https://hemerotecadigital.uanl.mx/files/original/448/20451/Revue_Hispanique_1912_Tomo_26_No_69-70_primera_parte.pdf dcbe45a63f5c66301aa5bff8855e8534 PDF Text Text ���I REVUE HISPANIQUE ✓ �l i .,. BIBL J OTECA CENTRAL U. A. N. L. 1 REVUE HISPANIQUE Rec-ueil consacd à i'étude des Zaugues, des littératures et de l'histoire des pays c,1stilla11s, catalaus et portugais DIRIGÉ PAR R. FOULCHÉ-DELBOSC TOME XXVI ABB:EV!LLE. -:---- IMPIUMERIE. F. PAILLARr NEW YORK THE HISPANIC SOCIETY OF AMERICA AUDUBON PARK, WEST 156 th STREET PARIS LIBRAIRIE C. KLINCKSIECK, 1912 11, RuE DE LILLE �THE LIFE A D DRAMATIC WORKS OF DOCTOR JUAN PÉREZ DE MONT AL V AN (1602-1638) PREFACE It seems rather surprising that comparatively little attention has been given to Montalvan and bis dramatic works, if only on account of the fact that his admirers rated him the legitimate successor to the great Lope de Vega. Although this verdict cannot be accepted by the impartial, yet his plays afford entertaining reading even at the present day, those of intrigue especially holding the attention through their ingenious and unexpected situations. He who would wish to become acquainted with them, however, is deterred by the difficulty of obtaining copies, for so rare have the plays become that ( as far as known) a few exist only as uniques, while no Jibrary possesses a complete set. Although it is true that Ticknor, Schaeffer, and Schack have, collectively, reproduce<l a number of the plots, even their most detailed outlines (far in the minority) are scarcely full enough; and the rest are too brief to be of any value. The object of the present volume is to suppl y this deficiency by giving minute analyses of ail the comedias which appear genuine, together with whatever data regarding tbeir source, performance, etc., I have been able to collect. In the Notes l have R E V UE HISPANIQ UE. B �2 GEORGE WILLIAM BACO. ventured also to include any observations suggested by tbe reading of the plays thcmselves. The analyses will, I belien:, prO\·e useful for reference to studcnts of other dramatises, whose work they may wish to compare with that of ~fontah-an. The Jack of such anal •ses for many plays of the panish theatre bas considerably added to the labor involved in the preparation of this work. For uniformity's sake, I ha,·e retained the panish proper names throughout, even in cases ,vhere an English equivalent exists. In El Fin mas desgraciado y Forttmas de Seyano, howe,·er, the Latin proper names ba,•e been employed. By far the most sati factory account of our author's carcer and works is fourni in La Barrera's Catltlogo bibliogrétfico y biagrafico del Teatro a11tig110 espanol, wbich I have uscd as the basis of the present Life; supplementing it where,·er possible by rcferences from Montalvan's own writings. Fortunately, the third part of r. D. Cristobal Pérez Pastor's exhaustive and scholarly Bibliograffa madrile,îa appeared just in time to be available, and it bas furnished with some hitherto unknown data regarding the Montalvan family. Valuable as this information is, still one must regret that r. Pastor's rescarches bave not yielded even more details concerning our autbor, especially the exact date of his birch . To avoid encum bering the tex.t and foot-notes with tl1e constant repetition of the full - and often lengthy - titles of works cited, I ha,·e quoted them 0 enerally in abbreviation. An explanation of these abridgements is given at the end of the book. To my friend Dr. Hugo Albert Rennert I o,Ye an especial debt of gratitude, for not only has he generously placed his valuable library at my di posai, but has allowed me to draw freely upon his intirnate knowledge of the panish theatre. His encouragement and unfailing assistance has in great measure made possible the pre ent volume, - the outgrowth of a Doctor's thesis submitted by me to the University of Pennsylvania in 1903. Mr. James Fitzruaurice-Kelly and Dr. J. P. Wickersham Crawford have kindly aided me in some points of detail. I have to �JUAN PÉREZ DE MO,TALVAN 3 thank rny friend Sr. D. Felix Rinc6n of the Biblioteca Nacional, Madrid, for furnishing me much valuable material, including La Barrera's autograph corrections and additions to the article Montalvân in his own copy of his Cattilogo, now in the aforemeutioned library. For the list of Montalvân's dramas existing in the Biblioteca Palatina at Parma I am indebted to Prof. Restori; in all other cases the inventories have been courteously supplied by the varions librarians. The portrait of our author is a reproduction of that in the Lagrimas Panegiricas a la tenprana Muerte de] Gran Poeta, el Tèologo Insigne Doctor Juan Perez de Montalban; while the autograph beneath it is a fac-simile of that at the dose of the manuscript Las &antisirnas Formas de Alcalét existing in the Biblioteca Nacional. �JUAN PÉREZ DE MONTALVAN SECTION I A. - LIFE AND WORKS. Dr. Juan Pérez de Montalvan ', son of Alonso Pérez de Montalvan and Felipa de la Cruz •, was born at Madrid in I 602 3• He was one of a family of at least five cbildren, the others being Crist6bal, Isabel, Petronila and Angela+. Of Jewish extraction 5, Alonso Pérez first kept a book-shop at Alcala de Henares 6, his 1 . Montalvan's full name was held up to ridicule by hîs implacable enemy Quevedo in the foliowing epigram : " El doctor tu te lo pones, El Montalban □ o lo tienes : Con que en quitândote el don, Vienes â quedar Jua11 Pérez. ". See also Quevedo's Periuola - outline given below, p. 32 - where he tells us that Juan Pérez was the name of a stage buffoon. Our author's poetical narne ,vas Montana. 2. They were formally betrothed on August 4, 159r, and married on August 30 of the next year. (Pérez Pastor, Bibliografia, part III, p. 451, Docu111entos). 3. It appears that the record of his baptism cannot be found, since Pérez Pastor docs not give it in the Dowmmtos-Bibliografia, l. c. concerning him. 4. Cristobal was baptised May 11, 1597. (Op. cit., 1. c.). He must have died before the end of 1623, as in a document ofNovember of that year signed by Alonso Pérez, Juan is styled " our sole legitimate son, unique and universal heir ". (lb). Petronila and Angela became nuns in the couvent of the Co11cepcùfa Franâsca. Descalz.a in Salamanca. (Op . e.it., p. 453). The date of their death is not known. Isabel and her mother died before 1645, as is shown by a reference in her father's will, dated December 29 of that year. 5. See Quevedo's Perinola, where seYeral times he casts a sneer at our author's Jewish ancestry. (Cf. below, p. 33). 6. In the same woi:k, Quevedo calls the yout1ger Montalvan " son of a bookseller of Alcala ". 5 native town ', but later moved to Madrid and carried on his business in the Calle de Santiago. Subsequent to the early part of November, I 604, he received the appointment of bookseller to the King 2 • He ,vas the close friend, and confessor 4 of Lope de Vega, and the privileged publisher of a number of his wotks ,. This intimacy was destined to mean not a little for the young Juan, for during bis visits to the book-shop Lope must have seen much of him, and soon begun to regard hirn with paternal affection. As time passed, the timidity of the child, who had shrunk back in av:e and wonder before the « Pbœnix of Geniuses », became transforrned into love; and it gratified Lope to know that he was considered his Ü1separable friend and mentor. More mature years brought with them signs of great literary ability in Juan, whereupon Lope, confident of bis success, urged him to try his band at the drama. Scarcely realizing, as yet, the inestimable privilege of having for an adviser Spain's greatest writer for the stage, Montalvan took up the pen, and at seventeen 6 produced his first comedia, Morir y dùimular 7. The r. Pérez Pastor, Bibliografia, part. III, p. 4 5 r, Documentas. In a document dated November 13, r6o4, he asks for the appointment. ~) . 3. See Lope's words in his first will, dated February 4, 1627 : "Alonso t Pérez a qui en yo be devido y quiero tanto... ". (Re□nert, Lope, p. 4 r 3). Alonso Pérez is named as one of the exccutors. .4: Cf. Montalvâ1~'s Fama Postuma ci la Vida y Muerte del Doctor Frey Lope Felix de Vega Carpio, Madrid, 1636, fol. 8. 5. Those issued by Alonso Pérez are the following : Comedias, Parts rr (16r8), 12 (1619), r3 (r620), 15 and r6 (1621), r8 and 1 9 (r623), and 20 (1625). (One of the Aprobaciones of tl1e latter is written bv our author. See ~ennert, Lope, p. 3rr). Other works: the Filomena (1621), the O,Jeo and_ Circe (bath 1624), the Corona tragica (1627), the Doi-otea (1632), _an~ Rimas hu111anas y divinas (r634). Besicles, Alonso Pérez signed the ded1cat1on of the Valladolid (1604) editiou of Part I. of the Co111edias and also of Part Il. (Madrid, rlJo9). ' 6. Cf. Baena, vol. III, p. 157. 7. See below notes to this comedia. 2. �6 JUAN PEREZ DE MONTALVAN GEORGE WILLIAM BACON crudeness of the first act indicates that be struggled with it unaided, while the marked superiority of the others suggests Lope's guiding hand, lent, doubtless, in response to an appeal from his rather discouraged protégé. The completion of this play, however, gave the young author confidence, and in bis second effort - Cumplir con sn Obligaci6n - he makes no reference to that timidity of which he speaks in the first. Then, too, in spite of a rather unskillfull construction, the general workmanship shows a marked improvement. What a source of pleasure it must have been to Lope to see bis expect;ttions fulfilled ! In I 620, the year following the composition of Morir )' disimular, Montalvan had a chance to test his ability in a field outside the drama. May of that year saw celebrated in Madrid, with great pomp and splendor, the beatification of San Isidro, tbe pious ploughman and patron saint of the city . The festivities began on the r 5 th and lasted six days ', the 19 th being devoted to tbe jnsta poética - poetical tournarnent - custornary on ail such occasions 2 • Tbe present justa, of \vhich Lope w_as appointed director, took place in the Church of San Andrés, where lay the bones of the ploughman, and embraced nine certamenes or contests. Montalvan submitted verses in the second, fifth and seventh, - those in sonnets, glossas and romances respectively 3,but unfortunately it is not known whether he gained any one of the three prizes offered in each ' . If he did, he had good cause to congratulate himself, for among his twenty-six competitors in the second certamen were such well known poets as the illstarred Count of Villamediana, Luis de Belmonte and Pedro Calder6n; while in the fifth and seventh 3 appears the name of Juan de Jauregui. Certain it is that he could not have been av,,.arded more than one prize in the justa, for such a restriction was stipulated by the rules. The same year, our author became Licentiate at the University of Alcali de Henares, where he had been pursuing successfully the study of Philosophy and the Humanities - ·which shows that he did not sacrifice leai:ning to the desire to practise the calling of literature. By a decree of Pope Gregory XV, there was celebrated in Madrid, in 1622, the cano,nization of Santa Teresa, San Felipe Neri, San Isidro, San Francisco Xavier and San Ignacio de Loyola. The imp·osing festivities, which were ruled over by Lope, began on the I 9 tb of June and lasted ten days 4 . On the 2 5 th, was held 2 1. In his ballad in praise of the competitors Op. cit., fol. speaks thus of Montalvan : " Al Licenciado Iuan Pérez, Cuya Musa culta espera Tener por laure! al sol Porque el de Daphne desprecia, · Dieron armas las tres Gracias r. See Ricardo Sepùlveda, Madrid Viejo, Madrid, 1888, p. 243. Quixote - Part II, chap. xvm. - on the subject of these poetical tournaments. 3. See Justa Poetica y A labanzas Justas que liizo la insigne Villa de Madrid al bie11auenturado San Isidro en las 1-ïestas de su Beatijicacio11, recopiladas po,- Lope de Vega Carpio. Dirigidas li la misma iusigne Villa. En Madrid, por la Viwla de Alonso M1trtin (1620]. Here will be fotmd the poems of al! the competitors. Those of Montalvan I have reprinted iu the Appendix. ~pe: 130 b. - Lope " _I do not inclt;de. who: UI~de; th~ ~a~e of El Maestro B11rguiJlos, contnbuted some humorous verses to each of the nine eerttimener. 3· In the fifth there were twelve eu tries; in the seventh, eleven - exclusive of El Maestro Bu1-g11illos. 4- See Relacion_ de las Fiestas que ba hecl10 el Colegio Imperia/ de la Compaiiia de I~st:s de Madrid .m la Canoniz.acio1i de San Ignacio de Loyola, y S. Francisco Xavie,_- Por Don Fer~'.111do de Monfo1·te y Herrera. Dirigida al mismo Colegio Imperzal de la Compama de lems. En Madrid, por Luis Sanchez, Impressor del Rey nue:lro S~nor. Afio de 1622, fols. 12 b. and 15. The 1t1tent1on was to begin the celebration on the twelfth of June, exactly 2. 2. Cf. Rennert, Lope, p. 277. There is a very amusing account in Don 7 �8 GEORGE WILLIAM BACON JUAN PEREZ DE MONTALVAN a Justa poética in honor of the two latter saints', and here again we find the name of Montalvan, who took part· in three of the twelve combates, the fifth, seventh and twelfth - those in tercets, glossas and quintillas z. While in the fi.fth and twelfth comblltes he had but three rivais, - in the twelfth appears Calderon, - in the seventh we find over eighty 3, nota few of them formidable. For our author to have received the second prize in the 'latter combate, a gold clasp worth twenty ducats, speaks well for bis ability, and indeed the excellence of his contribution justifies the verdict of the judges. In the twelfth combate he was awarded first prize, a silver pitcher likewise valued at twenty Jucats. That he was eligible for two prizes was due to a ruling that tbat number might be awarded to a contestant, provided only one was a first. On the 28th. of June took place the- ju.sta in honor of San lsiJro 4, and exactly as at the fiesta attending h-is beatification, Lope, under the name of El Maestro Burguillos, contributed a humorous poem to each of the eleven combates; and at the close of the justa read a ballad s in praise of the contestants and the awards of the judges. Montalvan participated in the second, eighth and tenth combates - in octavas, canciones and glossas 1 , - having for rivais in the second such poets as Guillén de Castro and Luis de Belmonte, and in the tenth Juan de Jauregui and Calderon 2 • He did not meet with the success of three days previous, receiving only third prize in the second combate, a gilded earthen drinking ·vessel worth twenty ducats. ln this Justa, -but one prize could be awarded to the same contestant. Resolved to devote himself to Theology, Montàlvan was meantime continuing bis studies in this subject at the University of Alcali. A chaplaincy in the parrish of San Juan in the town of Ocana, involving the performance of a weekly mass, brought him a yearly revenue of 22,600 maravedis, a sum smallet by 14,800 ma.ravedis than the income needed before entering the priesthood l. To remove such an obstacle from the path of his success, in November 162 3 bis parents formaUy pledged themselves, by means of a mortgage on their property in the Calle de Santiago, annually to supply this deficiency as long as he might live, making his yearly income one hundred ducats 4. His graduation as Doctor of Theology was followed by his ordination as priest, and on May 13, 1625 he entered the Congregation of San Pedro of Madrid. Subsequently, he became apostolic notary of the Inquisition,. th.ree months after the canonization of the five saints by Pope Gregory XV. Owing to a delay in the preparations, however, the Fiesta had to be postponed for a week. No justa was held either for Santa Teresa or San Felipe Neri.l I. Cf. op . cit., fol. 73 b. 2. The poems he submitted are printed in the Appendix. 3. The verses of but nine of these appear in the above cited account of the festival. 