me engafia 
 
 amor, que dire locuras. 
 Liseo. No os bays, ; Nise gallarda ! 
 
 que despues de los fabores 
 
 quedara sin vida el alma. 
 Nise. Dexadme passar . . . [Entrese Nise] 
 
 Liseo. I, Aqui 
 
 estauas a mis espaldas? 
 Laurencio. Agora entre. 
 Liseo. Luego a ti 
 
 te hablaua, y te requebraua, 
 
 aunque me miraua a mi 
 
 aquella discreta yngrata. 
 
 1990 
 
 1995 
 
 2000 
 
 2005 
 
 2010 
 
 2015 
 
LA DAM A BOB A 
 
 211 
 
 Laurencio. No tengas pena : las piedras 
 ablanda el curso del agua. 
 Yo sabre hazer que esta noche 
 puedas en mi nonbre hablarla. 
 Esta es discreta, Lisseo; 
 no podras, si no la engaiias, 
 quitalla del pensamiento 
 el ynposible que aguarda ; 
 porque yo soy de Finea. 
 
 Liseo. Si mi remedio no trazas, 
 
 cuentame loco de amor. 
 
 Laurencio. Dexame el remedio, y calla ; 
 porque burlar vn discreto, 
 es la vitoria mas alta. 
 Fin del segunelo acto de la Dama hoha 
 Ruhrica de Lope de Vega 
 
 2020 
 
 2025 
 
 2030 
 
212 
 
 ACTO TEBCEEO 
 
 TERCERO ACTO 1)E LA DAMA BOBA 
 Kuhrica dc Lope de Vega 
 
 LOS qVV. HABLAN EN EL TERCERO ACTO 
 Finca 
 Clara 
 Nise 
 Liseo 
 Pedro 
 Laurenzio 
 Turin 
 ]\Ii.sseno 
 Duardo 
 Fenisso 
 Celia 
 Otabio 
 Los JMnsicos 
 
 Ruhrica de Lope de Vega 
 
 ACTO TERCERO 
 
 Finea sola 
 [Finca] ; Amor, diuiiia inuenzion 
 de eonseriiar la belleza 
 de niiestra naturaleza, 
 aceidente, o eleccion ! 
 Estranos effetos son 
 los que de tu cieneia nazen, 
 pues las tinieblas desazen, 
 pues hazen hablar los mudos, 
 pues los ingenios mas rudos 
 sabios y discretos hazen. 
 No ha dos messes que viuia 
 
 2(?S5 
 
LA DAMA BOBA 213 
 
 a las bestias tan ygual, 
 
 que aun el alma razional 
 
 pareze que no tenia. 
 
 Con el animal sentia, 
 
 y crezia eon la planta; 
 
 la razon diuina y santa 
 
 estaua eclipsada en mi, 
 
 hasta que en tus rayos vi, 
 
 a cuyo sol se lebanta. 
 
 Tu desataste y ronpiste ~[ 
 
 la escuridad de mi ingenio, 
 
 tu fuiste el diuino genio 
 
 que me enseiiaste, y me diste 
 
 la luz con que me pusiste 
 
 el nuebo ser en que estoy. 
 
 Mil gracias, amor, te doy, 
 
 pues me ensenaste tan bien, 
 
 que dizen quantos me ven 
 
 que tan diferente soy. 
 
 A pura ymaginazion 
 
 de la fuerza de vn desseo, 
 
 en los palaeios me veo 
 
 de la diuina razon. 
 
 j Tanto la contenplazion 
 
 de vn bien pudo lebantarme ! 
 
 Ya puedes del grado onrrarme, 
 
 dandome a Laurenzio, amor, 
 
 eon quien pudiste mexor 
 
 enamorada enseiiarme. 
 
 * [Saiga] Clara 
 Clara. En grande co[n]uersacion 
 
 estan de tu entendimiento. 
 Finea. Huelgome que este content© 
 
 mi padre en esta ocasion. 
 Clara. Hablando esta con Miseno 
 
 2045 
 
 2050 
 
 2055 
 
 2060 
 
 2065 
 
 2070 
 
 2075 
 
-1^ ACTO rEECEBO 
 
 do coino lees, eseriues 
 
 y danzas ; dize (|ne vines 
 
 con otra alma cii cuci-po ageno. 2080 
 
 Atribiiyele al amor 
 
 de Lisseo estc milagro. 
 Fin CO. En otras aras consagro 
 
 mis botos, Clara, niexor. 
 
 Lanrenzio lia sido el maestro. 2085 
 
 Clara. Como Pedro lo fne mio. 
 
 Finea. De verlos hablar me rio 
 
 en este milagro uuestro. 
 
 Gran fuerza tiene el amor, 
 
 eatredatico diuino. 2090* 
 
 * [Saiga }t]Misc no ij Ofauio 
 Miscno. Yo pienso que es el camino 
 
 de sn remedio mexor. 
 
 Y ya, pues liabeys llegado 
 
 a ver con entendimiento 
 
 a Finea, que es contento 2095 
 
 nunea de vos esperado, 
 
 a Nise podeys cassar 
 
 con este mozo gallardo. 
 Otahio. Vos solamente a Duardo * 
 
 pudierades abonar. 2ioo 
 
 Mozuelo me parezia 
 
 destos que se desbauezen, 
 
 a quien agora enloquezen "^ 
 
 la arroganzia y la poesia. 
 
 No son gracias de marido 2105 
 
 sonetos; Nise es tentada 
 
 de academica endiosada * 
 
 que a casa los ha trahido. 
 
 fe Quien le mete a vna muger 
 
 eon Petrarca y Garcilaso, 2110* 
 
 siendo su Virgilio y Taso * 
 
LA DAM A BOB A 215 
 
 ylar, labrar y eoser ? 
 
 Ayer sus librillos vi, 
 
 papeles y escritos varies ; 
 
 pense que debozionarios, -''•'' 
 
 y desta siierte lehi : 
 
 Historia de dos amantes, * 
 
 sacada de lengua griega ; 
 
 Rimas de Lope de Vega, * 
 
 Galatea de Qerbantes, 2120* 
 
 el Camoes de Lisboa, * 
 
 los Pastores de Belen, * 
 
 Comedias de don Guillen * 
 
 de Castro, Liras de Ochoa, * 
 
 Canzion que Luis Velez dijo 2125* 
 
 en la Academia del duque * 
 
 de Pastrana, Obras de Luque, * 
 
 Cartas de don Juan de Arguijo, * 
 
 cien Sonetos de Lilian, * 
 
 Obras de Herrera el diuino, 2130* 
 
 el Libro del Peregrino, * 
 
 y el Picaro de Aleman. * 
 
 Mas que os canso, por mi vida ; 
 
 que se los quise quemar. 
 
 Miscno. Cassalda, y vereysla estar 2i3o 
 
 ocupada y diuertida 
 en el parir y el criar. 
 
 Otabio. \ Que gentiles debociones ! 
 
 Si Duardo haze canziones, 
 bien los podemos cassar. ■ 2140 
 
 Miseno. Es poeta caballero; 
 
 no teniays : hara por gusto 
 versos. 
 
 Otahio. Con mucho disgusto 
 
 los de Nise considero. 
 
 Temo, y en razon lo fundo, 214o 
 
 si en esto da, que ha de haber 
 
21() ACTO TEBCERO 
 
 vii doii Quixote iimgcr 
 
 (\\u' (le que reyr al muiulo. 
 * Euirni Lisseo y Nis( [ij Turhi] 
 Li.'^ro. Tratasme con tal desden, 
 
 que pienso que he de apelar 2io0 
 
 adonde sepan tratar 
 
 mis obligaziones bien. 
 
 Pues aduierte, Nise bella, 
 
 que Finea ya es sagrado ; 
 
 que vn amor tan desdefiado -l-'jS 
 
 puede hallar remedio en ella. 
 
 Tu desden que ymagine 
 
 que pudiera ser menor, 
 
 creze al passo de mi amor, 
 
 medra al lado de mi fee. 2160 
 
 Y su corto entendimiento 
 
 ha llegado a tal mudanza, 
 
 que puede dar esperanza 
 
 a mi loco pensamiento. 
 
 Pues, Nise, tratame bien, 2165 
 
 o de Finea el fabor 
 
 sera sala, en que mi amor ^ 
 
 apele de tu desden. 
 Nise. Lisseo, el hazerme fieros 
 
 fuera bien considerado, 2170 
 
 quando yo te hubiera amado. 
 Liseo. Los nobles y caballeros 
 
 como yo se han de estimar, 
 
 no lo yndigno de querer. 
 Nise. El amor se ha de tener 2175 
 
 adonde se puede hallar ; 
 
 que como no es eleccion, ^ 
 
 sino solo vn accidente, 
 
 tienese donde se siente, 
 
 no donde fuera razon. 21S0 
 
 El amor no es calidad, 
 
LA DAMA BOBA 21^ 
 
 sino estrellas que conciertan * 
 
 las voluntades que aciertan 
 
 a ser vna voluntad. 
 Liseo. Esso, seilora, no es justo, 2185 
 
 y no lo digo con zelos ; 
 
 que pongays culpa a los cielos 
 
 de la baxeza del gusto. 
 
 A lo que se haze mal, 
 
 no es bien dezir: "fue mi estrella." 2190 
 
 Nise. Yo no pongo culpa en ella, 
 
 ni en el curso celestial, 
 
 porque Laurenzio es vn hombre 
 
 tan hidalgo y caballero 
 
 que puede honrrar . . . 
 Liseo. Paso. 
 
 Nise. Quiero 2195 
 
 que rebereneieys su nonibre. 
 Liseo. A no estar tan cerca Otabio . . . 
 
 Otahio. I Liseo ! 
 
 Liseo. I mi senor ! 
 
 Nise. i Que se ha de tener amor 
 
 por fuerza, notable agrabio ! [aparte] 2200 
 
 * Entre Celia 
 
 Celia. El maestro de danzar 
 
 a las dos llama a lizion. 
 Otahio. El viene a buena ocasion. 
 
 Baya vn criado a llamar 
 
 los musicos, porque vea 2205 
 
 Misseno a lo que ha llegado 
 
 Finea. 
 Liseo. Amor, enganado, 
 
 oy bolbereys a Finea ; 
 
 que muchas vezes amor, 
 
 disfrazado en la benganza, 2210 
 
 haze vna justa mudanza 
 
JCTO TEI!(Ki:0 
 
 ('< lia. 
 
 (Icsdc vn (lesdcii n vii fabor. \(t parte] 
 Los imisicos V el vciiian. 
 
 * Hnfr( n I as niKsicos 
 
 Otabio. Miii l)i("ii vf^nidos seays. 
 
 Lisro. ( )y. pciisaiiiieiitos, vengays 
 
 los agrainos que os liaziaii. \(i parte] 
 Otabio. Nise y Finea . . . 
 
 Nise. Sen or . . . 
 
 [Otabio.] IJaya a(|ni, por vida niia, 
 
 el bayle del otro dia. 
 Lisco. Todo es mudanzas amor, [aparte] 
 
 Oteibio, Miseno, y Lisco se sienten ; los 
 musicos canten, y las dos 
 
 baijhn ansi: 
 
 2215* 
 
 2220* 
 
 [I] 
 Amor, cansado de ver 
 tanto ynteres en las damas, 
 y que por desnudo y pobre, 
 ninguna fahor le daua, 
 passose a las Yndias, 
 vendio el alxaua, 
 que mas quiere doblones, 
 que vidas y ahnas. 
 Trato en las Yndias Amor 
 no en joyas. sedas, y olandas, 
 si)io en ser sutil terzero 
 de villetes y ele eartas. 
 Be)lbio de las Yndias 
 eon oro y plata; 
 ejfte el Amor hi( n vcstido 
 rinde las damas. 
 Passeo la Corte Amor 
 eon mil cadenas y vandas. 
 
 2230 
 
 235 
 
LA DAMA BOBA 219 
 
 Las (lamas, coma Ir vian, 
 
 desta nuniera Ic hahlan: 2240 
 
 iDe do viene, de do viene.^ 
 Viene de Panama — 
 
 [11] 
 ^Dc do uicne el cahallerof 
 
 Viene de Panama — 
 TranzeUn en el somhrero, 2245* 
 
 Viene de Panama^— 
 cadenita de oro al cncllo, 
 
 Viene de Panama — 
 en los hrazos el gng[u]iesco, * 
 
 Viene de Panama — 22o0 
 
 las ligas con rapazejos, * 
 
 Viene de Panama — 
 capatos al uso nueho, * 
 
 Viene de Panama — 
 sotanilla a lo turquesco. 
 
 Viene de Panama — 
 
 2255* 
 
 iDe do viene, de do viene? 
 Viene de Panama — 
 
 [III] 
 iDe do viene el hi jo de algo? 
 
 Viene de Panama — 2260 
 
 Corto cuello, y puiios largos, * 
 
 Viene de Panama — 
 la daga en vanda colgando, 
 
 Viene de Panama — 
 guante de anhar adohado, 2265* 
 
 Viene de Panama — 
 gran jugador del vocahlo, * 
 
 Viene de Panama — 
 
220 ACTO TEECEEO 
 
 no da dinero, y da manos, 
 
 Viene de Panatna — 2270 
 
 enfadoso y mal criado; 
 
 Viene de Panama — 
 es Amor, llamase Yndiano, 
 
 Viene de Panama — 
 es chapeton castellano, 2275* 
 
 Viene de Panama — 
 en criollo disfrazado. 
 
 Viene de Panama — 
 
 ^De do viene, de do viene? 
 
 Viene de Panama — 2280 
 
 [IV] 
 
 /O que hien pareze Am,or 
 
 con las cade nets y galas! 
 
 que solo el dar enamora, 
 
 porque es gifra de las gragias. 
 
 Ninas, donzellas, y viejas 2285 
 
 van a buscarle a su casa, 
 
 mas ynportunas que moscas, 
 
 en viendo que ay miel de plata. 
 
 Sobre qual le ha de querer, 
 
 de viuos gelos se ahrasan, 2290 
 
 y al rededor de su puerta 
 
 vnas tras otras le cantan: 
 
 jDexa las aucUanicas, moro! 
 
 Que yo me las vareare — * 
 
 [V] 
 El Amor se ha huelto godo: 2295* 
 
 Que yo me las vareare — 
 punos largos, cuello corto, 
 
 Que yo me las vareare — 
 
LA DAMA BOBA 
 
 sotanilla, y liga de oro, 
 
 Que yo me las vareare — 
 sonhrero, y gapato romo, 
 
 Que yo me las vareare — 
 manga ancha, calzon angosto. 
 
 Que yo me las vareare — 
 El hahla mucho, y da poco, 
 
 Que yo me las vareare — 
 es viejo, y dize que es mozo, 
 
 Que yo me las vareare- — 
 es coharde y matamoros. 
 
 Que yo me las vareare — 
 Ya sc descuhrio los ojos. 
 
 Que yo me las vareare — 
 I Amor loco, y amor loco! - — 
 
 Que yo me las vareare — 
 lYo por vos, y vos por otro! 
 
 Que yo me las vareare — 
 
 2300 
 
 2305 
 
 ±^tl ^231 
 
 T^S^f 
 
 2315 
 
 jDexa las auellanicas, mora! 
 Que yo me las vareare. — 
 
 Miseno. ] Gallardamente, por cierto ! 
 
 Dad gracias al cielo, Otauio, 
 
 que OS satisfizo el agraiiio. 
 Otahio. Hagamos este coneierto 
 
 de Duardo eon Finea. 
 
 Hijas, yo tengo que hablaros. 
 Finea. Yo naci para agradaros. 
 
 Otahio. ^Quien ay que mi dicha crea? 
 
 2325 
 
 * Entrensc todos, y quedcn alii Lisseo y Turin 
 
 Liseo. Oye, Turin . . . 
 
 Turin. ^. Que me quieres ? 
 
 Liseo. Quierote comuniear 
 
 vn nuebo gusto. 
 
•2'2-2 ACTO TERCERO 
 
 Turin. Si cs dar 
 
 sobro til ainor parezcrcs, 2330 
 
 busca vn let ratio tie amor. 
 Liseo. Yo he mutlado parezer. 
 
 Turin. A ser dexar de querer 
 
 a Nise, fiiera el niexor. 
 Liseo. El misnio; porf}iio Fiiiea ' 2335 
 
 me ha (Ic veiigar dc su agrabio. 
 Turin. No te tengo por tan sabio, 
 
 que tal discrezion te crea.. 
 Liseo. l)e niiebo qiiiero tratar 
 
 mi eassainiento ; alia voy. 2340 
 
 Turin. De tu parezer estoy. 
 
 Lisco. Oy me tengo de vengar. 
 
 Turin. Niinca ha de ser el (de) casarse 
 
 por vengarse de vn desden ; 
 
 que nunca se easo bien 2345* 
 
 quien se easso por vengarse. 
 
 Porque es gallarda Finea, 
 
 y porque el seso cobro, 
 
 — pues de Nise no se yo 
 
 que tan entendida sea — 2350 
 
 sera bien cassarte luego. 
 Liseo. Misseno ha venitlo acini ; 
 
 algo tratan contra mi. 
 Turin. Que lo mires bien, te ruego. 
 
 Liseo. No ay mas; a pedirla voy. 23^5 
 
 * [Vayase Lissco] 
 
 Turin. El eielo tus passos guie, 
 
 y del error te desbie 
 en que yo por Celia esto3^ 
 i Que enamore amor vn onbre 
 
 como yo! Amor desatina. 2360 
 
 i Que vna ninfa de cozina, 
 para blasson de su nonbre 
 
LA DAM A BOB A 223 
 
 l)onga : "Aqui ninrio Turin, 
 entre sartenes y cazos!" 
 
 * [Salgan] Laurenzio y Pedro. 
 Laurcncio. Todo es poner enbarazos, 2365 
 
 para que no lleg[u]e al fin, 
 Pedro. Habla baxo, que ay eseuclias. 
 
 Laurcncio. j Turin ! 
 
 Turin. Sefior Laurenzio . . . 
 
 Laurcncio. ^, Tanta (piietud y silenzio? 
 Turin. Ay obligaziones muchas 2370 
 
 para eallar vn discreto, 
 
 y yo mui discreto soy. 
 Laurcncio. iQne ay de Liseo? 
 Turin. A eso voy: 
 
 fuese a casar. 
 Pedro. Buen secreto. 
 
 Turin. Esta tan enaniorado 2375 
 
 de la seiiora Finea, 
 
 si no es que venganza sea 
 
 de Nise, que me ha jurado, 
 
 que luego se ha de cassar ; 
 
 y es ydo a pedirla a Otabio. 2380 
 
 Laurcncio. Podre yo llamarme a agrabio. 
 Turin. Pues ^el os puede agrabiar? 
 
 Laurcncio. ^Las palabras suelen darse 
 
 para no cumplirlas? 
 Turin. No. 
 
 Lmirencio. De no casarse la dio. 2385 
 
 Turin. El no la quiebra en casarse. 
 
 Laurencio. i Como ? 
 Turin. Porque el no se cassa 
 
 con la que solia ser, 
 
 sino con otra inuger. 
 Laurcncio. ^Como es otra? 
 Turin. Porque pasa 2390 
 
224 ACTO TEECEBO 
 
 del IK) saber al sabci', 
 
 y t'Oii saber le oblige. 
 
 I IMandays otra cosa ? 
 Laurcncio. No. 
 
 [Turin.] Pues adios. [vaijasc Turin] * 
 
 Laurcncio. ^Que piiedo hazer? 
 
 i Ay Pedro ! Lo (lue tenii, 2395 
 
 y tenia sospechado 
 
 del yngenio que ha inostrado 
 
 Finea se cunple aqui. 
 
 Como la ha visto Lisseo 
 
 tan discreta, la aficion 2400 
 
 ha puesto en la discrezion, 
 Pedro. Y en el oro algun desseo. 
 
 Cansole la boberia; 
 
 la discrezion le anirao. 
 
 * Entre Finea 
 
 Finea. ; Clara, Laurenzio, me dio 2405 
 
 nuebas de tanta alegria ! 
 Luego a mi padre dexe, 
 y aiinqne ella me lo callara, 
 
 yo tengo quien me auisara, * 
 
 que es el alma que te vee 2410 
 
 por mil vidros y cristales, 
 por donde quiera que vas, 
 
 porque en mis ojos estas ^ 
 
 con memorias inmortales. 
 
 Todo este grande lugar 2415 
 
 tiene colgado de espejos 
 mi amor, juntos y parejos, 
 para poderte mirar. 
 Si buelbo el rostro alii, veo 
 
 tu ymagen ; si a estotra parte, 2420 
 
 tanbien ; y ansi viene a darte 
 nombre de sol mi desseo ; 
 
LA DAM A BOB A 225 
 
 que en quantos espejos mira 
 y fuentes de piira plata, 
 
 su bello rostro retrata, 2425 
 
 y su luz diuina espira. 
 Laurencio. jAyFinea! j A Dios pluguiera 
 que nunca tu entendimiento 
 llegara, como ha llegado, 
 
 a la mudanza que veo ! "^^"^ 
 
 Neeio me tubo seguro, 
 y sospechoso discreto, 
 porque yo no te queria 
 para pedirte consejo. 
 
 I Que libro esperaua yo 2435 
 
 de tus manos? ^,En que pleyto 
 hauias xamas de hazerme 
 ynformaeion en derecho? 
 Ynocente te queria, 
 porque vna muger eordero 
 es tusson de su marido, 
 que puede traherla al pecho. 
 Todas habeys lo que basta ; 
 para cassada, a lo menos, 
 no ay muger nezia en el mundo, 
 porque el no hablar no es deffeto. 
 Hable la dama en la rexa, 
 eseriua, diga concetos 
 
 en el coche, en el estrado, * 
 
 de amor, de engaiios, de celos ; 2450 
 
 pero la casada sepa 
 de su familia el gobierno, 
 porque el mas discreto hablar 
 
 no es sancto como el silenzio. * 
 
 Mira el dafio que me vino 2455 
 
 de transformarse tu ingenio, 
 pues va a pedirte, j ay de mi ! 
 para su muger Lisseo. 
 
 2440* 
 
 2445 
 
22(5 ACTO TEECEBO 
 
 Ya dexa a Nise, tu hennaiia ; 
 
 ol so eassa, yo soy inuoi-to. 2460 
 
 jXiiiica i)lega a Dios liablaras! 
 Fiiiia. iDt' que nie cnlpas, Laureiizio? 
 
 A pura ymaginaeion 
 
 del alto iiiereeiiniento 
 
 de tns preiidas aprendi 2465 
 
 el que tu dizes (jue tengo. 
 
 Per hablarte supe hablar, 
 
 venzida de tus requiebros ; 
 
 por leer en tus papeles, 
 
 libros difficiles leo ; 2470 
 
 para responderte escriuo. 
 
 No he tenido otro maestro 
 
 que amor, amor me ha ensefiado. 
 
 Tu eres la eiencia que aprendo. 
 
 feDe que te quexas de mi? 2475 
 
 Lmirencio. De mi desdieha me quexo. 
 
 Pero, pues ya sabes tanto, 
 
 dame, seiiora, vn remedio. 
 Finca. El remedio es facil. 
 
 Lauvcncio. |, Como? 
 
 Finea. Si, porque mi rudo ingenio, 2480 
 
 que todos aborrezian, 
 
 se ha transformado en discreto, 
 
 Liseo me quiere bien, 
 
 eon bolber a ser tan necio 
 
 como primero le tube, 2485 
 
 me aborrezera Lisseo. 
 Laurcncio. i Pues sabras fingirte boba ? 
 Finca. Si; que lo fui mucho tiempo. 
 
 y el lugar donde se naze 
 
 saben andarle los ciegos. 2490 
 
 Demas desto, las mugeres 
 
 naturaleza tenemos 
 
 tan pronta para fingir, 
 
LA DAM A BOB A 
 
 >27 
 
 Laurencio. 
 Finca. 
 
 Laurencio. 
 Finea. 
 
 Laurencio. 
 
 Finea. 
 
 Laurencio. 
 
 Finea. 
 
 Laurencio. 
 
 Pedro. 
 
 Laurencio. 
 
 o con amor, o con miedo, 
 que antes de nazer finginios. 
 ^, Antes de nazer? 
 
 Yo pienso 
 que en tu vida lo has oydo. 
 Escucha. 
 
 Ya escuclio atento. 
 Quando estanios en el bientre 
 de nuestras madres, hazemos 
 entender a nnestros padres, 
 para engaiiar sus desseos, 
 que somos hijos varones, 
 y assi veras que contentos 
 acuden a sus antojos 
 con amores, con requiebros. 
 Y esperando el mayorazgo 
 tras tantos regalos heclios, 
 sale vna henibra que corta 
 la esperanza del suceso. 
 Segun esto, si pensaron 
 que era varon, y henbra vieron, 
 antes de nazer fingimos. 
 Es euidente argumento. 
 Pero yo vere si sabes 
 hazer, Finea, tan presto 
 mudanza de estremos tales. 
 Passo; que viene Lisseo. 
 Alii me voy a esconder. 
 Ye presto. 
 
 Sig [u] eme, Pedro. 
 En muchos peligros andas. 
 Tal estoy, que no los siento. 
 
 2.510 
 
 2520 
 
 * [Escondense Laurencio ij Pedro] Entre Lisseo con Turin 
 Liseo. En fin queda conzertado. 
 
 Turin. En fin estaua del cielo 
 
 que fuesse tu esposa. 
 
228 
 
 ACTO TEECESO 
 
 Li SCO. 
 
 A qui 
 
 
 esta mi priniero duefio. [ajmrte] 
 
 
 ^No sabeys, sefiora inia. 
 
 
 eomo ha tratado Misseno 
 
 
 cassar a Duardo y Nisse, 
 
 
 y eomo yo tanbien qiiiero 
 
 
 que se hagan nuestras bodas 
 
 
 con las siiyas? 
 
 Finca. 
 
 No lo creo ; 
 
 
 (jue Nise ha dicho a mi, 
 
 
 que esta cassada en secreto 
 
 
 con vos. 
 
 Liseo. 
 
 i, Conmigo ? 
 
 Finca. 
 
 No se, 
 
 
 si erades vos, o Oliberos. 
 
 
 ^Quien sois vos? 
 
 Liseo. 
 
 I, Ay tal mudanza 1 
 
 Finea. 
 
 I Quien dezis ? que no me acuerdo. 
 
 
 Y si mudanza os pareze. 
 
 
 l eomo no veys que en el cielo 
 
 
 cada mes ay nuebas lunas ? 
 
 TJseo. 
 
 i Valgame el cielo ! i Que es esto ? 
 
 Turin. 
 
 I Si le buelbe el mal passado ? 
 
 Finea. 
 
 Pues deeidme : si tenemos 
 
 
 luna nueba cada jnes, 
 
 
 ^adonde estan? ^que se han echo 
 
 
 las viejas de tantos aiios? 
 
 
 ^Daysos por venzido? 
 
 TJseo. 
 
 Temo 
 
 
 que era loeura su mal. [apart c] 
 
 Finea. 
 
 Guardanlas para remiendos 
 
 2530 
 
 2535 
 
 2540 
 
 2545 
 
 2550 
 
 de las que salen menguadas. 
 Veys ay que soys vn nezio. 
 Liseo. Seiiora, mucho me admiro 
 
 de que ayer tan alto yngenio 
 mostrassedes. 
 
LA DAM A BOB A 
 
 229 
 
 2565 
 
 2570 
 
 Finca. Plies, senor, 2555 
 
 agora ha llegado al vuestro ; 
 
 que la mayor diserezion ^ 
 
 es acomodarse al tiempo. 
 Liseo. Eso dixo el mayor sabio. 
 
 Pedro. Y esto escucha el mayor neeio. [escondido] ^560 
 
 Liseo. Quitado me habeys el giisto. 
 
 Finea. No he tocado a vos, por cierto ; 
 
 mirad que se habra caydo. 
 Liseo. \ Linda ventura tenemos ! 
 
 Pidole a Otabio a Finea, 
 
 y quando a dezirle vengo 
 
 el cassamiento tratado, 
 
 hallo que a su ser se ha buelto. [a parte] 
 
 Bolbed, mi seiiora, en vos, 
 
 eonsiderando que os quiero 
 
 por mi dueno para sienpre. 
 Ftnea. ^. For mi dueiia, maxadero? 
 
 Liseo. ^Assi trata^'s vn esclauo 
 
 que OS da el alma ? 
 Finea. i Como es esso ? 
 
 Liseo. Que os doy el alma. 
 
 Finea. i, Que es alma ? 
 
 Liseo. i, Alma ? El gouierno del cuerpo. 
 
 Finea. i, Como es vn alma 'I 
 
 Liseo. Seiiora, 
 
 como filosopho puedo 
 
 difinirla, no piiitarla. 
 Finea. ^No es alma la que en el pesso 
 
 le pintail a san Mig[u]el? 
 Liseo. Tanbien a vn angel ponemos 
 
 alas y cuerpo, y, en fin, 
 
 es vn espiritu bello. 
 Finea. ^Hablan las almas? 
 
 lAseo. Las almas 
 
 obraii por los instrumentos. 
 
 2575* 
 
 2580* 
 
 2585 
 
2;'.0 ACTO rKUCKUO 
 
 por los sentidos y i)ai-t('S 
 
 (le que se organiza el ('ncrj)o. 
 Fi)it(i. /.Longaiiiza conic d alma? 
 
 Ti(rl)i. ; Ell (|U(' to eansas? 
 
 Lisro. No piiedo 2590 
 
 pensar, sino que es locura. 
 Turin. Poeas vezes de los neeios 
 
 se hazoii los locos, senoi-. 
 TAtifo. I Pues de qiiien ? 
 
 Turin. De los discretes ; 
 
 porque de diuersas caiisas 2595 
 
 nazen effetos diuersos. 
 Lisco. [ Ay Turin ! Buelborae a Nise. 
 
 Mas qniero el entendimiento, 
 
 que toda la voluntad. 
 
 Seiiora, pues mi desseo, 2600 
 
 que era de daros el alma, 
 
 no pudo tener (en) effeto, * 
 
 qniMlad con Dios. 
 Finca. Soy medrosa * 
 
 de las almas, porque terao 
 
 que de tres que andan pintadas 2605 
 
 puede ser la del ynfierno. 
 
 La noehe de los diffuntos * 
 
 no saeo de puro miedo 
 
 la cabeza de la ropa. 
 Turin. Ella es loca sobre neeio, 2610 
 
 que es la peor guarnizion. 
 Lisco. Decirlo a su padre quiero. 
 
 * Vayanse [Liseo y Turin, y salgtni] Laurcnzio y Pedro 
 Lanrencio. ^. Puedo salir? 
 
 Finea. i. Que te dize ? * 
 
 Lanrencio. Que ha sido el mexor remedio 
 
 que pudiera ymaginarse. 2615 
 
 Finca. Si; pero siento en estremo 
 
LA DAMA BOBA 231 
 
 Ijollicnnc a boba, ami fingida. 
 
 Y pues fingida lo siento, 
 
 los que son bobos de veras 
 
 /, Como viuen ? 
 Laurcncio. No sintiendo. 262n 
 
 Pedro. Plies si vn tonto ver pudiera 
 
 sii entendimiento en vn espejo, 
 
 ^no fuera huyendo de si? 
 
 La razon de estar contentos 
 
 es aquella confianza 262;j 
 
 de tenerse por discretos. 
 Finca. Hablame, Laurenzio mio, 
 
 siitilmente, porque quiero 
 
 desquitarnie de ser boba. 
 
 * Entre Nise, y Celia 
 
 Nise. Sienpre Finea y Laurenzio 2630 
 
 juntos : sin dud a se tienen 
 
 amor ; no es posible menos. 
 Celia. Yo sospecho que te engailan. 
 
 Nise. Desde aqui los escuchemos. 
 
 Laurencio. ^, Que puede, herniosa Finea, 2f;35 
 
 decirte el alma, aunque sale 
 
 de si misma. que se ygiiale 
 
 a lo que mi amor dessea ? 
 
 Alia mis sentidos tienes: 
 
 escoge de lo sutil, -^^"^ 
 
 presumiendo (jiie en abril 
 
 por amenos prados vienes. 
 
 Corta las diuersas flores, 
 
 porque en mi ymaginazion 
 
 tales los desseos son. 2645 
 
 Nise. ^„Estos, Celia, son amores, 
 
 o regalos de euiiado? 
 Celia. Kegalos deben de ser, 
 
 pero no ((uisiera ver 
 
ACTO TEECERO 
 
 
 ciinado tail regalado. 
 
 Finra. 
 
 ;Ay Dios! ; Si llegasc dia 
 
 
 cii que viesse mi esperanza 
 
 
 sii posesioii ! 
 
 Laurcncio. 
 
 ^Qiie no alcan/a 
 
 
 vna aniorosa porfia? 
 
 Pedro. 
 
 Til lu^nnaiia eseiichando. 
 
 Lauvencio. 
 
 ; Ay ei(^los ! 
 
 Fine a. 
 
 Buelboiiie a boba. 
 
 Laurcncio. 
 
 Eso ynporta. 
 
 Finea. 
 
 Yete. 
 
 Nise. 
 
 Esperate, reporta 
 
 
 los passos. 
 
 Laurencio. 
 
 tVendras con zelos? 
 
 Nisc. 
 
 Celos son para sospechas; 
 
 
 trayciones son las verdades. 
 
 Laurcncio. 
 
 i Que presto te persuades, 
 
 
 y de enganos te aprobechas ! 
 
 
 ^Querras busear ocasion 
 
 
 para querer a Liseo, 
 
 
 a qiiien ya tan cerca veo 
 
 
 de tu boda y posesion ? 
 
 
 Bien hazes, Nise, hazes bien. 
 
 
 Lebantame vn testimonio, 
 
 
 porque deste matrimonio 
 
 
 a mi la culpa me den. 
 
 
 Y si te quieres eassar, 
 
 
 dexame a mi. [Vaijasc] 
 
 Nise. 
 
 Bien me dexas. 
 
 
 A^engo a quexarme, y te quexas. 
 
 
 ^,Aun no me dexas hablar? 
 
 Pedro. 
 
 Tiene razon mi senor: 
 
 
 casate, y acaba ya. [vayase] 
 
 Nise. 
 
 iQxie es aquesto? 
 
 Celia. 
 
 Que se va 
 
 
 Pedro con el mismo liumor. 
 
 2650 
 
 2655 
 
 2660 
 
 2065 
 
 2670 
 
LA DAMA BOBA 233 
 
 y aqui viene bien que Pedro * 
 
 es tan ruin como su amo. 2680 
 
 Nise. Ya le aborrezco y desanio. 
 
 i Que bien eon las quexas medro ! 
 
 Pero fue linda ynbenzion 
 
 antieiparse a refiir. 
 Cclia. Y el Pedro, ^quien le vio yr 2685 
 
 tan vellaco y socarron ? 
 Nise. Y tu, que disimulando 
 
 estas la traycion que has lieclio, 
 
 lleno de engaiios el peeho, 
 
 con que me estas abrassando, 2690 
 
 pues como sirena fuiste 
 
 medio pez, medio muger, 
 
 pues de animal a saber 
 
 para mi dafio veniste, 
 
 ^piensas que le has de gozar? 2695 
 
 Finea. & Tu me has dado pez a mi, 
 
 ni sirena, ni yo fui 
 
 xamas contigo a la mar? 
 
 Anda, Nise ; que estas loca. 
 Nise. feQue es esto? 
 
 Celia. A tonta se buelbe. 2700 
 
 Nise. A vna cosa te resuelbe : 
 
 tanto el furor me proboca, 
 
 que el alma te he de sacar. 
 Fined. i Tienes cuenta de perdon ? * 
 
 Nise. Tengola de tu traycion, 2705 
 
 pero no de perdonar. 
 
 I El alma piensas quitarme 
 
 en quien el alma tenia? 
 
 Dame el alma que solia, 
 
 traydora hermana, animarme. 2710 
 
 Mucho debes de saber, 
 
 pues del alma me desalmas. 
 Finea. Todos me piden sus almas ; 
 
JCTO TEHCEEO 
 
 Nise. 
 
 ;iliii;irio (It'bo dc hvv. 
 Totla soy hnrtos y robos. 
 ]\Iontps ay donde no ay gente : 
 yo me Ai'c a meter sci'pionte. 
 Que ya 210 os tienipo de bobos. 
 Dame el alma. 
 
 2715 
 
 
 ^ \Fntrrn] Ofahio con Feniso y Duardo 
 
 Ofahio. 
 
 l Que es aquesto ? 
 
 Finca. 
 
 Almas me piden a mi. 
 
 
 I Soy yo purgatorio ? 
 
 Nise. 
 
 Si. 
 
 Finea. 
 
 Plies prociira salir presto. 
 
 Otahio. 
 
 /,No sabremos la ocasion 
 
 
 de viiestro enojo? 
 
 Finca. 
 
 Qiierer 
 
 
 Nise, a fuerza de saber, 
 
 
 pedir lo que no es razon : 
 
 
 almas, sirenas, y pezes 
 
 
 dize que me ha dado a mi. 
 
 Otahio. 
 
 I Hase buelto a boba ? 
 
 Nise. 
 
 Si. 
 
 Ofahio. 
 
 Tu pienso que la enbobezes. 
 
 Finca. 
 
 Ella me ha dado ocasion ; 
 
 
 que me quita lo que es mio. 
 
 Otabio. 
 
 Se ha buelto a su desbario. 
 
 
 Muerto soy. 
 
 Feniso. 
 
 Desdichas son. 
 
 Duardo. 
 
 ^,No decian que ya estaua 
 
 
 con mucho seso? 
 
 Otahio. 
 
 i Ay de mi ! 
 
 Nise. 
 
 Yo quiero hablar claro. 
 
 Otahio. 
 
 Di. 
 
 Nise. 
 
 Todo tu dafio se acaua 
 
 
 con mandar resueltamente, 
 
 
 — pues como padre podras, 
 
 2720 
 
 2735 
 
 2740 
 
LA DAM A BOB A 235 
 
 y aiinque en todo, en esto mas, 
 
 pues tu onor no lo consiente, — 
 
 que Laurenzio no entre aqni. 
 Otabio. I Por que ? 
 
 Nise. Porque el ha causado 
 
 que esta no se aya cassado, 2745 
 
 y que yo te enoje a ti. 
 Otabio. Pues eso es mui faeil cosa. 
 
 Nise. Pues tu cassa en paz tendi-as. 
 
 * [Eutirn] Pedro ij Laurenzio 
 Pedro. Contento, en efeto, estas. 
 
 Laurcncio. Ynbenzion marauillosa. 2750 
 
 Celia. Ya Laurenzio viene aqui. 
 
 Otabio. Laurenzio, quando labre 
 
 esta cassa, no pense 
 
 que academia institui ; 
 
 ni quando a Nise eriaua, 2755 
 
 pense que para poeta, 
 
 sino que a muger perfeta 
 
 con las letras la ensenaua. 
 
 Sienpre alabe la opinion 
 
 de que la muger prudente, , 2760 
 
 con saber medianamente, / 
 
 le sobra la discrezion. 
 
 No quiero mas poessias, 
 
 los sonetos se acabaron, 
 
 y las musicas cesaron ; 2765 
 
 que son ya brebes mis dias. 
 
 Por alia los podreys dar, 
 
 si OS f altan telas y rasos ; * 
 
 que no ay tales Garzilasos 
 
 como dinero y eallar. 2770 
 
 Este venden por dos reales, * 
 
 y tiene tantos sonetos 
 
 eligantes y discretes, 
 
236 
 
 ACTO TEFCEFO 
 
 que vos no los hareys tales. 
 Ya no liabeys de entrar aqui. 
 Con este aehaque, yd eon Dios. 
 Laurcncio. Es miii jiisto, como vos 
 
 me deys a mi esposa a mi. 
 Que vos liazeys viiestro gusto 
 en vuestra cassa, y es bien 
 que en la mia yo tanbien 
 haga lo que fuere justo. 
 
 Otahio. 
 
 ^, Que muger os tengo yo? 
 
 Laurcncio. 
 
 Finea. 
 
 Otahio. 
 
 l Estays loco ? 
 
 Laurcncio. 
 
 Aqui 
 
 
 ay tres testigos del si, 
 
 
 que ha mas de vn mes que me dio. 
 
 Otahio. 
 
 ^, Quien son? 
 
 Laurcncio. 
 
 Duardo. Feniso, 
 
 
 y Pedro. 
 
 Otahio. 
 
 ^. Es esto verdad? 
 
 Feniso. 
 
 Ella de su voluntad, 
 
 
 Otabio, darsele qniso. 
 
 Duardo. 
 
 Assi es verdad. 
 
 Pedro. 
 
 No bastaua 
 
 
 que mi seilor lo dixesse. 
 
 Otahio. 
 
 Que como sinple le diese 
 
 
 a vn hombre que la engaiiaua 
 
 
 no ha de baler. Di, Finea, 
 
 
 I no eres simple ? 
 
 Finea. 
 
 Quando quiero. 
 
 Otahio. 
 
 ^.Y quando no? 
 
 Finea. 
 
 No. 
 
 Otahio. 
 
 ^, Que espero? 
 
 
 Mas quando sinple no sea, 
 
 
 con Lisseo esta cassada. 
 
 
 A la justicia me voy. 
 
 2775 
 
 27S5 
 
 2790 
 
 2795 
 
 2800 
 
LA DAMA BOBA 
 
 237 
 
 * Vayase OtaMo 
 
 Nise. Veil, (^elia, tras el ; que estoy 
 
 celosa y desesperada. 
 
 * y Nise y Celia 
 Laurcncio. Yd, por Dios, tras el los dos; 
 
 no me suceda vn disgusto. 
 Fcniso. Por viiestra amistad es justo. 
 
 Duardo. Mai echo lia sido, por Dios. 
 Fcniso. lYa hablays como despossado 
 
 de Nise? 
 Duardo. Piensolo ser. 
 
 * y Duardo y Feniso 
 Laurencio. Todo se ha hechado a perder. 
 
 Nise mi amor le ha contado. 
 
 i, Que remedio puede haber, 
 
 si a verte no puedo entrar? 
 Fema. No salir. 
 
 Laurcncio. ^Doiide he de estar? 
 
 Finea. ^Yo no te sabre esconder? 
 
 Laurencio. ^, Donde? 
 Finca. En casa ay vn desban 
 
 famoso para esconderte. 
 
 2S10 
 
 
 * Clara entre 
 
 
 Clara . . . 
 
 Clara. 
 
 Mi senora . . . 
 
 Finca. 
 
 Aduierte 
 
 
 que mis desdiehas estan 
 
 
 en tu mano. Con seereto 
 
 
 lleba a Laurenzio al desban. 
 
 Clara. 
 
 ^,Y a Pedro? 
 
 Finca. 
 
 Tanbien. 
 
 Clara. 
 
 Galan. 
 
 
 camine. 
 
 2820 
 
238 
 
 AITO TEBCEBO 
 
 Laurt II rid. 
 
 Yo 1c |)f()iii('1o 
 
 
 (|U(' voy tciiblando. 
 
 Finra. 
 
 ; I)c (luc? 
 
 Pedro. 
 
 ('Iiii';i, en Ih'gaiuio la ora 
 
 
 (If iiUKiiiir, di a tu senora 
 
 
 que algiin siistento iios dc 
 
 Clara. 
 
 Otrn com era poor 
 
 
 (inc til. 
 
 PnJro. 
 
 I Yo al desban ? i soy gato ? 
 
 ^ 
 
 Vayausc Laurenzio, Pedro, y Clara 
 
 2825* 
 
 Finea. l/Por que de ynposible trato 
 
 este mi publico amor? 
 En llegandose a saber 
 vna voluntad, no ay cosa 
 mas triste y escandalosa 
 para vna onrrada muger. 
 Lo que tiene de secret o, 
 eso tiene amor de gusto. 
 
 2830 
 
 2835 
 
 * Otahio cntre 
 
 Otahio. Harelo, aunque fuera justo 
 
 poner mi enojo en efifeto. [aparte] 
 Finea. ^, Yienes ya desenojado? 
 
 Otahio. Por los que me lo ban pedido. 
 
 Finea. Perdon mil vezes te pido. 
 
 Otahio. ^Y Laurenzio? 
 
 Finea. Acpii ha jurado 
 
 no entrar en la corte mas. 
 Otahio. ^Adonde se fue? 
 
 Finea. A Toledo. 
 
 Otahio. Bien hizo. 
 
 Finea. No tengas miedo 
 
 que buelba a Madrid xamas. 
 Otahio. Hija, pues sinple naeiste, 
 
 2840 
 
 >845 
 
LA DAM A BOB A 239 
 
 y por niilagros de amor 
 
 dexaste el passado error, 
 
 ^ eomo el yngenio perdiste ? 2850 
 
 Fi)i<a. /Que qiiiere, padre? A la fee, 
 
 de bobos no ay que fiar. 
 Otahio. Yo lo pienso remediar. 
 
 Fine a. i Como, si el otro se fue ? 
 
 OtaMo. Pues te engaiian* faeilmente 2855 
 
 los honbres, en viendo alguno, 
 
 te has de esconder ; que ninguno 
 
 te ha de ver eternamente. 
 Fiuca. Pues ^donde? 
 
 Ofabio. En parte secreta. 
 
 Finea. ^Sera bien en vn desban, 2860 
 
 donde los gatos estan? 
 
 I Quieres tu que alii me meta ? 
 Otahio. Adonde te diere gusto, 
 
 como ninguno te vea. 
 Finea. Pues alto, en el desban sea : 2865 
 
 tu lo mandas, sera justo. 
 
 Y aduierte que lo has mandado. 
 Otahio. Vna y mil vezes. 
 
 * Entren Liseo y Turin 
 
 Lisco. Si (luise 
 
 con tantas veras a Nise, 
 
 mal puedo haberla oluidado. 2870 
 
 Finea. Hombres vienen. Al desban, 
 
 padre, yo voy a eseonderme. 
 Otahio. Hija, Liseo no ynporta. 
 
 Finea. Al desban, padre; ombres vienen. 
 
 Otahio. Pues i no ves que son de cassa ? 2875 
 
 Finea. No yerra quien obedeze. 
 
 No me ha de ver hombre mas 
 
 sino (}uien mi esposo fuere. 
 
 * Vayasc Finea 
 
to 
 
 ACTO TEBCEEO 
 
 Lis<<>. 
 Of a bio. 
 Li SCO. 
 
 Otahio. 
 
 Li SCO. 
 Of Ohio. 
 
 Lisco. 
 Ofahio. 
 
 Lis 
 
 Otahio. 
 
 Jjiseo. 
 Otahio. 
 
 Tiis (lisfjnstos lie sal)i(Io. 
 Soy padre. 
 
 Ri'ini'dio pucdes 
 poner en aquestas cosas. 
 Ya le he piiesto, con que dexen 
 mi cassa los que la ynquietan. 
 Pues I de que manera ? 
 
 Fuesse 
 Laurenzio a Toledo ya. 
 i Que bien has hecho ! 
 
 2880 
 
 2885 
 
 Y tu erches 
 
 viuir aqui sin casarte? 
 
 Porque el mismo inconuinieute 
 
 se sig[u]e de que aqui estes. 
 
 Oy haze, Lisseo, dos messes 
 
 que me trahes en palabras. 
 
 i Bien mi termino agradezes ! 
 
 Vengo a cassar con Finea, 
 
 forzado de mis parientes, 
 
 y hallo vna sinple muger. 
 
 I, Que la quiera, Otabio, quieres ? 
 
 Tienes razon ; acabose. 
 
 Pero es linpia, hermosa, y tiene 
 
 tanto doblon que podria 
 
 doblar el marmol mas fuerte. 
 
 ^Querias quarenta mil 
 
 ducados con vna fenis? 
 
 I Es coxa o manca Finea ? 
 
 i. Es ciega ? Y quando lo fuesse, 
 
 ^ay falta en naturaleza 
 
 que con oro no se afeyte? 
 
 Dame a Nise. 
 
 No ha dos oras 
 que Miseno la promete 
 a Duardo en nombre mio. 
 Y pues hablo claramente. 
 
 2895 
 
 2900 
 
 2905 
 
 2910 
 
LA DAM A BOB A 
 
 241 
 
 liasta inanana a estas oras 
 te doy para que lo pienses, 
 porqiie de no te cassar, 
 para que en tu vida entres 
 por las puertas de mi cassa 
 que tan enfadada tienes, 
 haz cuenta que eres poeta. 
 
 2915 
 
 * Yaj/asc Oiahio 
 Lisco. I Que te dize ? . . . 
 
 Turin. Que te aprestes, 
 
 y con Finea te easses ; 
 
 porque si beynte merezes 
 
 porque sufras vna boba, 
 
 te ailaden los otros beynte. 
 
 Si te dexas de cassar, 
 
 te ban de decir mas de siete : 
 
 ' ' i Miren la bobada ! ' ' 
 Lisco. Yamos ; 
 
 que mi temor se resuelbe 
 
 de no se cassar a bobas. 
 Turin. Que se cassa me pareze 
 
 a bobas quien sin dineros 
 
 en tanta costa se mete. 
 
 Rubrica de Lope de Vega 
 
 2920 
 
 2925 
 
 2930 
 
 * Vayanse, y cntren Finea y Clara 
 
 Finea. Hasta agora bien nos va. 
 
 Clara. No a^'as miedo que se entienda. 
 
 Finea. \0 quanto a mi amada prenda 
 
 deben mis sentidos ya ! 
 Clara. \ Con la humildad que se pone 
 
 en el desban ! 
 Finea. No te espantes; 
 
 que es propia cassa de amantes, 
 
 2935 
 
242 ACTO TEnCKnO 
 
 ;iun(|iif I.aiii'ciizio pcrdoiic. 
 Cldra. ; V (|iiicn ]\o vine cii dcshan 
 
 (if (|iiaiit()s oy hail iiai-ido! 2940 
 
 Fi)i<a. A\gun huinikle que ha sido 
 
 do los ((111' en lo baxo estan. 
 Clara. En el desl)aii vine d li()iid)iv 
 
 que se tieiie i)or mas sabio 
 (jue Platon. 
 Pinca. Hazele agrabio ; 2945 
 
 que fue diuino su iiombre. 
 Clara. En el desban el que anima 
 
 a grandezas su desprecio ; 
 en el desban mas de vn neeio 
 
 que por discrete se estima. 2950 
 
 Fine a. ^Quieres que te diga yo 
 
 como es falta natural 
 de necios no pensar mal 
 de si niismos? 
 Clara. ^. Conio no? 
 
 Finea. La eonfianza secreta 2955 
 
 tanto el sentido les roba, 
 que, quando era yo mui boba, 
 me tube por mui discreta. 
 Y como es tan semejante 
 
 el saber eon la humildad, 2960 
 
 ya que tengo habilidad, 
 me tengo por inorante. 
 Clar((. En el desban vine bien 
 
 vn matador criminal, 
 
 euya muerte natural 2965 
 
 ninguno, o pocos la ven. 
 En el desban de mil modos, 
 y sujeto a mil desgracias, 
 aquel que diziendo gracias 
 
 es desgraciado con todos. 2970 
 
 En el desban vna dama, 
 
LA DAM A BOB A 243 
 
 que creyendo a quien la yiiqiiieta, 
 l)or vn ora de discreta, 
 pierde mil aiios de fama. 
 
 En el desban vn preciado -975 
 
 de Undo, y es vn cayman ; * 
 
 pero tienele el desban 
 conio el espejo engaiiado. 
 En el desban el que canta 
 
 con voz de carro de bueyes, 2980 
 
 y el que viene de Muleyes, * 
 
 y a los godos se lebanta. * 
 
 En el desban el que escriue 
 
 versos legos y donados, * 
 
 y el que por vanos cuidados 2985 
 
 sujeto a peligros vine. 
 Finalmente . . . 
 Finea. Espera vn poco; 
 
 que viene mi padre aqui. 
 
 * [E)itr€n] Otahio, Miscno, Duardo, Fcniso 
 
 Miseno. |,Eso le dixiste? 
 
 Otahio. Si ; 
 
 que a tal furor me proboco. 2990 
 
 No ha de quedar \ vine el cielo ! 
 
 en mi cassa quien me enoje. 
 Fcniso. Y es justo que se despoje 
 
 de tanto nezio mozuelo. 
 Otahio. Pidiome graeiosamente 2995 
 
 que con Nise le cassase; 
 
 dixele que no pensase 
 
 en tal cosa eternamente, 
 
 y asi estoy deterniinado. 
 Miseno. 0yd ; que esta aqui Finea. 3000 
 
 OtaMo. Hija, escueha. 
 
 Finea. Quando vea. 
 
244 ACTO TEECEEO 
 
 coino me lo liabcys uiaiidado, 
 
 que estays solo. 
 Otabio. Espcra vu poco; 
 
 (pu' ti^ lie cassado. 
 Clara. i Que UGu])i'es 
 
 casaniiento tlonde ay honbres? 3005 
 
 Olabio. Luego ^teneysme por loco? 
 
 Fi)i<a. No, padre ; mas ay a(pii 
 
 houbres, y voyme al desbau. 
 Ofahio. A(pii por tu bien estan. 
 
 Foiiso. Veugo a que os sirbays de rai. 3010 
 
 Fiiica. i Jesus, seiior ! ^No sabeys 
 
 lo (pie mi padre ha mandado? 
 Misoio. Oye ; que hemos conzertado 
 
 que OS caseys. 
 Finca. Gracia teneys. 
 
 No ha de haber hija obediente 3015 
 
 como yo : voyme al desban. 
 Misoio. Pues no es Feniso galan. 
 
 Finea. Al desban, sefior parieute. 
 
 Va!ja[)i]sc Finea [y Clara] 
 Duardo. ^Como vos le habeys mandado 
 
 que de los honbres se esconda ? 3020 
 
 Otabio. No se, por Dios, que os responda. 
 
 Con ella estoy enojado, 
 
 con mi contraria estrella. 
 Miseno. Ya viene Lisseo aqui. 
 
 Determinaos. 
 Otabio. Yo por mi, 3025 
 
 ^ que puedo dezir sin ella ? 
 
 [Entrcn] Lisseo, Nise y Turin 
 
 Lisco. Ya que me parto de ti, 
 
 solo'quiero que couozcas 
 lo que pierdo por quererte. 
 
LA DAM A BOB A 245 
 
 3030 
 
 Nise. Conozco que tii persona 
 
 mereze ser estimdda, 
 
 y como mi padre agora 
 
 venga bien en que seas mio, 
 
 yo me doy por tuya toda ; 
 
 que en los agrauios de amor 
 
 es la venganza gloriosa. 
 Liseo. I Ay Nisse, nunca te vieran 
 
 mis ojos, pues fuiste sola 
 
 de mayor yncendio en mi, 
 
 que fue Elena para Troya! 
 
 Vine a cassar con tu hermana, 
 
 y en viendote, Nisse hermosa, 
 
 mi libertad salteaste, 
 
 del alma pregiosa joya. 
 
 Nunca mas el oro pudo 
 
 con su fuerza poderosa, 
 
 que ha derribado montafias 
 
 de costumbres generosas, 
 
 liumillar mis pensamientos 
 
 a la baxeza que doran 
 
 los resplandores, que a vezes 
 
 ciegan tan altas personas. 
 
 Nise, duelete de mi, 
 
 ya que me voy. 
 Turin. Tienpla agora, 
 
 bella Nise, tus desdenes: ^0-^5 
 
 que se va amor por la posta * 
 
 a la cassa del agrauio. 
 Nise. Turin, las lagrimas solas ^ 
 
 de vn hombre ban sido en el mundo 
 
 veneno para nosotras. 
 
 No ban muerto tantas mugeres 
 
 de fuego, yerro, y ponzoiia, 
 
 como de lagrimas vuestras. 
 
 3035 
 
 3040 
 
 3045 
 
 3050 
 
 3060 
 
246 ACTO TERCEBO 
 
 Turin. Plies inira vii lioiihi-c (|U(' llora. 
 
 ^Eros tu barbara tigre! 
 
 [' jEres pantera? ^Eres onza? 
 
 I Eres duende ? i Eres leclmza ? 
 ^Eres Qirce? &Eres pandorga 
 I Qual de aquestas cosas eres, 
 que no estoy bien en historias ? 
 
 Nise. I No basta dezir que estoy 
 
 rendida ? 
 
 3065 
 
 Entrc Cclia 
 
 Celia. 
 
 Escucha, senora. 
 
 Nise. 
 
 6 Eres Celia? 
 
 Celia. 
 
 Si. 
 
 Nise. 
 
 l Que quieres ? 
 
 
 Que ya todos se alborotan 
 
 
 de verte venir turbada. 
 
 Otahio. 
 
 Hija, & que es esto ? 
 
 Celia. 
 
 Vna cosa 
 
 
 que OS ha de poner cuidado. 
 
 Otahio. 
 
 i, Cuidado ? 
 
 Celia. 
 
 Yo vi que agora 
 
 
 llebaua Clara vn tabaque 
 
 
 eon dos perdizes, dos lonjas, 
 
 
 dos gazapos, pan, toallas, 
 
 
 cuchillo, salero y bota. 
 
 
 Seguila, y vi que al desban 
 
 
 caminaba. 
 
 Otahio. 
 
 Celia loca, 
 
 
 para la boba seria. 
 
 Feniso. 
 
 i Que bien que comen las bobas ! 
 
 Otabio. 
 
 Ha dado en yrse al desban, 
 
 
 porque oy le dixe a la tonta 
 
 
 que, para que no la engaiien, 
 
 
 en viendo vn ombre se esconda. 
 
 3075 
 
 3080 
 
 3085 
 
 3090 
 
LA DAMA BOBA 
 
 247 
 
 Cclia. 
 
 Esso fuera, a no liaber sido 
 
 
 para saberlo curiosa. 
 
 
 Subi tras ella, y eerro 
 
 
 la puerta. 
 
 Miseno. 
 
 Plies bien, |, que ynporta? 
 
 Celia. 
 
 ^No ymporta, si en aquel suelo, 
 
 
 como si fuera vna alfonbra, 
 
 
 de las que la primabera 
 
 
 en prados fertiles borda, 
 
 
 tendio vnos blancos manteles, 
 
 
 a quien hizieron corona 
 
 
 dos honbres, ella y Finea? 
 
 Otahio. 
 
 I. Honbres ? ; Buena va mi honrra ! 
 
 
 I Conozistelos ? 
 
 Celia. 
 
 No pude. 
 
 Feniso. 
 
 Mira bien si se te antoja, 
 
 
 Celia. 
 
 Otahio. 
 
 No sera Laurenzio; 
 
 
 que esta en Toledo. 
 
 Duanlo. 
 
 Reporta 
 
 
 el enojo ; yo y Feniso 
 
 
 subiremos. 
 
 Otahio. 
 
 Reconozean 
 
 
 la eassa que ban afrentado. 
 