4. Lope published an . account of the festival under the title Relacion .de las Fiestas que la insigne villa de · Madrid hiz.o en la Canoniçacion de su Bien.aventurado Hijo y Patron San Isidro, con las Comedias que se representaron y los 'lJersos que eu la Justa Poetica se escri'lJieron. Dirigida a la misma Insigne Vil/a., Por Lope de Vega .Carpio. Aiio de 1622. 5. Therein, he speaks thus of Montalvân : " Iuan Perez de Montalvan Dira que le lisongef)I; No dira, pues de mi amer Tiene ta! conocimiento. 9 Eu sus divinas Otavas, Remomado por los cielos, Hablé de zelos mejor Que un casado descontento." (Op. cit., fol. 150). The theme of the octavas cited is Isidro's jealousy of his wife, Santa Maria de la Cabeza. l. The poems submitted by him are repri.nted in the Appendix . 2. Exclusive of El Maestro Bnrguillos, in the second and eighth combates there were eight entries; and in the tenth, eleven entries. 3· P érez Pastor, Bibliografia, part. III, p. 451, Docwnenlos . 4. Pérez Pastor, ibid. 5. La Barrera, p. 264. �10 GEORGE WILLIAM BACON JUAN PEREZ DE MONTALVAN In August, 1624, our author published his Orfeo en Lengu.a castellana ', a poem of two hundred and tbirty-four octavas in . Strange to say, some would not restrict Lope's share in the Orfeo to the contribution of this panegyric, but would even rnake him the author of the poem as well ' . Probably the first to do so was Nicolas Antonio, born r 617, w ho unfortunately gives no reasons for his belief. Many years after, La Barrera 2 declares that on the title-page of a copy of the princeps, formerly belonging to Gallardo ,, he saw the words « This Orfeo was written by Lope de Vega, and he did it in four days 4 • » At first sight, such evidence _rnight seem conclusive, but a little consideration shows it to be of scarcely any weight. The statement of Nicolas Antonio - as Mr. Fitzma:urice-Kelly writes me - becomes -much less authoritative ·w hen one recalls that he was born and educated in Seville, whence be passed to Salamanca; and tbat he does not seem to have lived in Madrid till Charles Il. sent for him . Whatever literary gossip reached Seville concerning the rising authors of 1624 was not likely to be very trustworthy; and if Antonio heard the repo~t about the Orfeo some forty years later in Madrid, clearly be had no means of substantiating it. The only two men who knew were dead; Now as to the real importance of La Barrera's discovery. As Mr. Fitzmaurice-Kelly continues, is the note in the copy of the princeps of which he speaks actually contemporary _? This word is so elastic in i_ts signification, that the note might be written twenty years later and yet seem « contemporary ii at the present four cantos, dedicated to the celebrated Portuguese poeress Bernarda Ferreira de la Cercla. Only two months previous a superior work of like title had appeared from the peu of Juan de Jauregui, whose earlier Rirnas and translation of Tasso's Aminta 1618 - are models of a style pure and refined. But ih spite of this, and the fact tbat Jauregui is a declared enemy of G6ngora in his Discurso poético contra el hablar culto y oscuro 2 , - r 624, his Orfeo shows unmistakable traces of the manner of the Cor. dovan poet. There seems ro be a certain irony, then, in the ~ words en Lengua castellana of Montalvan's title, a theory which i5 confirmed by two very evident allusions to Jauregui in a panegyric letter of Lope to the author at the beginning of the work 3. I. Orfeo En Le11gua Castellana . A la decima musa. Po-rel Licenciado Juan Perez. de Montaluan, natural de Mad1·id. Ano 1624. Con privilegio. En Madrid. Por la '1.!iuda de Alonso Martin. A costa de Alonso Pei-ez. mercader de Libros. Other editions are those of Madrid, 1638; Barcelona, 1639; Madrid, 1723 (the two latter with the Sucesos y Prodigios de Amo,); and Seville, 1734. 2. This was written as an answer to G6ngora's Polifemo. 3. In speaking of the title, Lope says : - " El timlo (a mi modo de sentir) es estrernado : con el por lo menos no se enojaran con v. m. esos sefiores ~ que se llaman Cultos, pues ya confiessa que escriue en la lengua Castellana, con cuyo aduertimi.ento se abstrahe de toda voz y locucion peregrina, menos las recibidas, y que blandamente siruen de ornamento al estilo grande. " Even less veiled is the following : - " ... todos los que escriuen estas tropelias reprehenden en los otros 'lo que ellos mismos hazen censurando por desatinos en los libres agenos, lo que en los suyos veneran por oraculo ; pero no es mucho que no se conozcan, si andan a escuras : yo a lo menos en esta confusion hallo de una misma suerte a los cultos que a los tenidos, que auiendolos conocido antes, aora estudio en conocerlos. V. m. finalmente acierta en apartar este Poema suyo desta tercera lengua, como lo declara el titulo, y assi pienso que lo haran de àqui adelante los naturales de Castilla, a diferencia de las que se van introduciendo, a quien cada Prouincia dara su nombre ; .... " (Repriuted by Pérez Pastor, Bibliografia, part. III, pp. 232-234). II . I. In the Sucesos y Prodùrios de Amor - edition of 1648, p. 146 - Montaivan states that many have deliberately attributed some of bis works to Lope, in order to deprive him of the credit of having written them. Severa! of the comedias that I have classed as supposititious are found with Lope' s name attached, and it may be to these that Montalvan alludes. But is it not possible that he may have also had in mind the 01feo ? 2. P. 264. , . This copy is now in the Biblioteca Nacional. 4. <, Este Orfeo le hiço Lope de Vega y le hiço en quatro dias. " �JUAN PEREZ DE MONTALVAN 12 GEORGE WILLIAM BACON day. Then, too, it is anonymous ', and anonymous, uncorroborated assertions carry no great weight. Lastly, imitations of Lope were guite common, particularly those of his mythological tales. Diaz de Callecerrada's Endimion might pass with the greatest expert for genuine (but not quite first-class) Lope, and if he could reproduce bis style so successfully, Montalvan rnight also doit. We know tbat Lope collaborated with Montalvan in La ter-<f cera Orden de San Francisco; but in order to accept the theory that he unselfishly attributed the Orfeo to bim that he might reap the credit, one must first admit the genius to be a barefaced liar and a hypocrite. In his aprobaci6n to the poem, Lope says : - " I have examined with particular attention the O1feo written in Castilian by the Licentiate Juan Pérez de Montalvan. The verse is sweet, lofty, sonorous, and adorned with admirable conceptions and locutions; and possesses that clearness which is one of the general forms demanded by Hermogenes, -without an atom of hernie greatness being humbled, ... a thing attained only by the few who write naturally 2 . " Again, in his letter to the author, already mentioned, Lope 1. The samc objection applies to two manuscript notes. on the title-page of a copy of the Orjeo - and said to be contemporary with it - in the library of San Isidro. They are as follows : " Este Orfeo aunque <lice que es de JLi 0 perez de -mon Il no es sino de Lope de bega. " " r ose puede escon Il der la dulçura de !ope Il en este Orfeo y no ai duda en q• sea suyo. " Another copy in the same Jibrary bears the following note - also said to be contemporary - on the title-page : " Este Orfeo no es de Montaluan sino del mo !ope de vega como se conoze lo y porque cl me I mi muchas vezes y el m me lo dio. " (Rlibrica). (See Pérez Pastor, Bibliograjia, part. III, p. 235). 2. " ... he visto, con atencion particular, el Orfeo que ha compuesto en lengua Castellana el Licenciado Juan Perez de Montalvan ... El verso es dulce, grave, sonoroso, y adornado de admirables conceptos, y locu- reiterates bis praise in these ,vords : - " I have found in this poem of yours ail that I anticipated from your genius and learning, but not from your years. There is in it much to praise and nought to amend '." Finally, in the index to Part XX. of his Comedias, Lope declares that he wrote the sixth play in the volume, El Marido mas firme - Orfeo - three years before Montalvan his Orfeo; and he would not ha\'e done so had be seen the poem, because . it contains everything that goes to make up perfection 2 . " ~ °L l cannot believe that he would have written thus of bis own IMA-i ' ~~q ..vov,. ln the same year with the Orfeo appeared the Sucesos y Pro~~ digios de Amor 3, eight novels, of which the fourth, La mayor Confusion, is dedicated to Lope. The popularity of the book is attested by the many editions through which it passed. J ciones, y de aquella claridad, que es una de las generales formas que pide Hermogenes, sin humillarse un atomo de la grandeza heroica, cosa que tan pocos alcanzan, porque lo son los que con natural escriuen, ..... " r. "Hallé en este Poema de v. m. quanto me prometi de su ingenio y letras : pero no de sus afios. Ay en el mucho que encarecer, y nada que reparar. " 2. " La sexta, el Mari do mas Firme : ..... , es Fabula que escriui trcs afios :1~1tes qu~ el L'.cenciacto Iuan Perez de Montaluan su Orfeo, y no Io hiziera, s1 le_ l:umera ':sto, P?r que en aquel Paema que el !lama en lengua Castellana, a 1111 Jt1yz10 (s1 estud1os y aiios valen) se cifran todas las partes de que consta su perfeccio, .... " 3· Sucessos )' Prcd(fios de Amar, en Ocho 1101..'elas exemplares. Co111puestas par el doctor Juan Perez. de Montaluan, 11atural de Madrid y 11otario del Santo Oficio de l,i luqnisicion. Madrid, par J. Gonçalez, r624. ' Othcr editions are those of Madrid 1626 · Brussels 1626 · Madrid r628 · Seville, 163.3 ; Seville, 1635 ; Tort;sa, r63°5 ; Barcelona, 1639; Ba~celona: 1640, (the latter two with the Orjeo) ; Seville, 164r ; Barcelona, r646, (with the O,feo) ; Seville, 1648, (the title-page states this to be the ninth edition !) ; Coimbr:i, 1656; Brussels, 1702 ; Madrid, r723, (with the Orfeo and the three nm·els from the Para Todos); Barcelona, 1730 ; Barcelona, 1734, (with the thrce novels from the Para Todos); Seville, 1734. �15 GEORGE \\ïLLTAM. BACON JUAN PEREZ DE MONTALVAN About this time, Montalvan had the good fortune to be given a chaplaincy by one Tomas Gutiérrez de Cisneros, a merch~nt \ of Lima, who although he had never seen him, came to admire him through his writings '. The author states ·that this app_oin~ment furnished him bis sole revenue, which cannot be true 1f h1s parents kept their forrnal pledge ~lready allude~ to. . . 2• In 1627, was published the Vida y Purgatono de San Patricio , of w hich Calder6n probably availed himself in bis drama El Pur- Three years later, appeared his Para Todos ', a curious hodgepodge of miscellanies, which he declares he wrote as a relief from the production of comedias 2 • Here are intermingled navels, dramas, discourses on the perfect preacher, on military life, on good and bad angels, on all the arts, and countless other topics - the whole divided into seven parts, each corresponding to a day of the week and dedicated to a different person. T~o lists of important characters, one of nearly three hundred distinguished sons of Madrid, the other of sorne fifty Castilian dramatists, - each name followed by a brief criticism, - bring the work to a close 3 • That it should have seen six editions in two years 4 , and at least twelve by 1666-,, was due less to its merit than the public's curiosity to read a volume which occasioned one of the most bitter literary battles known. Of this more will be said hereafter. aatorio de San Patricio. Montalvân was to have one more opportunity of trying bis skill at the justa poética. In May 1629, the order of Our Lady of Mercy of Madrid held a festival in its con vent in honor of the founder San Pedro olasco; and, as usual, a poetical tournament made up part of the programme. Our author participated in the second and fifth of the ten certamenes, those in sonnets and décimas, winning the first prize in the latter, a mirror worth eight crowns 3. -0 1. See Montald.n's Para Todos edition nf 164 5, fols. 218 and 218 b. Montalvan states that the chaplaincy was given him " avra seis ai'ios, para ordenarme" which would make the year about 1625, since the Para Todos was ;robably finished in the Fall of 163 t. However, his assertion can hardly be correct, for, as we have seen, he was ordained in May 1625. 2. I have beeo unable to locate a copy of this editjon. Other editions are those 'of Madrid, 1628; Madrid, 1629, (the title-page States this to be the sixth edition); Lisbon, 1646; Madrid, 1651 ; Madrid, 1656; Madrid, 1662; Seville, 169~; Valladolid, 1703; Madrid, 1739; Segovia, 1780. 3. See Las Fiestas solemnes, y irandiosas que biz.o la Sagrada Religion de N. Seiiora de la Merud, e11 este su Conve11to de Madrid, a su glorioso Patriarca, y pri-mero jmzdador sa11 Pedro Nolasco, este a,,o de r629. Por el Pa,lre Maestro Fray Alo11so Remon, Predicador, y Coronista general de todo el Orden de N. Seiiora de la Mcrced, Redencion d~ Cautivos. En Madrid, en la Imprcnla del Reyno. Aiio MDCXXX. The sonnet submitted by Montalvan is reprinted below, in the Appendix. The décimas have been inadvertently om.itted in the work above cited, so I am ,\ unable to reproduce them. I. Para Todos, Exemples Momies, Humanos, y Divinos. E11 que se tratan diversas Ciencias, Materias y Facultades. Repartidos en los siete Dias de la Sema11a. Por el Doctor J11an Perez. de Montalvan, 11atural d~ Madrid, y Notario del Santo Oficio de la Inquisicion. Madrid, 1632. Aprobaciones by José de Valdivielso and Fray Diego 1iseno . Copies of this edition are excessively rare ; the only one of which I know was offered for sale in Madrid during the summer .of 1908. Other editions of which I have fouod mention are th ose of Huesca, 163 3 ; Madrid(?), between 1632 and 1635 ; Barcelona, Zaragoza or Valencia(?), before 1635; Brussels, before ï635; Madrid, 1635; Madrid, 1640; Madrid, 1645; Madrid, 1651 ; Alcala, 1661 ; Madrid, 1666 ; Madrid, 1681 ; Lisbon, 1691 ; Pamplona, 1702 ; Seville, 1736 ; Madrid, 17 .... In a11 editions but the pri11ceps the aprobaciém of Valdivielso is lackino-. (La Barrera p. 266). " ' 2. Para Todos, cditioo of 1645 - which is the earliest I have beeo able to consult, - Al que ha de leer, fol. A 2 : - " ... me tenian tan caosado las Comedias, que tomé este medio [ escriviendo el Pam todos]_ para no escrivirlas por aigu nos meses ". ) 3- These lists are of considerable value for the literary history of the time. 4- Cf. Co111edias, edition of 1638, vol. I., Prologo Largo, fol. 1b : - ' ' el auerse hecho en espacio de dos anos seis impression es, tres en Castilla, dos en los Reynos, y una en Bruselas, .... " 5- Cf. Zeitschnft, vol. XV, p. 220. �JUAN PEREZ DE MONTALVAN GEORGE WILLIAM BACON 16 In r633, we find Montalvan elected discreto in the Venerable Third Order of San Francisco '. From a statement in the Para Todos 2 , it is evident that neither-religious duties, nor occasional poetry 3 , nor the writing of books had forced our author to neglect the drama. He declares that up to the time of the appearance of this book he _had written thirty-six comedias and twelve autos sacramentales 4, wh1ch makes a yearly average of four plays since 1619; wh:n he pro~uced his first 5 • As we can account for fifty-eight dramas , - of e1ght only the titles are found 1, - he must have written but ten between the publication of the Para Todos in 16 32 and his death. Of these r. Pérez Pastor, Bibliografia, part. III, p. 452. I do not know whether he was dis;reto eclesiastico or 1m discreto seg/01·. Calderon was elected the former in r6, 1. (See Documentos para la Biografia de D. Pedrn Calderon de la Barca, por D. Crist6bal Pérez Past()r, Madnd, 19~5, tom. I, _P· 19 1 )· 2. Edition of 1645, fol. 270, Indice de los fogenios de Madrid, n~. 186: 3. Montalvan wrote man y poems of this kind, besides those repnnted m the Appendix. Some I published in the Revue His!aniqu~,.t. XXV. 4 . Properly speaking, however, none of h1s reltg1ous ~ramas be~ongs to this class, since in a true auto the dra111atis personae cons1sts exclus1vely of allegorical characters. (See notes to Las santisimas Fo,:mas de Alcalâ.) 