 * 
 
 Vayase Otahio. 
 
 Feniso. 
 
 No suceda alguna cossa. 
 
 Nise. 
 
 No hara ; que es cuerdo mi padre. 
 
 Duarclo. 
 
 Cierto que es diuina joya 
 
 Feniso. 
 
 Lisco. 
 
 H0H5 
 
 3100 
 
 3105 
 
 3110 
 
 el entendimiento. 
 
 Sienpre 
 yerra, Duardo, el que ygnora. 
 Desto OS podej^s alabar, 
 Nise ; pues en toda Europa 
 no tiene ygual vuestro yngenio. 
 Con su hermosura conforma. 
 
 3115 
 
248 
 
 ACTO TEliCEEO 
 
 Otahio. 
 
 Laurcncio. 
 
 F( u ISO. 
 
 Laurcncio. 
 
 Otahio. 
 
 Finca. 
 Otahio. 
 
 Finca. 
 
 Otahio. 
 
 Miscno. 
 Turin. 
 
 Clara. 
 Miscno. 
 
 Otahio. 
 
 l(/a can la (spada (hsHuda Otahio siguiendo 
 a Laurcnzio, Finca, Clara ij Pedro 
 ^lil vidas he de quitar 
 a qnien el oiior me roba. 
 Detened la espada, Otabio ; 
 yo soy, que estoy con mi esposa. 
 ^. Es Laiirenzio? 
 
 ^No lo veys? 
 ( Quien piidiera ser agora, 
 sine Laiirenzio, mi ynfamia? 
 Pues, padre, ^ de que se enoja ? 
 i ynf ame ! i No me dixiste 
 que el dueiio de mi desonrra 
 estaua en Toledo? 
 
 Padre, 
 si aqueste desban se nombra 
 Toledo, verdad le dixe. 
 Alto esta, pero no ynporta ; 
 que mas lo estaua el Alcazar 
 y la puente de Segobia, 
 y hubo juanelos que a el 
 subieron agua sin sogas. 
 El I no me mando esconder ? 
 Pues suya es la culpa toda. 
 i Sola en vn desban, mal ano ! 
 Ya sabe que soy medrosa. 
 Cortarele aquella lengua, 
 rasgarele aquella boca. 
 Este es casso sin remedio. 
 ^Y la Clara socarrona 
 que llebaba los gazapos? 
 Mandomelo mi seiiora. 
 Otabio, vos soys discreto ; 
 ya sabeys que tanto monta 
 eortar como desatar. 
 ^Qual me aconsejays que escoja? 
 
 3120 
 
 3125 
 
 3130 
 
 3135 
 
 3140 
 
 3145* 
 
 3150 
 
LA DAMA BOBA 
 
 Miseno. 
 Otahio. 
 
 Feniso. 
 
 Laurencio. 
 
 Otahio. 
 Liseo. 
 Otahio. 
 Laurencio. 
 
 Pedro. 
 
 Finea. 
 Turin. 
 
 Nisc. 
 
 Turin. 
 
 Feniso. 
 
 Duardo. 
 
 Desatar. 
 
 Senor Feniso, 
 si la voluntad es obra, 
 reciuid la voluntad, 
 y vos, Duardo, la propia ; 
 que Finea se ha cassado, 
 y Nise, en fin, se conforma 
 con Lisseo, que me ha dicho 
 que la quiere y que la adora. 
 Si fue, senor, su ventura, 
 paciencia ; que el premio gozan 
 de sus justas esperanzas. 
 Todo eorre viento en popa. 
 Dare a Finea la mano. 
 Dadsela, boba yngeniosa. 
 
 Y yo a Nise. 
 
 Vos tan bien. 
 Bien merezco esta vitoria ; 
 pues le he dado entendimiento, 
 si ella me da la memoria 
 de quarenta mil ducados. 
 
 Y Pedro, pio es bien que coma 
 algun guesso como perro 
 
 de la messa destas bodas? 
 Clara es tuya. 
 
 Yyo, ^naci 
 donde a los que nazen lloran, 
 y rien a los que mueren ? 
 Celia, que fue tu debota, 
 sera tu esposa, Turin. 
 Mi bota sera, y mi nobia. 
 A^os y yo solo faltamos. 
 Dad aca esa mano hermosa. 
 Al senado la pedid, 
 si nuestras f altas perdona ; 
 
 3155 
 
 3160 
 
 3165 
 
 3170 
 
 3175 
 
 3180 
 
250 ACTO TEECEHO 
 
 que a<iiii para los discretos 
 da fill la Comcdia hoha. 
 
 Loado sea cl santisimo sacrament o 
 
 Amen 
 En Madrid, 28 dc Ahril, de 1613 
 Lope de Vega Carpio (ruhrica) 
 
 Additions in connection with the license to act : 
 
 Yea esta comedia el secretario Thomas Grazian Dantisco, y vista, 
 nie la traiga. En Madrid, a 26 de otubre de 16 (rest illegible 
 near the edge of the page). 
 
 Esta comedia intitulada La Dama hoha se podra representar, 
 reservando a la vista lo que fuera de la lectura se offreciere, y lo 
 mismo en los eantares y entremeses y bayles. En Madrid, a 27 
 de 8bre 1613. 
 
 Thomas Graeian Dantisco. 
 
 Dasse lizencia para que se pueda representar esta comedia con- 
 forme a la censura. En Madrid, a 30 de otubre de 1613. 
 
 Podesse representar esta comedia intitulada la Dama hoha con 
 entremes y bailes honestos [y buenos?] (no date, rest illegible). 
 
LA DAM A BOB A 251 
 
 NOTES 
 
 ACTORS AND ACTRESSES 
 
 On the actors and actresses whose names Lope himself wrote 
 opposite the various dramatis personae, cf. H. A. Rennert, The 
 8pa7iish Stage in the Time of Lope de Vega (New York, 1909). 
 This volume contains on page 409ff. an alphabetical "List of 
 Spanish Actors and Actresses, 1560-1680." Of the majority of 
 them little or nothing is known. The chief names in our list are 
 the actor Cristobal Ortiz de Villazan, famoso rcprescntante (cf. 
 Rennert, p. 545), and the actresses Jeronima de Burgos (pp. 268, 
 438), and Maria, who may have been either Maria de Argiiello 
 (p. 423) or the able and skillful Maria de Cordoba (p. 456). 
 The latter was especially famous as a comedienne, and in this 
 comedy (if she really appeared in it), had the hardest part to 
 play, namely the title-role. Jeronima de Burgos, on the other 
 hand, who played the part of Nise, was no less famous, being 
 favored by the devotion of Lope, who wrote the Dama toha for 
 her. The preservation of the manuscript may be due to this 
 fact. Cf. La Barrera, Nueva hiografia de Lope de Vega (Madrid, 
 1890), p. 271 ; Rennert, The Life of Lope de Vega (Philadelphia, 
 1904), pp. 172 and 244. 
 
 The first scene oj^ens at an inn of the village of Illescas 
 (note 4). 
 
 1. Hildas: all editions known to us print hurnas. Lope un- 
 questionably abused the adjective Undo which occurs 
 frequently enough on some pages to justify an apology 
 which he printed in the dedication of la Viuda valcn- 
 ciana: "Muchos se ban de oponer a tan linda catedra: 
 perdonen los criticos esta voz linda; que Fernando de 
 Herrera, honor de la lengua castellana y su Colon 
 primero, no la desprecio jamas ni dejo de alabarla, como 
 
252 NOTES 
 
 se ve en sus Comentos, etc. ' ' The reference is to : Ohras 
 de Garcilasso de la Vega, con anotaciones (Sevilla, 
 1580). Cf. also Fernando de Herrera, controversia sohrc 
 sus anotaciones, etc. (Sevilla, 1870), especially p. 7, ser. 
 1, vol. 2 of the Bibliofilos andaluces. 
 
 possadas: cf. also, la Nochc tolcdana, I, xii: 
 
 {el Capitdn Acehedo y el Alferez Carrillo, de camino; 
 despues el hucsped.) 
 "Alferez. Buena posada. 
 Capitdn. Y quieta. 
 
 Alferez. Maiiana lo estara mas. ..." 
 Lope frequently places the opening of an act, or a scene, 
 in a hostelry or inn. Cf. el Boho del colegio, II, iv. 
 
 2. chinches: Hartzenbusch, por huenos respetos, we may pre- 
 sume, changed this word to cuartos. 
 
 4. YUescas: The place of this scene was once a popular "half- 
 way house" between Madrid and Toledo, and is fre- 
 quently mentioned in Spanish plays. Cf. Lope, el 
 Ausente en el lugar, II, i: 
 
 "Mas, por Dios, que aunque vestido 
 
 ya de camino te vea, 
 
 y a mi con esta librea 
 
 a lo flandesco lucido, 
 
 que no creo que de Illescas 
 
 has de pasar." 
 In the play Entre hohos anda el juego by Franciscd" de 
 Rojas Zorrilla, the second act opens in el meson de 
 Illescas. 
 
 Covarrubias (in Tesoro de la lengua castellana) says, 
 under Illescas: "De esta Villa hizo donacion el Rej^ 
 Don Alonso, cerca de los afios de mil y ciento y setenta 
 y seis a la Santa Iglesia de Toledo, que segun parece 
 aula buelto a ser de la Corona Real, para que los Santos 
 patronos della alcaneassen de nuestro Seiior vitoria, y 
 
LA DAMA BOBA 253 
 
 prospero sucesso de la giierra que pretendia hazer a los 
 Moros. Oy dia (Covarrubias wrote this only a few- 
 years previous to the date of our play) esta ilustrada 
 esta Villa con el Santuario, y casa de oracion de vna 
 Imagen de la Virgen, y Madre de Dios, que comunmente 
 llaman nuestra Seiior de Illescas." Pascual Madoz (in 
 Diccionario geogrdfico-estadistico-historico de Espana, 
 Madrid, 1847, IX, p. 421) says: "En el santuario de 
 Nuestra Seiiora de la Caridad se venera la imagen de 
 Nuestra Seiiora (que es una de las que San Ildefonso 
 tenia en su oratorio) y fue construido a espensas del 
 pueblo por los ailos de 1600 ; fue trazado por Domenico 
 Teotocopuli, conocido por El Greco, quien ademas hizo 
 para el dos escelentes cuadros que aun se conservan en 
 sus altares colaterales . . . ; la fama de los milagros de 
 esta imagen ha fijado en alto grado la devocion de los 
 fieles; . . . nuestros monareas . . . han hecho muchos 
 regalos a esta Sefiora. " 
 
 Although this village has lost its former prosperity, it 
 deserves a visit today. 
 
 guindas: cf. Cervantes: Persiles y Sigismunda, III, xxi; 
 edition Schevill-Bonilla, II, p. 194: 
 " — ^Donde vistes vos, seiiora — , dixo Marulo — , a mi 
 hijo Andrea? ^Fue en Madrid, o en Salamanca? 
 — No fue sino en Illescas — , dixo Ysabela — , cogiendo 
 guindas la mafiana de San Juan, al tiempo que albo- 
 reaua ; mas, si va a dezir verdad, que es milagro que yo la 
 diga, siempre le veo, 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 
 estudiantes. " Cf. also Covarrubias, under guindas. 
 
 mentiras : ' ' travelers ' yarns ' ' ; the reader will recall the 
 Spanish saying, de lucngas vias, luengas mentiras; there 
 are many scenes or episodes in Spanish drama and 
 tiction, in which we find travelers of everv rank and 
 
i4 NOTES 
 
 si at ion cxcliangiiig their experiences, both true and 
 otluTwise. Inns wonld be especially suitable for such 
 scenes. 
 
 17. i)i((Ji<J(is: "Se llama assimismo la cinta, que se corta igual 
 a la altura de la imagen 6 estatua de algun Santo, en que 
 se suele estampar su figura, y las letras de su nombre con 
 ])lata u oro. Usase por devocion." — Diccionario de Au- 
 toridadcs. Bartolome de Villalba y Estaiia, in el Fele- 
 (jvino curioso, printed in the Sociedad de Bihliofilos 
 Espariolfs, Madrid, 1886 tells us how pious pilgrims were 
 wont to buy these mcdidos: "Despues de haber cum- 
 ]>li(]o eon lo que es de esencia en la pelegrinacion, y 
 liahcr to)n(tdo medidas de imagenes que alii dan, el 
 Pelegrino se despidio de aquellos padres etc." This 
 refers to Nuestra Senora de la Pcna de Francia, casa 
 devoiisinia, I, p. 280. 
 
 19. Yma^enes: Alonso, mozo de muchos amos (cf. el Doctor 
 Jeronimo de Alcala Yaiiez y Rivera: El Donado hahla- 
 dor, I, chap. 5) tells us: "Llegue con no pequefia 
 pesadumbre a Illescas, y sin irme a meson de puro 
 devoto me fui derecho a visitar el sagrado santuario 
 de tanta estima, y con mucha razon tan famoso en toda 
 Castilla, de la sagrada imagen de la Madre de Dios, 
 Seiiora nuestra. Adore en aquel suntuoso templo de 
 la Caridad a la Emperatriz de los cielos, considere sus 
 riquezas, visite su grandiose hospital, remedio de tantos 
 pobres necesitados del favor humano; y habiendome 
 encomendado al Seiior y a su divina providencia, sali a 
 buscar un pedazo de pan." 
 
 25. postas: "Los cauallos que de publico estan en los caminos 
 eosarios para correr en ellos, y caminar con presteza 
 .... Dixeronse postas por estar expuestas, y pre- 
 venidas para qualquier hora y tiempo. Los eosarios 
 que las corren se llaman correos : los que guian con el las 
 Postillones. ' ' — Covarrubias. 
 
LA DAM A BOB A 255 
 
 — ''Ay Paula! mi bien se va. 
 feEstara en las pastas ya?" 
 
 "Carlos se fue : yo vi pasar las postas" 
 
 "Con dolor pico la posta, 
 de suerte que paso cual suele el rayo, 
 que apenas de la vista se percibe." 
 
 — Lope : el Ausente en el lugar, II, ix, xiii. 
 
 Por la posta has also acquired the meaning "without 
 
 delay, " " post-haste ' ' : 
 — ' ' Pues pierdan, Celia, el pesar ; 
 que por la posta en un coche 
 conmigo entonees vendran." 
 
 — -Alarcon: las Paredes oijcn, I, xi. 
 Cf . also below, verses 890, 904. 
 
 39. nonhre: Lope also writes nomhre (49) ; hamhre (41) and 
 fiaiihre (44) as rime words merely represent in their 
 different spelling a very common inconsistency in all of 
 Lope's autograph manuscripts. 
 
 44. tozino fianhre: "fiambre, quasi friambre, la carne que 
 despues de asada, o cozida, se come fria, manjar que el 
 estomago le abraca muy mal." — Covarruhias. This 
 may account for Turin's statement, verse 38: ay a quien 
 pesa de oyr su nonbre. 
 
 oO. una hermosa caxa: a box of some conserve, possibly of 
 quince. ' ' Algunas mercaderias ay, las quales se vend en 
 en sus caxas ; y assi dezimos : caxa de confitura, caxa 
 de diacitron, etc.'^ — Covarrubias. 
 " Giron. ^Tienes algo que me dar, 
 para que pueda llevar 
 alguna consolacion? 
 Elvira. Cajas de conserva ricas, 
 y una bota de azahar." 
 — Lope: Scrvir a Solar discreto. II, iii. 
 
2r)(i NOTES 
 
 Ct". Ccrvaiitcs : (I IiufuiH dichoso: Comedias; edition 
 Schevill-Bonilla, 11, p. 8;j, vs. 27; the entremes la 
 Guarda cuidadosa: "Dile una destas caxas de came 
 de membrillo, muy grande etc."; the entremes, el 
 Vizcaino fingido, which speaks of "una caxa de con- 
 serva." In verse 954, below, the word may be found 
 again. 
 
 53. lizioncs: here means "principles"; Covarrubias under 
 leer has: "letura: lo que comunmente se le, y en 
 escuelas significa materia; leecion, lo mismo, y la 
 doctrina del maestro." 
 
 56-8. las da mas . . . diuinas: 
 
 — "Yo no imagino que estan 
 
 desa suerte las mujeres, 
 
 sino todas cristaliuas, 
 
 como vn vidro trasparentes." 
 
 — Lope: el Perro del liortelano, I, xii. 
 The idea that women are frail, "as brittle as glass" 
 is common to all the writers of the Golden Age. In 
 his Novela del curioso impertinente Cervantes states : 
 "Quiero dezirte vnos versos que se me han venido a 
 la memoria, que los ohi en vna comedia moderna, que 
 me parece que hazen al proposito de lo que vamos 
 tratando. Aconsejaua vn prudente vie jo a otro padre 
 de vna donzella, que la recogiesse, guardasse y ence- 
 rasse. Y entre otras razones le dixo estas : *, 
 
 — "Es de vidrio la muger 
 
 pero no se ha de prouar, 
 
 si se puede o no quebrar, 
 
 porque todo podria ser. 
 
 Y es mas facil el quebrarse ; 
 
 y no es cordura ponerse 
 
 a peligro de romperse 
 
 lo que no puede soldarse. etc." 
 
 — Don Quixote, 1, xxxiii, fol. 189. 
 
LA DAM A BOB A 257 
 
 64. xalea: " Jalea, vale el eiimo, o el licor del merabrillo, o de 
 otra cosa de que se haze conseriia, la qual traiian, y 
 congelan de modo, que queda transparente, y vale tanto 
 como cosa elada, de el nombre Toscano giallo, por 
 yelo. ' ' — Covarrubias. 
 
 . . ."Yo se hacer 
 rica conserva y jalea, 
 con que darte de comer." 
 
 — Lope : Scrvir a Sefior discreto, III, xxv. 
 
 66. con dos puntos en el ayre: The printed versions all read 
 con tres puntos en el aire. I have found no passage to 
 illustrate this use of puntos. My learned colleague, Pro- 
 fessor F. 0. 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 
 points to spare) on sugar; or, with two stitches loose. 
 
 86. estrihos de palo: "Hay tres diferencias de estrihos. De 
 medio celemin o media luna de hierro que usan los 
 vaqueros; son para la guerra los mejores, porque 
 guardan mas el pie ... . La segunda es de palo de la 
 misma hechura, todos cerrados. ... La tercera, y mas 
 galana es de los marines, de hierro, de la hechura 
 ordinaria" (from Tapia y Salcedo- Exercicios de la 
 Gineta) quoted by Leguina, in his Glosario de voces de 
 Armeria (Madrid, 1912), p. 466. 
 
 88. merienda: "en rigor vale lo que se comia al medio dia, 
 que era poca cosa, esperando comer de proposito a la 
 cena : y assi se dixo merienda quasi meridiana, o antes 
 quasi merenda, porque se daua despues de auer traba- 
 jado, quando ya se merecia." (Covarrubias) 
 
 106. Es Madrid vna talcga de piczas: Even Sancho Panza 
 thought the comparison of liuman beings with chess 
 pieces a trifle old. 
 
MS NOTES 
 
 ''Braua ('onii)ara('ion, — dixo Sancho — , annque no tan 
 nueiia, que yo no la aya oydo nmchas y diuersas vezes, 
 eomo aquella del juego del axedrez, que mientras dura 
 el juego, eada pieea tiene su particular oficio, y en aca- 
 bandose el juego, todas se mezelan, juntan y barajan, y 
 dan eon ellas en vna bolsa, que es como dar con la vida 
 en la sepultura. 
 
 — Cada dia, Sancho — , dixo don Quixote — , te vas ha- 
 ziendo menos simple, y mas discreto. '' 
 
 —Don Quixote, II, cap. 12, f. 41. 
 Lope had used the comparison before : 
 ' ' Bueno vengo desta vez 
 
 con la mascara fingida ; 
 
 bien parece que esta vida 
 
 es un juego de ajedrez. 
 
 i Oh como es raudable y vana ! 
 
 Y echase en esto de ver, 
 
 que una pieza blanca ayer 
 
 puede ser negra manana. ' ' 
 
 — los Locos de Valencia, II, xiv. 
 
 142. a gentiles vistas voij: for this use of vistas compare the 
 following passages : 
 '^Alejandro. . . . luego quiero 
 
 pedir licencia para verla. 
 Autilio. En todo 
 
 tendremos el cuidado necessario. ^ 
 
 Alejandro. Si en estas vistas tengo buena estrella, 
 
 fe quien caso con muger tan rica y bella ? ' ' 
 — Lope : las Flores de Don Juan, III, vii. 
 Also: 
 
 "Pues hoy seran las vistas, y amor trace 
 que se concluya, pues os viene al justo." 
 
 — Lope: Quien ama no haga fieros, I, vi. 
 This word belongs to a stereotyped social vocabulary, 
 with the special meaning of "first formal interview"; 
 
LA DAMA BOBA 259 
 
 it generally refers to the first interview and formal 
 exchange of promise of marriage between lovers. Cf. 
 also Velez Guevara : el Diablo cojuelo, tranco II, for 
 vistas in the sense of "garments for a bride," pp. 22 
 and 244 of Seiior Bonilla's admirable edition (Bibliofilos 
 madrilenos, Madrid, 1910). 
 
 180. hasilisco: the modern reader learns with interest and 
 amusement that Lope and his contemporaries really 
 believed in this fabled creature. Many of the 3Iis- 
 celdneas of the sixteenth century tell all about its 
 dangerous qualities ; Covarrubias treats it seriously in 
 his Tesoro, presumably because it was heresy to doubt 
 anything stated by Pliny in his Natural History. Pero 
 Mexia in his Silva de varia lection, II, xxxix says : 
 ' ' Otras cosas tienen esta oculta virtud [habla de propie- 
 dades secretas] en sola vna parte de si proprias: como 
 ... el basilisco que tiene poncoiia solamente en los 
 ojos, que mata con su vista. " It is hard to see what the 
 poetic conceptistas of those days would have done with- 
 out the basilisk. The dramatists bring him into the 
 dialogue frequently. Compare, for example : 
 
 Rey. I Que mas hechizos que ver ? 
 
 Don Manrique. Luego ^ basilisco ha sido ? 
 Rey. No; porque es su condicion 
 
 matar mirando, y morir 
 si le miran. 
 
 Lope: La Corona merecida I, vi. 
 
 This legendary creature has fortunately become extinct 
 in modern poetry. An interesting article on the basilisk 
 in Spanish folklore may be found in Folklore Espaiiol: 
 Bihlioteca de las tradiciones populares espanolas 
 (Madrid, 1884) III, pp. 13-83. (Ant. Machado y 
 Alvarez). 
 
KiO NOTES 
 
 185. Lope docs not indicalc any scenes in his manuscript. We 
 arc now in I\Iadrid in the house of Oetavio, presumably 
 in the chief living room of the house. 
 
 210. mas me pudrc y martiriza: a popular usage: '' Pudrcme, 
 sobre todo, hallar tan continua blasfemia en lenguas de 
 quienes apenas pueden ser eauallos, quanto mas caua- 
 lleros. " Christoual Suarez de Figueroa : el Passagero 
 (Madrid, 1617) ; reprinted in 1914 in the series Bibliu- 
 filos cspanolcs; cf. p. 277, also 81. ''Por Dios, senor 
 nuestro amo, — replico Sancho, — que vuessa merced se 
 quexa de bien pocas cosas. ^A que diablos sc pudre de 
 que yo me sirua de mi hazienda . . . ? 
 
 —Don Quixote, II, xlii, f. 163r. 
 
 216-40. In connection with this whole passage the modern 
 reader must take into account that in Lope's day men 
 were inclined to concede to women only a very retired 
 and unobtrusive place, whether at home or in society. 
 They must be virtuous above all; intelligence was of 
 secondary importance. ''Miren los padres las obliga- 
 ciones que tienen, quiten las ocasiones, consideren de si 
 lo que murmuran de los otros, y vean cuanto mejor 
 seria que sus mugeres, hermanas e hijas aprendiesen 
 muchos puntos de aguja, y no muchos tonos de guitarra: 
 hien gohernar y no mucho ~bailar, que de no saber las 
 mugeres andar por los rincones de sus casas, nace ^i" 
 a hacer mudanzas a las agenas. " — Guzman de Alfaraclie, 
 parte 2a, libro 1°, cap. 2. 
 
 "Puede un hombre situar su reputacion en letras, 
 en armas, en gobierno y en virtud. Pero la mujer en 
 sola la virtud puede fundar su honor ; porque ni ellas 
 son menester para letras, ni para jugar las armas ni salir 
 con ellas al enemigo, ni para gobierno que pase de re- 
 mendar unas mantillas a sus criaturas, y dar unas 
 
LA DAMA BOBA 261 
 
 sopillas a los gatos de casa; y si mas hacen, es meterse 
 en la jurisdiccion de sus maridos y dueiios." — Gaspar 
 Lucas Hidalgo: Didlogos de apacihle entretenimicnto, 
 III, cap. 3. 
 
 ' ' Propio de la muger es oir y obedecer al marido, en 
 cuya potestad se halla ; mas ha de ser tratandola ni como 
 a cabeea ni como a pies, sino como a la parte y lado de 
 donde fiie formada, que fue de vn medio, y medio cer- 
 cano al coracon" . . . (p. 213). ''Su mas perfeta her- 
 mosura es la verguenza, puesto que la corporal mas 
 superior, en poco espacio de tiempo, o por breue en- 
 fermedad se pierde. . . . Afirma san Geronimo serle 
 al liombre concedido por diuersas vias don particular 
 para adquirir honra, fama y nombre : a vnos con letras, 
 a otros con armas, a muchos con diferentes artes; mas 
 a la muger solamente se concedio hazerse en el mundo 
 eterna con la verguenca, honesta y casta." (p. 271) — 
 El Passagero, op. cit. These commonplace teachings 
 repeat the gist of what may be found in many a con- 
 temporary sermon, and in their last analysis go back to 
 the doctrines of the great church fathers themselves. 
 
 231. ensenar: the MS., ansenar. 
 
 254. Otahio: the MS. has Ma, for the usual Ota. 
 
 259. que le falfa [a] Miseno: a is often mechanically omitted 
 when another vowel (generally a), precedes or follows; 
 cf. Cervantes: "no madrugamos a dar memoriales, ni 
 acompanar magnates." — la Gitanilla (first edition) ; 
 "dexo mudos a los dos amigos que escuchado la auian, 
 especialmente Avendaiio" . . . — la ilustre Fregona 
 (first edition) ; "el no salio, boluile a esperar, boluio 
 a no salir, y boluiose acostar." — Don Quixote, II, cap. 
 17, f. 63r. "Yo me obligo con ella eercenar vn copo de 
 lana." — Lazarillo de Tonnes, III. 
 
262 NOTES 
 
 279. EUodoro: Lope frequently refers to the romance of Thca- 
 gencs and Chariklca. In his la Noche de Sau Juan, Don 
 Juan says: 
 
 "No cuenta cosas tan varias 
 
 de Clariquea Heliodoro; 
 
 las de Teagenes passan 
 
 en afios, pero las niias 
 
 en vna noche." 
 
 —Ill, f. 89r. (ed. 1). 
 Cf. also Lo que ha de ser, 1, xiv; de Cosario a cosario, 
 III, i, and his very mediocre novela: las Fortunas de 
 Diana (near the beginning) ; la Dorotea, III, i. On 
 Heliodorus, ef. Schevill: The Question of Heliodorus, 
 in Studies in Cervantes, II, printed in Modern Phil- 
 ology, IV, 4, April, 1907; also Lope de Vega: Novelas; 
 edited by J. D. Fitz-Gerald and Leora A. Fitz-Gerald, 
 in Ronianische Forschungen, XXXIV (1913), p. 4 and 
 note. 
 
 285. Es que no se da a entender 
 
 con el artificio griego 
 
 hast a el quinto lihro: Heliodorus introduces the reader 
 in niedias res. We first learn of the adventures of hero 
 and heroine in Egypt, and elsewhere, but not until the 
 fifth book do we learn how the lovers fell into the situa- 
 tion with which the first book opens. On the artificio 
 griego, cf. the anonymous translation of Heliodoi'us, 
 printed at Antwerp in 1554: Historia ethiopica de 
 Heliodoro, a portion of the prologue of which (p. 4) 
 Nise repeats. An excellent work on the subject is Der 
 griechische Roman und seine Vorlaufer (ed. 2, Leip- 
 zig, 1900), by Erwin Rohde. 
 
 292. digna de aplauso y teatro: plays based on this story were 
 written by Perez Montalban, and Calderon, but its 
 theme of love and adventure was ill suited to the stage. 
 
LA DAM A BOB A 2(53 
 
 298-302. Nise and her circle are devotees of the various poetic 
 fads then in vogue, known as conceptismo, and culte- 
 ranismo, which will be referred to again below. Lope 
 frequently ridicules this ' ' new style ' ' of verse. See the 
 introductory essay also. 
 
 307ff. The humor of this scene recalls that of Moliere's Le 
 Bourgeois GentilJiomme, II, vi, where the maitre de 
 philosophie says: "Pour bien suivre votre pensee, et 
 traiter cette matiere en philosophe, il faut commencer, 
 selon I'ordre des choses, par une exacte connaissance de 
 la nature des lettres, et de la differente maniere de les 
 prononcer toutes." And thereupon M. Jourdain has 
 a lesson in the vowels and consonants of the alphabet. 
 
 317-8. El alha dehe de ser 
 
 quando andaua entre las coles: "vn dicho comun que 
 traemos a proposito, quando vno pregunta con descuydo, 
 y paciencia : i, que es aquello ? siendo cosa en su per- 
 juizio, le responden : No es sino el alba, que anda entre 
 las coles. Para declararme, presupongo que los gentiles 
 hazian a la aurora vna deidad, figurandola como vna 
 ninfa muy herraosa, vestida de bianco, y rociada de 
 aljofar . . . ; y vna hortelana, auiendose entretenido con 
 vn amigo, detuvose mas de lo que fuera razon para no 
 ser visto, y saliase de la huerta. Ya que amanecia, el 
 marido que se levanto y vio el ruido que hazia, sa- 
 liendo por entre la hortaliza a gatas, llamo a su muger 
 muy maravillado, y dixole : Muger, i es persona aquella 
 que va haziendo ruido 1 Respondio ella : No es sino el 
 alba que anda entre las coles." (Covarrubias). Cf. also 
 Lope : el Acero de Madrid, II, xvi ; la Dorotca, IV, v ; 
 Cuento de Cuentos, in Ohras de Don Francisco de 
 Quevedo (Rivadeneyra), II, p. 407. 
 
 335. acordaua: the MS., acordoua. 
 
NOTES 
 
 387. The mamisc'rii)t has an interrogation point ; this, or any 
 punctuation, is very rare in Lope's autograph manu- 
 scrijits. 
 
 360. Tlie printed versions have: clilo; as the original plainly 
 has dila, the la naturally refers to causa. 359. 
 
 370. Cas: Quevedo, in ridiculing the abuse of some words says: 
 ''^Hay eosa tan mortal como zas? Mas han muerto de 
 zas que de otra enfermeded ; no se cuenta pendencia que 
 no digan : Y llega, y zas y zas, y cayo luego ? ' ' 
 — Cuento de Ciicntos (dedication), op. cif.. p. 402. 
 
 387. pieza de Reij: ''Se llama eomunmente el truhan o buf on : 
 assi al que es sabandija palaciega, se dice que es pieza 
 de Rey." — Diccionario de Autoridades, which cites 
 Quevedo : " ^ Que traes ? — dixo el entremetido. Re- 
 spondio : — Estos dos. — i Quien son ? — Un hablador y 
 un lisonjero y vano: son piezas de rey, y por eso los 
 traigo al nuestro. — Violos Lucifer con asco, y dixo : — ; Y 
 como si son piezas de reyes! Mas aunque rey diablo y 
 diablo y archidiablo, no gusto desta gente." — cl Entre- 
 metido y la duena y el soplon, in Ohj-as. op. cit., I. p. 
 378. Lope uses the phrase to mean hoha, or simpleton ; 
 cf.: 
 
 ''La tristeza i^ 
 
 que oprime tanta belleza 
 
 nos ha obligado a sacar 
 
 este del Colegio Viejo ; 
 
 que es pieza de Rey." 
 
 — el Boho del Colegio, II, xvi. 
 Cf. also Tirso de Molina : Por el Sotano y el Torno, I, iv. 
 In la Gitanilla of Cervantes we read: "yo dare traza 
 que sus Magestades te vean, porque eres pieza de reyes." 
 
LA DAM A BOB A 265 
 
 395. sc te sale el alma: "Y, dando vn gran suspiro, se le salio 
 el alma. — Persiles y Sigismunda, op. cit. I, cap. 10, vol. 
 I, p. 75. 
 
 402. en todas las criadas: en for entre is not uncommon in 
 Lope's day: "En estas platicas, y en otras semejantes, 
 llegaron al lugar a la hora que anocheeia." — Don 
 Quixote, I, cap. 5, f. 16 v. Some commentators com- 
 plete the phrase by inserting "ocupados en estas pla- 
 ticas" which is unwarranted. 
 
 405. pariu: wherever Lope has an accent in his manuscript, I 
 have left it ; usually at the end of a verse. 
 
 415. con la lihrea del rey 
 
 Colorado y amarillo: Cesareo Fernandez Duro, in his ad- 
 mirable work, Disquisiciones nauticas (Madrid, 1876, I, 
 p. 259), speaking of the marriage of Ferdinand and 
 Isabella (1469) adds: "se habian fundido las diversas 
 nacionalidades de la Peninsula en dos agrupaciones 
 designadas con los nombres de Castilla y Aragon: al 
 refundirse en una sola, al adoptar un simbolo comun, 
 logico era que se tom^ran los elementos principales. 
 Ahora bien: Castilla blasonaba castillo de oro en campo 
 de gules o rojo y Aragon cuatro barras o — hablando 
 con mas propiedad heraldica — cuatro palos o hastones 
 de gules en campo de oro, esto es, identicos colores, de 
 manera que sin abdicacion por ninguna de las partes 
 se ofrecia por si misma la combinacion del rojo y ama- 
 rillo u oro para continuar siendo los colores nacio- 
 nales. . . . Dije que las libreas de particulares y los 
 trajes uniformes de los servidores del Estado estan inti- 
 mamente relacionados con los escudos respectivos, y 
 caen bajo el dominio de la Heraldica. . . . Los trajes 
 militares del reinado del Emperador consistieron en 
 jubon, calzas y gorra rojos acuchillados de amarillo. En 
 tiempo de Felipe II vistio la infanteria de amarillo, con 
 
!i)() NOTES 
 
 cufliillos rojos. Asi ostA i)i'»'S('iita(la on la ])iiitin'a de 
 San Quintin de la Sala de batallas del Escorial . . . 
 P\4ipe IV snprimio las ealzas acnchilladas, snstituyen- 
 dolas con gregiieseos y medias ealzas de lana, cuerpo de 
 jnbon eon faldetas y sombrero de fieltro a la walona. 
 El jnbon y gregiieseos eran amarillos y las medias ealzas 
 rojas, segnn nna pintnra qne posee en Lorca el general 
 Musso. ' ' 
 
 417. carr< tones: "carreton, diminutiuo de earreta : este le 
 
 lleua vna sola bestia, y si es earreton, o carretoneillo de 
 pobre, le lleua vna persona ; y ya yo le he visto tirar de 
 dos perros, y de vno." — Covarrubias. 
 
 418. . . . el romadizo 
 
 que da la noche a Madrid: 
 "D. Juan. Conozco aquel romanee, y qnien le hizo. 
 TcUo. El tiplaco es lechon con romadico. 
 
 D. Juan. Serenos de Madrid causan catarro. 
 
 Lope: La Noche de San Juan, III, f. 83v. 
 
 421. la calle Mayor: The noted playwright Ruiz de Alareun has 
 an entertaining passage on this street : 
 ^^Leonor. j Calle Mayor ! j Tan grandees 
 
 que iguala a su nombre y f ama ? 
 Clara. Direte por que se llama 
 
 la calle Mayor. 
 Leonor. Di pues. ^ 
 
 Clara. Filipo es el rey mayor, 
 
 Madrid su eorte, y en ell a 
 
 la mayor y la mas bella 
 
 calle, la calle Mayor. 
 
 Luego ha sido justa ley 
 
 la calle Mayor llamar 
 
 a la mayor del lugar 
 
 que aposenta al mayor rey. 
 Leonor. Bien probaste tu intencion. 
 
LA DAMA BOBA 2 
 
 Entre Redondo. 
 
 Rcdondo. Ya q^^e a tal tiempo llegue, 
 
 con tu licencia dire 
 
 tarabien mi interpretacion. 
 Clara. Dila. 
 
 Redondo. La ealle Mayor 
 
 pienso que se ha de llamar, 
 
 porque en ella ha de callar 
 
 del mas pequefio al mayor ; 
 
 porque hay arpias rapantes, 
 
 que, apenas un hombre ha hablado, 
 
 cuando ya lo han condenado 
 
 a tocas, cintas y guantes : 
 
 y un texto antiguo se halla 
 
 que dijo por esta calle : 
 
 ' ealle en que es bien que se calle ; 
 
 que no medra quien no calla.' " 
 
 — Mudarse por mejorarsc, I, x, xi. 
 
 The following extract is from Tirso de Molina: 
 'Da. Bernarda. ^. Como se llama esta calle? 
 Santillana. La calle de las Carretas. 
 
 Es ombligo de la corte ; 
 
 la Puerta del Sol aquella ; 
 
 la Vitoria al cabo de ella ; 
 
 y a la otra acera es su norte 
 
 el Buen Suceso ; alii enfrente 
 
 el Carmen ; a man derecha 
 
 la calle Mayor, cosecha 
 
 de tod a buscona gente : 
 
 San Felipe a la mitad : 
 
 Puerta de Guadalajara 
 
 arriba, de quien contara 
 
 lo que puede una beldad ; 
 
 pues por mas que un bolsillo 
 
 es como dar con el tore ; 
 
268 NOTES 
 
 y cobrando en plata ii oro, 
 iniga en cuartos, si es que paga." 
 
 — Por el Sotano y el Torno, I, vi. 
 See also in Lope's el Acero de Madrid, I, xiii, the 
 speech of Beltran. 
 
 If the witticisms and descriptions dealing with this 
 famous street were to be gleaned from the dramatists 
 alone, a comprehensive history of the life and activities 
 of the calle Mayor, and even of the entire capital could 
 be written. Cf. also Mesonero Romanos: El antiguo 
 Madrid (Madrid, 1861), p. 76ff., 116ff. ; Ricardo Se- 
 pulveda: Madrid vie jo (Madrid, 1887), pp. 193ff. 
 
 424. taut OS seruizios: Owing to the absence of sewers, refuse 
 and garbage, dirty water and worse were frequently 
 thrown into the streets, and not onlj^ at night. The 
 law required, however, that a warning agua va be 
 shouted before anything was thrown out. The un- 
 suspecting passer-by could then scurry into the nearest 
 doorway until the shower was over. References to this 
 incredible habit are common enough in the writers of 
 Lope's day. "Un bellacon, mozo de coeina (que debia 
 de estar fregando) pusose a una ventana, y echome por 
 cima un gran pailon de agua hirviendo, y cuando la 
 tuve a cuestas, dijo muy despacio: Agua va, guardaos 
 dehajo. Comence a gritar, dando voces que me habian 
 muerto. " — Guzman de Alfaraclie, parte la, libro 3°, 
 cap. 3. ^ 
 
 ' ' i Que sin dezir al que passa 
 agua va, las desta cassa 
 derramen vn orinal ! ' ' 
 
 Gongora: el Doctor Carlino, II (fragment). 
 Cf. la Casa de los Celos, by Cervantes, a popular 
 song (Act II) : 
 
 "Derramastes el agua, la nina. 
 y no dixistes: jAgua va! 
 La justicia os prendera." 
 
LA DAMA BOBA 269 
 
 In la Guarda cuidadosa of Cervantes, the sacristan 
 asks the soldier in what way Cristina, the housemaid, has 
 received his many favors, and the latter replies: 
 
 "Con . . . derramar sobre mi las lavazas cuando ja- 
 bona, y el agua de fregar cuando f riega ; y esto es cada 
 dia, porque todos los dias estoy en esta calle y a nu 
 puerta." See also the dialogue in Lope's el Villa no en 
 su Rineon, II, vii, not unlike that in the entrcyn's of 
 Cervantes. 
 
 As regards the particular meaning of sevvicio in our 
 play compare : ' ' Una moza de fregar, dadas las once 
 de la noche, saco el servicio de sus amos a la calle, y 
 por quitarse de ruidos, vaciole a la puerta de un vecino 
 que haeia y vendia esteras de esparto y de paja (oficio 
 que comunmente se halla entre discipulos del Alcoran), 
 y como por el mal olor viniese a noticia del hombre el 
 desacato de la moza, salio muy enojado, diciendo: — 
 i bellaca fregona, nunca otro eches en tierra de cris- 
 tianos ! — Dijo la moza: — Por eso le vacie yo a vuestra 
 puerta." — Caspar Lucas Hidalgo: Didlogos, I, cap. 4. 
 "Tenia por costumbre el viejo burlon de levantarse 
 casi cada noche al servicio ; y el of endido Bartolo, que 
 no ignoraba esta costumbre de su viejo, la noche 
 siguiente, cuando le sacaba a la calle para limpialle, 
 antes de acostarse el cura, en lugar de limpialle, como 
 solia, le puso toda la redondez esmaltada, etc." Ibid., 
 II, cap. 4. 
 
 ' ' Abrio un mozo la ventana de arriba con un candil 
 encendido en la mano y un tocador en la cabeza entre 
 sucio y roto, diciendo : No hay posada. hermano ; vaya 
 con Dios, y menos golpes ; que le coronara por necio un 
 orinal de seis dias." — Tirso de Molina: los Tres maridos 
 hurlados, 2a burla. 
 
 Quevedo, in his Vida del Buscon uses the word with 
 the double meaning found in the play : " ; Que estima- 
 ban — dijo [el soldado] muy enojado — si he estado yo 
 
270 NOTES 
 
 seis ineses pretendiendo una bandera, tras veinte aiios 
 de servicio del rey. como lo dicen estas heridas! . . . 
 Pregunte v. m. en Plandes por la hazaiia del Mellado, 
 y vcrA lo que dizen. — . , . El soldado llamo al hues- 
 \)v(\ y le encomendo sus papeles eon las eajas de lata 
 que los traia. . . . Hizose hora de levantar; [el sol- 
 dado] pidio luz muy aprisa ; trajeronla, y el huesped 
 el envoltorio al soldado, y olvidaronsele los papeles. El 
 pobre Alferez hundia la easa a gritos, pidiendo que 
 se le diese los servieios. El huesped se turbo ; y como 
 todos deciamos que se los diese, fue corriendo, y trajo 
 tres bacines, diciendo : — He aqui para cada uno el suyo. 
 ^, Quieren mas servieios? — entendiendo que nos habian 
 dado camaras. Aqui fue ella ; que se levanto el soldado 
 eon la espada tras el huesped, en camisa, jurando que 
 le habia de matar porque hacia burla del (que se habia 
 hallado en la Naval, San Quintin y otras), trayendole 
 servieios en lugar de los papeles que le habia dado." 
 I, cap. 10. 
 
 •425. . . . agua ardiente, 
 
 agiia viznicta del vino: so called by Lope because it was 
 distilled from wine. "Es la que por artificio se saca 
 del vino, de sus heces, del trigo, y de otras cosas." — 
 Diccionario de Autoridades. 
 
 427. los honhrcs carnestolendas: In d Accra de Madrid. Bel- 
 tran says : »< 
 
 "Franceses, que pregonais 
 aguardiente y letiiario." 
 For the noise and revelry of carnival time, hinted at in 
 lines 425-8, see Gaspar Lucas Hidalgo: Didlogos, espe- 
 cially the romance recited by Castaiieda in the last 
 chapter, beginning: 
 
 ''Martes era, que no lunes, 
 martes de Carnestolendas etc." 
 
LA DAM A BOB A 271 
 
 There is also a very characteristic description from 
 the pen of Quevedo in his Vida del Buscon, I, cap. 2, be- 
 ginning: "Llego, por no enfadar, el tiempo de las 
 Carnestolendas etc. ' ' These passages are, of course, con- 
 ceived in the popular and less decent spirit of carnival. 
 In Moreto: el Desden con el desden, II, iii, carnesto- 
 lendas are presented with a dignified and courtly spirit 
 in a sarao. The scene begins : — 
 Miisicos. "Venid los galanes 
 
 a elegir las damas, 
 
 que en Carnestolendas 
 
 amor se disfraza. 
 
 Falarala, larala, etc." 
 Lope finished this play in April ; he may, therefore, 
 have been writing this passage at carnival time. 
 
 430. despertauan los offizios: trades people, craftsmen, etc. The 
 oficial is here contrasted with the moneyed or aristo- 
 cratic class (rentas). "He tenido y servido, como dicen, 
 siete oficios, aprendiz, oficial, despensero, criada, y criado, 
 mayordomo y escudero. " 
 
 — el Donado haMador, op. cit., II, cap. 10. 
 "Tristan. Pues ^que falta a Garceran? 
 Fulgcncia. Ventura. 
 Tristan. Y ^que mas? 
 
 Fulgencia. Dinero. 
 
 Garceran. Por esa faltilla sola 
 
 hay en el mundo escuderos, 
 duenas, pajes y lacayos, 
 oficiales y hombres buenos, 
 y poetas hay tambien." 
 
 — Lope : el Boho del Colegio, III, xxii. 
 "Mando Pelayo salir 
 a todos los oficiales. 
 Que saldrian, respondieron, 
 
272 NOTES 
 
 do biu'ua gaiia los sastres 
 
 a jiclcar con los moros." 
 
 — el Premio del hi<n JnthUir. Ill, iv. 
 ''Ciiando los cspanoles alcanzamos un real, sonios priii- 
 cipes, y auiuiue nos falto, iios lo hace creer la presuncion. 
 Si preguntais a un mal trapillo qnien es, responderos 
 ha por lo inenos, ({ue deseiende de los godos, y que su 
 corta suiTte lo ticuie arrinconado, siendo propio del 
 mundo loco levantar a los bajos y bajar a los altos ; pero 
 que aunque asi sea, no dara a toreer su brazo ni se 
 estimara en menos que el mas preciado, y niorira antes 
 de hambre, que ponerse a un oficio; y si se ponen a 
 aprender alguno, es con tal desaire que, o no trabajan, o 
 si lo hacen, es tan mal, que apenas se hallara un buen 
 ofcial en toda Espana." — Luna, Lazarillo de Tormes, 
 cap. 7. It would be worth while to identify this Luna. 
 His tale is an interesting patchwork of phrases and 
 episodes taken from other authors. I am inclined to 
 believe that the name Juan de Luna is not a nom de 
 plume; that he was merely a teacher of Spanish and in- 
 terpreter in Paris and London. After reading carefully 
 his three books: Dialog os familiares (in Spanish and 
 French, Paris, 1619), his Arte hreve i Compendiosa para 
 aprender a leer, escreiiir, pronunciar y hdhlar la lengua 
 espanola (London, 1623), and his Lazarillo de Tormes 
 (Paris, 1620), one is impressed chiefly by his lack of 
 originality, and his cleverness in putting together mate- 
 rial gathered from other writers. 
 
 431. tocauan los hoticarios 
 
 sus almirezes apino: "the apothecaries clanged their brass 
 mortars." The phrase is used of bells: "empinar la 
 campana, o taiierla a pino, es leuantarla en alto." — 
 Covarrubias, under pina. 
 
 Pages: Gran Diccionario de la Lengua Castellana 
 quotes Quevedo under almirez without exact reference : 
 
LA DAMA BOBA 273 
 
 "El clamor del que muere empieza en el almircz del 
 boticario . . . acabase en las campanas de la iglesia." 
 "^Y que gusto me apercibe 
 un almirez al moler, 
 y un lacayo al patear?" 
 — Alarcon : No hay mcil que por hieii no voiga, 
 I, xiv (Bonilla's excellent edition, p. 54). 
 
 437. Oziquimoeho: The names of these cats recall those of 
 Lope's Gatomaquia, some of which are: Zapaquilda, 
 Marramaquiz, Maulero, Micifuf, Bufalia, Garraf, Gar- 
 fiilanto, Micilda, Zapiron, Tragapanzas, Golosillo, Lame- 
 platos, and others. 
 
 441. hahJahan: the imperfect with 6 instead of u (-auan) is 
 
 rare in Lope's manuscripts. 
 
 442. en tiple: " [las gatas] maullando en tiple, y el gatazo en 
 
 bajo. " — la Geitomaquia, silva 2. 
 
 443. gerigonza: jargon, gibberish; "vn cierto lenguage parti- 
 
 cular de que vsan los ciegos con que se entienden entre 
 si. Lo mesmo tienen los gitanos, y tambien forman 
 lengua los rufianes, y los ladrones que llaman Germania. 
 Dixose gerigonca, quasi gregigonca, porque en tiempos 
 passados era tan peregrina la lengua griega, que aun 
 pocos de los que professauan facultades la entendian, y 
 assi dezian hablar griego el que no se dexaua entender 
 etc." — Covarrubias. The word has been much dis- 
 cussed, but the poor guess of the Spanish lexicographer 
 can be replaced only by the equally unsatisfactory 
 modern conclusion ' ' of uncertain origin " ( cf . Murray 's 
 New English Dietionarg, under jargon) ; also verse 918. 
 
 449. lo que arrastra honra: "base de entender que las ropas 
 rozagantes, y que llegauan al suelo antiguamente, las 
 traian los Reyes, y persona jes muy graues; y por 
 vestido honroso se da a los clerigos que no pueden 
 
L'74 NOTES 
 
 trat'i- vcstido (\ur no llcguc por lo ineiios al tovillo.'' — 
 Covarnibias. Corroas: Vocabulario de Refranes, etc., 
 lias the plirase, "lo que arrastra honra, y arrastrabanle 
 las tripas" (p. 198). 
 
 "No se diga que lo que arrastra honra ; sino al eontrario, 
 que lo que honra arrastra y trae a rauehos mas arras- 
 trados que sillas. " Gracian, el Cnticon, parte 3a, crisi 
 vi (Cejador's edition, Madrid, 1914), II, p. 229. 
 "Si es largo eomo la historia, 
 arrastrara por el suelo ; 
 pero lo que arrastra honra." 
 
 Lope: Santiago el Verde, III, vii. 
 
 459. 2;ms: "haca remendada ; vienen de las Islas Setemptrio- 
 nales para seruicio de los Reyes y grandes senores. El 
 nombre es de la tierra y lengua de donde vienen." — 
 Covarrubias. Compare French pie, and cheval pie, and 
 English pied and piebald. 
 
 484. correr gansos cinco a cinco: "Correr el ganso, regozijo que 
 se haze por carnestolendas, atandole en vna soga en 
 medio de la calle; los que passan corriendo proeuran 
 arrancarle el pescuezo, y como esta bien trauado suele a 
 vezes arrancarlos el de la silla." — Covarrubias. The 
 first reading of the manuscript was correr lanzas, which 
 Lope corrected, writing gansos over lanzas. The printed 
 versions all have canas. 
 
 512. Sibila critrea: The sibyl of Erythrae, one of the twelve 
 chief cities of Ionia, Asia minor. — Cicero: De Divina- 
 tione ad M. Brutum, I, 18, speaks of her. 
 
 "^No es conocido [Christo,] mirad, 
 
 a las sibilas, poetas 
 
 diuinas, que del escriuen 
 
 heroycos y altds poemas? 
 
 Mirad lo que dizen del 
 
 la libica y la eritrea, 
 
 la de Cumas, la de Arabia etc." 
 
LA DAM A BOB A 275 
 
 — Velez de Guevara: la Rosa de Alexandria, III. Cf. 
 also Pedro Mexia: Silva de varia leccion, op. cit., libro 
 III, cap. 34; "Que mugeres fueron las Sibillas." 
 
 522. Eduardo: Lope has both forms, Dilardo (three syllables) 
 and Eduardo; it is probable that the present verse has 
 hiatus after seiiora, making Eduardo three syllables. 
 
 525. In this sonnet Lope ridicules his affected contemporaries 
 
 who favored conceptismo and cultcranismo in poetry. 
 I have discussed these poetic aberrations at greater 
 length in my introduction, and tried to show there, as 
 well as in my notes, to what extent these phenomena 
 were influenced by neo-platonism. The peculiar lan- 
 guage of the poets of the early seventeenth century was 
 not wholly new at the time ; similarities in phrase may 
 be detected in prose and verse running far back into 
 the fifteenth century. The novelty of the style lay 
 chiefly in the excess of it, in piling up its artificial fea- 
 tures 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 
 world alive to their possibilities. 
 
 526. mi amor que a la virtud celeste aspira: compare "El amor 
 
 que a la virtud se tiene. ' ' — Cervantes : Galatea IV — a 
 phrase which occurs with similar ones in the midst of a 
 neo-platonic discussion. Cf. edition Schevill-Bonilla, 
 II, p. 45. 
 
 552. la: refers to yntenzion: the printed texts have sc. 
 
 576. vete a escuelas: "los estudios generales (that is, a Uni- 
 versity) donde se enseiian las artes liberales, disciplinas. 
 sciencias, y diuersas facultades de Teologia, Canones, 
 Leyes, Medicina, Filosofia, Lenguas . . .'' — Cova- 
 rrubias; note this use of the plural v^ithout the article: 
 
27(i NOTES 
 
 "Eso (](' argiiir cs bueno 
 para esciu'las." 
 — Lope: la Esdava dc su gahhi, 1, i. 
 "Si entro en escuelas, gritan los gorrones : — • 
 j Ay, giiarda el perro ! — Siluos y ceceos, 
 y sosurro mejor que de auejones." 
 — Diego Ximenez de Eneiso: Juan Latino, II, near 
 beginning. 
 
 579. Plat())i . . . puso cortinas: that is, the neo-platonists re- 
 joice in tliis obscurity. 
 
 587. La claridad 
 
 a todos cs agradahle: Although Lope himself indulged at 
 times in conceptisnw and cultcranismo he always ad- 
 vocated clearness of style in his criticisms. He makes 
 a distinction between culto, affected, and culto, cultured 
 in the best sense. In the latter sense Garcilaso was 
 culto: "Aquel poeta es culto, que cultiva de suerte su 
 poema, que no deja cosa aspera ni escura, como un 
 labrador un campo ; que eso es cultura, aunque ellos 
 diran que lo toman por ornamento. " — la Dorotca, IV, ii. 
 See also his ' ' Discurso en prosa sobre la nueva poesia, ' ' 
 in Ohras sueltas de Lope de Vega (Madrid, 1776), IV, 
 p. 459. 
 
 593. No traygas contigo [a] quien: on the mechanical omission 
 of a before or after a vowel, cf. verse 259. 
 
 610. Nise stumbles and falls: This stage trick, which permits 
 the lover to assist the young girl to rise, or to touch 
 her hand without arousing suspicion or offending cur- 
 rent etiquette, is one of several common devices, both 
 of the theatre and the novel. Cf . Lope : la Discreta 
 enamorada, I, iv: (Fenisa lets her handkerchief fall, 
 so that Lucindo may hand it to her and address her) ; 
 el Acero de Madrid, I, ii : (Belisa falls and Lisardo 
 
LA DAMA BOBA 277 
 
 helps her to rise) ; Tirso de ]\Iolina has tlie following 
 
 scene : 
 
 DoRa Magdalena. . . . (ap.) Un favor, 
 
 me nianda amor que le de. 
 {Tropieza, y da la mano a Mircno) 
 
 ; Valgame Dios ! Tropece ; . . . 
 (op.) que sierapre tropieza amor. 
 El chapin se me torcici. 
 Mir'eno. (ap.) jCielos! ^hay ventura igual? 
 
 ^ Hizose acaso algiin mal 
 Vnexceleneia ? 
 Dona Magdalena. Creo que no. 
 
 Mire no. (ap.) ; Que la mano la tome ! 
 
 — ci Vergonzoso en Palacio, II, xvi. 
 Cf. also For el Sotano y el Torno, II, i ; and Alarcon : 
 " — Jacinto, Lucrecia e Isabel, eon mantos ; cae Jacinta, 
 y llega Don Garcia y dale la mano " — la Verdad sos- 
 pecJwsa, I, iv. 
 
 "No se si con cnidado, tropezo del chapin, acudile los 
 brazos abiertos, y recibila en ellos, alcanzandole a tocar 
 un poco de su rostro con el mio." 
 
 — Guzman de Alfaraehe, II, iii, iv. 
 
 635. Hermoso soys sin duda, pensamiento: This apostrophe to 
 a "thought" is exceedingly common in Lope, and is a 
 dramatic device with the form and character of a mono- 
 logue. The latter is seldom satisfactory from an artistic 
 point of view, because Spanish comedy (la eomedia 
 propiamente dicha), is intrinsically one of constant 
 action and forward motion ; so that monologues, however 
 brief they may be, assume an artificial character. In 
 tragedy the monologue is more appropriate on account 
 of the moments of pause and deliberation which occur 
 in every tragic plot. Apostrophes to a "thought" may 
 be found in la Viuela valenciana: "Buen animo, pen- 
 
278 NOTES 
 
 sMiiiiiiilo, (Ic ti'iiu'ridad vostido." — If, i-Jos Locos dc 
 Val(Hci(i: "Vete despacio, peiisauiiento mio." — I, xiii ; 
 cl Boho del Colegio: "^Donde me llevas, pensamiento 
 loco?" — III, iii; cl Perro del hortclano: "Nuevo pen- 
 samiento mio, desvanecido en el viento." — II, iv ; la 
 Moza dc cdntaro: "Neeio pensamiento mio, (jue en tal 
 loeura habeis dado." — I, xii; cl Castigo sin vcnganza: 
 "Dejame, pensamiento; no mas, no mas, memoria.'' — 
 I, i ; and many other plays. Even in prose fiction Lope 
 introdnces this poetic stage device: Cf. the romance in 
 cl Pcrcgrino en su patria, libro 3, in Obras sneltas, V, 
 p. 208 : 
 
 ' ' Cobarde pensamiento, 
 
 pues todas tns promessas, 
 
 burlandose del alma 
 
 el viento se las lleva. " 
 
 Similar apostrophes to "pensamiento" may also be 
 found in other dramatists. 
 