5. This average agrees with his own statement 111 the Para Todos,. ed. cited, Al que lia de /eer, fol. A 2 : - " escrivia yo cada aôo quatro o cmco Comedias por m, passatiempo ; .... " . 6 This number is exclusive of thirty supposititious dramas and four 111 whi~h he collaborated. In the forrner I have included ail plays attributed now to Montalvan, now to others. The titles of those in which hc collaborated are given below. . Critics differ widely in their estimates of the number of h1s dran~as~~chack _ vol. III, p. 373 - states that he wrote about one hundred; wh1le T1cknor _ Lit., yol. II, p. 315 - gives the number as about sixty. Mesonero Romanos_ in Rivadeneyra, vol. 45, p. uv - cites seventy-one titles, or one less than the total appearing in La Barrera - p. 265 ff. (This difference 1s due, however, only to Mesonero listing both parts of La Puer~a macarwa a~ ~ne play). Such a large total as Schack's exceeds even that obta1ned_ by combmmg my estimate - fifty-eight - with the number of plays - th1rty - I have classed as supposititious. 7. For these, sec below. ,m fifty-eigbt 1, 17 twenty-four 2 appeared in the two volumes of his Comedias, and six 3 in the Para Todos, the remainder being printed as sueltas. He himself prepared for the press both parts of bis Comedias, of w hich the first was pu blished at Madrid in r 6 3 5 4. Each of r. The following seven are reprinted in Rivadeneyra, vol. 45 : - La Doncella de Labo,-; La 1111is consta11te Mujer , C11111pli1 co11 su Obligaci611 ; Como Padre y como Rey ; Ser prudente y ser snfridtJ ; La Toquera viz.cafoa ; No hay Vida como la Hon.rn. ln Co111edias escogidas del Doc/or ]11a11 Perez. de Monta/van Madrid r827 a~e f~und the followi_ng : - (\"ol. l.) Cumplir co11 su Obligaci611; La Toquer~ i·1:;_cawa; No /Jay Vida coma fa Honra ; Ser prudente y ser sufrido. (Vol. II.) La ruas constante Muje1· . (The work is incomplete). 2 . They are : - (Vol. l.) A lo becbo no /Jay Remedio, y Pdncipe de los Mo'.1!es ; El Hijo del_ Serafin, San Pedro de Alcântara; Cumplir cou su ObligaC1011; Los Te111plartos ·; La Doncella de Labor; El Mariscal de Viron • La T~uera vi::rcaina ~ El Fin mâs desgraci,1do y Fortunas de Seyano, 6 Amor, Pr:tmiz.a y CasttJ?O ; Olimpa y Vireno ; Lo que son Juicios del Cielo ; El Se11or Do11 Juan de Austria ; Los A111a11tes de Teruel. (Vol. II.) Como amante y coma bo11rada; El segu11do Séneca de Espatïa, part. II. ; Para co11 Todos Herma11os y A~11~11tes para 11osotros, (Don Florisel de l'viquea) ,· La Desbo; 1m bonro_sa ; El dwi110_ Naz.a.reno, Sa1_1s611 ; Los Hi10s de la Fortttna, Teagenes y Clartquea ; Desprec1ar loque se quiere ; El diviuo Portugues, Sa11 Antonio de Pa_dua_; A111or, Lealtad y Amis/ad ; La Gan,wcia por /a Mano ; El Valiente mas d1c?)()so, (Don Pedro Gufral) ; El Sufrimienlo premiado. 3- They are : - E~ segw1do Sé11eca de Espa,îa, part. I.; No bay Vida como la Ho11rn ; D~ un Cast,go dos Ve11ga,1z.as ; El Polifemo ; Esca11derbccb; La mas cons tau te Mu1er. 4- Primera to1110 de las Comedias del Doctor Juan Pere7 de Monial• Cl . b. N, , van, engo.' pres itero otario del Sauto Ojicio de la l11q11isicion y 11at11 ral de Madrid. E11 la i:upreuta del Rey110. A1io 1635. A cos/a do (sic) Alonso Pere:;_ de Monta/van, L1brero de su Magestad y padre del Autor. _1:his edition is ~xcessively rare. There is a copy in the ~- Hof-und Staatsbibhothek at Munich, and another in the library of the University of Heidelberg. (Cf. Zeitschrift, vol. XV, p. 220). It was reprinted at Alcala in i638 and at Valencia in 1652. ' La Barrera - p. 266 - believed that the 1638 edition was the princeps . and that although the tasa is dated r63 5, Lope's death and the grief and il! l;ealth of_the author delayed the publication of the volume for thrce years, it then bemg put forth posthumously. REVOE HISPANIQOE. B �GEORGE WILLIAM BACON the twelve plays in the latter bears a dedication, and the name of the manager by whose company it wa performed . The s cond part, containing an equal numb r of plays, appear d at Madrid tbree years later 1 , but Jacks individual dedications as well as the naroes of the managers. At the beginning of rhe Yolume stands a .dedication by the author's fatber, direct d to " El Excelentissimo S iior Don Rodrigo de Silva Mendoça y Cercla, Principe de M lito, Duque de Pastrana, Estremera, y Francavila, Marques de Argecilla, eiior de la Chamusca y ime, y de los Acrecentados de Cifuen tes ". Like many dramatists, fontalvan had to pay the penalty for popularity by havii-ig fostered upon him a large number of the pla •s of others Naturally, this aroused his anger, and bis ~;ords in the Prologo f.Argo to volume first of the Comedias show that he intend d to seck redress. He d clares : - " When the tune comes, I sball make known such actions, painting out with my finger the offenders. Indifferent to our interests, they deprive us of bonor, and more boldly in the comedias they acquire by evil methods. Because as the , print apocryphals for originals, and, to save paper, use four sbeets ·where eight are required, the plays are full of mistakes, barbarisms, absurdities and falsehoods 1 ". Theo, too, his own play were publi hed in unauthorized 2• 1. Stgimdo 101110 de /.1s Cometlias del Dr. Juan Pert{ de Mo11talt-,.111, cluigo pmbilero, Nota rio del Jnlo >jicio de la I~uisiâon. Dt.dico.do al Excmo. Sr. D. Rodrigo de Silva Metuioça y Gerda, Principe de Melito, V,U,ue de Pastrana, etc. En Madrid, en la I,nprtnta del Re)'IIO, ruio I6J8. A costci de AJ011so Ptrt{ de Mo11tali•a11, librero de S. M. y padre del Autor. lt was reprinted at Valencia in 1652. 2. " ... atribuyc.ndom muchas [se. comedi2s] qu no son mias, vanidad muy enojo a para mi ; porque si son bu nas, 1es usurpo Ja gloria a sus duenos ; y si malas, me dcsacredito con quien las compr;t.. " (Conud.ias cd.ition of 1638, \'Ol. l., Prologo .ùrgo, fol. 1b). ,. " .•. 41uando sca men ter lo diré, seiialando con el dedo a los delinquentcs, que a bueltas del interes oos quitan h honra, y con mas descaramiento en las Comedias que adquie.ren por malos roedio : J AN PÉREZ DE 10. T LVA. 19 editions. In the Preface to the Para Todos ,, he says : _ " I put here fo~r comedias of mine, only to show that thos which have been p~mted up ro the present time without my order ar fuise, ~ecepu~e and corrupt. Bec.ause as they who steal them haYe msuffic1ent space in which to transcribe rhem, and as the printers bu?'. them_ from these robbers, they appear witb a thousand absurdittes, mtStakes and barbari ms 2 ''. · h'And f hi:: threatens vcngance for this wro11 o ·• - " Suc I1 nusc· dI comes to us not on! , from oth r kinodoms b t f C d' ·1 o , u rom a 1z an evi le; ~nd at the proper time I shall inform the members of t~e Counc1l who the book eller and primer is, in order that pu~1shrnent may remedy the boldness of printing a tbingwithout a license J ". h As if these inj_ustices were not enough, at least in one instance e uffered a th1rd, that of se ing his own work ascrib d to others. ◄ 1 1 · d In hTues<lay's emertainments of the Para 'T'--1() .J.(J(./ s , 1e causes isar_ o, t e spokesman for that day, to say of the drama De mi Castwo ·• - " Listen to a comedut · I saw yesterday • 1b Tdos Ve,wmras b '\: rn t 1e heatre of the Court, the unequalled succe s of which )porque bcoml O las imprimcn por originales apocrifos )' por ahorrar pape! as cm ue vcn en quat rO P11cgos, · ' auoque a •a n menester ocho salen li enas d c crrores' bar bansmo · cil., 1. c.). ' desproposiro:., y mentiras,.... "• (Op. 1. Edition of 1645, Al que ha.de leu fol A 2b " Pongo aqui quatro Co . · solo· para dar a cnœnder que las2. que se ,h . ' me d'ias' m1as, an m1presso hasta aq · · • d ' sas, supuestas, v adulter . m sm mi or en, son falsas, mentirotien •n bastante ës a . as porque como los que us hunan, no pra de los que 1 phc10 para tra laclarlas, y quien las imprime las comas unau.' salen cou mil desaunos, · dadei. ..... ,, errorcs, y . barbari- 3· " ,.... dedaiio '·uque 1,0 so • J . Cad1'z amente nos v1enc de otros Rcvnos sino de ·, . ev1 a que qua d , . ' iiore del Conse·io d 1 lm n o sea mcnestcr, yo mformarê a los Se' c prcssor y del librcro que 1 h el ca tigo !,C rcmedic cl atrcvimicnto d •. . . ~ ~en, _para que con l. c.). e 1mpru111r cosa sin licencia• . (Op. cit., 4, Edition cited, fol. 8 4 . �20 induced one to try to deprive its author of his glory, by attributing it to others, imagined and unknown '". But after ail, such vexations were mere trifles in cori1parison with the blow Montalvân received through Lope's death, whicb occurred four days after the date of the tasa of the first part of the Comedias, or August 21, 1635. Forty years bis senior, Lope had from the first regarded our author with the deepesr paternal affection 2 • Du ring his early efforts he had bent over him, breathing ideals into bis ear, and guiding bis tremulous hand. It was to this aid and encouragement that the youog playwrigbt owed much of his subsequent fame. And yet the self-satisfaction occasioned by the attainment of this fame was far overshadowed by bis deliglu at his mastds expressions of admiration. What greater pleasure could there be for the protégé than to read such an eulogy as this : - li JUAN PÉREZ DE .MONTAL VAN GEORGE WILLIAM BACON " El Doctor Montalvan, de cuya ,·ena Ya corrc WJ Mar de cieucîa a los estraüos, Ya pintando de Amor los desengafios En docta pros..'t y en sonoro verso; Ya en cstilo diuerso De su sagrada profession decoro, Patricios dignos de diamantes y oro, Relox despertador del sueûo incauto ; Ya con las Musas de Terencio y Plauro, De su cstudio Parcntesis suaues, Exemples dulces y sentencias graues ; " . Thar Monralvan was keenly sensible of his dcbt, more than one manifestation of 0 ratitude shqws. For example, in the Sucesvs )' Prodigios de Amor' he declares: - " The little tint I have attained in my few years I owe co your instruction 2 " ; and, later, in the Para Todos 3 : " The Spanish Virgil, Lope de Vega, my master as of ail; whose name is his oreatest eulogy t, ' because no hyperboles can picrure bis constantreadino studious erudition, .infinite ability, unique genius and repeated fame 4 " . Such friendship is a welcome conrrast to the enmiry existino \ 0 duting all these years between our author and Q uevedo . As might be expected, Lope's death was the occasion of numerous panegyrics in verse, written by one hundred and fif -three autl~ors,_ w~ich Montalvan collected and published the year followmg m lus Fan~ P6st11ma ' · He had been a:nong the many present at the passmg of the great poet, and gives a description of the scene, and the elaborate and impressive funeral services. How poignant was his grief is evinced in his Al Sentimieuto general que se deve a la Muerte de Lope de Vega, of which the following is a characteristic stanza : " Cancion, àeten cl buelo, Y dile a Lope, en tanto desconsuelo, Que si le nlabo poco, Quando en su voz a los demas conuoco, Edition of 1648, p. 146: Lo poco que he alcançado en mis pocos :u'ios lo deuo a su doctrina, ... ". 3. Edition of 1645, fol. 193 . ~- " •·· el Virgilio Espano!_ Lope de Vega, Maestro mio, como de todos; cuyo nor~1bre es s~ _mayor el~g,o, porque no ay encarecimientos que satisfagan a 511 lecc1011 contmua, crud1cion cstudiosa, caudal infinito, ingenio solo y farna repetida ". ' 5_- _Fama pos~uma de ~a. Vida y Muerte del Doctor Frey Lope Felix de Vega, Ca,pio_ y Elog10~ panegmcos a la Inmortalidad de su Nomb1·e, Madrid, 1636. A s1rn 1lar collecuoo was published at Venice, ro which Italian poets contributed. (Cf. Rennert, Lope, p. 373 , note). 1. 2 - , ... . I. " ... escuchc ... una Comedia [De 1m Castigodos Vengauzas] que vi ayer en el teatro de la Corte. que por ser de l:ts mas aplaudidas que jamas ha avido en ella, no folt6 quicn intentô quitarle la gloria a quien la avia cscrito, que es cl Doctor Iuan Perez de Montalvan, buscandola ducnos supuestos y no conoGidos ". 2. In hi. first will, in bequcathing to him his portrait, Lope says : " ... el Doctor Juan Pérez de Montalvan que yo he amado y tenido en lugar de hijo ... ". (Rt:nnert, Lope, p. 413). fontald.n describes the portrait in bis Fama Po~l11111a, fol. 5 b. 3. Laurel de A polo, 1630, fol. 64. .21 �GEORGE WILLIAM BACON 22 Es porque con su Mucrte Perdi el aliento de escriuir ; de suerte Queme lrnue de valer de A polos tantos, Para suplir mis lloros con sus cantos ; Porque al querer pintar mi afecto todo, Si acertaua el assunto, crraua el modo ; Y assi para aplaudirle, sin errarlc, Pude quererle, pero no alabarle 1 " . But more chan grief is revealed in this poem and the nine others Montalvàn contributed to the collection. An occasional trace ;f morbidness indicates a diseased mental condition, the result of overtaxing a brain n~er too strong. About eight months previous, or early in 1635, a sudden lapse into unconsciousness, one nigbt, had warned our author of bis danger, and left him as be tells us - without health or pleasure' . Crushed by Lope's death, he suffered another attack i, wbich reduced him, even m Fama P6st11111a, fol. 190. See Pr6logo to the Fama Postuma : " ... un prolixo acbaque que ha mas de ocho meses que me tiene sin salud y sin gusto, ... ". Since these words werc most likely written between Septcmber and December 1635, - the Suma del Privilegio and Censura. of the book bear the date of the latter month, and Lope died in August, - it is very probable that Montalvan suffered the " achaque" between January and May of that year. Also, see th~ Oraci6n Paneg-irica of Dr. Francisco de Quintana, fol. 6 included in the Ltig-rimas Paneg-irims mentioned on p. 13 : " Ocasionado de la excessiua continuacion de su genero de estudios, le dio cierta noche un rapto natural o deliquio del animo, con que se origin6 gran cuidado a toda su familia ". ' · 3. Cf. the Oraci6n Panegirica abovc cited, fol. r 3 : " Fatigabanle sus achaques penosos: ... ". (Note the plural). From the décimas of Calderon ou fol. ·1 2 b. of the Ltigrimas Panegiricas it would seem that these " achaques " were strokes of paralysis, and that our author had two of them. The verses run as follows : " No furioso frenesi, No delirio riguroso Su animo turb6 piadoso; Un blando letargo si, Para mostrarnos assi JUAN PÉREZ DE MONTALVAN 23 speech, to the state of a child r . At last, reason forsook bim completely, and after be had lingered for some months in this lamentable condition, death mercifully came on June 25th, 1638. The prophecy of his archenemy Quevedo was fulfilled 2 ! At the elaboratefuneral services, the deceased's intimate friends Fray Diego Niseno, Provincial of San Basilio, and Dr. Francisco de Quintana, Superior of the Hospital of the Conception, respectively preached an Eulogyi and a Panegyrical Oration. Internment took place in the parrish church of San Miguel de los Otoes ~; which no longer exists. As Montalvan had gathered and published the various panegyrics on Lope, so his friend Pedro Grande de Tena, his father's chaplain, performed a like office for him. This collection, styled Lagrimas Panegiricas > and comprising the work of one hundred and seventy-six authors 6, he dedicated to Alonso -Pérez, and publishecf at Madrid in 1639. Since nearly every metre is repre- 1. 2. Quanto la muerte sebera Sintio que se deshiziera Tanto sujeto, y !leg6 De dos vezes, porque no Se atrevio de la primera ". r. Cf. the Oraci611 Panegirica above cited, fol. 12 b. : " En los ultimos agos de su vida le vimos reduzido, aun en el modo de hablar, al estado de ni.no 1 '. Sec below, p. 31. . 3. Like the Oraci6n Pa11egirica, this is included in the Lagrimas Paneglricas. 4. ln his will, Montalvan's father expresses the desire to be interred here / also. (Cf. Pérez Pastor, Bibliografia, part. III, p. 452). 2. 