 668. [las docc] que es numero de ijnteres: Don Luis Zapata has 
 a chapter in his Misceldnea, called "Grandeza del 
 numero doce." It is, like most of the volume, a heap of 
 absurdities, but contains items of popular interest. 
 Among the scores of examples in which doce is used, he 
 cites : ' ' Doce, los f amosos doce Pares de Francia ; doce 
 meses tiene el ario ; . . . doce horas da en Espaiia el 
 reloj, y no da mas . . . de doce anos se puede casarima 
 mujer, de doce puede testar. Doce hijos hacen por sus 
 dias a un hombre hidalgo . . . ; doce son los Consejos 
 principales que gobiernan nuestra machina . . . ; doce 
 leguas hay de Madrid a Toledo . . . ; una docena de 
 acotes es el castigo ordinario de un nuichacho . . .y doce 
 gallinas y un gallo dicen que comen tanto como un 
 caballo." Cf. Memorial hisiorico cspanol (Madrid, 
 1859), XI, p. 76tf. Laurencio adds (vs. 681-4) : 
 
LA DAMA BOBA 279 
 
 "Ell las doze el ofizial 
 
 descaiisa, y bastale ser 
 
 ora entonzes de comer 
 
 tan precissa y natural." 
 This doer is in Zapata also : "A las doce del dia se come, 
 los dias de ayuno en especial" (p. 78). 
 
 681. el ofizial: cf. note to verse 430 above. 
 
 693-700. Nisc cs ora ynfortunada, . . . plancta ayrado, sestil, 
 quadrado, Jupiter henigno, trino are astrological terms 
 found especially in the vocabulary of culteranismo. 
 "Los planetas se aman el vno al otro, quando se miran 
 de aspecto henigno, que es trino, de distancia de ciento y 
 veynte grados, el qual es aspecto de perfeto amor ; o de 
 aspecto sestil, de la mitad de aquella distancia, que es 
 de sesenta grados del vno al otro; el qual es aspecto de 
 lento amor y de media amistad. Empero hazense ene- 
 migos y se aborrecen el vno al otro quando se miran 
 de aspecto oposito, . . . que es de ciento oehenta grados 
 . . . ; y tambien, quando se miran de aspecto quadrado, 
 de la mitad de aquella distancia etc." — Leon Hebreo: 
 " Didlogos de Amor," I, " Dialog o segundo," p. 347 of 
 the Nueva hihlioteca de autores espanoles XXI : Origenes 
 de la Novela IV (Madrid, 1915). Cf. also Christobal 
 Suarez Figueroa, Plaza Universal (ed. 1733, Madrid), 
 p. 210 (dealing with astrological matters) : "Si la Luna ' 
 tuuiere aspecto . . . con Jupiter, las cosas correran 
 henignas y propicias." Also p. 543, par. 7. Note also 
 the following passages: 
 
 "Tu, moro, astrologo falso, 
 
 mira ; que presto mentiste ! 
 
 Plies, sin trinos ni cuadrados, 
 
 sextiles ni oposiciones, 
 
 me traen el bien que agiiardo." 
 
 — Lope: la Nina de Plata, II, xxi. 
 
2S0 NOTES 
 
 '*iQue i)Uiii('ta i-i^uroso 
 miro en aspecto contrario 
 la casa de mi fortiina?'' 
 — Velez de Guevara: La Ohligacion a las mugcrcs, III, 
 f. 258 in Scgunda parte de comedias escogidas 
 (Madrid, 1652). 
 
 719-28. No rrs que el sol del dinero 
 
 va del yngenio adelante? etc.: Ever since the days of the 
 Arehpriest of Hita, whose M'itty lines beginning "Mueho 
 fas el dinero, et mueho es de amar," are read with 
 pleasure today, Spanish writers have paid tribute to don 
 Dinero in original ways. Quevedo's hiriUa: 
 Poderoso caballero 
 es don Dinero 
 is well known, and Cervantes has on several occasions, 
 especially in Don Quixote, written of the relative merits 
 of poverty and riches ; Aleman, witli his love of moral- 
 izing, speaks of them at length, as for example, in la, 
 parte, libro 3°, cap. 1, of his Guzman dc Alfarache, be- 
 ginning: "Para los aduladores, no hay rico necio, ni 
 pobre discrete. ' ' But Lope always presents an old sub- 
 ject in a new and inimitable manner ; compare, for 
 example : 
 
 "Bcltran. lA quien pesa que le den? 
 
 Dime tu ; en el mundo, [, a quien ? 
 Florencio. & No hay nadie 1 
 Beltran. Escuchame. 
 
 Florencio. Di. 
 
 Beltran. El medico esta mirando 
 
 cuando el de a ocho le encajas ; 
 
 el letrado cuando bajas 
 
 la mano al parrafo, dando ; 
 
 el juez cuando le toca 
 
 la parte del denunciado; 
 
LA VAMA BOB A 281 
 
 el procurador no ha dado 
 paso hasta que el plus le toca ; 
 el que escribe, solo atiende 
 cuando sacas el dobl(3ii ; 
 cualquiera negoeiaeion 
 de solo el dinero pende. 
 El que viene a ser tu amigo, 
 si nunca le has dado nada, 
 culpa tu amistad honrada 
 y deja de andar eontigo. 
 El que se pone a mirar, 
 no esta mirando aquel rato 
 si es flux, sino el barato 
 aguarda que le has de dar. 
 I Quien ha hecho algun placer, 
 que no espere el galardon 1 
 
 — la Noche toledana, I. vi. 
 
 746. jAsi fueni el alma! Pedro is far more particular than his 
 master, and his preference of intelligence to mere 
 prettiness reminds one of Alarcon 's verses : 
 "Si es boba la hermosa, 
 es de teiiido papel 
 una bien formada flor, 
 que de lejos vista agrada, 
 y cerca no vale nada 
 porque le falta el olor." 
 
 — Mudarse par mcjorarse, I, v. 
 
 753. sails: The word in the MS. looks like sales, but the e may 
 be an undotted i as elsewhere now and then. 
 
 769. iAmorf Desseo . . . de vna cossa crmosa: A discussion 
 of love along the same lines as here may be found in 
 Lope's Fiientc Ovejuna, I, iv; see also la Dorotea, II, iv. 
 The language and ideas of neo-platonism, especially as 
 voiced in Leon Hebreo, Didlogos de Amor, are fre- 
 
2 NOTES 
 
 <|iiciilly r('])catc(l hy llic poets of Lope's day; they are 
 retieeted in practically all types of poetic creation. " Ya 
 declaro Platon que el noinbre del amor es vniversal a 
 (pialquiera desseo, de qiialqiiier cosa que sea y de qual- 
 (piiera que dessee ; pero que en especial se dize solaraente 
 desseo de cosa hermosa. ' ' ( Op. cit.. p. 377 ) . Again : " El 
 amor humano, de quien priucipalmente liablamos, es 
 propriamente desseo de cosa hermosa, como dice Platon ; 
 y comunmente es desseo de cosa buena, como dize Aris- 
 toteles." (p. 381). The interpretation of the pagan 
 deities, Cupid, Venus, Apollo, etc., of heathen myths, 
 as found in Leon Hebreo is repeated in the poets of the 
 Siglo de Oro. Cervantes copies Leon Hebreo extensively 
 in his Galatea, IV, the definition of love, as un deseo de 
 hcllcza recurring several times. Cf. the edition Schevill- 
 Bonilla, op. cit., Introduccion, p. 21 ; Fitzmaurice-Kelly : 
 HistoHa de la literatura espanola (Madrid, 1916), p. 
 130; and especially the great work of Menendez y 
 Pelayo: Historia de las ideas esteticas en Espana, II, 
 vol. 1° (Madrid, 1884), p. 108tf. 
 
 rOl. cspiritiis visiuos: "Lo que tiene facultud de ver," — Dice, 
 de Aiit., under visivo, with a citation from Fragoso: 
 Cirugia Universal, I, cap. 37, "Por estos van los 
 espiritus visivos a los ojos, y entran las especies, o seme- 
 janzas de las cosas." 
 
 Leon Hebreo, op. cit., p. 361, says: "del respla^ide- 
 ciente entendimiento diuino fue produzida la luz visiua 
 en el primer dia de la creacion, y en el quarto dia fue 
 aplicada al sol. y a la luna y a las estrellas." 
 
 r94. an-iedro haya: A more popular and antiquated form of 
 arredro; cf. : "Comenzose a ofrecer a Sataiias, dejo caer 
 las alfor jas, llegose a el el estudiante y dijo : — Arriedro 
 vayas, Satan, cata la cruz," — Quevedo: Yida del 
 Buscon, I, iv. 
 
LA BAM A BOB A 283 
 
 812. lAmorf locura, furor: Of the classical origin of this con- 
 ception, I have spoken at length in my book on Ovid 
 (Did ike Spanish Renascence (Berkeley, 1913). Cf. also 
 the Acneid, IV, 101: "ardet amans Dido, traxitque per 
 ossa furorem". Very apropos of this passage, Gaspar 
 Gil Polo says: "Aunque todos estos nombres [del 
 Amor] son infames, peores son los que le dan sus mismos 
 aficionados, nombrandole f uego, furor y muerte ; y al 
 amar, llamando arder, destruirse, cousumirse, y enlo- 
 quecerse ; y a si mismos nombrandose, ciegos, miseros, 
 eautivos, furiosos, consumidos e inflamados." — la Diana 
 enamorada, I. 
 
 819. El mas rudo lahrador 
 
 a pocos cursos la adquicrc: cf. Ovid and tlte Spanish 
 Renascence, op. cit., p. 38; Juan Ruiz says: "El amor 
 fas sotil al ome que es rrudo." stanza 156. 
 
 823. vna dulcc enfcrmedad : cf. Ovid and the Spanish Rena- 
 scence, op. cit., p. 58ff. 
 
 826. sahanones: "enfermedad que suele dar comunmente en 
 los pies y manos y si da en el talon le llamamos friera." 
 — Covarrubias. 
 
 "Si mi sefior te ha engaiiado, 
 no vuelva a Madrid jamas. 
 i Plega a Dios que un ignorante 
 me lea, ilustre seiiora, 
 perversos versos un hora ! 
 
 Que se aficione a capones 
 mi dama por voces vanas, 
 y si tuviere tercianas, 
 me curen por sabaiiones." 
 — Lope: el Premio del hi()i liahlar, IT, ii. 
 
284 NOTES 
 
 830. €s luz del cntendimicnto amor: one of the conceptos often 
 found in the religious verse of the seventeenth century, 
 but referring to el amor diuino. It is found in similar 
 forms in Leon Hebreo. 
 
 839. dcso na<;istcs. lYof The ignorance of Finea may be com- 
 pared with that of Agnes in Moliere's: L'ecole des 
 fcmmcs; tliere are similar ideas in both plays. 
 
 852. pcpitoria: a stew: "Seiior licenciado, lo primero que tengo 
 de quitar deste su libro ha de ser el titulo que le pone, 
 llamandole Pepitoria. — Preguntole que por que, y res- 
 pondiole : — porque la pepitoria lleva pies y cabeza ; 
 pero este su libro ni lleva pies ni cabeza." — Gaspar 
 Lucas Hidalgo: Didlogos, op. cif., lib. 3", cap. 4; "La 
 seiiora su vecina la desmenuzaba toda, y hacia pepitoria 
 de todos sus miembros y coyunturas. " — la Gitanilla, p. 
 25, edition of Rodriguez Marin in Cldaicos castellanos, 
 XXVII ; cf . also Velez de Guevara : el Diablo cojuelo, 
 the edition of Sr. Bonilla, op. cit., pp. 15 and 213. 
 
 861. saco de una carta vn naypecito: Octavio hands Finea a 
 picture of Liseo, drawn on the back of a playing card. 
 According to a passage in Lope's Perihdnez, y el Comen- 
 dador de Ocana (cf. Bonilla 's edition, Madrid. 1916), 
 a painter draws his first sketch of a portrait on a play- 
 ing card (naipe), throwing it afterwards on a larger 
 canvas : ^^ 
 
 "Pint or. A servirte vengo. 
 
 Comendador. i,Traes el naipe y col ores? 
 Pintor. Colores y naipe traigo. 
 
 Comendador. Pues, con notable secreto, 
 
 de aquellas tres labradoras, 
 
 me retrata la de enraedio, 
 
 luego que en cualquier lugar 
 
 tomen con espacio asiento. 
 
LA DAM A BOB A 
 
 285 
 
 Pint or. Que sere dificiiltoso 
 
 temo ; pero yo me atrevo 
 a que se parezca rauclio. 
 Comendador. Pues advierte lo que quiero. 
 Si se parece en el uaipe, 
 deste retrato pequeno 
 quiero que hagas uno grande 
 con mas espaeio en un lienzo. 
 Pintor. [, Quieresle entero ? 
 
 Comendador. No tanto; 
 
 basta que de medio cuerpo, 
 mas con las mismas patenas, 
 sartas, camisa y sayuelo." 
 
 — I, xxii. 
 In a very amusing scene {el Auscnte en el lugar, III, iv) 
 Carlos pretends to tear up the letters and pictures of 
 Elisa to make her believe that all is over between them. 
 Unfortunately he has nothing to tear up in his pockets, 
 so he turns to his servant: 
 'Carlos. ^, Tienes un papel ahi ? 
 
 Fingire que los rompi. {ap. a Estehan.) 
 Estehan. Buena industria. 
 
 Carlos. Amor me advierte. 
 
 Estehan. Si a darte otra cosa vengo 
 
 tan buena, no has de enojarte. 
 Carlos. No hare. 
 
 Estehan. Pues escucha aparte. 
 
 Diez doce naipes tengo. 
 Carlos. I Naipes ? 
 
 Estehan. Son para encajar, 
 
 si necesidad se ofrece. 
 Carlos. Muestra. 
 
 Estehan. Lastima parece. 
 
 Carlos. Estotros puedes guardar. — 
 
 {a Elisa) Elisa, hoy te dejo rota, 
 hoy rompo . . . 
 
283 
 
 NOTES 
 
 Esf(h(ni. (up. a sii amo.) y piuliera scr. 
 
 si fuera mala iniijer ; 
 
 y rompes alguna sota." 
 Carlos then tears up several playing eards under Elisa's 
 window, and departs. The latter promptly despatches 
 Marquina, and her servant Paula, to examine the frag- 
 ments, while she remains at the window. 
 
 Paula. 
 
 ^Rasgolos todos aqui 
 
 
 Carlos cuando se partio? 
 
 Elisa. 
 
 Si. 
 
 Marquina. 
 
 Naipes solo hallo yo. 
 
 Paula. 
 
 I Como ? 
 
 Marquina. 
 
 Naipes. 
 
 Paula. 
 
 ^ Naipes ? 
 
 Marquina. 
 
 
 Paula. 
 
 Mira no sea el retrato, 
 
 Si. 
 
 que esta en naipe. 
 Marquina. Lo que ves. 
 
 La sota de bastos es. 
 
 Jugo, perdio y dio barato. 
 Paula. ]\Iira que el reves sera. 
 
 Marquina. Por aca no hay otra eosa." 
 Cf . also la Dorotea, I, v ; IV i ; V, v. 
 
 The three picture cards of the Spanish deck are : a 
 crowned figure (rey), a figure on horseback (cahallo), 
 equivalent to our queen, and the knave, a standing 
 figure (sota). Apparently Liseo's picture recalled the 
 latter, being the image of a young man, but only as far 
 as the waist, and, therefore, differening from the usual 
 sota in having no legs. Cf. the phrase : "que es sota, y 
 muestra los pies," in Tirso de Molina: La Villa na de 
 la Sagra, I, i; "buscar los pies a una sota" in Alarcon : 
 Las Paredcs oyen, II, i. This may be another reason for 
 Finea's surprise on seeing her prospective husband on 
 a playing card, but wdthout legs, for she exclaims : ' ' que 
 no tiene mas de cara, cuera y ropilla" (vs. 870). On 
 
LA DAMA BOBA 287 
 
 the national popularity of all kinds of card games see 
 the interesting note of Pellicer to his edition of Don 
 Quixote, II, cap. 49 ; also the notes of Clemeucin to the 
 same chapter. 
 
 869. cl negro del marido: "Es color infausta y triste, y como 
 tal vsamos desta palabra, diziendo : negra ventura, etc. ' ' 
 — Covarrubias; ef . : "la negra orden de caualleria," — 
 Don Quixote, 1, iii. 
 
 901. retfatado: for retratada; Lope may have referred uncon- 
 sciously to Liseo. 
 
 907. llegad sillas y almoliadas: that is, "bring chairs for the 
 men, and pillows for the women." The room in which 
 women received gentlemen had an estrado (cf. verse 
 2449 below) or a kind of low platform covered with a 
 carpet. On this were placed special almohadas de 
 estrado, 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, 
 but I shall select only a few references. Compare the 
 following passages : 
 
 " Sala en casa de Aurelio. 
 Aurelio, Octavio, Elisa, muij gall a rd a de novia ; Mar- 
 quina, cscudero, etc. 
 
 Aurelio. Llegad las sillas. — Tu, querida Elisa, 
 ocupa esta almohada." 
 — Lope: el Ausenfe en el lugar. III. xiv. 
 Elisa, it will be remembered, is the only woman present. 
 Cf. also II, X, of the same play; furthermore Los Me- 
 lindres de Belisa, I, ii ; and la Dorotea, II, v. 
 ' ' Estaba el rico estrado, 
 de dos pedazos de una vieja estera 
 hecha la barandilla, 
 de ricas almohadas adornado 
 
288 NOTES 
 
 en tariiiias dv corelio, y por defuera 
 t4 gi-avc ailorno de una y otra silla ;" 
 
 — Lope : la Gatomaquia, silva 5. 
 "Se entr(5 y admitio una silla, con que le convidaron. 
 Sontose la dama en un estrado que habia de razonables 
 cogines en una sala, cuyo adorno era de unos guadama- 
 ciles, al quitar euando los pidiese su dueiio." — Linan y 
 Verdugo: Guia y avisos de Forasieros, "iiovela y es- 
 carmiento quinto." 
 
 "Camila le respondio, (jue niejor reposaria en el estrado, 
 que en la silla, y assi le rogo se entrasse a dormir en el. ' ' 
 — Don Quixote, I, cap. xxxiii, f. 192r. 
 Cf. also the "Carta de dote otorgada por Miguel de 
 Cervantes a Dona Catalina de Salazar Vozmediano, su 
 muger," the list containing, among the usual household 
 goods, una almoada de estrado de verduras; in Pellicer, 
 Documentos . . ., p. 207 of his Introduction to Don 
 Quixote (Madrid, 1797). 
 
 Among the hienes dotales y propio caudal of Isabel 
 de Cervantes are mentioned : ' ''quatro almohadas de es- 
 trado, de terciopelo negro," and "otra alombra de es- 
 trado." Perez Pastor: Documentos cervantinos 
 (Madrid, 1897), p. 149. 
 
 918. xerigonza: in addition to the signification given, verse 443, 
 also means hoax, trick, or deceitful game, a mystifying 
 or ridiculous occurrence. Compare : 
 " Sotanitos de Madrid, 
 jerigonzas encubrid 
 eon las trampas de una calle." 
 — Tirso de Molina: Por el Sotano y el Torno, III, xi. 
 The Die. de Aut. cites Espinel : Marcos de Ohregon, 
 "hacia el gitano mil gerigonzas sobre el macho, de 
 manera que tenia ya muchos golosos que le querian 
 comprar," I, cap. 16; Cejador: Tesoro: Silhaiites, 1, 
 no. 30, p. 102 thinks the word of Basque origin. 
 
LA DAMA BOBA 289 
 
 023. hahlaua <n: cf. "hablando en el duque de Alba etc." 
 — Lope : Al pasar del arroyo, IT, i. 
 "habla en los reyes a tiento." 
 
 — Gnardar y guardarse, II, i. 
 "Ansi estiiuimos hasta la noche, hablando en cosas que 
 me pregnntaua." 
 
 — Lazarillo de Tormes, III. 
 Cf. also Hanssen, who says, of this phrase, Gramdtica 
 Jiistorica de la lengua castcllana: "pertenece al len- 
 giiaje antiguo" (p. 299). 
 
 950. ta)ito el jo se le acomoda: jo, the call of muleteers to their 
 beasts to urge them on, and so more appropriate for 
 the silly Finea than joyas, jewels. The Die. de Ant. 
 cites Quevedo: "Asimismo declararaos que no de a 
 ninguna muger joya ninguna, so pena de quedarse con 
 el jo como bestia." In Premdtica del tiempo, Ohras, 
 op. eit., I, p. 440 ; cf . also Jacara, no. 7 ; III, p. 105 : 
 ' ' Llegamos a la ciudad 
 con sus arres y mis joes." 
 
 "No haya miedo que me aturda. 
 
 Con un palo y con un arre, 
 
 y un jo, que te estricgo, suelo 
 
 dar con un hombre en el suelo. 
 
 — Tirso de Molina: la Villana de Vallecas, I, xiii. 
 
 This same phrase occurs in Don Quixote, II, cap. 10, 
 
 f. 35r. 
 
 955. Haraos mal el agua sola. 
 
 Traygan vna caxa: cf. above, verse 50. In la Dorotea, II, 
 iii, a similar idea is expressed: "No bebais que os hara 
 mal sin comer algo. Trae una caja, Celia, o mira si ha 
 quedado algun bizcocho de los que me envio mi con- 
 f esor. ' ' 
 
 959. vn menudo: "se dize el vientre del carnero con manos y 
 cabeza. ' '— Covarrubias. Other animals, and birds, how- 
 
290 NOTES 
 
 v\(']\ were .-ilso iisrd. Tlic t'liti-ails and such parts as 
 wci'c iiicludcd in tlu' pi'eparation were first carefully 
 waslicd, and aeeordiiigf to some descriptions, even 
 scrubbed with soap {cnxahonar) . In Francisco Mar- 
 tinez Montifio: Aric de Cozina, [Madrid, 1611]? may 
 be found the following recipe for vna rmpanada de 
 mcnudos dc pauos. f. 21 8v and 219r: "Tomaras vn 
 nienudo tic pauo, que son los alones, y el pescueco, y 
 los ])ies, y hi nioHeja ; luego desollaras los pescuecos, 
 y liai-as vn relleno eon higadillos de los mismos pauos, 
 de aues, friendo vn poco de tozino, y cebolla, y los 
 higadillos, y echales vn poco de yeruabuena, y luego 
 echa quatro hueuos crudos, y rebueluelo sobre la lunibre, 
 hasta que este bien seco ; luego sacalo al tablero, y picalo 
 muy bien, y echale vn poquito de pan rallado, y echale 
 dos hueuos crudos, y sacona [lo] con todas especias y 
 agrio de liraon, y sal ; y con este relleno henchiras la 
 niorcilla del pescueco ; luego tomaras los alones, y 
 pelarlos has en agua, y cortarles has las puntas, y 
 cuezanse assi enteros, y eortaras el pescueco 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 empanada Inglesa, y empanalo con ella 
 (y), echando vnas lonjas de tozino debaxo, y saeonarlo 
 [has] de sal, y especias, y echa otras lonjas de tozino 
 encima, y cierra tu empanada, y cuezase; y aduierte, 
 que para cada empanada son menester dos menudos 
 con sus dos morcillas de los pescuecos; y si no huuiere 
 pauos, se puede hazer de gansos, lunque no son tan 
 buenos, y si fuere en dia de carne, podras hazer el 
 relleno con carne en lugar de los higadillos." Martinez's 
 book makes amusing reading, but I do not recommend it 
 to people with weak stomachs. 
 
 In the Bihlioteca dc la mujcr, dirigida por la Con- 
 desa de Pardo Bazan : lo ('oci)ia espanola antigna 
 
LA DAM A BOB A 291 
 
 (Madrid, s. a.), P- 239, the reader will find another 
 recipe for un Menudo a lo gitano: "Lavense en agiia 
 caliente los callos y tripas ; vuelvanse a lavar y a 
 restregar con vinagre y limon. Cortense en pedazos 
 chicos y echense en la olla, con agua y sal, una mano 
 de ternera deshuesada, jamon cortado en pedazos, nn 
 chorizo picante, algunos garbanzos ya remojados, el 
 ziimo de medio limon, dos cabezas de ajos enteras y 
 piment(3n Colorado ; desliase en el mortero un migajon 
 remojado en agua saturada de azafran, cominos y 
 cilantro, con un poco de caldo del mondongo; auadase 
 al guiso, dejese espesar, y sirvase muy caliente." The 
 preparation of this dish is naturally to be found in no 
 modern dictionary; as far as I know, the menudo is 
 mentioned especially in the literature of the seventeenth 
 century. Cf . also Lope 's la Gatomaquia, silva 6, vs. 332f¥. 
 (Stage direction after 960). Entren con agua, ioalla, salha 
 ij vna coxa: of salva Covarrubias says: "la pieca de 
 plata, o oro, sobre que se sirue la copa del seilor, por 
 hazerse en ella la salua, ora sea el maestresala, ora por 
 el gentilhombre de copa. 
 
 984. Adios. ;Ola! On various occasions Lope puts this ex- 
 clamation ;<Aa! into the mouth of a hoho, or of one 
 playing the fool, and not as a greeting. It is manifestly 
 intended as a sign of Finea's simplicity. Compare: 
 "Garcevan. ; Hola, aho! mirad que rabio ; 
 por eso mandad sacar 
 la merienda." 
 
 — el Boho del Colegio, II, xvi. 
 "Asimismo mandamos que ninguno llame a nadie di- 
 ciendo : Ola, hombre honrado — ,porque nadie, mientras 
 este vivo y sano. es honrado con ola, porque las honras 
 se suelen hacer a un muerto, pero no a un oleado, que 
 aun vive." 
 
 — Quevedo: Preniatica del Tiempo, Obnis. op. cif., 
 1, p. 441. 
 
292 NOTES 
 
 1021. ('Ii( roll fidx) a Marco Tulio: The inferiority of the younger 
 Cieero, when compared with his illustrious father, be- 
 came a tradition started perhaps by a few chance utter- 
 ances. Thus Seneca, the rhetorician, says of liim 
 (Suasoriaf, 7, 13) that he was "homo qui nihil ex pa- 
 terno ingenio habuit praeter urbanitateni." ]\Iy friend, 
 Dr. T. Peterssen, called my attention to The Corres- 
 pondence of Cicero by Tyrrell and Purser (London, 
 1897), which has a detailed introductory article on 
 Marcus Cieero the Younger, V, j). Iviff. A popular 
 essay on the son may be found in F. F. Abbott, Society 
 and Politics in Ancient Rome (New York, 1912), p. 
 191ff. 
 
 1031. rasganse cartas: so the manuscript seems to me to read, 
 
 although the present subjunctive, which Lope would 
 write rasgen (cf. forms like lleg[u]e, etc.), may have 
 been intended, a and e are occasionally hard to dis- 
 tinguish. 
 
 1032. ningun iesoro conpra la lihertad: a sentiment frequently 
 
 expressed in Lope's day. Cf. the Latin phrase: "non 
 bene pro toto libertas venditur auro"; and Schevill: 
 Ovid and the Renascence in Spain, op. cit., p. 208. The 
 line also recalls Lope's beautiful cancion beginning: 
 
 " i libertad preciosa, 
 no comparada al oro, 
 ni al bien mayor de la espaciosa tierra !" 
 Compare also: 
 
 " i libertad, gran tesoro, 
 porque no hay buena prision, 
 aunque fuese en grillos de oro!" 
 
 — la Nina de Plata, II, ii. 
 
 Acto segundo: 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 293 
 
 1082. [ariior] cs ci dotor: this recalls the titles of Tirso's el 
 
 Amor medico, and Moliere's V Amour medecin. The idea 
 goes back to Ovid. 
 
 1083. catrcda: on tnuisposiciun, a common popular plienomenon, 
 
 cf . Hanssen, op. cit., p. 67 ; compare : 
 "Castillo. Nos han puesto, sefior, de arriba abaxo 
 
 como nueuos. 
 Duque. ^Porque? 
 
 Latino. Porque me he opuesto . . . 
 
 Castillo, a vna catreda, y mandalo vn badajo, 
 
 Villanueua, que paga a estos gorrones 
 a seis marauedis cada gargajo, 
 chico con grande." 
 — Diego Ximenez de Enciso: Juan Latino, II, f. 44r. 
 
 1087. Platon . . . Aristotcles: Leon Hebreo in his Didlogos, 
 op. cit., discusses the opinions of Plato and Aristotle 
 on love at length, p. 378ff. 
 
 1090. The three verses following 1090 are eliminated in the manu- 
 script, and, according to the ink, by Lope himself. 
 
 10991f. Practically all the ideas of this speech, — that love taught 
 men the arts, how to live in communities, to make laws, 
 create republics, in short, that this motive force would 
 be Finea's best teacher, — these ideas are taken from 
 Ovid's Ars amatoria and the Remedia amoris, modified 
 by neo-platonic philosophy which made love a very 
 comprehensive influence hard to define. It covers a 
 wide range of motive forces, being a love or desire of 
 every kind, a desire of possession, a desire of beauty, a 
 desire of action and the like. 
 
 1063-1321. The dialogue of act II, i and ii, especially between 
 the young men and Nise, is a good example of concep- 
 tismo and culteranismo in a mild form. In as much as 
 
294 NOTFiS 
 
 Lope intended these scenes to be a good-natured satire 
 on the affectations of society and its false notions of 
 l)oetry and culture, the conversation is natui-ally not 
 clear, and the vocabulaiy intentionally absurd, or cidto. 
 
 1164. fort una el tiempo corrio: fortuna in the sense of "storm" 
 is connnon in the writers of the Renascence. "Saliendo 
 con gran prosperidad, a i)Ocas leguas corrieron fortuna." 
 — cl Donado hahlador, op. cit., I, cap. 8. 
 
 1171. las colores: masculine or feminine; Cervantes uses both 
 about equally. 
 