5. Lagrimas Pan.egiricas a la Tenpi-ana Muerte del Gran Poeta, I Teolog-o insigne Doctor Iu_an Perez de Moutalban, Clerigo Presbitero, i Notario de la Santa lnquisicùni, Natural de la Inperial Villa de Madrid. En Madrid. En la lnprenta d.el Reino. Arîo M.DC.XXXIX. 6. A list of these is found in Gallardo, vol. Ill, p. n8 ff. Quevedo's name does not appear, for reasons which will be explained later. Salva - vol. I, p. 123, art. 257 - gives the number of contributors as over one hundred and eighty. �,, l' GEORGE WILLIAM BACON sented, the work merits notice as an exercise in versification, but in content it is tedious and mediocre. The majority of the verses are of course cast in Spanish, the remainder - excepting in Latin. Famed as some of the contri1 an Italian Epitaph r butors are, very few of the lines - as Ticknor 2 remarks - are worthy either of them or of tbeir subject. For such a short career Montalvan published many works, and yet at the time of his death he had a number of others almost ready for the press i. Amongthesewerean Artedebiennwrir 4 , the second part of the Para Todos s, and La prodigiosa Vida de Malhagas el Embustero 6 ; none of which has e~er corne to light. That ail his writings were popular, i, attested by contemporary references 7 and the many editions through which they passed. B. - RELATIONS WITH QUEVEDO. Nothing in connection with Montalvan is of more interest than tbe enmity between him and Quevedo, but to what it was due cannot be definitely stated. Some assignas a c~use the harsh but well deserved treatment accorded to the eider Montalvan by Quevedo for having pirated Fol. 163. Lit., vol. Il, p. -314. 3. Cf. Para Todos, edition of 1645, fol. 270 b., art. 186. 4. See Baena, vol. III, p. l 58. 5. See Comedias, edition of 1638, vol. I., Prologo Largo, fol. 1b; and Pr6logo to the Fama Postmna. 6. Cf. Para Todos, l. c. 7. See, for example, the words of Niseoo in his Elogio Futteral - fol. 17 b. : " ... cuanto mas se estaopan sus Escritos, tanto mas clama la necesI. 2. sidad de repetillos en las prensas; i como celosas las Naciones todas de publicar tan luci<!_os Partos, cada un.a los quiere perpetuar en sus moldes i etemiçar en sus caracteres, para ser como nueva solicitadora de otra vida i esfuerço a tao lucidas Fatigas ". JUAN PEREZ DE MONTAL VAN one of the latter's most pop_ular works. In July r626, Roberto Duport, a bookseller of Zaragoza, _published Quevedo's Busc6n, having bought from him the manuscript, and having obtained from Juan Fernandez de Heredia, governor of Aragon, the privilege to print it for a period of ten years. The tremendous success which the book met with, however, excited a desire in Montalvan's father, Alonso Pérez, to have a share of the profits, and accordingly he issued a surreptitious edition '. This was a , copy of the original, and although published at Madrid purported 1 to proceed from Zaragoza. Unfortunately for Alonso Pérez, his scheme to enrich himself at another's expense was soon discoverèd by Duport and Quevedo, and be was arrested together with his primer, the widow of Aionso Martin. On May r6, 1627, the culprits were sentenced by the court of justice of the Supreme Council of Castile to pay into the royal treasury a fine of a hundred ducats each, and to !ose ail copies of the book that had been seized. These confiscated, copies were then delivered to Duport's attorney, on condition that be give to the hospital of Madrid half the proceeds derived from their sale 2 • Such treatment of his father would surely have aroused our author's resentment against Quevedo! However, in his Elogio Funeral en la Muerte del Doctor Juan Perez de Montalban i, Fray Diego Niseno, provincial of San Basilio, assigns a very different reason for the beginning of their enmity. He says that "the different works which he [Montai van J has printed for the common good ... are the occasion and cause_ r. He had already bought from Quevedo the rights te the Pol·itica de Dios, which he published in 1626. (llivadeneyra, vol. 23, p. LXVII, note; and p. xcn). Ticknor - Lit .. vol. II P.· 21 12,_ote _: wrongJ States that it was • this work whiçb_b.lollli2. pétez_pirat~d. 2. Rivadeneyra, vol. 23, p. -485, note; vol. 48, p. 667. 3. See infra, p. 49. �26 . JUAN PÉREZ DE MONTALVAN of the ill-will that envy harbors in ber breast; on this base was Para Todos be is eulogized as the greatest exponent of fencing, " which he has turned from an art into -a science 1 " . Similarly, Quevedo ridicules Niseno in the Perinola 2 , and irreverently makes s ort of his name, - ~ striking cootrast to the praise he receives in the dedication to him of the fifth day's entertainments in the Para Todos 4 • founded her irreconcilable rage ' ,; . Since the Elogio is nothing less tban a thinly masked invec/ tive against Quevedo Z, it is to him that the above words refer. According to Don Pedw Carrillo de Aldrete, Quevedo's nephew, the casus belli was a dispute -over literary subjects, which would have· led to blows but for timely interference. The illfeeling thus engendered was fostered by uncharitable friends ,. Likely as this story may be, it lacks confirmation 4. Others maintain that the origin of the trouble can be traced to Montalvan's friendship for Fray Niseno ancl Don Luis Pacheco Narvaez, fencing master of King Felipe IV. However true this theory may be, it is certain that the couple were hated by Quevedo as muchas they were esteemed by Montalvan. In his Poema heroyco de las Necedades y Locuras de Orlando el Enamorado ;, Quevedo heaps upon Don Luis such insults as Don Hez, descendiente de carda)' de tarugo, and embelecador de Geometria 6 ; while in the r. " Las diversas ûbras que en provecho universal ha estanpado [Montal vanj. .. , son la ocasion i causa de la ogeriça que en su pecho recuece la Invidia; sobre esta basa se fundo su irreconciliable rabia " . (Fol. 17 b). 2.• See infra, p. 49. 3. "La indisposicion porfiada entre mi tio don Francisco y Montalban tuvo origen en una disputa que hubo entre los dos en casa de don Jer6nimo del ( Prado sobre asuntos literarios, cuyo sefior les contuvo para que no llegasen a pegarse. Esta enemistad fué fomentada por los malos amigos de ambos, que con poca caridad se divirtieron mucho tiempo en obligarlos a denostarse ; .. . ". (Rivadeoeyra, vol. 48, p. 667). 4. Fernandez-Guerra - in op. cit., 1. c., - remarks " [el sobrino] no estuvo nada bien enterado en este pa1ticular ". 5- See infra, p. 47. 6. " A las espaldas de Reinaldo estaba, Mas infame que azote de verdugo, Un maestro de esgrima, que enseiiaba Nueva destreza a huevo y a mendrugo : Don Hez-, por su vileza se llamaba, Descendiente de carda y de tarugo, I 27 GEORGE WILLIAM BACON A quièn por lo casado y por lo vario, Llam6 el emperador, Cuco Canario. Era embelecador de geometria, Y estaba pobre, aimque le daban todos, Ser maestro de Carlos pretendia ; Pero, por ser cornudo hasta los codos, Su testa angulos corvos esgrimia, T eniendo las vacadas por apodos, (Rivadeneyra, vol. 69,. p. 289). According to report, the ill-feeling between Narvaer. and Quevedo dated / trom a fencing bout in which the former had been disarmed by him. 1. Para Todos, edition of 1645, fol. 198 b : " La destreza de las armas, en que no ha tenido igual el gran don Luis Pacheco de Narvaez, ha sido hasta oy Arte liberal, y oy podemos dezir que don Luis la ha hecho. Ciencia ... " . 2. Speaking of Niseno's aprobacion to the Para Todos, he says " Solo advierto que su paternidad afect6 poner todos los autores que escribieron miscelâneas, antigüedades y varias lecciones; y porque para paner veinte y tres cabales, vi6 que le faltaba uno, hizo de uno dos, citando con sus comas en media : " Ficinios, Marsilios " ; y ello de verdad fué un mismo autor que se llam6 Marsilio Ficino. Harto fué conoscelle, habiéndole vuelto lo de atras adelame; ... ". (Rivadeneyra, vol. 48, p. 469). 3. " Acuérdome que aprob6 el libre uno que lla01an Niseno; y pues aprob6 esto, llamese Ni-sé : y el no esta de repuesto al cabo para remudar el ni, y llamarse No-sé " . (Op . cit. , p. 47 1). 4- Edition cited, fol. 134 b : "Y destos ultimos [i. e. dioses] es V. Paternidad, pues apenas ay Facultad, Arte, ni Ciencia, de que no sea Duefio. Lt Filosofia sabe con eminencia. En la T eologia Escolastica es Maestro, y en la Positiva no tiene competencia, siendo un Oractùo repetido a quien eternamente estàn consultando los Predicadores; ... ". Dp. cit., fol. 135 b : ... V. P. es tan cortesano, apazible, y bien acondicionado, que a todos. oye, a todos honra, a todos estima, a todos aplaude, y a todos enmienda, como quien puede mejor que todos hazer juizio de qualquiera materia ; ... ". �• 28 GEORGE WILLIAM BACON And Quevedo's hatred of Niseno was by no means unju_stified, for si nce J 626 the latter had been working industriously to effect the prohibition of bis works by the Inquisition '. As to Don Luis, it was he who signed the Denunciation of them sufficient cause, indeed, for Quevedo's detestation. Still, I believe that the hostility between him and Montalvan sprang not from the former's relations with the priest and fencing master, but from his resentment towards Alonso Pérez 2 • lt was only natural that he should have taken a dislike to the son of the man who had pirated his book, but no doubt this feeling grew into hatred pardy through tbe influence of mischief-making friends. One can easily imr.gine the impatience with which Quevedo awaited a favorable opportunity to vent upon bis enemy his ever increasing wrath. At last that time arrived. ln May 1632, Montalvan published his Para Todos, to which reference has already 1. A specimen of .r. iseno's efforts in this direction is shown in the autograph Censura del libro que ha esta111pado en Giron(l, ario de 1628, D. Francisco JUAN PEREZ DE MONTALYAN been made. lts heterogeneous nature and many tri te and amusing , passages offer such temptation to a satirist, that ~ne would be , pardoned for ridiculing it in the good humored vem of Horace '. Quevedo, howe~er, shows no such forbearance, and in his Peri11ola (Teetotum), dedicated to Montalvan 2 and appearing in 16 33 3 , he actacks the Para Todos and its author with ail the venom of Juvenal, himself. An examination of the work will be of interest. That Quevedo should have employed so odd a tit!e is due to the fact that the author· is supposed to be a teetotum, which bas seen and heard what it narrates. A party of women and young girls, gathered in a room, are plavino with the toy when they are interrupted by the entrance of; diminutive youth, Don Blas. Shouting " I bave it ! ", he produces a bulky newly bound book, and after placing it upon his head cries" Para Todos" twice, and seems about to dance the folia 4. Thereupon, one of the party exclaims "lt's for us!"; and another demands " 1s it the segnidilla de Quevedo, wyo titulo es : Discurso de tod<1s los diablos 6 injierno enmendado. It was written in 1629. (Rivadeneyra, vol. 23, p. Lxxx1x). The Index Exp1mra( torius of the year 1631 contains the following entry : "D. Fmnciscc de Quevedo. (Se prohiben) Varias obras que se intitulan y dicen ser suyas, impresas antes del anode 1631, hasta que por su verdadero autor, reconocidas y corregidas se vuelvan a imprirnir ". (Op. cit., p. xcv). 2. Sorne would make Quevedo the author of a letter which they daim is addressed to " Doctor Montalban babiùulole silvado una comedi,i " ; and whîch first appea;red in the nove! Don Diego de Noche - fol. 30 - o,f Alonso Jerônimo de Salas Barbadillo, printed at Madrid in 1623. If this attribution were certain, it would show that Qpevedo's enmity toward our author antedated, by at least three years, the appearance of the pirated B1tsc&n - the only possible cause to which we can assign a date. Unfortunately, in the Don Diego de Noche the letter is addressed not to Montalvan but to " im Poeta c6mico ", and Fernandez-Guerra believes Salas Barbad.illo to have been the author of it. (Cf. Rivadeneyra, vol. 23, p. Lx.xxvu). Later copies bear the attribution to Montalvan, and this has occasioned the erroneous idea that in the novel, also, the letter is addressed to him. (The letter is reprinted in Rivadeneyra, vol. 48, p. 466, note). 29 r. Not the least amusing portion of the book is the section called Lo mejor de lo 111ejor, repartido en den concl11Siones (edition cited, fols. 224 b -235 b). lt I is exactly what the title indicates, a list of the best in every conceivable subject, and the tollowing examples will serve to show its great diversity as well as triteness. No. 31. " De las Felicidades humanas, la mas natural es la salud : porque teniendola, se pueden conseguir las demas, y faltando esta, ninguna lo puede ser, aunque lo parezca ". No. 43. " De· los Tiempos, presente, passade, y future. el mejor es el Presente : porque el fut uro es incierto, y el passade ya no se goza " . . No. 59. "De las fuentes, la mas antigua, dulce y cristalina es la del Para1.10 Terre11al : porque della nacieron el Nilo, el Ganges, el Tigris, y el Eufrates, que son los rios mas celebres de todo el mundo ". 2. " Grndu,!do no se sate doi;ide; en lp qué, ni se sabe ni éLlo sabe " . 1. Ma:nuscript copies of the Perinola are not infrequent . (See Rivadeneyra, vol. 48, p. xxxvm). Strange to say it did not appear in print till 1788, when .-\ntonio Valladares de Sotomayor included it in his Sem1111ario erndito. (Rivadenevra, ib. p. 465, note). 4." A dance with castanets, us~ally performed by one person. �JUAN PEREZ DE MONTALVAN GEORGE WlLLIAM BACON Lope in taking orders, but he assumed the title 'doctc,r' in order to be mistaken for Mira de Mescua. He appropriated a whole comedia from Villaizân ', and on account of his smallness and bis thefts is called Homincaco Now, in order to show his self-sufficiency, he has written the Para Todos. lt is as great a jumble as a, coach from Alcalâ to Madrid, wherein you find mingled the young and old, the female pickpocket, the merchant, the bawd~ and the friar. The margins of the rotten book are as full of author's names - ail inappropriately used - as a lake shore of shrubs; and the hodge-podg€ of never ending citations shows . that the writer has merely copied from all the works sold by bis J father ". Having ridiculed the portion of the book styled Lo mejor de la niejor, repartido en cien conclusiones,, Don Blas continues: "J uàn Joyful for ail, Sad for ru~ ? " Observing their confusion, Don Bl~s replies "It's called Para 2 • Todos (For Everybody); guess what that might be ". At this, an old woman, with a guitar-like face and a nose and chin meeting pincer fashion, remarks " If it's for everybody, then it's death ". · " No it isn't ", answers Don Blas, who is spmmng around with the book. " l'v~ hit it l ", cries another. " If it's for everybody, then it's the Good to corne, for sa runs the beginning of the fable: What's happened is done; Weil, let it be so, May the good that's to come Be for ail, you know ". -l After one of the company bas declared that a book for everybody is rubbish, because what is for all cannot be good, Don Blas asserts " You couldn't be more correct if you'd read it; it's the Para Todos of Doctor Juan Pérez de Montalvàn' ''. " Oh, do you mean ''; asks one, " the Alcali bookseller's son, who was for many yèars an aper of Lope and lived on the clippings of his comedias?" " The very same ", replies Don Blas. "Not only did hecopy I. I believe that Montalvan had this part of the Perinola in mind when, in the P·r-6/ogo Largo to the first volume of the Comedias, he justifies the employment of the title Para Todos in the foUowing words : - " Algunos melindrosos se han enfadado del tftulo de Para todos, y a mi parecer sin razon : porque supuesto que trata de todas las materias que professan tod,os, Para todos se deue llamar, y no de otra marrera: porque dezirle Para muchos, es bueno, pe.ro no es lo mas; Para algunos es algo, pero no es mucha; y para ninguno, ni es mucho ni poco, porque no es nada. " (Edition of 1638, Prologo, fols . 