 1175. The three speeches, that of Duardo, vs. 1155, of Feniso, 
 vs. 1175, and of Laurencio, vs. 1195, of equal length, 
 represent a kind of balance in dialogue, rather com- 
 mon in Lope's dramatic art. The most artificial ex- 
 ample may be found in la 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 which each has a word. Even Calderon could 
 have gone no further in artificial dialogue. In these 
 speeches, the three young men are plainly cultos, 
 Laurencio being a trifle more metaphysical and dark 
 than the others. Cf. the Introduction on Lope's art 
 also, p. 46. '^ 
 
 1274. donde aij tantos vendahales 
 dc ijnt cresses en los honbres, 
 no fuc milagro mudarte: 
 
 "^Mudose aquel vendahal? 
 I Vuelves a buscar tu igual 
 o te burlas y entretienes ? ' ' 
 
 — Lope: el Perro del Jiortelano, II, xvii. 
 
LA DAMA BOBA 295 
 
 1297. Astrologo mc parezcs; 
 
 que sienpre de agenos males, 
 
 sin reparar en los suyos, 
 
 largos pronosticos Jiazen: The astrological imposter is fre- 
 quently mentioned in fiction and drama. Compare: 
 "Vivia en su vecindad un astrologo, grande liombre de 
 saear por figura los sucesos de las casas agenas, cuando 
 quiza en la propia, mientras el consultaba efemerides, 
 su muger formaba otras, que, criandose a su costa, le 
 llamaban padre." — Tirso de Molina: Los trcs maridos 
 hurlados: 1'" burla. 
 
 ' ' Cierto esta que este mono no es Astrologo, ni su 
 amo ni el alcan, ni saben alear estas tiguras que llaman 
 judiciarias, que tanto aora se vsan en Espaiia : que no 
 ay mugercilla, ni page, ni capatero de viejo que no 
 presuma de alcar vna figura, como si fuera vna sota de 
 naypes del suelo, echando a perder con sus mentiras n 
 ignorancias la verdad marauillosa de la ciencia." — Don 
 Quixote, II, cap. XXV, f. 98v. 
 
 In Persilcs y Sigismunda, Cervantes speaks of la 
 Astvologia jndiciaria several times; ef. I, cap. 13. Doiia 
 Maria de Zayas y Sotomayor (el Castigo de la miseria) 
 also depicts the fraudulent practices of an astrologer. 
 There can be no doubt that current popular supersti- 
 tions favored these practices, although they were con- 
 demned by the Inquisition. Cf. H. C. Lea : A History 
 of the Inquisition of Spain, IV, 191f¥. Lope mentions 
 them frequently: el Boho del Colegio, III, xv; el Au- 
 sente en el lugar, II, xi; la Dorotea, V, viii, and in other 
 plays. 
 
 1307. The two verses following 1307 are eliminated in the maini- 
 
 script. 
 
 1308. [los romances] no pueden ser consonantes: The oldest 
 
 ballads, and the best, were composed in assonant verse, 
 not rime (consonantes). 
 
296 NOTES 
 
 }'■]]]. . . . (I li>S (Dili (/OS 
 
 pnirba la cama y la carzel: Correas, Vocabulario, p. 321, 
 has : ' ' Carceles y caminos, hacen amigos, ' ' and Aleman, 
 Guzman de Alfarache, 2a, parte, libr. 3°, cap. 7, also 
 calls la carcel "priieba de amigos." Compare Lope's 
 l)lay : la Pnicha de los amigos, first printed in 1873. 
 
 1317. par ngalos tuyos tube 
 
 mudanzas etc.: Among the gifts which lovers gave were 
 jewels, finery of all kinds, costly cloths {panos), and 
 even house furnishings. Cf. la Viuda valrnciana, III, 
 ii; la Noche toledana, I, xiii and many other scenes in 
 Lope's plays. Lope's women, however, seem more prone 
 to receive than those of other playwrights: as a matter 
 of fact, women of refinement and culture were satis- 
 fied with the mere offer of presents. Cf. De cosario a 
 cosario, I, vi, and Alarcon's: la Verdad sospechosa, 
 I, V, where Jacinta says to her admirer : 
 
 "Yerran vuestros pensamientos, 
 caballero, en presumir 
 que puedo yo recebir 
 mas que los of recimientos. " 
 Cf. also Miss Bourland's edition of las Paredes oijcn 
 (New York, 1914), p. 173. 
 
 1347. cl Prado: meaning here the same as in verse 1349, los 
 Recolctos: The Prado vie jo consisted of three parts: 
 Prado de Atoeha, Prado de San Jcronimo. and Prado 
 de Recoletos. The last named section was a popular 
 spot on account of some of its parks and gardens to 
 which the people went for recreation. "Como con- 
 traste de tan ostentoso aparato profano, en medio de 
 todas aquellas mansiones de animacion y de placer, otro 
 austero convento elevaba alii tambien al cielo sus 
 religiosas torres; era el de padres Augustinos Recoletos, 
 fundacion de dona Eufrasia de Guzman, princesa de 
 
LA DAMA BOBA 297 
 
 Asculi, marquesa de Terranova, en 1595." Mesoiiero 
 Komanos: (/ Antiguo Madrid, op. cit., p. 226. 
 
 1364. I have indicated the ruhrica wherever it is found in the 
 
 manuscript, as it may be possible that such parts of 
 the play as are included between two ruhrieas (when 
 these come at the end of a scene or an act), were written 
 in one session, witliout interruption. 
 
 1365. Vn maestro dc danzar: Espinel would not have approved 
 
 of the way in which Octavio was educating his 
 daughters, since they saw all of their visitors freely 
 and even had a dancing teacher. He says : ' ' Quanto 
 peor hacen los padres que dan a sus hijas maestros de 
 danzar, o taner, cantar, o baylar, si han de faltar un 
 punto de su presencia ! Y aun es menos daiio que no 
 lo sepan; que si han de ser casadas, bastales dar gusto 
 a sus maridos, criar sus hijos y gobernar su casa. Y 
 si han de ser monjas, aprendanlo en el monasterio ; que 
 la razon de estar algnnas disgustadas quiza es por 
 haber ya tenido fuera comunicaciones de devociones, 
 que por honestas que scan, son de hombres y mugeres 
 sujetos al comun orden de naturaleza." — Marcos de 
 Ohregon, parte la, descanso 2°. 
 Cf. also note to verse 216ff. 
 
 1379. Co)i que yo saiga de duda 
 
 que no es alma la helleza: Leon Hebreo, in accordance with 
 his philosophy, states that real beauty lies in the soul, 
 or spirit. To this, no doubt, Lope refers. "Tambien 
 te mostre que las mayores hermosuras consisten en las 
 partes del aniraa, que son mas eleuadas que el cuerpo, 
 etc." Dieilogos de Amor, op. cit., p. 422. 
 
 1382. trae mauana vn tanhoril. 
 
 Esse es instrumento vil: Of this instrument Covarrubias 
 says: "atambores pequenos para fiestas y regozijos." 
 Cf . also Lope 's song : 
 
298 NOTES 
 
 "; Oh que bien quo baila Gil 
 eon los niozos de Barajas, 
 la eliaeoua a las sonajas 
 y el villano al tainboril ''' 
 
 — ^1/ pasar (hi urroiju. I, xii. 
 
 1385. Que soy muij afizionoda 
 
 al cascahcl, os conficsso. 
 
 . . . que no es much a rustiqueza 
 
 cl traJiellos en los pies. — 
 
 Harlo pror pienso que cs 
 
 tralttUos <n la caheza: Compare: "Los daneantes en las 
 fiestas y regozijos se ponen sartales de cascabeles en los 
 jarretes de las piernas, y los mueueu al son del instru- 
 raento. . . . Las azemilas suelen lleuar sartales de 
 cascabeles, assi para que sean sentidas, como para 
 animarlas. . . . Al que tiene poco juyzio, y es liuiano 
 y habladorcillo, dezimos ser vn cascabel, por ser vacio y 
 hueco en el hablar. " — Covarrubias. 
 
 1399. (^apatcro: the manuscript capatero. 
 
 1404. Three verses following 1404 are eliminated. 
 
 1419. Pucsto que: equivalent to aunque. 
 
 1449. asilla: "Tomar asa, o asilla de alguna cosa, vale tanto 
 como ocasion, y achaque." — Covarrubias. under asa. 
 
 1455. At this point of the dialogue a few verses have been erased 
 and are very difficult to decipher. They are presumably 
 verses which Lope eliminated and then rewrote as they 
 are in the text. 
 
 1468. aprender: ant. for prender; Cuervo Diccionario (I, p. 
 562) cites: "Luego se aprendio mucho ahina, e comenzo 
 a arder la rua." — Conquista de Ultramar, 2:77. 
 
LA DAM A BOB A 299 
 
 1472. cahczadas: The reader will remember that the pun lies in 
 tlie double meaning of cahezala: a "nod" of the head 
 which accompanies suenos, and a "halter" or "head- 
 strap" which accompanies rocines. 
 
 1477. coriw el santo do Paxares: "El milagro del santo de 
 Pajares, que ardia el y no las pajas." — Correas, op. cit., 
 p. 105. Quevedo, in his Premdticas y aranceles gene- 
 rales, Ohms, op. eit., I, p. 430, says: "Quitanse por 
 nuestra prematica los modos de decir siguientes, " and 
 then he includes santa de pajares. I take this to be a 
 misprint for the more common santo de Pajares, to 
 whom Quevedo refers again in his Visita de los Chistes, 
 I, p. 347: "Yo me queria ir, y oigo que decia el santo 
 de Pajares : Ah, companero, decildes a los del siglo 
 que muchos picarones que alia teneis por santos, tienen 
 aca guardados los pajares ; y lo demas que tenemos que 
 decir se dira otro dia." According to some lists of 
 idiomatic phrases (cf. Becker and Mora, Spanish 
 Idioms (Boston, 1886), p. 308), the meaning of the 
 one quoted is hypocrite. 
 
 1480. aladares: "los cabellos que nos caen delante de las ore- 
 jas." — Covarrubias. This manner of wearing the hair, 
 in the case of men no less than women, was especially in 
 vogue in the seventeenth century, as may be seen on the 
 portraits by Velazquez. 
 
 "venga el perfil 
 de uno de aquestos mozuelos 
 que rizan los aladares 
 con molde a fuego." 
 
 — Lope: Quien ania )io Jiaga fieros, I, iii. 
 
 1486. lahrar eon hidro vn porfido: porfido: "vna especie de 
 marmol roxo obseuro, propiamente purpureo." — Co- 
 varrubias. Comi)are : 
 
300 NOTES 
 
 "Pero es labrar en un jaspe 
 con un vitlrio una figura." 
 — Lope: los Etnbnstes de Cclauro, I, xvi. 
 
 The form vidro is very conunon in Lope's time; cf. note, 
 verse 56. 
 
 1508. dc la academia de mi lurmana Nisc: here used merely to 
 indicate the literary gatherings of the cultos and con- 
 ceptistas of whom Nise was the central figure. "Usur- 
 pan este nombre otras qualesquier Escuelas de Artes 
 liberales, o ciencias, que tienen algun esplendor, en cuyo 
 sentido son quasi innumerables las que pudieran refe- 
 rirse en Espafia. Pero la formalidad de Academia la 
 tiene solo la que es eregida por el Principe, o en virtud 
 de su priuilegio. ' ' — Christobal Suarez Figueroa : Plaza 
 Universal, op. cit. (edition 1733), p. 283. On these liter- 
 ary academies cf. below, note verse 2126. 
 
 1513. cl Undo: "Dezir el varon lindo absolutamente, es llamarle 
 afeminado. ' ' — Covarrubias. 
 
 "Tambien enflaqueee oir 
 malos versos, cantar mal, 
 y al que era ayer vuestro igual 
 hoy mandar y hoy presumir. 
 Enflaqueee una visita, 
 si no OS da mucho contento ; '^ 
 
 un noble lleno de viento, 
 que a nadie el sombrero quita ; 
 un lindo, todo alfeiiique, 
 hecho mujer con bigotes, 
 y unos ciertos marquesotes 
 que OS hablan por alambique. ' ' 
 
 — Lope : cl Boho del Colegio, I, iii. 
 
LA DAMA BOBA 301 
 
 ''Gerarda. Luego ^, preciaste de Undo? 
 Lucindo. ^. De lindo? Donaire tienes. 
 Preciome de honibre." 
 
 — la Discreta enamorada, I, ii. 
 Cf. also the passage in la Viuda valcnciana, I, iv, be- 
 ginning with the lines, 
 
 ' ' j No sino venga un niancel)o 
 destos de ahora de alcorza etc." 
 There is also a new edition of Moreto's el Lindo don 
 Diego (Madrid, 1916), with a good introduction by 
 Narciso Alonso Cortes. 
 
 1581 ff. This scene may be supposed to take place behind the 
 Recoletos in some secluded spot. 
 
 1600. a verse of twelve syllables. 
 
 1608. la Ventura de la fea: 
 
 "Reina, pues que tan dichosa 
 te hara el cielo, dulce esposa, 
 que te diga quien te vea: 
 — La Ventura de la fea 
 pasose a Casilda hermosa." 
 — Lope: Perihdnez y el Comendador de Ocana, I, i. 
 Cf. also Cervantes: el Vizcaino fingido, Entremeses 
 (Bonilla ed., Madrid, 1916), pp. 90, 91 and note 159. Ac- 
 cording to la Barrera and others, Lope also wrote a 
 play entitled la Ventura de la fea, but nothing definite 
 seems to be known about it. On a comedia with the title 
 la Ventura de la fea, cf. an excellent article by Professor 
 Buchanan in Modern Language Notes, XX, 1905, p. 39. 
 
 1618. Entrael eon esta rum/la: "Runfla: la nudtitud de un 
 mismo genero, o espeeie de cosas quo estan una eii pos 
 de otra." — Die. de aut. As a playing term it appears to 
 mean '"a hand, or a miscellaneous number of cards'" : 
 
302 NOTES 
 
 "... i Desprecio extrano! 
 Pues auiKjiie im rey inc tripula 
 y nio desearta enojado, 
 yo se que i)nr;i sn rniifla 
 me quisiera aljuniii vasallo. " 
 
 — Lope: la Nina dc Plata, II, xxii. 
 '^ Rodrigo. Cneiitanme mil jxTfeeciones. 
 Lisco. i Como le pneden faltar, 
 si entra al jnego de casar 
 con tal rumfla de doblones?" 
 
 — Lope: Santiago el Verdr, II, i. 
 In Juan Hidalgo's Vocahulario de Germania "rumfla" 
 is given the meaning of "muehedumbre." 
 .)/ dalde pique: "Dar pique: En el juego de los Cientos es 
 eontar sesenta en lugar de treinta : que sucede quando 
 el contrario no ha contado nada." — Die. de aut., under 
 dar. Cf. also pique, f. 281, col. 2. A term from the 
 game of piquet, and applied here means: "play the 
 winning cards, beat her at the game." 
 
 1619. que no hara niucho en que de vos se pique: "picarse," 
 another card term. "Encenderse, resentirse y perder 
 la paciencia el que pierde a algun juego." — Die. dc Aut. 
 Compare : 
 
 "El que versos quiere hacer, 
 y buena dicha en ganar, 
 no piense que ha de poder, ». 
 
 por picarse y porfiar, 
 ni ganar ni componer." 
 — Lope: las Flores de Don Juan, II, vi. 
 "No me afrentan tus razones, 
 pues has perdido en el juego ; 
 que siempre un picado tiene 
 licencia para hacer fieros. " 
 
 — Cervantes: la Guarda cuidadosa. 
 
LA DAM A BOB A 303 
 
 "^A solas estfis hablando? 
 Mai te ha tratado Leonor, 
 porque el picado, seiior 
 siempre queda barajando." 
 — Alarcon : Mudarse por mejorarse, I, v. 
 "Estaba jugando el cocinero y en acabando el dinero, 
 como quedo picado, pidiole prestado a Zabala, el relo- 
 jero, veinte reales, y respondiole que no los tenia" — 
 Gaspar Lucas Hidalgo: Didlogos, op. cit., II, i. Com- 
 pare also the terms picon, and dcspicarse de: 
 ''Carlos. i Que lindo picon le he dado! 
 Que piensa que estoy ausente. 
 Elisa. Este piensa llanamente 
 
 que su auseneia me ha picado, 
 J veole desde aqui. 
 
 — Lope: el Ausente en el lugar, III, iv. 
 "... Querria saber, 
 para cierto pensamiento, 
 si iguala el entendimiento 
 al exterior pareeer ; 
 que si me ha de despic-ar 
 de don Juan alguna cosa, 
 Costanza, estoy sospechosa, 
 que ha de ser oirle hablar." 
 — Lope: las Florrs dc Don Juan. Ill, i. 
 
 1620. cartas tripuladas: are "cartas, o naipes desechados;" ac- 
 cording to the quotation in the note on rumfa, verse 
 1618. tripular is the same as drscartar. The term is not 
 uncounnon in the dramatists. "El novio que tripule" 
 Lope writes in las Flores de Don Juan, III, xix. My 
 colleague Dr. Morley has told me of two scenes in Tirso 
 in which tripular is used: Quien calla, otorga, I, vii; 
 la Celosa de si misma. II, ii. Here the meaning is evi- 
 dently the same, that is, desechar, dcscartar. 
 
304 NOTES 
 
 1645. (irdia. adondc tanto cl amistad sr precia: Friendships 
 are famous in Greek legend ; we need only mention 
 Orestes and Pylades (verse 1647), Damon and Pythias 
 (Phintias), Achilles and Patroelus, imitated by Virgil 
 in Aeneas and Achates. And there are many friend- 
 ships in medieval literature copied after classic models. 
 "En Grecia, en aquella edad, 
 teniase la aniistad 
 por excelente blason ; 
 pero en la nuestra lo son 
 la mentira y falsedad." 
 — Lope: las Florcs dc Don Juan, III, xxi. 
 
 1660. Tamos [a] aconpanaros y seruiros: on the mechanical 
 omission of a, cf. verse 259. 
 
 1668. With this scene we return to a room in Octavio's house. 
 
 1677. la anacardina: "La confecciou que se hace de el Anacardo 
 para facilitar y habilitar la memoria." — Die. de aid. 
 
 1809. Pues pio lo ves que son sus hijos? Compare: 
 "Belarda. ^Son hijos de amor los eelos? 
 Jacinto. Sus hijos dicen que son." 
 
 — Lope: el verdadero Amante, I. 
 Cf. also la Corona merecida, II, vi. 
 
 1813. finiendo: a popular form; cf. Timoneda : el Buen Aviso 
 y Portacuentos, "Revue Hispanique" (Schevill edi- 
 tion), XXIY, cuento Iviii, p. 42 and cuento Ixii, 45. 
 Verse 1813 has twelve syllables ; it may be corrected by 
 writing : que bien se. 
 
 1815. celosia: for celos. not in the dictionaries, and presumably 
 intended as a hohada of Finea. For a pun on the word, 
 cf . Lope : 
 
 "Lisena. (ap.) [Aydemi! 
 Beltran. (ap.) Lisena es: 
 
 delante ponerme quiero. 
 
LA DAMA BOBA 305 
 
 Ponese Bcltran delante, fingicnclo que no la conocc. 
 
 Ines, iqiie en fin soy barbero? 
 
 fe Que en fin soy barbero, Ines ? 
 Lisena. Dejame pasar, desAaa. 
 
 Beltran. Un abrazo me has de dar; 
 
 Lisena. Dejame, Beltran, mirar 
 
 eelos por tii eelosia. 
 
 Dejame, pues me conoees. 
 Beltran. ^Celosiayo? ^Y que tal? 
 
 De ebano de Portugal. 
 
 — la Noche tolcdana, II, vi. 
 
 1816. desenauiorarse: the manuscript has desanamorarse. 
 
 1870. segun por las ayres andas: "Ir por los ayres, es andar 
 levantado de pensamieuto, o hazer diligeneia para 
 alguna cosa con gran presteza, como los que por arte de 
 nigromancia, dizen ir de vn lugar a otro en poco espacio 
 de tiempo." — Covarrubias, under ayre. 
 "Ortuno. . . . si se descuida, 
 
 entraras eomo primero. 
 Comendador. ; Bueno, a fe de caballero! 
 
 Pero I el villanejo cuida ? 
 Ortuno. Cuida, y anda por los aires." 
 
 — ^Lope : Fucnte Ovejuna, II, v. 
 "Yo no soy bruxo para gustar de andar por los ayres" 
 says Sancho Panza — Don Quixote, II, cap. 41, f. 153r. 
 Cf. also the note in Persiles y Sigismunda, op. cit., I, 
 p. 331. 
 
 1917. Juan Latino: Practically all that tradition handed down 
 about this illustrious negro was gathered in the ex- 
 tremely interesting play Juan Latino, by Diego Ximenez 
 de Enciso, and printed in the Segunda parte de comedias 
 escogidas de las mejorcs de Espana (Madrid, 1652), a 
 volume I have before me. In the opening scene Dr. 
 Carlobal, a clergyman, chides his sister dona Ana for 
 
306 NOTES 
 
 her iiiiiiiy Hirlations. I'oi' tlic lil)ci-1y with wliicli slic 
 tfcnis her iminerons suitors. Slie I'cplics in a si)irited 
 way that the doctor has forgotten that he is her brother, 
 not her husband, and that on St. John's Eve she pro- 
 poses to enjoy tlie masks and gaieties. Her brother 
 threatens to marry licr off immediately, wliereupon she 
 
 *'^Yo casarme con hombre que no sea 
 duque, marques o conde ? i Yo easada ? 
 feDoila Ana Carlobal, a quien desea 
 seruir el mundo, y feste jar Granada ? ' ' 
 
 While doiia Ana is discussing her suitors with her serv- 
 ant, shouts are heard, with mingled music and song, and 
 a crowd of revellers passes the house. They are chiefly 
 students, and among them is young Juan (Latino) at- 
 tached as slave to the person of the youthful D. Gonzalo, 
 son of the duque de Sesa. In the confusion Juan picks 
 up Ana's ribbon which had fallen from the window, the 
 indication being, according to certain superstitions con- 
 nected with St. John's Eve, that Ana will marry the 
 negro lad, Juan. 
 
 In the next scene we deal with the uninteresting 
 subplot, the discontent of the Moriscos and their reform, 
 all of which however, permits the introduction later of 
 D. Juan de Austria. 
 
 We then have a typical students' scene in which 
 Juan goes through the usual torments of these episodes 
 (gargajeanle todos) and excites particular envy be- 
 cause he wears doiia Ana's ribbon. 
 
 Then follows the session of an Academy at the 
 Duke's house, in which Juan wins the applause of all 
 by a very learned disquisition on the invention of print- 
 ing, and the origin of writing. Juan is thereafter en- 
 trusted to Dr. Carlobal, that his education may be per- 
 fected, and his promise fulfilled. 
 
LA DAMA BOBA 307 
 
 In the second act, Juan aspires to a professorship 
 at the university, and desires to compete for it with a 
 certain Villanueva, already maestro and catedratico. 
 He pleads eloquently with his master the Duke for his 
 freedom, in order that his oposicion may be taken 
 seriously, but the Duke puts him off with vague 
 promises. In the meantime doiia Ana, always eager to 
 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 gramdtica as Lope puts it, 
 but amo, amas. He also recites verse to her which is 
 rather free from the usual culteranismo, and sings to 
 the "biguela." 
 
 We now have the interesting scene of the oposicion 
 in which Villanueva attempts to defend his professor- 
 ship, but in vain, as Juan's dignity, self-possession and 
 learning carry the day. 
 
 In the third act, Juan has made great strides in his 
 suit for doiia Ana's hand, but to the displeasure of 
 Dr. Carlobal who did not engage him "to make love 
 to his sister." D. Juan de Austria now appears on the 
 scene, honors Juan Latino in various ways and promises 
 to intercede for him with the Duke, so that Juan may 
 become a freedman. D. Juan de Austria eulogizes him 
 in the following sonnet : 
 
 ' ' Hijo de esclauo soy ; naci en Baena, 
 donde las letras aprendi primero ; 
 creci siguiendo el centro verdadero, 
 premio que a la virtud el cielo ordena. 
 No me ha estoruado mi amorosa pena 
 que sea de Granada Racionero, 
 Orfeo, Marte, Ciceron, Homero, 
 en voz, en armas, en Latin, en vena. 
 Catredatico fui, Griego excelente, 
 
 .y, en fin, varon insigne, pues que llego 
 a ser deste lugar Colector digno. 
 
308 NOTES 
 
 V ('OHIO If llamo ]>oi- eniiiiente 
 
 la antigua Roma a sn Adriano, el Griego, 
 la noble Espana inc IUiiik') el Latino." 
 ^^ If these details are true, they give us new facts in 
 Juan's career. We also learn that doiia Ana had a 
 brother who was Ucoiciado and alcalde of Granada, 
 while Dr. Carlobal, the clergyman, is called "fundador 
 de la celebrada Vniversidad de Osuna." Whether D. 
 Juan Tellez Giron, fourth Count of Urena, and founder 
 of the University of Osuna (1548), called Carlobal to 
 some important position I am unable to ascertain. 
 
 In the midst of great pomp and ceremony Juan is 
 finally made Doctor, the last act devoting considerable 
 space to the usual vcjamcn. The latter is pronounced 
 by the chief wit of the play, Castillo, who relates various 
 anecdotes concerning Juan, characterizing him as fol- 
 lows : 
 
 ". . . un dia naturaleza 
 
 tuuo ciertas combidadas, 
 
 Diosas de aquellos contornos, 
 
 que de camino passauan. 
 
 Era Sabado, y, muy triste 
 
 de no poder regalarlas, 
 
 se puso a hazer vn menudo, 
 
 y aun dizen que era de baca. 
 
 Tomo vna larga moreilla 
 
 la naturaleza sabia, ^ 
 
 y comenco a echar en ella 
 
 letras, lenguas, esciencias varias, 
 
 nominatiuos, gerundios, 
 
 en fin, toda la gramatica, 
 
 la teologia, y las artes ; 
 
 pero echo pimienta harta ; 
 
 que al cozer esta moreilla, 
 
 salio como vna gualdrapa. 
 
 Minerua, diosa de guerra, 
 
LA DAMA BOBA 309 
 
 viendo que es rey de las annas 
 el claro Duque de Sesa, 
 embiosela a su casa, 
 donde ha los anos que veis 
 que esta al humero eolgada, 
 sin que la de libertad ; 
 que aun ay morcillas esclauas. 
 Verdad es que el seilor Duque, 
 sabiendo de Juan las gracias, 
 le dio estudio, que fue hazer 
 de vn cueruo vna aguila braua." 
 Juan Latino, now maestro, catcdratico, doctor, and 
 liberto, attains his final and chief honor in the hand of 
 doila Ana. 
 
 ""These statements do not agree v.dth most of those 
 made by Bermudez de Pedraza in his Antigiledad y 
 excelencias de Granada, and quoted by Clemencin (edi- 
 tion of Don Quixote, note 10 to preliminary verse). In 
 fact no two writers agree on the details of Juan Latino's 
 life, which seem to have been handed down chiefly by 
 word of mouth. One of the most interesting facts in 
 the life of Juan Latino, and one which relates him more 
 intimately to Lope, is the connection between their re- 
 spective patrons. D. Gonzalo Fernandez de Cordoba, 
 third duke of Sessa, and grandson of cl Gran Capitdn 
 was the owner of the negro scholar; while D. Luis 
 Fernandez de Cordoba Car dona y Aragon, sixth duke 
 of Sessa, grandson of doiia Beatriz de Cordoba y Figue- 
 roa, nieta del Gran Capita n. was Lope's patron and 
 intimate friend. 
 
 I cannot disentangle the confusion wliich seems to 
 exist regarding doiia Ana's brother and father, although 
 the assertion of Pedraza, that the latter was liccnciado, ij 
 Gohernador dclestado del duque de Sesa lends some au- 
 thority to Lope's statement that he was a vvintieuatro. 
 Enciso, we saw, gives dona Ana two brothers, one of 
 
310 NOTES 
 
 wlioiii is Lkcnciado and alcalde. Pellicer, in his edition 
 of Don Quixote, Madrid, 1787, p. 233, states briefly that 
 Juan Latino died in Granada in 1573, whih^ Ticknor and 
 others guardedly say "after 1573." Nicliolas Antonio 
 may be responsible for tliis uncertainty. He says: 
 Jaeet in Sanctae Annae paroeciali ecclesia Granatensi, 
 uti fert prae se lapidis titulus, quern ipse in ea urbe 
 agens excripsit : Del Maestro Juan Latino, Catedratico 
 de Granada, y doiia Ana de Carleval su mnger y here- 
 deros. MDLXXIII ; (followed by six hexameter verses) . 
 Cf. also Gallardo's Ensayo dc una Bihliotcca espa)lola, 
 III, no. 2627; and Rodriguez Marin: Luis BaraJiona de 
 Soto (Madrid, 1903), p. 35, and an article in el Im- 
 parcial (de Madrid), 1916, November 19th, which adds 
 practically nothing to previous information. Line 1927 : 
 al for el ? 
 
 1977. (juieres darle vn filo en mi: Compare the plirases: "no 
 dejaran los Zoilos, los Cinicos, los Aretinos y los Bernias 
 de darse un filo en su vituperio, sin guardar respeto a 
 nadie." — Cervantes: Novelas, dedicatoria; and "gente 
 de la hampa, y de mi talle y marca, con quien pudiera 
 darme tres o cuatro filos cuando quisiera." — Guzman 
 dc Alfaraclie, 2a parte, libro 2°, cap. 2. 
 
 Act III : The scene remains the same. 
 
 2036. [amor] o accidcnte, o eleccion: cf. below, verse 2177, where 
 the same idea fits better into the mouth of a culta like 
 Nise than a regenerate hoha like Finea. Both woras 
 are without the usual cedilla in the manuscript. In 
 connection with this whole speech, ef. above, on the 
 influence of Ovid 's ars amatoria. In its last analysis, 
 what Finea says is a fusion of Ovid and Leon Hebreo. 
 conceived in moderate culto style. 
 
 2090. catredatico: cf. verse 1083. 
 
 2099. Duardo: as elsewhere, 3 syllables. 
 
LA DAMA BOBA 311 
 
 2107. endiosada: " endiosarse, vale eiitonarse, ei-guirse y enso- 
 berbecerse." — Die. de aiit. 
 
 ' ' i Oh secretaria cruel 
 de la ninfa melindrosa, 
 la que se alcorza y endiosa, 
 la que viendo en un papel 
 un San Jorge dibujado, 
 de la sierpe se espanto ! ' ' 
 — Lope : los Melindres de Belisa, II, xxii. 
 
 2110. Pcfmrca: (1304-1374) Nise could have read Petrarch in 
 
 Spanish. I have in mind two editions: Triumphos: 
 Traslacion de los seis tnunfos de Francisco Petrarca de 
 toscano en castellano, hecha por Antonio de Ohregon 
 (Sevilla, 1526), in folio, goth. ; Sonetos y canciones del 
 poeta Francisco Petrarca que traduzia Henrique Garces, 
 de lengua thoscana en castellana (Madrid, 1591). 
 Garcilaso: Garcilasso de la Vega (1503-1536), one of the 
 greatest of Spanish lyric poets. Cf. Fitzmaurice-Kelly, 
 Historia de la Literatura castellana (ed. 2, Madrid, 
 1916), p. 137 and 404; Cejador: Historia de la Lengua 
 y Literatura castellana, II, p. 70ff. 
 
 2111. Virgilio: On Virgil, and the influence of Virgil's Aeneid 
 
 in Spanish literature of the Renascence, cf . Schevill : 
 Studies in Cervantes, III, in T ransactions of the Con- 
 necticut Academy of Arts and Sciences, vol. XIII, p. 
 475ff. 
 Taso: There are two Italian poets of this name : Bernardo 
 Tasso (1493-1569) and his more famous son Torquato 
 Tasso (1544-1595). The former's epic poem Amadigi 
 may interest readers of Amaelis de Gaula; the latter "s 
 master piece, Gerusalcmnie lih( rata, wns iiiutated l)y 
 Loi)e in his Jerusalem conquistada, and the Aminta was 
 translated into Spanish by Jauregui (1607). 
 
 2117. On Heliodorus cf. verse 27i). 
 
312 NOTES 
 
 iMl!). h'iinas dc Lope do Vega: Of Lope's Rimofi printed before 
 1613, Nise could have possessed: la Hermosura de 
 Angdica, con otras diversas rimas (]\Iadi-id, 1602) ; the 
 same volnnie contains Srgioida Parte dc las Rimas, f. 
 242, and Tn-rn-a Variv d< las Rimas, f. 342. This 
 volume was several times reprinted between 1602 and 
 1613. Cf. also Gallardo: Ensayo, IV, nos. 4214, 4215; 
 Lope's Rimas Sacras were not printed until 1614, and 
 his Rimas humanas y divinas not until 1634. On Lope 
 de Vega, cf. Fitzmaurice-Kelly, ejp. cit., p. 436. 
 
 2120. Galatea dc Cervantes: Cf. the edition Schevill-Bonilla, op. 
 
 cit. In el Premio del hien hahlar, I, x. Lope mentions 
 Cervantes, and again in la Viuda valenciana, I, xv, to- 
 gether with the Galatea; in the first case especially, for 
 the sake of the rime. Cf . also Fitzmaurice-Kelly, op. cit., 
 p. 383. 
 
 2121. el Gamoes de Lishoa: Luiz de Cam5es (1524?- 1580) 
 
 famous Portuguese poet, whose great epic Os Lusiadas 
 was first printed in Lisbon, 1572. Cf. Theophilo Braga: 
 Camoes, epoca e vida (Oporto, 1907). 
 
 2122. Los Pastores de Belen: Pastores de Belen, Prosas y versos 
 
 divinos de Lope de Vega Carpio (Madrid, 1612). On 
 this book cf . Renertij Life of Lope de Vega, p. 200ff. 
 
 2123. Comedias de don Guillen de Castro: (1569-1631) ; jio 
 
 volume of Castro's plays in print a^ early as 1613 (the 
 date of la Dama hoha) is known as far as I can ascer- 
 tain, the first editions of his plays being Primera parte 
 (Valencia, 1621), Segunda parta (Valencia, 1625). But 
 this jiassage of Lope must not be taken seriously, as 
 does, for example, the editor of Las Moeedcuh s del Cid 
 in Cldsicos castellanos (Madrid, 1913), p. 22, note. In 
 the first place the word Guillen was convenient as a rime 
 word ; in the second place it is not unlikely that Lope 
 
LA DAM A BOB A 313 
 
 (i.e., Nise) possessed some manuscript copies of Castro's 
 plays, which would amply explain his statement. On 
 Castro, cf . Fitzmaurice-Kelly, op. cit., pp. 253 and 383 ; 
 Cejador, op. cit., IV, p. ]84iT. 
 
 2124. Liras de Ochoa: no liras by any Ochoa are known to me, 
 
 and it is futile to theorize as to his identity. La Barrera 
 has a note on one Ochoa praised by Cervantes in his 
 Viaje del Parnaso, cap. 2, vs. 8tf., where he is called "el 
 Licenciado Juan de Ochoa" (cf. Ohras completas de 
 Cervantes (Madrid, Rivadeneyra, 1864), XII, p. 363. 
 La Barrera inclines to the belief that the poet men- 
 tioned by Cervantes is the playwright Juan de Ochoa, 
 of whom the Biblioteca Nacional possesses a comedia: el 
 Vencedor vencido; cf. his Catalog o del teatro antiguo 
 espafiol, p. 285; the play is no. 3428 in Paz y Melia's 
 Catalogue. 
 
 2125. Luis Velez: Luis Velez de Guevara (1578-1644) a famous 
 
 dramatic poet and friend of Lope de Vega. (Cf. the 
 the admirable introduction prefixed by Professor Bonilla 
 to his critical edition of el Diablo Cojuelo, op. cit.). 
 Professor and Seilora de Menendez Pidal have prijited 
 an edition of Velez de Guevara's play la Serrana de la 
 Vera (Madrid, 1916). Both Lope and Cervantes speak 
 of him with high praise. Cf. La Barrera 's Catdlogo. 
 p. 463, and his note, XII, p. 389, in the already men- 
 tioned Ohras completas of Cervantes; Fitzmaurice- 
 Kelly, op. cit., p. 438; Cejador, op. cit., p. 215ff. 
 
 2126. en la Academia del duque de Pastrana: 
 
 1. This duque de Pastrana (the third of the title) 
 is don Ruy Gomez de Silva y Mendoza (1585-1626). 
 Of his personal appearance Espinel says {Marcos de 
 Ohregon, parte II, descanso xi) : "Acuerdome de ver 
 salir a un Duque de Pastrana una mailana como esta, 
 a caballo, con un semblante mas de angel que de hombre, 
 
314 NOTES 
 
 clcviido ell la silla, (|uc parccia ct'iitauro, liac-ii'iulo mil 
 gallardias, y eiianiorando a cuantas personas le mira- 
 ban." He is i)raised by Cervantes in his Viaje del 
 Parnaso. eap. viii, near the end. but tlie tribute is of 
 tluit pei-funetoi-y kind paid to a ^NFaeeenas by a poor 
 poet : 
 
 "y que la fania, en la verdad ufaua, 
 eontaba que agrado con su preseneia 
 y eon su eortesia sobre humana ; 
 que fue nuevo Alejandro en la excelencia 
 del dar; que satisfizo a todo euanto 
 puede mostrar real magniticencia." 
 
 But this tells us nothing of the Duke as a literary light, 
 although we are led to believe by the mere fact that 
 Cervantes praises him, that he could appreciate the 
 gifts and writings of others. He was Ambassador in 
 Paris and Eome under Philip III, and Philip lY; his 
 contemporaries also state that he was especially fond 
 of the sports, and excited admiration as a torero. 
 
 2. The academy mentioned by Lope was doubtless 
 the Academia Selvage, first called El Parnaso. opened 
 in February, 1612, in the house of D. Francisco de Silva, 
 a brother of the Duke of Pastrana, the latter being 
 presumably its most illustrious patron. According to the 
 Licenciate Pedro Soto de Rojas {Desengano de Amor. 
 Madrid, 1623, f. 181) : ' ' assistieron en esta academia^los 
 mayores ingenios de Espafia, que al presente estaban en 
 Madrid." We may assume that among them were Lope, 
 Velez de Guevara, and perhaps Espinel and Cervantes. 
 Cf. La Barrera : Nnera hiografia de Lope de Vega, 
 pp. 183 and 571. 
 
 3. On these academies, which were patterned after 
 Italian prototypes (on which see Sandys, A History of 
 Classical Scholarship, II, p. 81) Suarez Figueroa says 
 in his Plaza universal (Madrid, 1615), f. 63: "En 
 
LA DAMA BOBA 315 
 
 esta conformidad descubrieron los ados pasados algiinos 
 ingenios de Madrid semejantes iinpulsos, juntandose 
 con este intento en algunas casas de Senores, mas no 
 consiguieron el fin. Fue la causa quiza porque, oluida- 
 dos de lo principal, frecuentaban solaraente los versos 
 aplicados a diferentes asuntos. Nacieron de las censuras, 
 fiscalias y emulaciones no pocas voces y diferencias, pa- 
 sando tan adelante las presunciones, arrogancias y arro- 
 jamientos, que por instantes no solo ocasionaron menos- 
 precios y demasias, sino tambien peligrosos enojos y pen- 
 dencias, siendo causa de que cesasen tales juntas con toda 
 breuedad." (Discurso XIV, de los Academicos). Lope 
 himself presented his Arie Nuevo de liacer Comedias 
 to one of these numerous academies, and mentions an 
 "Academia de Madrid" in his dedication of the Laurel 
 de Apolo. Cf . also La Barrera : Nueva hiografia, op. 
 cit., pp. 151, 176; Luis Fernandez-Guerra y Orbe: D. 
 Juan Ruiz de Alarcon y Mendoza (Madrid, 1871), p. 
 529 (a list of academies) ; Navarrete, Vida de Cervantes, 
 pp. 123 and 482ff. ; Schack, Geschichie der dramatischen 
 Literatur und Kunst in Spanien (Frankfurt, 1854), II, 
 p. 39ff. ; a note on D. Juan de Silva, in II, p. 30-4 of the 
 Galatea, op. cit. 
 
 2127. Odras de Luque: Judging from Nise's literary taste, espe- 
 ciall}^ her fondness for the poetry of the conceptistas, 
 it is possible that this Luque mentioned by her father 
 is Juan de Luque, "natural y abogado de la ciudad de 
 Jaen," whose Diviua Poesia y varios conceptos a las 
 fiestas principales del ano, que se ponen por su calen- 
 dario con los Santos nueuos y todo genero de poesias, 
 was printed at Lisbon in 1608. He says in his prologue : 
 "uso de toda suerte de poesias de las que hoy corren en 
 nuestra Espaiia, y aun algunas que no las he visto en 
 ningun autor, como son un soneto en laberinto. en cuyas 
 primeras, medias y ultimas letras hay sentencias leyen- 
 
316 NOTES 
 
 dolas hacia bajo, y redoiidillas diiplicadas; que me ha 
 parecido compostura miiy acomodada para concept os 
 de larga disposicion ; y un soneto en siete lenguas, 
 que no me costo poco trabajo." And again: "Ansi 
 que podra servir esta obra de Arte Poetica, pues el que 
 quisiere hacer soneto con remate tereiado, en repeticion, 
 o de otra suerte de las que se practiean ; o caneion, o 
 otro cualquier genero de poesia, aqui la hallara, bus- 
 candola por la tabla." 
 
 Another Luque is Gonzalo Gomez de Luque, whose 
 absurd rhymed tale of chivalry Lihro primcro de los 
 famosos hcchos del principe Celidon de Iberia (Alcala, 
 1583), may also have appealed to the taste of a romantic 
 girl like Nise. Cf. note, II, p. 335 of La Galatea, op. cit. 
 Lope had to use the name for the sake of the rime, hence 
 the uncertain identity. 
 
 2128. cartas de don Juan de Arguijo: (1564?-1623) ; among 
 
 the poetic forms used by Arguijo are epistolas which 
 may be tlie cartas to which Lope refers. Cf. Fitzmaurice- 
 Kelly, op. cit.. p. 374, and Cejador, op. cit., p. 141ff. 
 
 2129. cicn sonetos de Linan: Pedro de Lilian de Kiaza (d. 1607). 
 
 Cf . la Galatea, op. cit., II, p. 319 ; Cejador, op. cit., Ill, 
 p. 136ff. In as much as Octavio tells us that Nise's 
 library contained "librillos, papeles y escntos rarios," 
 we may infer that such poetry as had not been printed 
 at the date of our play, 1613, was possessed by her 
 (or Lope) in manuscript. This was a very common 
 state of affairs at this time, when many works were 
 known only through manuscript copies. We have no 
 reason for doubting that Lope possessed many of them 
 in his library. This would apply to Ochoa, Luis Yelez, 
 Arguijo, Lilian and possibly Castro, of the above men- 
 tioned list. 
 
LA DAMA BOBA 317 
 
 2U0. Hen- era rl diuino: ( 1534 ?-l 597 ) ; cf. Adolphe Coster: 
 Fcrnandu de Ilerrcra (el Divino), (Paris, 1908) ; and, 
 ibid., Algunas ohras de Fernando de Herrera (Paris, 
 1908); La Galatea, op. cit., II, p. 327; Fitzraaurice- 
 Kelly, oj). cit., pp. 175 and 400; Cejador, op. cit.. Ill, 
 p. 89ff. 
 
 2131. el libro del Peregrino: Lope's el Peregrino en su Patria, 
 
 first printed at Sevilla, 1604 (cf. Gallardo, IV, no. 
 4212). It is an artificial story of adventure, pedantic, 
 and marred by digressions and bad taste. Moreover, 
 Lope's prose style is inclined to be mediocre, dull and 
 culto. 
 
 2132. el Picaro de Aleman: The well knov^n rogue story by 
 
 Mateo Aleman (1547-?), Guzman de Alfarache, was 
 printed in two parts, the first at Madrid, 1599, the 
 second at Lisbon, 1604. Cf. Fitzmaurice-Kelly, op. cit., 
 pp. 230 and 370 ; Cejador, op. cit., IV, p. 130ff. 
 
 2167. sala: "salas se llaman vnas piecas grandes de Palacio, en 
 lo baxo del, donde se juntan los Consejeros de su Mages- 
 tad a despachar los negocios de justicia y gobierno. ' ' — 
 Covarrubias. 
 
 2177-8. Cf. the beginning of act III ; eleccion and accidente are 
 without the usual cedilla. 
 
 2182. estrellas que conqiertan las voluntades: According to culto 
 poetry love is considered a disease, and the influence of 
 the stars brings on ''el accidente de una enfermedad"; 
 as such, "accidente" is frequently found in contrast 
 with "eleccion, o albedrio." 
 
 ' ' No digo yo que fuerzan las estrellas ; 
 que inclinan digo; pero tu no quieres 
 por tu eleccion ni por que inclinan ellas. 
 Amor I que se ha de hacer de las mujeres. 
 
318 NOTES 
 
 (pic ni vivii- com cllas iii sin cllas 
 pucdcii iiuestros pesares y placeves?" 
 
 — Lojie : Sonnt't 278 (Obras no dvamniicas 
 in Bibliotcca <lc autorcs cspanolcs). 
 "Pero si las ostrellas daiio influyen, 
 y con las de tiis ojos naci y muero, 
 ^como las vencore sin albedrio?" 
 
 — Lope: Sonnet 168. 
 
 ''. . . En tanto que este apliqne 
 remedios a sn amor o a su accidente, 
 Don Arias, y su vida pronostique, 
 por otra parte quiero yo que intente 
 el interes curar a esta seiiora 
 de la dureza que en el pecho siente. ' ' 
 
 — Lope : La Nina de Plata, II, viii. 
 "El amor que le he cobrado en este poeo de tiempo que 
 le he visto es de suerte, que me fuerza a que atropelle 
 con todo, y habiendo de ser yo la rogada, venga a 
 rogarle: fuerzas son de estrellas y oculta inclinacion; 
 que no se puede alcanzar la causa de adonde proeede 
 tan gran mudanza como la que vengo a ver."' — cl Do- 
 nado haUador, op. cit., I, cap. 5, near the end. Cf. 
 also Lope: Al Pasar del arroyo, I, ii; Quien ama no 
 haga fieros, I, vii ; la Noche de San Juan, II, f. 77v; 
 cl Caiallcro de Olmedo, I, iii. 
 
 2215. pensamicnios: cf. above, verse 635. '^ 
 
 2220. Todo cs mudamas amor: In as much as Oetavio says 
 "vaya el baile del otro dia," Liseo's phrase contains a 
 pun on the step of a dance. The chief interest in this 
 dance for us, lies in its pronounced popular character. 
 We may recall that in Don Quixote, II, xx, Cupido 
 [amor] dances a mudanza, on which occasion, however, 
 it is a formal dance, as is also the case in Moreto's el 
 Desden con el desden, II. The double meaning of 
 
LA DAM A BOB A 319 
 
 mudanzas de amor and mudanza, the step of a dance, is 
 not uncommon in the romances. See, in the l)allad be- 
 ginning : 
 "En el tiempo ({ne Celinda — cerro airada la ventana etc." 
 the verses : 
 
 "Que en el villano de Amor— es muy cierta esta mudanza, 
 y la danzan muchas veces — los que de veras se aman." 
 And in the ballad beginning : 
 
 Abindarraez y INIuza— y el Key Chico de Granada etc." 
 the verses : 
 
 "Entre tanto el rey y Muza — estaban con Zaida y Zara, 
 cansados de tantas vueltas,— que son de amor las mudanzas." 
 Compare also such stereotyped phrases as, "todo es 
 enredos amor," "todo es enganos (or indnstrias) 
 amor." 
 
 2238. cadcnas y vandas: "era un hombre de hasta euarenta 
 anos, algunas canas, agradable presencia, calvo, de me- 
 diana estatura, calza de obra, galas al uso, 2ina vanda 
 de oro al cuello de las que se comenzahan a usar en- 
 tonces." Lilian y Verdugo : Guia etc.: Novela y escar- 
 miento segundo. The vanda was an effeminate trait, 
 and generally worn by lindos; cf. also vs. 2247. 
 
 2245. tranzcUn en el sombrero: other forms are trencillo. trcn- 
 ccllin : 
 
 "no hay irencellin de diamantes 
 que se acabe en otro nombre, 
 ni tiene la corte un hombre 
 cuyos coletos y guantes 
 espiren olor igual." 
 
 — Lope: el Ausentc en cl lugar, I, v. 
 "La cabeza adornada 
 de un sombrero, la falda levantada, 
 de un treneellin cefiido." 
 
 — La Gatomaquia, VII. 
 
320 NOTES 
 
 2247. ca<h iiita (h ovo al cutUo: no young gallant was satisfied 
 to go without a cliain, and veiy frequently, if he could 
 not afford one of gold, he wore a false one {de alquimia). 
 
 2249. en los hrazos rl gnguicsco: "los griguiescos so llamaron 
 asi de grex gregis y la lana del ganado, si no es que 
 vinieron de Grecia ; son habito descansado, aunque las 
 ealzas son mejores para las armas." — la Doroiea, lY, 
 iii ; of. also the next two notes. The singular, as here, 
 is less connuon than tlie plural ; cf. Los Comendadores 
 de Cordoba, III ; * 
 
 — ''Para la segunda vez 
 tengo un griglieseo valon, 
 que es lo bajo de im capon. ' ' 
 also Covarrubias under cahon: ''por otro nombre cal- 
 con greguesco"; and Cervantes: el GaUardo Espanoh 
 Schevill-Bonilla ed., I, p. 68, vs. 16. 
 
 I assume that in saying that Amor wore the grigui- 
 esco on his arms, Lope is ridiculing the width and full- 
 ness of the sleeves which might well have resembled that 
 garment. In verse 2303 we are again told that Amor 
 wore la manga ancJia (perhaps with the double meaning 
 that "Love may be unscrupulous"), and el calzon an- 
 gosto which latter garment was close fitting, while the 
 gvegucscos were loose breeches, extending, when first 
 introduced, to the ankle, later from the hip to the middle 
 of the thigh. The latter style was worn especially by 
 soldiers, pages, etc., during this very period, the first 
 third of the seventeenth century. 
 
 Lope's ridicule of wide sleeves recalls a passage in 
 Quevedo, Visita de los chistes, where we have an amus- 
 ing description of the costume of don Diego de Noche 
 who had found a pair of sleeves big enough to wear as 
 gregiicscos: "Muy angosto, muy a teja vana, las carnes 
 de venado, en un cendal, con unas mangas por gre- 
 giicscos y una esclavina por capa . . . se llego a mi 
 
LA DAMA BOliA 321 
 
 un rebozado etc." (Ohras, op. cit., I, p. 345). Cf. 
 also, Luna: LuzarilJo de Tormcs, II, cap. 1: " [los 
 vestidosl iii tenian principio, ni fin : entre las calzas 
 y sayo no habia diferencia ; puse las piernas en las 
 mangas, y las calzas por ropilla, sin olvidar las medias 
 que parecian mangas de escribano. " And Tirso de 
 Molina, in his Cigarrales de Toledo (A^ictor Said Armesto 
 ed., Madrid, 1913, p. 101) has the following passage: 
 "Causo novedad el trage de los nuevos dogmaticantes, 
 porque las coronas de la ingrata ninfa no ceiiian sus 
 sienes como se acostumbrava, sino sus cinturas. Pudo 
 ser por llamar a los desta facultad, que tan mal se dan 
 a entender por palabras, bachilleres de estomago. Y 
 aunque curiosamente vestidos, havian mudado el uso 
 hasta en el modo de su adorno, porque traian los 
 baqueros de tela abotonados por las espaldas, las rosetas 
 de las ligas les Servian de cuellos y puiios, y los puilos 
 y cuellos de ligas, las mangas de gregtiescos y los gre- 
 giiescos de mangas, a imitacion de su poema." 
 
 2251. las ligas con rapazejos: "vieron que venia con vnas medias 
 de seda encarnada, con ligas de tafetan bianco, y ra- 
 pacejos de oro y aljofar, los greguescos eran verdes, de 
 tela de oro." — Don Quixote, II, cap. 49, f. 186v. 
 
 2253. qapatos al uso nueho: (capatos in the manusci"ipt) 
 "Lleuaua la espada sobre el ombro, y en ella puesto vn 
 bulto, 6 emboltorio, al parecer, de sus vestidos, que al 
 parecer deuian de ser los caleones o greguescos, y 
 herreruelo, y a.lguna camisa, porque traia puesta vna 
 ropilla de terciopelo eon algunas vislumbres de raso, y 
 la camisa de fuera ; las medias eran de seda, y los ga- 
 patos quadrados a vso de Corte." — Don Quixote, II, 
 cap. 24, f. 93r. According to some writers, the origin 
 of this custom is attributed to the Duke of Lerma, who 
 suffered much from bunions; cf. also vs. 2301. 
 
322 NOTES 
 
 2255. sotauilla a lo furqucsco: It is difficult to describe Spanish 
 gcii-mcnts pattei-ned after foreign models. In this par- 
 ticular ease, I eau only mention Turkish or Moorish 
 apparel which resembled a short cassock. Diego de 
 Haedo, in his Topographia e Historia General de Argel 
 (Valladolid, 1612) says of the men of Algiers: "El 
 vestir de todos estos es primeramente vna camisa y 
 caraguelles de lienco, y quando haze frio, vn sayo de 
 pano de color que les da por abaxo de la rodilla, como 
 sotana pequena, a que Uaman (joncla, o Goleila, mas en 
 verano no la traen; y en su lugar ponen muchos otra 
 camisa de lienco delgada, larga, y muy ancha, y muy 
 blanca, a que ellos llaman Adorra" (fol. 8, col. 2). 
 In chapter 26 (Del vestido de todos los turcos de Argel, 
 etc.), f. 20r., col. 1, he says: "Encima deste jalaco 
 traen de ordinario vna ropa que llaman tafetan, que es 
 a manera de sotana de clerigo, habierta por delante, y 
 con botones en el pecho, la qual de la misma manera 
 tiene las mangas cortas hasta los codos, y es larga hasta 
 media pierna, y a vezes mas, o a lo menos passa siempre 
 de la rodilla, es tambien de algun color, etc." Again 
 speaking of women: "0 (lo que muchas vsan) traen 
 sobre la camisa de tela otra de seda, de cendal o tafe- 
 tan muy delgado, de algun color, que les Uega hasta 
 los pies; y si haze gran frio traen debaxo vn sayo de 
 pafio, o de colchas, como traen los maridos, a que llaman 
 gonila, y otros goleyla" (fol. 27, col. 2). A garment 
 worn by the Moors in Spain, and adopted with sligM 
 modification by the Christians for specific occasions, no- 
 tably the joust, or "para lucir," was the marlota. It 
 was a kind of loosely fitting sayo, or man's frock, and 
 Dozy in his Dictionnaire detaille des noms des vete- 
 ments chez les Arahes (Amsterdam, 1845), p. 412, 
 speaks of it at length. In Spanish literature it is fre- 
 quently mentioned together with the capellar, a short 
 mantle worn hanging from the shoulders. Cf. Dozy, 
 
LA DAMA BOBA 323 
 
 op. cit., p. 350. Both garments may be found in a 
 number of romances moriscos, and were much worn 
 in Lope's time. In the latter 's poem la Manana de 
 San Juan note the following stanza (30) : 
 
 "Su padre, invicto de su edad, un dia, 
 con el vestido arabigo de Espaiia, 
 que nos dejo su antigua monarquia, 
 marlota, capellar, adarga y cana, 
 el eefiro del alba desatia 
 en el jinete que de sangre baila, 
 en tal aurora, que por justas leyes 
 obliga tal mahana a tales reyes." 
 
 Tliat the marlota was also a street garment may be seen 
 from the following passages found in the romances 
 moriscos: 
 
 Y que en vez de echarte al hombro — la malla y turques alfange, 
 te eches bordadas marlotas, — v vavas a ruar calles. " 
 
 Sale galan, aunque triste, — para mostrar por sus galas 
 que parte rico y contento, — pues de ello gusta su dama. 
 
 Con muchos racimos de oro — una marlota encarnada, 
 acuchillada a reveses, — y en tela verde aforrada, etc." 
 
 Lope may have implied that the sotanilla a lo turquesco 
 was different from the usual sotanilla in that it was 
 embroidered and colored, finer than the gonela or goleila 
 and possibly more like the marlota. It is all a matter of 
 unsatisfactory guessing. On Moorish garments see also 
 the edition of Gines Perez de Hita's Guerras civiles dc 
 Granada. Primera Parte (Madrid 1913), by Paula 
 
324 NOTES 
 
 lilanchard-Demonge, pp. Tiff. Many costumes of the 
 Spanish people in Lope's day were patterned after 
 foreign models, and as evidence of this vogue tlic follow- 
 ing passage may be cited: ''Nuestra Espafia de cada 
 dia usa nuevos trajes, no bastando pragmaticas y pro- 
 visiones para remediar tan nnmerables gustos, sacando 
 cada uno nueva traza, nuevo modo de vistir, no mas de 
 como le paso por la cabeza, imitandole todos corao a 
 verdadero restaurador de las galas, y de mayor curio- 
 sidad, ya perdida en el mundo. Usa el italiano, el 
 frances, el flamenco, el ingles, el turco, el indio, desde 
 que tuvo principio su nacion, de una misma forma de 
 vestido, sin haber mudado el uno ni el otro el turbante, 
 y solo el espaiiol es variable, no habiendo camaleon 
 que asi mude de colores como el de trajes y diversas 
 hechuras." — d Donado Jtahlador, op. cii.. II, cap. 6. 
 
 2261. Corto cuello y punos largos: a narrow or simple collar 
 without the usual ruffs {lechuguillas) . The small col- 
 lar was more characteristic of the beginning of the 
 reign of Philip II; about 1562 the elaborate collars 
 known as marquesotas became popular; according to 
 Rodrigo INIendez de Silva, Catalogo real gcncalogico 
 dc Espaiia (Madrid, 1636), this monstrosity was intro- 
 duced into Spain by an Italian marquis who suffered 
 from scrofula and concealed his disease by means of the 
 marquesota. Alarcon tells a similar tale about a young 
 gallant. La Verdad sospechosa, I, iii, an interesting 
 scene, in which the author makes an amusing plea for 
 the valoncilla angosta. In 1623 an effort was made to 
 introduce a valona liana, without ornamentation or 
 color, but the result was only the introduction of a new 
 vogue, the golilla. 
 
 The punos largos were also worn by fops and 
 dandies. "Todas mis ansias consistian acerca de mi 
 ornato y atauio : no desflorado el capato, al vso pecho 
 
LA DAMA BOBA 325 
 
 y cabello, grandes puiios, cuello con muchos anchos y 
 azul, pomposas ligas, medias sin genero de flaqueza."' — 
 el Passagero, Aliuio II, p. 71. In Lope the young 
 gallants frequently wear punos a lo veneciano: cf. 
 la Viuda valenciana, 1, iv. 
 