1b & 2). 1. I do not know to which Quevedo refers. I have not seen Villaizan's Venga lo que viniere, but judging from Schaeffer's very briéf outline vol. I. p. 440 - , it treats the same general subject as Montalvan'sLaDesbonra honrosa. Still, it is hardly ·likely that the former can be the play in question, for La Desho11ra honro~a is the second that Montalvan wrote, and Viilaizan was not born till 1604. He was, then, but fifteen years old when Montalvan began writing for the stage. It is believed that a large part of his work has been lost. 2. " Pusilanimous and of bad mien, " (Rivadeneyra, vol. 48, p. 466), from Greek kakos bad. The two final syllables of the word Hominca.co spell the name of a celebrated giant robber of Latium, slain by Hercules. In the P1·ivilegios, Onlenanz.as y Adi,ertmcias, que Apolo envia a los Poetas tspa,ïoles, wbich forms part of the Adjunta al [Viaje del] Panzaso, Cervantes writes " ... se advierte que no ha de ser tenido por Jadron el poeta que hurtare algun verso ageno, y le encajare entre los suyos, como no sea todo el concepto y toda la copla entera, que· en tal caso tan ladron es comq Caco. " (Edition of 1784, p. 150). . 3. Con.clusi/Jn no. 60 runs thus : - " De los Mares, el mayor es el Mediten·a11eo, llamado por otro nombre Mare Magnum, por dilatarse mas el solo que todos los otros mares juntos. " Quevedo's words regarding this are significant, since they are nothing less th:m a prophecy that MontaJvan will die in a madhouse. He says : - = j �GEORGE WILLIAM BACON JUAN PEREZ DE MONTALVAN Pérez_ since this is a stage buffoon's name 1 , he added 'Mon, • as a chape and 'doctor' as a hilt - has honore_d the ta1van , , d, b booksellers as rnuch as he could, for he makes a 'don an ca allero' of one of their number in Zaragoza. . But who can guess the abject of doctor Montan banco 2 m writincr this Para Todos? I can tell you. lt was only to speak ill of i:,Villaizan i ; yet he forgot when he satirized the drug shop ' that the chemist is a scientist, while the bookseller is merely a mechanic 2 • If the doctor casts it in the face of Villaizan that his works smell of manna, the latter - if he were no better than be - could retort ' lt's better to sell rnanna in a town than gather it in a desert' i. lndeed, the book is such an unparalleled and shameless mixture of the sacred and profane, that I believe it will be seized ; 32 " y para ver en qué rum bo de la casa de los locos tiene este autor la cabez~, 00 hav mas que ver que, tratando de los mares, dice que el mayor es el Me~~ terrai;eo ; y para aderezarlo dice que al Mediterraneo llaman el mar grande. (Rivadeneyra, vol. 48, p. 468). " . And later _ Op. cit., p. 472 - the same thought reappears:-:-- •·· ~mei° a tales disparates madruga, bien muestra que en la cabeza no ueue qmen e auarde el suefio ni el seso. " · " It is needless to cite other examples. I. Mérimée _ p. 349, note - remarks t_hat in the_ pop~lar so~g_s Juan Pérez was a type of Sganarelle, as he appears 111 the Letnlla d Alcaz.a, • Si te casas con Juan Pérez I! Qué mas quieres ? 2 Of this word Fernandez-Guerra says - Rivadeneyra, vol. 48, P· 4~8t uot~: _ ,, Juega Quevedo cou el nombre de Montalban, de modo que excite en el lector ya la idea de galeote, por estar amarrados estos al d~ro banco del remo ; ya la de ignorante, por ser el banco término de comparac1ou hablando 0 / de estupidez. " 1 3. The absurdity of this statement_ is made evident when we re:all that 1 ontalvan alludes to Villaizao but once 111 the Para Todcs._ . In the J11 dice de los Iu.geuios de Madrid ed1t100 o_f 1_645, fols. 268 & i68 b. _ he says of him : _ " Don Geronim? de ymaizan y Garce~, Letrado famoso, y Poeta lucidissimo, por ser su mgem? como el mana, que sabe a todo Jo que quiere, y de quien se puede dezir con ve~dad que la fortuna y el merecimiento se estàn dando las manos : ha escnto fuera de otros ~ersos a varios assuntos, tres Comedias con el mayor aplauso que jamas se ha visto. '' b As La Barrera remarks - p. 491 - , this irouical. e_ul.ogy :vas no. clou t · · d b Montalvao's euvy of the .favor whicb Villa1zau euioyed w1th the mspire y . . h h . . d t have King. So pleased was the ruler with h1s comedias, t at e 1s sai o_ . attended their performance incognito in the Teatro de la Cri~z. ; a~d it was commouly reported that in his own dramatic efforts he availed lumself of Villaizân's assistance. 33 Antonio _H urtado de Mendoza was another whose jealousy was aroused by the latter's success. One ofVillaizan's comedias is entitled Ofe11der co11 las Finez.as, and Femandez-Guerra - in Rivadeneyra, vol. 48, p. 466, note - believes that this title alludes to his displeasure at the sarcastic eulogy of Montalvan. Very different from the sneer of the latter are the words of Quevedo and Lope de Vega. In speaking of Montalvan's sarcastic reference to Villaizan, Quevedo says : - " Pero Villaizan tiene diferente lengua : ya se conoce su pluma, ya se ha visto ; harto bien me ha parecido a mi que no haya aplicadose a estas malicias, y que desprecie tales vilezas. " ( Perinola, in Rivadeneyra, ,·ol. 48, p. 470). Lope lauds Villaizan in his Laurel de Apolo, silva octava, (edition of 1630, fols. 71 & 71 b) ; and wrote au Elegy on his death, which was published in 16n. I. Quevedo alludes to the words of Montalva □ " ...... por ser su (i. e. de Villaizan] ingenio como el manà, que sabe a todo lo que quiere, .... " This sentence becomes intelligible when we recall thatV;llaizan's father, Diego, was an apothecary. 2. That Montalvan did not share this opinion is shown by his words in the " El Arte de los Libreros, que tuvo pnnc1p10 en los Hebreos, [since Montalvan belonged to a family of con,·ert Jews, these last five words have special significance], es ........ liberal por ~mchas causas. La primera, por la materia en que trata, que es la mas pre:1~sa del mundo. La segunda, por la gente con que tratan, como Principes, R~lig1osos, .. .... y Personas de buenas letras, que son los ojos de la Republic_a : •••· •. Y la tercera, porque el juntar libros, es un exercicio que han temdo los mayores Monarcas, ...... " 3: Montalvan belonged to a family of couvert Jews, - as stated in the precedmg note - , and in the Peritwla Queyedo several times casts this at him as a reproach. In the words " gather it in a desert " he alludes to the Israelites, who, during their wanderings, for forty years supported thems<:!lves on manna (See Exodus, XVI). Para T~do~-:-- edition of 1645, fol. 169 b: - REVUE HISPANIQVE. B �JUAN PEREZ DE MONTALVAN 34 GEORGE WILLIAM BACON and its author will escape punishment only through being a priest. " Don Blas then proceeds to criticise at length the comedias, novels and autos ' contained in the work, and after branding those of the latter class as execrable, indecerit and scandalous, be turns to the Indice 6 Catalogo de los Ingenios de Madrid. " This", says he, "Montalvan dedicates to a bookseller's son, Juan de Vidarte, who forms a strange contrast to the great personages to whom the other divisions are dedicated 2 • It's so odd, that I don't know anything with which to compare it. He bas thrown together at random bishops, madmen, vagabonds, idiots, those who have written nothing, a~d those who only think they write. Whoever is found among the dregs of all parts of the worIJ is included as a native of Madrid. And besicles, in enumerating the works of living authors, he gives them credit for only two-thirds of what 1 they have written J. " l 35 Having of tl11s • 1ast stateD cited thirteen examples in support ' ~ent, on ~las _adds ,, But the Doctor makes good such omissions by attnbutmg works to other authors who have never been he~rd of. So he is detestable for what he adds, what he takes aw;?' for wha~ h~, says, a_nd what he does not say." f Oh b~ qmet ' excla1m the listeners "; only tell us the price o the stup1d book. " " Ten reales·•, replies the boy. " Theo change its title to Ten Reales to the One who sells It" asserts one .of the party._ "I would rather lose that sum la in' at teetotum than spend 1t on such a book. Get out of he~e your crop of trash ", - thereupon they pu$h Don Blas into the street. ~t this jun_cture,_ the teetotum addresses Montalvan, and decla~mg that smce ]115 book has "everything" (Todo), all he need dois to look to the "taking away" (Saca), the "putting" (Pon), :,itf 1. I use this word because it is the one which Quevedo here employs. Properly speaking, however, no one of our author's religious pieces belongs to this class. (See supra, p. 16). 2. Fernandez-Guerra - in Rivadeneyra, vol. 48, p. 469, note - states that according to Alvarez Baena's Hijos de Madrid,Vidarte differed widely from Quevedo's picture of him. Of a noble fam.ily, he served the King as a yeoman and majordome of the royal stables. He wrote various suelta poems, and was praised by Lope in the Lau,-el de Apolo, (edition of 1630, himself, the Polilla de las Rep,,blicas and tl1e H isloria del A- d F . dez-Guerra - in Rivadene ra no e 3 l • ernan1 mer thle stands 'or th yh , vo. 4~, p. 4?7, note - believes that the for,, ose w o sow d1scord 111 t] 1· d . 1 writings of the learned a d h al ie nng om, ca ummate the , n are on t e ert to d' d" 1 dious - ail d. M iscre 1t t 1e famed and smu mg to ontalvân. In the Historia del A1ïo de 3 I he sees a ' ence to t h e steps taken b Mo t I ai . ' re,erQuevedo's works by the I y . .· . n av i to br_mg about the prohibition of have already seen. nqu1s1t1on - that whzch occurred in 1631, as we fol. 70 b). 3. As Fernandez-Guerra - in Rivadeneyra, vol. 48, p. 476, note pertinently remarks, it was not Montalvan's intention to make a full list of the writings of these irigeiiios, but Quevedo had a special abject in charging him with incompleteness. Under the pretext of supplying the titles omitted, the satirist attributes to the authors various fictitious works, the titles of which allude to some faux pas they have comrnitted i11 their private life. All these attacks are of course inspired by resentment, but shameless as they are one cannot refrain from admiring their Mérimée, - p 350 h considered as ins. ired b-h t owever, declares that the Para Yod.os cannot be for Fernândez-Gpe . , Y_ a red ; _and that therefore it furnishes no grounds 1h; t!tl~ Polilla de las Rep,iblîcas. Regarding th; H~t:;:as ra's explanation can hardlv be ' ~nm e_ e eves that Fernandez-Guerinfluence brought to be , . acc~pte '. lor if Quevedo had in mind the vented h1's ang p arl agamst hun w1tb the Inquisition, he would have er on aCJeco Narv e h h be who si<>ned the d . . . fah~ rat er t an on anyone else, sinœ it was o enunczation o 1s wo ks N p l . tioned in the Perillola. r · ow, ac 1eco 1s not even men- ingenuity. Sorne discussion has arisen as to Quevedo's object in accusing our author of having omitted two works - of course imaginary - of the satirist, W'th ques:ion~he meager information at one's disposa! it is impossible to decide the d~~t~~r::~~n ;: . I �GEORGE WILLIAM BACON and the "leavina" (Deja) '. Let him leave off (deje) extolling bimself as very 1:onorable and very modest ; let bim leave ~ff praising the book trade : and let him cease his malice 2 • Let h 1~1 leave the navels to Cervantes, and the comedias to Lope, Luis Vélez [de Guevara], Calderon and others. And let him take out (saque) of the book the three navels, the three comedias, the t:"o autos the Indice and all else. As to the " putting " (pon ), let h1m put ~he endless marginal notes (cotas) in t?e ho~se of" an annorer , . Then the book, deprived of cverythmg, w1ll be for everybody" (para todos) 4 • • • Is the Perinola an answer to some attack upon lts author 111 the former work or is it inspired solely by malice ? Before vènturing an ans,;er, ·let us turn to the references to Quevedo in the Para Todos. They are four in nurnber. In the Dia Sexto de la Semana, while speaking of the poet Francisco de la Torre, Montalvan says that bis work was annotated and published by "the most learned Don Francisco de Doubtless, with the abject of justifying the employrnent of the title Peri· Each one of the four faces of the teetotum bears one of the letters S'. P, D., and T, which stand for the words saca, pon, de[a an~ todo. In playmg ~he game of perinold, the action of the players 1s gu1ded by the face w_h1c!1 remains upperm.ost after the teetotum J1as ceased to revolve. If 1t 1s be who bas spun the toy takes a certain arnount from the an , ,, JI h stakes ; if " D ", he neither wins nor !oses ; and if " T , he takes a t e money on the table. . . 2 . 1 believe -ihat this statement shows that Quevedo d1d not cons1der the Para Todos as being as free from hatred as Mérimée - p. 350 - would have us think. (See infra, p. 39). . •. The nieanin" of this obscure passage becomes clear when we realtze ~hat J o . .f .h " al Quevedo is playing on the word cota, which may s1g111 y e1t er a margm, note '' or " a coat of mail. " 4. This outline of the Perinola is based upon the tex_t of Fernandez-Guerra, in Rivadeneyra, YOl. 48, pp. 463-478. 1. uola for his satire, Quevedo has introduced this passage. "s" JOAN PÉREZ DE MONTALVAN Quevedo y Villegas r 1 ; a genms so well informed 37 111 letters r. Owing to the pan played by Montalvan in the discussion which followed the appearance of this book, it seems proper to give an account of the controversy. The work, a small volume of poems, was published by Quevedo at Madrid in r631. He entitled it Obras del Bacbiller de la Ton-e, and claimed to have bought the manuscript cheap at a bookseller's. From a note on the manuscript we learn that previous to this time it had belonged to the Portuguese Juan de Almeida, Senhor de Couta de Avintes, who, with the intention ot editing it, had submitted it to Maestro Francisco Sanchez de las Brozas, professor of Rhetoric in the University of Salamanca. Almeida had even obtained the privilege from the Consejo to print the poems, and the aprobaciim had been signed by Ercilla y Zuiiiga, who died in 1594, the same year as Torre. For some unknown reason, Almeida never carried out his intention, and when, in 1629, Quevedo found the manuscript, Torre was forgotten. "In five places", Quevedo tells us in the Dedication of the book, " the author's name was effaced, and so carefully that lamp black had been applied. ". But in spite of this, he deciphered the name " Francisco de la Torre " - be avers. Confounding hlm with the Bachelor Alfonso de la Torre, author of the Vision deleitable, who lived about tl1e middle of the fifteenth century, he affirms that the pocms were written by the Bachelor Francisco de la Torre mentioned [nearly a hundred years before that time !] by Boscan in his Octava Rirna. As Torre had been a friend of Lope de Vega, Quevedo could have gained from him al! needed information, but the two were not on friendly terms by reason of Queve<lo's hostility towa.rd Montalvàn. Therefore, he did not wish to consult Lope, while the latter, who undoubtedly saw tl1e error, smiled and kept silent. Through Monta.Ivan, the Portuguese Manuel de Faria y Sousa heard of the matter, and in his Commentary of the Lusiadas - 163_9 - gleefully exposed Quevedo's mistake in these words : - " Francisco de la Torre ; no el llamado Bachiller con este apellido en el Ca11cio11ero gweral, coma con notable engaüo se dej6 creer don Francisco de Quevedo, pues consta que fué conocido de Lope de Vega ; y quien tuviere conocimiento de los estilos de las edades, :verà fàcilmente, leyendo unas y otras obras, que las del Bachiller son de aqnel tiempo, y las de Francisco de la Torre <leste ; portàndose cada Lmo conforme al que le cupo en suerte. " (Rivadeneyra, vol. 48, p. 491, note). The rout was complete, and for the first and last time in his life Quevedo was silent before an enem y. In 17 53, the controversy was opened afresh by Luis José Velasquez, who, in reprinting the book, maintained that Quevedo, himself, was the author. This theory wa.s a~opted successively by Luzân, �JUAN PEREZ DE MONTALVAN GEORGE WILLIAM BACON human and divine, that he shines in ail and in each one is master 1 • ,, Again : - In the Lo mejor de lo mejor, repartido en cien conclusiones> in discussing which is the best animal, we read : "Of the animals, the most noble, powerful and daring is the lion. This has been shown with attractiveness, érudition and acutcness by ,.Don Francisco de Quevedo Further : - In the Indice de los lngenios de Madrid, after enumerating a number of Quevedo's works, our author Says : "In all eighteen books, - a great opportunity to be able to say 1nuch regarding the genius and letters of their author, if only in naming him I had not said ail ; . " Lastly : - In the Memoria de los que escriven Comedias en Cas.tilla solamente wè read : " Don Francisco de Quevedo succeeds with them [i. e. comedias] just as if he wrote them continually, - sucb is his genius, versed in evcrything, admirable and supreme 4. " ·Wbat eulogies could be more flattering ! Apparently, there is. 2 • " Sedano, Ticknor and some other critics, but Fitzmaurice-Kelly - p. 197 shows it to be absolutely uutenable. Mérimée - p. 320 - appears to doubt the very existence of Franci code la Torre, and suggests that the authorofthe poems may well have been Fran>-- cisco de Figueroa, so closely do they resemble bis work. 1. " .•. el doctissimo don Francisco de Quevedo y Villegas; ingenio tau tmiversal en las letras humanas, y divinas, que en todas luze, y en cada una es maestro : ... " (Para Todos, edition of 1645, fol. 194). 2. " De los animales, el mas gencroso, va\iente, y gallardo, es el Leon, ..... Assi lo dan a entender con gala, erudicion, y delgadeza, el Marques de Akafüzas, ..... don Francisco de Quevedo, ..... " (Para Todos , edition cited, fol. 233 b. Conclusion, no. 83). 3. " ... en todo son diei y ocho libres, ocasion grande para poder deûr mucha del ingenio, y letras de su Autor, si con averle nombrado no lo huviera dicho todo." (Op. cit., fol. 265 b. Co11clusi611, no. 90). 4. '' Don Francisco de Quevedo ·las [i. e. comedias] acierta, coma si las escriviera continuamente -: ta! es su ingenio, de universal, de florido, y de soberano. "(Op. cit., fol 278. b). 39 nothing here at which Quevedo might take umbrage, a~d yet these are the only references to him. Mérimée ' remarks : "Nous avons vainement cherché dans le Para Todos ce qui pourrait justifier les attaques passionnées de Quevedo. " And in reference to the last two of the above quotations, be says , : " Ces éloges, dont nous n'avons aucun · motif sérieux de suspecter la sincérité, ne touchèrent point Quevedo, qui répondit à ces procédés courtois en écrivant la Perinola, et en traitant l'auteur de plagiaire, d'hypocrite et de sot. " I agree with Mérimée in his belief that the Para Todos contains nothing to excite Quevedo's anger - provided, however, that we view it merely as a piece of literature, and quite apart from any previous relations its author may have had with Qu~vedo .. But if we regard it solely in this light, can we hope to deqde fauly whether the abuse of the Perinola is justified ? Evidently not. Although - as far as I am aware - no absolute proof exists that Montalvan reciprocated Quevedo's hatred for him, it is practically certain that be did ; and tbis granted, wbat becomes of the "sincerity" mentioned by Mérimée? The ex~essive :ulogie~ are tben nothing but s~ms. Of .f.Q_urse with tl11S prem1se demed, the Perinola becomes a wholly unwarranted O ~L,_ fi attack, that wbich seems most improbable. \li,,;& M,\.IJ.R.OO<t.., . In either case, one would not expect the Perinola to be a R..t,__ Just criti~ism. Althoug~ t~e Para Todos is a hodge-podge, ()j_ ~Olli ~ and .contams mu.ch that _1s tnte, Quevedo was too blinded with (W.. . ~ passion 10 see ns ments '· He shows the least prejudice m ~iL.& ~~h P. 348. P. 349. 3- Nothing testifies better to Quevedo's hatred of all that Montalvân wrote ~han the following anecdote related by Schack - vol. III, p. 374, note. One _ay, Queved? _a?~ Momalvân were together at Court while the King and cour~iers \".'ere cntmsmg a picture by Velazquez which hung there. It represened San~t Jerome scourged by angels for reading profane books. At the Kincr's s_uggest1°'1, Montalvan improvised these verses : _ " I. 2• 1 u �41 GEORGE WILLIAM BACON JUAN PEREZ DE MONTALVAN his criticism of the gongoristic extravagances of the author '. Naturally, the .appearance of the Perinola was the signal for the outbreak of hostilities between the partisans of Quevedo and Montalvan. Fray Niseno, the latter's intimate friend, repaired to his defense with an anonymous Censura del libro que compuso Juan Perez de Montalban, intitulado Para Todos, y respuesta a la Perinola, que contra él escribi6 con este tit1ûo Don Francisco de Quevedo Villegas. This passed about from hand to band 2 • In return, our author was attacked by one Doctor Vera - a 1 name said to conceal that of Pedro de la Ripa, who in a brief but blind diatribe issued at Salamanca, July 8, 1632, called him 1 " un fecundisimo ignorante , . " This was answered by the offensive Luz.. del desen[;ailo, a la Censura del libro Para todos que escrivia el Doctor Geronymo de Vera. Dasela el Dot01 D. Fulgencio Lucero de Clariana - a book of thirty-two pages, which appeared at Lerida in 1632 4 • Although the latter seemed to be a defense of the Para Todos, still it ex;isperated Montalvan and bis friends, for they believed that the use of a feigned name of a knigbt errant, Lucero de Clariana, was intended to imply tbat Montalvan was the real author but had bidden bis identity under a pseudonym. To correct such an impression, tbey issued an Apologia par el D. Juan Perez. de Montalvan. Contra Don Luz..ero de Clariana, wbich they attributed to Pedro Rivera 1 • It contains fifry-two pages, and lacks date and place of publication, which Fernandez-Guerra 2 believes to have been Zaragoza. Next appeared La zurria[;a de Perinola, y censura del libro que compuso Juan Perez de Montalban, intitulado Para todos 3 - a miserable pamphlet of five pages, wherein some conceited unknown 4, who daims to be slightly acquainted witb Montalvan and bis father~ declares that Quevedo never wrote the Perinola. " lt's style belies his authorship, and be is a man read and learned, who has good grounds for bis assertions 5• " But let us enumerate no more of these endless minor lampoons and satires, and pass directly to the real answer to the Perinola. lt is El Tribunal de la Justa Vengança, erigido contra los Escritos Los angeles a porfia Al Santo azotes le dan Porque a Cicer6n leia ... Whereupon, Quevedo interrupting him, fmished the stanza thus : Cuerpo de Dios, l gué seria Si leyera a Montalban ! r. The Pel'inola has been likened to Salazar's Catariberas and Velasco's Prete Jacopin, but Mérimée - p. 353 - considers it superior to either. 2. Rivadeneyra, vol. 48, p. 463, note. 3. Op. cit., l. c. 4. A copy exists in the Eiblioteeca Nacional. Although printed, it is bound in a volume of manuscripts, of which it forms pages 31-47. The volume bears the signature M. 7., Seccion de Manuscritos. In this same volume fol. 17 - is the satire on the Para Todos to which Gallardo - vol. II., Apé11dice, p. 108 - gives the title Pape/ satirico en prosa y ·verso conti-a su libro Para Todos. Its clo5e is almost identical with that of the Perinola : " Tengo tambien mi todo en el rollo adonde vm. (creo dira vuesa merced abreviado) aiiade estar. Dr. a Dios y advierta mis letras aplicadas a quien el es con tode verdad como merece la perinola. S. P. D. T. Soy poeta de tienda ". de D. Francisco de Queuedo, Maestro de Errores, Doctor en Desverguenças, Licenciado en Bufonerias, Bachiller en Suciedades, Cathedratico de Vizios, y Proto-Diablo entre los Hombres, which appeared at Valencia in I 63 5, and purports to be written by " El Licenciado Arnaldo Franco-Furt 6 • " I • Rivadeneyra, vol. 48, p. 464, note. A copy exists in the Biblioteca Nacional. 2. Op. cit., 1. C. 3. A copy exists in the Biblioteca Nacional. 4- lt is interesting to note that he says " [ estoyJ convaleciente, y con tan poca fuerza, que apenas puedo tomar la pluma ". 5. " ... me atreveré a jurar que no es suyo, ni tiene que ver con el estilo / de sus escriptos, y es hombre leydo y entretenido, y funda bien lo que propone ". 6: I have a copy of this rare book. That it was printed late in 163 5 is �GEORGE WILLIAM BACON 42 JUAN PEREZ DE MONTALVA"!'! As the title indicates, the author cordially hated Quevedo, but his identity has never been discovered. Fernandez-Guerra 1 believes that the nom âe plume conceals Montalvan, Niseno, Pacheco de Narvaez and four others, whom he omits to name. Because the book is supposed to be written in Seville, Tickno~ 2 is of the opinion that probably the Jesuits there ha~ a hand m it. Both these views are distinctly at variance w1th that of Mérimée l, who remarks that if a num ber of Quevedo's enemies in common were the authors, they must have kept the secret well that no contemporary was able to discover it. Although a certain letter in which Quevedo attributes the book to Niseno 4 is of doubtful authenticity, - Mérimée adds, - still this ascription seems to him very admissible. shown by the dates of the aprobaciones and licencia. The fust of the former that of Fray Vincente Lanuza - is dated August I, 1635 ; the second - of Doctor Jaime Esquierdo - , September 5 ; and the licencia - of Doctor Pedro Dolz - , September 8. . . As implied by the title, El Tribunal de la Justa vengan~ 1s not directed exclusively agaiust the Periuola. Of its two hundred and nmety-four pages but fortv deal with the latter, the remainder treating of four other works of Queved~. These are El Busc6n, finit published in 1626; El Libro de los Suenos, 1627; Discu.rso de todos los Diablos, 6 Infierno e111endado, 1628; and Juguetes de la, Ni1ïez., 1629. 1 . ln-Rivadeneyra, vol. 23, p. LXVIII . 2. Literahwe, vol, II, p. 292, note. 3. P. 109. . . . . 4. This letter - to Don Juan Adan de la Parra - 1s prmted m Rivadeneyra, vol. 48, p. 564. Tt lacks address a11d date, and runs a~ foll~ws : , . '' Decis que teneis el hilo de la l1istoria del autor del prec1oso hbro del Tribunal, que me ajusté> la golilla por lo del abubilla Montalba~, y que ya _me lo diréis de modo que os pueda creer. Yo os excuso del traba10, pues ha tiempo que descubri el gato en la gazapera con el hueso entre los dientes,_ Y_ â b:-1-ena cuenta que llev6 su merecido ; y si no, reparal~~ el cb1rl? de la orep 1zqu_1er~a al reverendisimo Niseno, y preguntalde qué vicia Je beso en ella, que le deJO tan bien parado. De cierto, Parra amigo, que fray Diego~~ ha _de conta; _un cuento O historia edificante, sin ser la de su padre san Bas1ho m el panegmco de Montalban. Por aqui veréis que aunque callo, obro, y que â la Justa ven• ganz.a supe contestar con justicia, y a estilo de claustro "• i"' 43 Ho\.\'ever, all such theories are gratuitous, for in the absence of definite information the identity of Franco-Furt, as Fitzmaurice-Kelly ' aptly remarks, remains as unknown as that of Avellaneda. Whoever he may have been, he was well acquair:ited with the life and works of Quevedo. Like that of the Perinola, the mise en scene of El Tribunal de la justa Venganz.a is strikingly original. A post-boy reaches Seville soon after midnight, and passing through the principal streets, cries at the top of his voice " Petinola ! Perinola ! Everybody get awake, for the Perinola has corne!_" Not knowing whàt this can be, the people in terror leave their beds and rush, half-dressed, to the doors and windows, for they fear a repetition of the :floods which bave previously visited the city. Asked what he is saying, the boy only shouts louder than before : " The Perinola of Don Francisco de Quevedo, against the book of Doctor Juan Pérez de Montalvân; a new work, a new work, and the best be bas written in his life ! " Their fear now tumed to rage, the people cry· « • May God curse you and the Perinola and its excommunicated author, every work of whom is more abominable than the preceding. Be off with a hundred thousand devils, and don't disturb our rest ! " Furious, the boy obeys, and enters a cheap eating-house, where gluttons and drunkards always give Quevedo's books a cordial welcome. The excitement of the night before causes the inhabitants to rise unusually early next morning, and so quickly does the report of the iufamous Perinola spread, that very soo.9- even those in the most remote parts of the city hear of it. 'Such as are forgetful of their own failings and curions to know others ', repair to the post-hoy, and one of them asks him earnestly for a copy of 1. P. 316. �JUAN PÉREZ DE MONTALVAN 45 GEOl~GE WILLIAM BACON the worlt. Pretend,ing - like Quevedo - to be iodifierent to wbat really he most desires, be refuses the request, but through the influence of pleadings anJ promises finally yields, and hands over a smali manuscript. In a short time, so many copies are made from this, that every tavern and eating-house - and the number is not small - possesses two. By chance, one of the copies falls into the bands of six scholars, and after each has read it ·;ery attentively, they find that it is a scandalous book, full of hatred a,nd detestation for the )Vritings of the greatest geniuses, past and present. Moved by their interest in the public welfare, the scholars determine to instÏtute a Tribunal of Just Vengaoce', and, as judges, to examine not only the Perinola but other works of the same author. Having secured the services of one well versed in religious matters, they select a lawyer to represent the absent Quevedo, and appoint ~ne of their number prosecuting attorney. Two days before court convenes, the latter begins an examination of the Perinola, in order to formulate his charges. With this introduction the trial opens, and since its nature pre~ludes the making of a satisfactory outline, I can only enume-rate a fe\v of the accusations brought against Quevedo as a man r, and then as the v.riter of the Perinola. The license and shamelessness of the former charges is amazing. Francisco de Quevedo is ignorant, heretical and blasphemous, and represents the zenith of ail infamous vices. A disciple 0f the devil and a fornicator, he bas such a contemptible genius that he can annotate only indecent books, such as the Ars Amandi of Ovid and the Koran. His mouth is a stinking sewer, and he is an ine~wrable monster, and a vile harpy of the learning of the Sp::inish· nation. / / Sorne of these I have taken from other parts of El Tribunal than that treating of the Peritiola. I. Couple these invectives with those found on the title-page, and some idea is gained of the coarseness of the work. Arraigned as the author of the Perinola, Quevedo is charged . with having directed a bold and shameless satire against Montalvan, a man virtuous, modest and exemplary, and, above all, a priest. Scorning the honor clone him by_ including him in the Indice 6 Catit.logo de los lngenios de Madrid, Quevedo tries to discredit the Para Todos by making malicious additions thereto. He declares that Montalvan commits errors in his verses, and mixes the sacred and profane - forgetful that it is he himself, instead, who has perpetrated this sacrilege in three books. For him to <lare to criticise verse is ridiculous, since his best is the exceedingly dull and often hissed entremis " Cétraqu.i me voy, cara aquf. me iré ", and others like it. If he is a bad poet, he is an equally bad prose writer, and introduces in the Perinola words, persons, and things entirely unsuited to a work so serious and argumentative. Before the prosecuting attorney bas presented ail his charges, the judges become furious at the evidence they have heard~ and decree that the vile book be borne aloft on a pole through the principal streets by loud voiced heralds. Ir is then to be burned in the public square in a brazier ~lied with sui phur, pitch, and resin. Just as in the case of the Perinola, malice makes El Tribunal de la Justa Venganza practically valueless as a piece of criticism. No account is taken of Quevedo's wit, mastery of language, and knowledge of low life, while his shortcomings are un<luly exaggerated. Although at rimes a coarseness appears in his work, Fitzmaurice-Kelly 1 holds him not entirely responsibJe for thi_s, on the ground tint others have fostered upon him their indecencies. More 1:han one of, his predecessors-· is at• least'. equally gross, and 1. P. 312. �GEORGE WILLIAM BACON this charge and that of heresy would hardi y be pressed against Quevedo by a fair minded critic. After haviag sùffered such an infamous attack 1 , Quevedo r. ·Férnandez-Guena - in Rivadeneyra, vol. 48, p. 464, note - states that very soon Montalvan followed up this auack in a stauza in his Al Sen.timiento Ge11e,,al que se dwe a la Mu.erte del M,iyor Va,·on, Frey Lope Felix de Vega Carpio, which forms part of the Fama Postuma, 1636. The verses run as follows " La. Inuidia, que del odio se alimenta ; La Calumnïa, que todo lo eusangrienta ; La Detraccion, que como espada corta; La Ojeriza, que aspides aborta; · La Presuncion, que el° merito atropella; La Vanidad, que con el So1 se estrella ; La Ignorancia, que miente lo que sabe; Y la Soberuia, que aun en si no cabe ; Le [i.e. a Lope] aplaudan, aunque sea con engafio : Que los malos tal vez temiendo el daiio, De que la voz comun los tenga en menas, Hechan por el camino de los buenos ". (Fol. 189). 