 2265. guante de anhar adohado: "fue un gentil hoinbre, bien 
 aderezado al uso de ahora, cuello azulado y abierto, 
 calza entera de obra, sombrero con plumas, espada 
 dorada, ferreruelo aforrado en felpa, guante de amhar, 
 y al cuello una vuelta de cadena de oro de moderado 
 peso." — el Donado hablador, op. cit., I, cap. 4. Com- 
 pare also : 
 
 "Fenisa. Estos son guantes: bien puedes 
 tomar estos cuatro pares. 
 
 Lucindo. ^Son de ambar? 
 
 Fenisa. Si. No repares." 
 
 — Lope: el Anzuelo de Fenisa, I, x. 
 For an anecdote, turning on guantes muy olorosos, cf. 
 Timoneda, el Buen Aviso, op. cit., cuento liv; also the 
 quotation, verse 2245; Seilor Bonilla's delightful little 
 volume, De Critica cervantina (Madrid, 1917), p. lOlfif., 
 tells us of the perfuming of gloves at length. 
 
 2267. gran jugador del voeahlo: "jugar del vocablo: usar del 
 con gracia, en diversos sentidos : que freqiientemente 
 es decir equivocos." — Die. de aut. For one of these 
 ' ' puns ' ' cf . Lope : 
 
 "Flora. Ana se llama. 
 
 Conde. A nadie perdona agora. 
 Marcelo. Jugo el Conde, mi seiior, 
 
 del vocablo. ; Triste caso ! ' ' 
 
 — Quicn ama no haga fieros, 1, x. 
 "Los pobres hacen retablo 
 de sus duelos y pesar; 
 no hay dinero que jugar, 
 y juegase del vocablo." 
 
 — los Comendadores de Cordoba, III. 
 
326 NOTES 
 
 2275. chopcton castdhnio: llic name given to a Spaniard re- 
 turning from the Indies, and, generally, in poverty; 
 llic epithet was used in Mexico according to the Die. de 
 a lit., and was equivalent to our "greenhorn." Cf. 
 Lope; (Tristan chides his master for being so easily 
 duped) : 
 
 "jQue ehapeton estas en estas Indias!" 
 
 — d Anzudo de Fenisa, II, viii. 
 In the Passagero, op. cit., p. 268, the word has the 
 meaning of pdoii, "a bald-headed man," presumably 
 because ehapeton means one who has been fleeced in 
 the Indies. Cf. also el Diablo cojiido, op. dt., p. 138, 
 and la Doroica, op. dt., II, iv. 
 
 2293. iDcxa las auellanicas, moro! 
 
 — que yo me las vareare — ; The same refrain may be found 
 in a cantar in el Villano en su Rincon, III, ii. It is 
 much more appropriately used there as the scene takes 
 place in an olive grove, and the merry-making is com- 
 bined with the task of gathering the olives. Moreover, 
 the refrain manifestly is a part of the romance there 
 sung, which cannot be said of the cantar in la Dama 
 boha. The surmise is justified that having met with 
 great applause in el Villano en su Rincon (written be- 
 ween 1604 and 1618, presumably about 1612), the dance 
 with its refrain was reintroduced in la Dama boha. 
 
 2295. d Amor se ha buelto godo: "para encarecer la presuncion 
 de algun vano, le preguntamos, si deciende de la casta 
 de los godos." — Covarrubias. "Quise hacerme de los 
 godos, emparentandome con la nobleza de aquella 
 ciudad." — Guzman de Alfarache, la parte, libro 3°, 
 cap. 1 ; cf. also, 2a parte, libro 3°, cap. 5; Luna: Laza- 
 rillo de Tormes, cap. 3 ; Lope: el Anzudo de Fenisa, II, 
 xvii ; ' ' No dira uno : soy virtuoso o soy bueno ; sino : 
 soy de los godos, o soy de tal o de tal linaje, descen- 
 
LA DAM A BOB A 327 
 
 diendo de tal casta o de tal parentc4a."— Torquemada: 
 Colloquios satiricos {tercera parte del colloquio de la 
 
 hour a). 
 
 2299. Uga de oro: cf. above, verse 2251; on the liga D. Juan 
 Sempere y Guarinos, Hist aria del luxo y de las leyes 
 suntuarias de Espana (Madrid, 1788), II, p. 56, has an 
 interesting statement: "Las medias eran de earisea, 
 estamena, pano, ligadas eon atapiernas, o senogiles, que 
 por los Italianos digeron ligagambas, y hoy ligas." 
 
 2301. sonhrero y qapato romo: "si bien ya se usan [sombreros] 
 altos, ya bajos, ya voleados, ya romos, todos vienen a 
 tener las alas redondas y sin esquinas. "—Fernandez 
 de Avellaneda: Don Quixote, cap. 25. On the chang- 
 ing vogue in shoes we find in el Donado hahlador, II, 
 cap. 6 : " aun con tener yo mas de cincuenta anos, poco 
 mas menos, tengo experiencia de la diversidad de 
 zapatos que se han usado, tan diferentes en su hechura, 
 porque unos vi redondos, otros puntiagudos, de una 
 suela, de dos, y de tres, y de cuatro; otros romos, eon 
 orejas y sin ellas, largos de pala y corta; y si en el 
 calzado es esto, ^que sera en lo demas?" Cf. also verse 
 2253. 
 
 2309. matamoros: "a boaster, blusterer"; one of many similar 
 compounds : matasicte,— Luna : Lazarillo, cap. 1 ; ma- 
 tacandiles, ibid., cap. 8; matamoscas (mata-siete-de-un- 
 trompon) in Bihlioteca de las tradiciones populares 
 cspanolas I, p. 121, cited R. Koehler, Kleinere Schriften, 
 I, p. 564. 
 
 2313 and 2315. ''/Amor loco, y amor loco! 
 
 jYo por vos, y vos por otro!" These two verses 
 are sung in Moreto's play, Yo por vos, y v<>s por oiro, 
 I, iv and v. 
 
328 NOTES 
 
 232;5. (h Duardo co)i Finca: Lope means Nise: in the heat of 
 writing he occasionally confuses the names of his char- 
 acters. Thus, in the last act of la Nina dc Plata, the 
 names of Dorotea and Teodora are exchanged, which 
 creates confusion for the reader. 
 
 2345. quf nunca sc caso hien 
 
 quicn se casso por vengarse: Compare: 
 
 "que nunca por la venganza 
 son buenos los casamientos. " 
 — Lope: Quien ama no haga ficros, III, i. 
 
 2394. Pues adios: given to Laurencio in the manuscript. 
 
 2409. auisarc in the manuscript. 
 
 2440. vna muger cordera 
 
 cs tusson de su marido: a good example of conceptismo, 
 and characteristic of the language of Laurencio. The 
 reference is both to the Golden Fleece, and to the Order 
 del Tuson; the idea, that a meek woman is an honor and 
 ornament (like the Order of the Golden Fleece) is com- 
 mon in Lope 's time. 
 
 2449. cl (strado: cf. verse 907. 
 
 2454. no rs sancto como el silenzio: reference to the proverb "al 
 buen callar llaman sancto o Sancho"; cf. Correas, 
 Vocahulario, p. 35 for a long article on the saying. 
 
 2526. dueno: dueno in the manuscript. 
 
 2536. Oliheros: hero of an old romance of chivalry: la Historia 
 de los nohles caualleros, Oliueros de Castilla y Artus 
 dalgarhe (Burgos, 1499) ; reprinted by Professor Boni- 
 11a in vol. XI of the Nueva BihJioteca de Autores espa- 
 noles. Cf. Fitzmaurice-Kelly, rjp. cit., p. 416. 
 
LA DAM A BOB A 329 
 
 2557. que la mayor (Jiscrczion 
 es acomodarse al tiempo. 
 
 — Eso dixo el mayor sahio: According to the Diccionario 
 de Autoridades, the phrase "acomodarse al tiempo mas 
 es prudenzia que baxeza" is found in Diego GTracian's 
 translation of Plutarch's Moralia, and the reference is 
 presumably to the following volume: Morales de Phi- 
 iarcho, traduzidos de lengua Griega en Castellana. 
 Por el Secretario Diego Gracian, criado de su Magestad. 
 Va de nueuo anadida la quarta parte, que nunca ha 
 sido impressa. Los titulos que en estos Morales se con- 
 tienen se veran en la plana siguiente. (Real escudo.) 
 Con Priuilegio. En Salamanca. En Casa de Alexan- 
 dro de Canoua. Ailo MDXXI. I have before me an 
 edition of 1548 with only three parts, in which I have 
 not found the passage quoted. 
 
 2572. duena: Finea thinks that Liseo has called her a duenna. 
 How unpopular these characters were, how questionable 
 the reputation which they bore, is made evident by 
 many writers of Lope's time, especially Quevedo (cf. 
 la Visita de los Chistes in Obras, op. cit., I, p. 344) and 
 Cervantes; (cf. a passage in the latter 's el Celoso 
 estremefio: "0 dueiias, nacidas y usadas en el mundo 
 para perdicion de mil recatadas y buenas inten- 
 ciones . . ."). 
 
 2575. iQue es alma? The holos in los Locos de Valencia, III, ii, 
 carry on the same kind of conversation : — 
 ^'Verino. ^Tu sabes lo que es alma" 
 Floriano. Se que es alma 
 
 acto primero y perfeccion del cuerpo." 
 Aristotle, through the interpretation of medieval and 
 Renascence theologians and philosophers, is tlie source 
 of these phrases. Cf. Ohras de Aristoteles puestas en 
 lengua castellana por D. Patricio de Azcarate, Psico- 
 
330 
 
 /'///■'(/ I, 'I ra I (1(1 (I (III AliiKi. lihro II: 'I'lorUt f/( in nil if 
 ihfiuicion del Alma: "La siistancia cs una i-calidad 
 perfeeta, una entc4equia ; luego el alma cs la ciilt'lctiuia 
 del cuerpo, tal como la acabamos dc dcfinii/" (p. 147). 
 "Si se quiere una definicion comun a todas las espeeies 
 del alma, es precise decir que el alma es la entelequia 
 primera de un cuerpo natural organico." (p. 148). The 
 Latin renders entelequia by actus (the acto prhnero, or 
 the gohicrno of Lope's phrase), the word means "that 
 by which the soul actually is." 
 
 2580. (,No es alma la que en el peso 
 
 le pintan a San Miguel? Lnmortal spirits released by 
 death were weighed by St. Michael in a balance, and it 
 is thus that the Archangel is frequently depicted in 
 church paintings. "In those devotional pictures Avhich 
 exhibit St. Michael as lord of souls, he is winged and 
 unarmed, and holds the balance. In each scale sits a 
 little naked figure, representing a human soul ; one of 
 these is usually represented with hands joined as in 
 thankfulness — he is the healo, the elected; the other is 
 in an attitude of horror — he is the rejected, the repro- 
 bate ; and often, but not necessarily, the idea is com- 
 pleted by the introduction of a demon, who is grasping 
 at the descending scale, either with his talons, or Avith 
 the long two-pronged hook, such as is given to Pluto in 
 the antique sculpture. »v 
 
 Sometimes St. Michael is thus represented singly; 
 sometimes very beautifully in Madonna pictures, as in 
 a picture by Leonardo da Vinci (1498), where St. 
 Michael, a graceful angelic figure, with light, flowing 
 hair, kneels before the Madonna, and presents the 
 balance to the Infant, who seems to welcome the pious 
 little soul who sits in the uppermost scale. 
 
 I have seen this idea varied. St. Michael stands 
 majestic with the balance poised in his hands ; instead 
 
LA DAMA BOBA 331 
 
 of a liuinan figure in either scale, there are weights; 
 on one side is seen a company of five or six little naked 
 shivering souls, as if waiting for their doom ; on the 
 other several demons, one of whom with his hook is 
 pulling down the ascending scale. ' ' — Sacred and 
 Legendary Art, by Mrs. Jameson (ed. 3, Boston, 1857?), 
 I, p. 113. The origin of this conception is found in such 
 verses of the Bible, as Daniel V, 27 : " Thou art 
 weighed in the balances, and art found wanting"; or 
 in Revelation, VI, 5: "And I beheld, and, lo, a black 
 horse ; and he that sat on him had a \m\v of balances 
 in his hand. ' ' 
 
 Finea has in mind a painting in the church of San 
 Miguel, built during the reign of Philip III, and de- 
 stroyed by fire in 1790. Cf. Mesonero Romanes: el 
 Antiguo Madrid, op. cit., p. 71ff. Lope apparently 
 refers to the same painting in los Melindres de Belisa, 
 I, iv :— 
 "Lisarda. Pues no nos pongan el coche ; 
 
 que a San Miguel a pie basta. 
 Belisa. Y, pio es nada el de los pies, 
 
 junto al peso de las almas?" 
 
 2602. a verse of nine syllables. 
 
 2603. . . . Soy medrosa 
 
 dc las almas, porque tcmo 
 que de tres que andan pintadas 
 
 puede ser la del ynfierno: Finea 's silly fears I'einind one 
 of the melindres of Belisa, in the play of the same name, 
 I, iv: 
 
 "Tiene [San Jeronimo] a los pies un leon, 
 que siempre que entro me espanta ; 
 y una vez, madre, no dudes 
 que ha de saltarme a la cara." 
 
332 NOTES 
 
 Finea refers to the pictorial representation of the here- 
 after: the soul in Paradise {la Gloria), the soul iu 
 Purgatory {en pcna) and the soul in Hell {la del in- 
 ficrno). 
 
 2607. la NocJie dc los diffuntos: Finea is afraid of ghosts. Cf. 
 el Padre Pedro de Ribadeneyra, Flos Sanctorum (Bar- 
 celona, 1790), III, p. 327: La Commemoracion de los 
 dif untos ; 2 de noviembre ; ' ' base de advertir, que 
 aunque estas apariciones de las Almas del Purgatorio, 
 que aqui havemos referido, y otras semejantes, por ser 
 eseritas de Autores graues y Santos, se deben tener por 
 verdaderas, y que nuestro Senor quiere en ellas en- 
 seiiarnos las horribles penas que las Almas padecen, . . . 
 debemos usar de gran cautela en estas cosas; porque 
 muchas veces no son verdaderas las apariciones de las 
 Almas, sino de nuestra flaca cabeza, e ilusiones del De- 
 niouio, que nos inquieta y engaila, dandonos a entender 
 que vemos lo que no vemos. " p. 329. 
 
 2613. iQue te dizef On various occasions printed copies of 
 Lope's plays change this to iqiie te parecef As in this 
 particular case ; and again in verse 2868 it is changed 
 t-o ^que me dizes? It is hard to believe that contem- 
 porary printers did not understand the question, since 
 it is not uncommon in Lope. Cf. "^que te dice el 
 
 casamiento?" — al Pasar del Arroyo, II, xiii. 
 
 ■•^ 
 2679. y aqui viene Men que Pedro 
 
 cs tan ruin como su omo: Correas. Voeahnlario, p. 411, has: 
 "Tan bueno es Pedro como su amo, y mejor un palmo. 
 (Es variable)." 
 
 2704. iTienes cucnta de perdonf "Cuenta de perdon: es una 
 cuenta a modo de las del Rosario, a quien se dice que el 
 Papa tiene concedida alguna indulgencia en favor de 
 las Animas del Purgatorio." — Die. de ant. 
 
LA DAMA BOBA 333 
 
 "En pena a las once estoy. 
 Tu cuenta el perdon me aplique 
 para que saiga de pena. ' ' 
 
 — Lope: Peribdnez y el Comendador dc 
 Ocana, III, xiii. 
 Finea understands that Nise "will take her soul out" 
 of purgatory. Cf. also la Esclava dc su Gulun, II, xiii. 
 
 2714. almano dcho dc scr: an unexpected pan from tlic hoha 
 Finea. 
 
 2768. si OS faltan tclas y rasos: "you may give your sonnets (as 
 presents), if you have no fine cloth and satin." That 
 these were included amongst the gifts of a lover can 
 be seen from Pcrihdnez y el Comendador dc Ocana, 
 I, xv: 
 
 "Si serviera una dama, hubiera dado 
 parte a mi secretario o mayordomo, 
 o a algunos gentilhombres de mi casa. 
 Estos hicieran joyas, y buscaran 
 cadenas de diamantes, brincos, perlas, 
 tclas, rasas, damascos, terciopelos, 
 y otras cosas extranas y exquisitas." 
 
 2771. Este [i.e. Garcilaso] vendcn por dos rcalcs, 
 y tiene tantos sonetos 
 eligantes y discretes, 
 
 que vos iw los Jiarcys talcs: In his novcla. Las Fortunas 
 de Diana (printed in 1626). Lope wrote: "Pero a V. 
 ni /,que va ni le viene en que hablen eoino quisieren 
 de Garcilaso? Assi dezia vna canzion que cantauan vn 
 dia los musicos de vn senor grande : 
 
 Las obras de Bosean y Garcilaso 
 
 se venden por dos reales, 
 
 y no las hareys tales, 
 
 aunque os precieys de aquello del Parnaso." 
 
334 NOTES 
 
 There is no reason to doul)! that tlie i>0('t wliose verse 
 the musicians sang was Lope himself, and that he had 
 recalled an idea already expressed elsewhert'. 
 
 2825. mitquir: according to Juan Hidalgo's Vocahulario de 
 Gcrmania, means to eat {comer). See Quinones de 
 Benavente, in his Loa con que empezo Tom/is Fernandez 
 en la corte (first ed.) : 
 
 "A vuestros gustos ofrezco, 
 
 Madrid, este nuevo plato. 
 
 Si OS sabe bien, le tendreis 
 
 siempre a punto y sazonado. 
 
 Pero si no es de sustancia 
 
 para podelle muquir, 
 
 ojos, que le vieron ir, 
 
 no le veran mas en Franeia." 
 
 2829. ijnposihle: ijnposihles in the manuscript. 
 
 2892. jBien mi tcrmino agradcces! "A fine way you have of ap- 
 preciating my position (my conduct) !" Termino: "vale 
 tambien forma o modo de portarse, ii hablar en el trato 
 comun." — Dice, de aut. Liseo accuses Otabio of not liv- 
 ing up to his side of the bargain either. Compare, for 
 this use of termino: 
 
 "Fuera en tanta amistad termino injusto 
 no ser don Luis como le aueis pintado." 
 
 — Lope: la Noche de San Juan, I, f. 73r. '^ 
 
 2976. es vn cayman: a shrewd, dangerous rascal; it is evident 
 from Covarrubias that the caiman or alligator had a 
 bad reputation : ' ' vn pez lagarto que se cria en las rias 
 de Indias, y se come los hoynhres que van nadando por 
 el agua, y por ser el nombre de aquella lengua barbara, 
 no me han sabido dar su etimologia ; deve ser a modo de 
 los cocodrilos, que se crian en el rio Nilo." The Die. de 
 aut. cites as an example of the definition which I have 
 
LA DAM A BOB A 335 
 
 given la Vida dc Estchanillo Gonzalez: "Dcxome la 
 tropa de caiinanes tan rematado de cuentas, qne, en 
 llegandose el tiempo de la enibarcacion, hiive menester 
 vender parte de mi recaniara." pi. 329. 
 
 2981. cl que viene de Muleyes: Muley, according to Pedro de 
 
 Alcala : Vocahulario E spa riol-Ardbigo is equivalent to 
 don. Ochoa's lexicon defines it as follows: "Titulo 
 que precede al nombre de emperadores y principes de 
 Marruecos." I do not find the word in the last edition 
 of the Academy's Dictionary. 
 
 2982. ij a los godos se levanta: cf. verse 2295 and note. 
 
 2984. versos legos y donaelos: the poetry of a layman, and un- 
 worthy of the ''profession." 
 
 3056-7. que se va amor por la post a 
 
 a la cassa del agravio: "Love is easily offended," but 
 expressed in culto language. 
 
 3058-60. . . . las lag ri mas solas 
 
 de vn homtre han sido en el mundo 
 
 veneno para nosotras: How women are to be won by 
 men's tears and protestations forms a prominent fea- 
 ture of the teachings expressed by Ovid; cf. Ovid and 
 the Renascence in Spai)i, op. cit., p. 91 et cd. 
 
 "Y el Petrarea [dice], entre sus raros 
 versos, que no hay corazon 
 de tan duro bronce o marmol, 
 que no se ablande o se mui'va, 
 rogando, llorando, aniando; 
 ya puede, Hipolita bella, 
 haber el tuyo tocado." 
 
 — Lope: Las Flores d( don .fxan, TI, xx. 
 
336 NOTES 
 
 V)()6^. (Ens p(ni(I(>r<j(i.' Perliai)s Tui'in nu'ant to say Pandora, 
 thinking of her as an objectionable ereatnre, for, he 
 says, "no estoy bien en historias. '' In addition to the 
 meaning of pf//(f/o/-(/fl "discord," the Die. dc aul. also 
 gives: "En estilo festivo y familiar se llama la muger 
 muy gorda, pessada, dexada y floxa en sns acciones." 
 On pandorga cf. el Diahlo cojudo. op. cit., pp. 12 and 
 208. 
 
 3133. . . . cl Alcazar 
 
 y la puente de Segohia, 
 
 y huho Juanelos que a el 
 
 suhieron agita sin sagas: 1. The Alcazar: or royal palace 
 of Toledo, now a military academy, was built chiefly 
 in the fifteenth and sixteenth centuries, and having been 
 partly destroyed by fire on various occasions, has under- 
 gone extensive restorations. The palace stands on the 
 highest ground above Toledo, and is an imposing sight 
 . when viewed from the valley of the Tagus. 
 
 2. The bridge of Segovia : There was no bridge of 
 this name across the Tagus at Toledo as far as I am 
 able to learn, and we may assume that Finea, in her 
 foolish chatter is confusing Toledo with Segovia whose 
 puente del diahlo is one of the great aqueducts of the 
 world. It is known throughout Spain as the puente de 
 Segovia, and as a "watercarrier" was associated in 
 Finea 's mind with the juanelos of Toledo. The structure 
 is a work of Roman times. Cf . Richard Ford 's excellent 
 Handbook for Travellers in Spain (London, 1845), part 
 2, p. 825. 
 
 3. the juanelos ("artifieio de Juanelo") : a compli- 
 cated invention to raise water from the Tagus river to 
 the Zocodover, the public square of Toledo ; the inventor 
 was a mechanician and engineer from Cremona, whose 
 Italian name Giovanni Turriano, endures in its Spanish 
 form Jnanelo. He is known not only for the above in- 
 
LA DAMA BOBA 337 
 
 ventioii, completed in 1568, but as a maker of elaborate 
 clocks, in which capacity he became a favorite of 
 Charles V. The artificio is described at length by 
 Villalva, in el Pcregrino curioso, op. cit., I, p. 194 ; it is 
 mentioned by Quevedo in his Yida del Buscon, I, cap. 8, 
 by Cervantes in la ilustre Fregona, and other contem- 
 porary writers. Cf . also D. Sisto Ramon Parro : Toledo 
 en la mauo, 2 tomos (Toledo, 1857), II, p. 660ff. 
 
 3145. Uchaba: instead of the nsual Ihhaua, or llcuaua. 
 
 3171. algun: algucn in the manuscript, where Lope's haste made 
 him anticipate the gue of guesso, the next word. 
 
 3174. doiidc a las que nazen lloran, 
 
 y ricn a las que mueren: refers to the Trausi, whose 
 customs are thus described by Herodotus: "Llevo dicho 
 de antemano que modo de vivir siguen los Getas atani- 
 zontes (o defensores de la inmortalidad). Los Trausos, 
 si bien imitan en todo las costumbres de los demas 
 Tracios, practican no obstante sus usos particulares en 
 el nacimiento y en la muerte de los suyos; porque al 
 nacer alguno, puestos todos los parierites alrededor del 
 recien nacido, empiezan a dar grandes lamentos, cou- 
 tando los muchos males que le esperan en el discurso de 
 la vida, y siguiendo una por una las desventuras y mise- 
 rias humanas; pero al morir uno de ellos, con muchas 
 muestras de contento, y saltando de placer y alegria, le 
 dan sepultura, ponderando las miserias de que acaba de 
 librarse, y los bienes de que empieza a verse colmado 
 en la bienaventuranza." [Vivian los Trausos al pie del 
 Hemo, en la Mesia inferior. — Nota del Traductor.] Cf. 
 los Nueve lihros de la historia de Herodoto de Hali- 
 carnaso; (traducida del griego al castellano por el P. 
 Bartolome Pou, 1727-1802, de la eompania de Jesiis), 
 2 tomos (Madrid, VM)) ; II, libro (piinto. § iv, p. 7. 
 
338 NOTES 
 
 Two voliiines (in one) of this work were printed at 
 ^Madrid, 1846; the present edition is taken from the 
 manuscript of the author. There were Italian transla- 
 tions of Herodotus in Lope's day, but none in Spanish, 
 as far as I know. On Herodotus cf. also R. W. Macan, 
 :\r. A. : Herodotus, the Fourth, Fifth and Sixth Books 
 with Introduction, Notes, Appendices, Indices, Map 
 (London, 1895), p. 155. 
 
 3179-80. This close, according to which all the characters are 
 married, is given a humorous turn by having the two 
 men who are left without mates clasp hands. The same 
 device is not uncommon in the Spanish comedia; cf. 
 the end of la Noche toledama, and of Santiago el Verde. 
 
INDEX 
 
 a (mechanical omissiou of), 2(51, 
 
 276, 304. 
 Academias, 300, 313. 
 accideiite (o elecei(3n), 310. 
 acomodarse al tiempo, 329. 
 Actors and actresses, 251. 
 agua ardiente, 270. 
 ajedrez (piezas de), 257. 
 aladares, 299. 
 alba, 263. 
 Alemau, 317. 
 alma, 329, 330. 
 amor, deseo de belleza, 282. 
 amor (loeiira, etc.), 283, 293. 
 anacardina, 304. 
 andar por los aires, 305. 
 aprender (preuder), 298. 
 Arguijo (Juan de), 316. 
 arrastra, lo que- honra, 273. 
 arriedro, 282. 
 asilla, 298. 
 astrologo, 295. 
 banda, 319. 
 basilisco, 259. 
 boticario, 272. 
 
 Bourgeois Geutilhomme (le), 263. 
 celosia, 304. 
 Cervantes, 312. 
 Ciceron (liijo de), 292. 
 conceptismo. 275, 276. 
 cuadrado, 279. 
 cuello, 324. 
 
 cueuta de perdon, 332. 
 cabezadas, 299. 
 cadenas, 319, 320. 
 ca.ia, 255, 289. 
 
 callar (al- llanian sancto), 328. 
 calle Mayor, 266. 
 Camoes, 312. 
 carnestolendas, 270. 
 cascabel, 298. 
 Castro (Guillen de), 312. 
 catreda, 293, 310. 
 chapeton, 326. 
 
 damas . . . conio hu vidro, 256. 
 dinerOj, 280. 
 doce. 278. 
 en for entre, 265. 
 endiosarse 311. 
 escuelas, 275. 
 espiritus visivos, 282. 
 
 estrado (sillas, alniohadas), 287, 
 
 328. 
 estribos, 257. 
 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 (oloroso), 325. 
 guindas, 253. 
 hablar en, 289. 
 Heliodoro, 262. 
 Herrera, 317. 
 ihola! 291. 
 lllescas, 252. 
 jalea, 257. 
 jerigonza, 273, 288. 
 ijo! 289. 
 juanelos, 336^ 
 jugar del voeablo, 325. 
 Latino (Juan), 305. 
 leceion, 256. 
 
 libertad (no se vende), 292. 
 librea del rey, 265. 
 liga, 321, 327. 
 Undo, 251, 300. 
 Linan, 316. 
 
 Luque (obras de), 315. 
 matamoros, 327. 
 matamoscas. 327. 
 matasiete, 327. 
 medidas (de imagenes), 254. 
 mentiras, 253. 
 menudo, 289. 
 merienda, 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 conio su anio), 
 
 332. 
 
 [339] 
 
340 
 
 IXDEX 
 
 poiisainionto, 277. 
 
 jicpitoria, 284. 
 
 I'.'trari'a, 311. 
 
 pias, 274. 
 
 piearse. 302. 
 
 pieza (le rev, 2(54. 
 
 piiio (a-), 272. 
 
 jx'.rfi.lo, 299. 
 
 postas, 2.34. 
 
 I'ra.lo, 296. 
 
 pnioba (le amigos, 29G. 
 
 I)ii(lro, 2(i0. 
 
 puesto que, 298. 
 
 jnintos (dos- en el aire), 2o7. 
 
 pufio. 324. 
 
 £ riiie te dice .' 332. 
 
 rapacejo, 321. 
 
 Kcc-oletos (los), 296. 
 
 re.ijalos (de amante), 296. 
 
 romadizo, 266. 
 
 ruinrta, 301. 
 
 sala, 317. 
 
 servicio. 268. 
 
 •sestil, 279. 
 
 Sibila eritrea, 274. 
 
 sombrero roiiio, 327, 
 
 sotanilla, 322. 
 
 Taso, 311. 
 
 tennino, 334. 
 
 tinieudo, 304. 
 
 tranzelin, 319. 
 
 Trausos (costumbres de los), 337. 
 
 trino, 279. 
 
 tripular, 303. 
 
 tropezar, 276. 
 
 Vega (Lope de), 312, 317. 
 
 Velez (Luis), 313. 
 
 voudaval, 294. 
 
 Vidro, 299. 
 
 Virgilio, 311. 
 
 vistas, 258. 
 
 zapatos al uso nuevo, 321, 327. 
 
 zas, 264. 
 
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