'fbese lines are so general in their signification that I fail ta see bow they can be applied ta Quevedo. I believe, however, that Montalvan unmistakably alludes to him in tbe Pr6logo Largo to the first volume of bis Comt;dias, - edition of 1638, fol. 2 ff. After ~pèaking of tbe satires occasioned -by the Para Todos, he states that since everything is liable to injury and detraction in sorne manner, he does not mind calumnies. He then expresses the hope ·that the public will give a favorable reception to the first volume of his plays~ which will encourage hlm to write many that will amuse " sin estragar la pureza de nuestra elegantissima lengua Castellana, coma hazen muchas, introduziendo vocablos nuevos, vozes estrangeras, idiomas Latinos, adgetiuos supuestos, verbes .aduenedizos, frases no entendidasi y locuciones desbaratadas : y es lo bueno, que los propios que vimperan esta confusa gerigonça, son los que mas usan li t\f.,, 4..{t de.lia, sin conoi:er que cometen el delito que acusan y predican en lo mismo . ,/ " lU).'Jf().A>~, que pecan . In view of the facts that Quevedo's style suffers from the very defects above enumerated ; that Momalvan bas just previously alluded to the calumniators of the Para Todos; and fiaally, that Quevedo commits the inconsistency referred ta in the last three lines of the passage, I feel certain that the -v,mrd mucbos is merely a synonym for" Don Francisco de Quevedo". \!, (.....- . JUAN PEREZ DE MONTALVAN 47 might well have exclaimed with Juvenal 1 "Semper ego auditor tantum ? nunquamne reponam? "; and one cannot but admire his determination to seek vengance. How well he attained it is revealed in his heroi-comic epic Las Necedades y Loeuras de Orlando el Enanwrado, already referred to. The poem is incomplete, terminating abruptly after the first octave of the third canto, and the date of composition cannot be accurately determined. Mérimée 2 assigns it to the period closely following the declaration of war between Spain and France in r 635 - basina his theory on an octave in the first canto; ; - and Fernandez~ Guerra 4, without venturing a date, makes it subsequent to the Tribunal. Quevedo is at such fever heat, that on taking up his pen he can scarce restrain himself long enough briefly to outline the contents of the poem and make a burlesque invocation to the Muses, before he falls upon Montalvan with " A ti postema de la humana vida, Afrenta de la infamia y de la afrenta, Peste de la verdad introducida, Concencia desechada de una venta, Anima condenada, entretenida En dar a Satanas almas de renta ; Judisimo malsin Escariote, Honra entre bofetones y garrote. r . Satire I, 1. 2. 1. P. 407. 3. The verses run as follows : " De Espafia vienen hombres y deidades, Pr6digos de la vida, de tal suerte, Que cuenta.n por afrenta las edades, Y el no morir sin aguardar la muerte : Hombres que cuaotas hace habilidades El hielo inmenso, y el caler mas fuerte Las despreciau, con rabanes y queso, Preciados de llevar la carte en peso ". . (Rivadeneyra, vol. 69, p. 288). 4, In Rtvadeneyra, vol. 48, p. 464, note. �GEORGE WILLIAM BACON Doctor, a quien por borla di6 cencerro Berceguillas , y el grado de marra no ·, ; Tu que cualquiera padre sacas perro, T ocandole a tu padre con tu mano ; Casado (por corner) con un entierro l Con que pudiste ser vieja cristiano,_ Que por faltarte en cristiandad ~neio, Fuiste cristiano vieja, mas no v1e10, El alma renegada de tu abuelo Salga de los infiernos con un grillo, Con la descomulgada grefia y pelo Que cubri6 tan cornudo colodrillo : y pues que por hereje contra el ci~lo Fué en el brasero chicharron cuch1llo, Venga agora el cabron, mas afrentado Do ser su abuelo, que de ser quemado . Derrama aqui con tmas salvaderas, Pues esta en polvos, todo tu linaje; Sigan progenitores vendesteras, _ y aquel rabi con fondo abencerraie ; Los bojes, los cerotes, las tijeras, _ De quien bufon desciendes, y bardaJe : Pues eres el plus-ultra desvarios, El nmJ plus-ultra perros y judios. _ Atiende, que no es misa lo que digo, y son todos enredos y invenciones, Y vueke a mi cantar falso testigo En tus dos ojos cuatro mil sayones : Perm, con no decir verdad te obligo, Recibe estas maldades y traiciones JUAN PEREZ DE MONTALVAN Con Ja benignidad que urd..ir!as sueles Al bueno, que a sesenta leguas hueles 49 1• " It was not our author, but his intirnate friend Fray Diego Ni-r seno who answered this attack. In his Elogio Funeral en la MuertA. del Docfor Juan Ferez. de Montalvan 2 , Niseno preaches a most bitter tirade against Quevedo) although he nowhere mentions him by name 3. After cornparing Montalvàn to Virgil, Horace, Ovid) Plautus, Terence, Lucan· and Garcilaso, he declares that our author never quotes anyone in his writin s but with praise 4. He ïs Ünlife those who with the venemous tongues of serpents, and with the pestilential ink of the infernal Styx try to discredit the writings, studies, actions, and lives of ail. Such envious critics are not hùman beings but vile beasts, and like them should be banished to the most .remote parts of the world. Since only the dispassionate and well intentioned are qualified to pass judgment, the censures of this infernal troop mean nothing; and indeed they have served on!J to increase the reputation of Montalvan's writings. So envy injures not the envied, but the envious. Seeing that these calumnies have been occasioned by his literary successes, no improvemem can be expected till his works have Text of Femandez-Guerra's edition, in Rivadeneyra, vol. 69, p. 287. This is printed in the Lâgrirnas Pa11egiricas, and, like it, is dedicated to the father of our amhor. 1. 2. I A 111iserable villao-e in the province .of Segovia, twenty-one leaguesl . · on the "French high-road. In t11e s1xteen · th and seventeent 1f f · Madrid rom ' ' . . . couvert Jews or descendants centuries sonw of 1ts 111hacb1tants were . (R" d o_ converts, and pe,haps an ancestor of Montalvan was among them. iva e neyra, vol. 48, P· 47 2 , note). · · C tile the as be 2 _ The naÎne given to those Jews recently ~~nverted, smc~ 1~ Hebrews received the Christian faith on cond1tt0n that they wo~1ld not obliged to eat pork . (Op. cit., 1. c.). . r 3. Casado con un entiel"1'D, that-is a cleric of low station. (lb.). 3- In a letter to his friend Don Andr~s de Figueroa, written in 1638, Don Diego de Pardo y Valcarcel says of this Elogio : - " ..• habia oido el panegirico de Montalban del padre Niseno, el cual no era màs que un discurso muy ingenioso contra Quevedo ; y que todos los que con él estabàn lo creyeron asi, no faltando quien asegurase que se lo habia oido decir al mis1110 frav Diego. " (Riv'adeneyra, vol. 48, p. 564). , ~- Some might consider this an effecti\'e argument in favor of the sincenty of Montalvâu's praises of Quevedo in the Para Todos. But even if Niseno knew füese eulogies to be insincere, is it likely that he would admit it? ~EVUE HISPANIQf.iE. li 4 �JUAN PÉREZ DE MONTALVAN WILLIAM BACON 50· - - - - - -- -GEORGE ------------------ entirely disappeared - that which seems impossible, since they are constantly being printed, and in eve1y language. Incredible it is that the very ones he eulog~zed _' and rescued from oblivion should be his enemies; ·b ut even so, he was never affected by their atcacks, and answered them only with praise. That such a feud wàs continued even ovet the lifeless body of Montalvan, ~ta time when clemency should have softened anger, shows only tao well how deeply rooted was the hatred · which it had engendered. And this hatred was not buried with -?ur auth?r, for man~ pass~ges in _the Lagrimas Panegiricas prove ( 1t to be as much an mvectlve agamst Quevedo as an eulogy of 1 the deceased. For èxample : ~ ln the Al Lector we read : "To speak ill of an entire book [this must be the Para Todos] is rrot finding fault with it, but condemning it, and indeed this is a clear proof of bad intention 2 " . Again : - "Everything is pr~iseworthy in it_s class, and calumny deserves only detestarion. lt is a pity that they who. pass the~r life in speaking ill of everythi:ng should ever have been born, ". And even more convincing than these : " This Fama P6stuma is an antidote to the poison which some pour out in the .useless pages of i:nany books; it is an honorable refutation tb mordaèity l ". Throughout the book the word " envy .,..... " often appears, and 1. Is this an allusion to the seeming eulogies of Quevedo in the Para l Todos? 2. " Decir mal Je todo un libro entero no es morderle sino tragarle, ...... .. , y verdaderamente es iodicio claro de la mala intencion. " (Al Lector, fol. 2 b). 3. " ... todo es ,loable en su gen!)ro, y solamente merece abominacion la malegiceucia, ... ....... y es lastim.i el consid.erar quan izquierdo pie pusieron en el primer umbral de la vida los que la, consurnen en decir mal de todo. " (Op. cil., foL 3 b) . . 4. "Esta Fama Postuma es una ,contrayerba,del veneno que derrarnan a.lgunos en La l1.1,1prenta en los inutiles pliegos _de .muchas libros, es un desmentir honrado ·a la mordaçidai .. .. "(Op . cit., 1. c.). in a few cases the Para Todos is cited in connection with it '. Quevedo's name is never found in these innuendoes but notwith_standing this and the fact -that they are almost 'invariably cast m the plural, one cannot mistake to :whom they refer. So ends this bitter literary battle, which was a base prostitution of talent and genius. Still, it_ did not lack redeeming features-, for, along with other feuds, it not only entertained the public 2·, but created a great demand for the work about which it waoed. ~he six editions of the Para Todos which appeared in two y:ars, dtd more to console Montalvan for the abuse be suffered than all the -felicitations and eulogies of his sympathizers 3. That, in th~ end, bis spirit was still unbroken, is shown by his decla~ ratJ?n that .he intends to publish a second patt of the book which occas10ned so many calumnies and satires 4, r. Cf. fol. 16 b, Décima of Tirso de Molina · " .... ...... . . No temas que le [i. e. Montalvân] col;s~a · La ernbidia, que no podra, Si eternizandose està Su Para todos aqui, Y el, para todos all:t. " 2. See the verses : _ '' Montalvan y Quevedo se tiraron, De ~ongora Quevedo dijo horrore~; Y as,, entre ingenios y entre los mejores . i Ira de Dios, qué sâtips pasaron ! " (~on net m Caria en prosa, y en diferentes metros .... ... Escribiala a un Pa:i.ente myo D. Juan Antonio de Az.pitarte. Madrîd sin ano ·ni imptesor 16 foias. Repriuted in Gallardo, vol. I, col. 3 56). ' · · 3- ~~e Montalvan's words in th,e Pr6logo Largo to, volume I,, of the Comedia; - .ed1t1on of 1638 , fol · 1 b.· - " ••... aunque me pud1eran . · . . ' tan tas, desa111mar :;:1; \ objecciones, calum.nias y Apologias, me templaron la mohina ....... . b. pl usos de los entend1dos, los agradecimientos de los sen.ores los para· ·0s d e 1os Desapassionados : y sobre ' 1 5 os, 1os Elog1 el1enes de los Rèl.ig·o . todo 1 auer~e hecho en es,pacio d,e dos aûos seis impressionerdel Par~ todos tres en C~tilla, _dos en los Reynos, y una en Bruselas, ...... " ' ~; 4· omedzas, l. c. : - " Despu~s <leste te promem la ,segunda p:.u·{e dcl ' �GEORGE WILLIAM BACON C. - STYLE. Montalvan's work as a dramatist finds an interesting contemporary appreciation in his friend Don Joseph Pellicer de Tabar Abarca's Idea de la Comedia de Castilla, Deduz.ida de las Obras del Doctor foan Perez. de Montalban '. An examinatian of this brief essay will not be out of place here. Defining a drama as an action which teacbes to imitate the good and shun the bad, - thereby atttibuting to it a serious moral purpose, - Pelli,er states tbat Montalva.n's plays always conform to this standard. So earnestly does he exalt virtue and decry vice, in bis own energetic and efficacious style, that his audiences ar~ powerfully inspired to follow the examples set before them. Ever avoiding the introduction of the incongruous, he so throws bimself into the spirit of bis plays that they seem real happenings, ratber than mere representations. Love scenes are indispensable, but his, unlike those of some other d~atists, are treate~ ':ith such delicacy and decorum t~1àt they do.îoffend. Moreover, 1t 1s rare that he mtroduces marned persans in them. In bis choice of the various incidents be pictures, he shows great discretion, for he knew that many occurences must not be placed upon the stage. Such are the seditions of vassals, the tyranies of rulers, and divers scenes from the private life of the great. Conscious that ancient rites and cererrtonies were un intelligible to the majority of tbose who attented the theatre, he does not .allude to them, unless their performance be part of the play. The representation of persons Para todos. " See also his word~ in the Prologo to the Fama Postw11a, 1636: " ... pienso darte [i. e. al lector j muy presto estampada, la segunda parte del Para todos, .... " 1. This forms part of the Liigrimas P,111egiricas, ff. 147-152. JUAN PEREZ DE MONTALVAN 53' then alive he scrupulously avoids, realizing the risk attached ~he:e~o; and in the comic passages he holds up to ridicule not md1v1duals but manners and cnstoms, after the fashion of Per. sius, Juvenal, and Horace. His plots show wonderful cleverness for so skilfully are they involved that the dénoûment cannot b;· ~or~told till the second scene of the third act. J ealousy, a theme md1spensable to the drama, is regarded by bim as of prime import~nce. ln plays of complicated plot he employs a simple style; b_ut if the plot be _weak, excellence of writing makes up the defic1ency • Usually, he very rightly restricts the length of the action to twenty-four hours, exceeding this period only when custom demands. To each of the three scenes of every act he allots three hundred verses'. Unless it is unavoidable, be never leaves the stage unoccupied, a very difficult nile to follow when the scenes are supposed to be laid in places far apart A uood dramatîst should have at least some knowledge of ail subjects: and the ~eader of Montalvan's plays will find that he fulfills this reqmrement. . It is regrettable that this criticism cannot be accepted unreserl vedly as final and ju~t, but in ?is eagerness fittingly to eulogize the deceased ?laywnght, Pelhcer has losf sight of the fact that ~om~ of the v1rtues he attributes to bim are not always present m h1s work. 1· The pla)'S of his master, Lo pe, are o f l'k I e 1ength (See Rennert., Lo"e, p. 183, note). r In ~peaking of this canon, Ticknor - Lit. vol. II, p. 321 _ commits an ~'.11~1;~ error. He says " [Montalvan] limited each of the three divisions of 15 th ub - ethngth dramas to three hundred J.ines .... " One would certait,ly infer at. dY e word " divis'o 1 ns " T'1ck ·nor means acts, since the plays of that pen~ ar; based on a three-act division. According to this, each act would co~s 1st O only three hundred lines in place of nine hundred ! Pellicer s words are as follows .· - " cad· a I ornada deue constar de tres Sce□ as A ca da Scena d M .... ciento . aua ON~ALBAN trecientos Versos, porque dezia, que noue5 s • eran '!rc~lo ufic1ente a cada Iornada ; y la breuedad en las Representacmncs les anad1a grauedad y donaire. " �JUAN PEREZ DE MONTALVAN GEORGE WILLIAM BACON For example, while at times Montalvan's style is " energetic and efficacious ", again it descends into elaborate rhetoric and empty bombast, qui te devoid of ail poetic inspiration. Such is usually the case in scenes of a highly emotional character, which . would he telling if treated with less artificiality. In ail tbese verhos.e and extravagant passages cultetanismo ', the plague of the time, runs riorz; which is the more amusing since our author, its. declared .enemy, av.ers that they who employ it are none otber than tliose opposed tO its use 3. Offensive as such bombastic and tedious extravagances are to us, still we must not be too severe upon those who. wrote them, for they were mer~ly catering to the taste of the-audiences of the time. It is difficult to realize that some of Moutalvan's plays in great part owed their popularity to passages of this description. . Again :, One cannot accept, without reservation, Pellicer's sweeping statèment that the dramatist was ·so filled with the spirit .of his work as to free it from all unnaturalness. While often he seems guided solely by bis own inspiration, too frequently the desire to irnpress leads to the employment of the artificial style· already alluded to. Further : A critic of to-day would not admit that in his plays based on slender plots Montalvan always makes reparation by the excellence of his writing. lt is true that often be shows cleverness in utilizing to' the fullest the scanty material at hand, Schaeffer - vol. I, p. 7 - gives a description of this. The following very brief examples may be cited : - " Esta es concha de una perla que adora ", used by a gallant in reference to bis inamorata's dwelling ; and " un arroyo de carbon, un mar de tinta ", describing an army of Ethiopians. ~- Comedias, vol. I, edi.tion of 1638, Pr6lo![o La,rgo, fol. 2 b: - " y es lo bueno, .que los propios que vituperan esta confusa gerigonça, son los que mas us~n della, sin conocer que cometen el delito que acusan y predican en lo m1smo que pecan. Dios, por quien es, les alumbre el entendimiento para que mueran con su lengua, .... " I. . ( 2. 55 but the result he attains would invariably be of a much higher o~der did _he not force these plays to the standard length set by j h1m - th1rty-two pages 1 • For the sake of such uniformity many tedious and irrelevant verses are inserted, the gracioso being called on for bis share. Fi_nally : The assertion that our author avoided intrnducing the mcongruous could scarcely have been made by Pellicer, liad he read, for example, th~· comedias Olympa y Vireno and Los Amantes de Teruel, the gracioso rôles of which are singularly out of place. 1 . There remains to ·be mentioned one more shortcoming which 1s not suggested by Pellicer's criticism. Montalvan of course took Lope de Vega for his chief model •, but, unfortunately, instead of stri':'ing to become familiar with and to adopt those principles by wh1ch the latter won such signal success on the stage, be tried to rival him in productiveness 3. As Lope ·« was the only one :"·ho c~uld. be both polygraph and true poet at the same time ", { ~t wa~ 10ev1table_ that ~ontalvan should fail in bis attempt- and 1 impair the quahty of l11S work. In his eargerness to attain speed, 1 A few of bis plays, however, fall short of this length. How successfully be imitated him at times, is proven by the fact ~hat the unscrup~ous were ~hie to attrlbute some of bis plays to Lope, in order to depnve Montalvan of the credit of having written them. (See p. 12). . 3· Montalvan himself recounts how signally he failed on one occasion. In "1the Fama. Postmna, fol. 13, he states that one year near the three carnival days before Shrovetide, when the Teatro de la Cmz at Madrid had to be closed on account of a Jack of plays, Lope and he joined to write one immediately. They set to work on La tercera Orden de San Francisco, and at the end of two days Lope had completed the first act and Montalvan the second. The third act they divided equally between them ; and our author, detennined that if he could not nval his coadjutor "in skill, he would endeavor to do so in celerity, r~se next day at 2 A. M. to begin his part. When be had finished, at eleven o dock, he sought Lope, and findiog him in ·Jiis garden asked him how he had · · arnazement, Lope replied " I began ' , progressed. To h1s to write at five ... o dock, and completed the act an hour ago. " J. 2. �GEORGE WILLIAM BACON too often he writes superficially and cursorily, without fixing his mind upon what constitutes artistic perfection. He then begrudges the time to weld together perfectly the different scenes of a drama, with the result that while individually they may make a strong appeal, colleçtively they lack a proper sense of harmony and unity. It would have enhanced his reputation ~reatly ~ad_ he written but half the plays be did, and before theu: publicat10n leisurely viewed the union of the component parts in their proper perspective. . The fact that of the thirty Comedias Heroicas hereafter analyzed at least seventeen appear not original in source', proves Montalvan to have been an adapter rather than a creator. And in this rôle he is deserving of great praise, for he keenly appreciates the value of a popular story, and shows rare discrimination in s~lecting from history those events which make for drarnat1c situations. Of course, the fear of committing anachronisms does not trammel him in combining the incidents chosen. Equally worthy of praise is be for his very clever delineation of women. Granted that Lope's types - living beings, compared with those of Calder6n - afforded llim most excellent models, still the knowledge Montalvan had of the complex feminine character was such as to be gained only by the closest observation and study. In this penetration he is second only to the unmatched Ovid. That be. was an admirer of the poet of Sulmo, several more or Jess ;triking reminiscences in the plays seem to indicate. ~or example, a passage thoroughly Ovidian is tbt in No hay Vida coma la Honra, - Act II. - , in which Estela endeavors to ·persuade Fernando to transfer bis love to her -from Leonor, that the latter may be left free to rnarry Carlos. Estela speaks as follows: 1. Of the eleven Comedia.s de Cap,i y Espada nine seem to be original. The religious dramas are, of necessity, derivativcs. JUAN PÉREZ · DE MONTALVAN 57 " Weil you can forget Leonor In picturing imperfections ; For when defects love cames to see, Already it is weakening. So, if you would learn to like me, Just fancy, as you go your way, That I am earth's greatest beauty. Regard, praise, overrate, admire, Although love in you is yet cold, The fairness of my countenance , . " lt is easy to · imagine that Ovid might have penned these verses, and indeed the first four express a thought which is discussed in detail in bis unsavory Remedia Amoris i. Another Latin writer who seems to baye appealed to Montalvan is Juvenal, for often the former's work tcems with the epigramrnatic, biting and merciless sarcasm of that flayer of men and things. So vividly does a passage in Amor, Privanz.a y Castigo - Act II. - recall lines 100 and 101 of the Third Satire, that apparently we have a direct imitation. In speaking of Sejanus as a flatterer, Drusus says : - · [Puedes olvidarte de Leonor en ] Imaginando Imperfecciones ; q~e Cllando Llega a pensar el amor Fealdades, ya esta vecino A no ser amor; y asi, Por agradarte de mi, Puedes tambien de camino Pensar que soy la mujer · Mas bella del mundo; mira, Alaba, encarece, admira, Aunque sea sin querer, La hermosura de mi boca ; ....... ... 2. LI. 3T 5-340. �GEORGE WILLIAM BACON JUAN PEREZ DE MONTALVAN " Îf you laugh, be laugbs also, E'en· though he may not wish to. If you weep, just so does he, For t'would seem that he.holds The emotions in his bands 1 • " 59 Garcilaso. In the lyric style be employed décimas, endechas, liras, q11ebrados, glossas, and sonnets' ; adding, sometimes, the romance, a metre suited to ail styles. In the heroic style he used octavas, canciones, silvas, and romances ; excluding from bis plays the esdrux11los on account of their harshness, but not the coplas de arte mayor 3 • Redondillas and qu.intillas 4 he employed only ·in the 2 Without referring to any special person, Juvenal declares : narrative part in which the plot is developed. These principles are not original witb Montalvan, however, having already been set forth by Lope in his Arte nuevo de hacer Comedias, r 609. To form a just estimate of Montalvâo's achievements as a playwright, one must view bis work in the atmosphere of the dawning seventeentb century. He wrote solely to please the public, and therefore was obliged to allow himself to be auided by its taste, however much he migbt have preferred to follow his own inclinations. In a measure, then, not he out the time in which he lived must be held responsible for what may now appear defects. Although his religious pieces are failures, bis other plays met witb great success, and one cannot refrain from thinking that perhaps he would have risen above the rank of a second rate dramatist, had quality rather than quantity been bis goal. In the eyes of his admirers, however, his shortcomings wer~ insignificant, and he was regarded as the first born of Lope's genms 5, " If you !augh, with a greater one he's shaken, He weeps, - without griet -, when he sees a friend'.s tears •. Perhaps anpther reminiscence of Juvenal, in thought, however, more than words, is found in Act I. of La Doncella de Labor. Here, Monzon upholds the advantages of dying suddenly and intestate, by picturing an expiring man who - his will made -is surrounded by his prospective heirs, al\ vexed at the slow approach of death. Replete with sarcasm, these lines might well have been suggested by a passage in the First Satire 3, where Juvenal alludes to the anger of the deceased's friends on. receiving nothing .4 Montalvan's system of versification is fully explained by Pe,, llicer 5. He states that in the tragic style our author made use of octavas, canciones, silvas, and romances 6 , instead of the usual tercets, which had first been adapted to funereal writings by r. 2. " Si se rie, se rie, aunque no quiera ; si llora, tambien llora, que parece que tiene las passiones en las manas. " " Rides, majore cachinno Concutitur; flet, si lacrimas conspexit amici, Nec dolet." 3· LI. 145 & 146. " It nova, nec tristis, per cunctas fabula coenas, Ducitur iratis plaudendum funus amicis. " 5. La.grimas Panegiricas, f. 148. 6. Definitions of these measures are givcn by Rengifo on pages 91, 108, 58, and 59 respectively. r. See Rengifo, pp. 37, 67 ff., 89, 17, 72, and 95 respectively. See op. cit., p. 20. 3. Op. cit., p. 82. 4. Op. cil., p. 32 ff. 5, See, ;o~· example, the words of Joseph de Valdivielso, in the Censura Paneg1rica of the Fama P6stuma : - " .... el Doctor Iuan Perez de M?ntaluan, ~rimogenito del Ingenio de Lope de Vega, ...... respiracion de su ahento, .... 2. 4. ! �JUAN PEREZ DE MONTALVAN 60 61 GEORGE WILLIAM BACON SECTION II ANALYSES A. - CoMEDIAS HEROICAS '. A lo hecho no hay Remedio, y Principe de los Montes. (What's done cant' be undone, and the Mountain Prince). AcT 1. Aurora, Princess of Albania, bas been banisbed from Court by her father at the instigation of her jealous step-mother, the Queen Florinda. For two years she and ber faithful friend Clavela have been confined in an isolated castle, and permitted to see no one but their attendants. The p_rotestations of the people against such unjust treatment have availed nothing, and the unfortunate girls bave been deserted by even their most intimate friends, who are fearful of incurring the King's enmity. Among these friends is Ricardo, Clavela's former lover, with whom she has recently quarreled. One nigln, Clavela, in disguise, eluded the guards, and together with a peasant girl, Gila, set out for a walk. They had not gone far when a wolf confronted them, and terrified they cried for help. Their screams were answered by a inan so repulsive looking that he frightened them almost as much as did the wild-beast. Clad in a tiger skin, in one band be held a knife, in the other a sapling which served as a staff. His hair, unkempt and matted, was of length sufficient to cover his neck and shoulders. On bis approach the wolf slunk away, and Clavela and her companion were about to flee as well, when the stranger indicated by signs that he would not harm them. Clavela, reassured, then drew near him, and entering into conversation was at once impressed by the disparity between bis culture and wretcbed garb. So interested did she liecome in the unknown, that subsequently she often visited him, and at last enamored, endeavored to induce h.im to disclose his identity. Her efforts were in vain, however, for he would reveal only that bis name was Segismundo and he had lived for some time in the forest. After mucb hesitation Clavela finally decides to inform Aurora of what bas taken place, and so curious does the Princess become, that in the disguise of a peasant she accompanies Clavela on ber next trip to thr. woods. No sooner have Segismundo and Aurora beheld one anotber than tbey are infatuated, and bis loving gaze so embarrasses her, that although she strives to converse with bim the attempt ends in failure. Aurora's efforts to ascertain who ber new acquaintance is meet with no better success than did Clavela's, but at his urgent request she promises to rejoin him the following day. The visitors then take their departure, with Segismundo and ~urora possessed by a like thought : that if the other were only of royal blood, their love might be sealed by marriage. 1. The essential differences between these plays and the Comedias de Capa y Espada, is that the former bring on the stage personages in AcT II. a higher rank of life, such as kings and princes ; and generally have, or pretend to have, an historical foundation. The ~re often. based on intrigue, like the Co111edias de Capa y Espada. (See T1cknor, Lit., vol. II, p. 218). After some time, Aurora is apprised that her father has relented toward ber, and proposes bringing her back to Court. This �62 GEORGE WILLIAM BACON news fills her with constermtion, for she realizes that she may never aga.in see Segismundo. On the occasion of one of ber meetings with the latter, he told Aurora that he was a brother of tbe King of Greece, by wht•m he had been cruelly banished ; and he added tbat if she were only of noble family be might be able, at some future time, to makeher his Queen. Impelled by her jealousy of Clavela, and the feat that she is for ever to be separated from Segismundo, Aurora now resolves to disclose to him her identity. Wisbing to ascertain wbetber he is really of royal descent, and which of his two friends he loves, she sends him, by Gila, two suits of clothes purporting to corne from Clavela. One of the costumes befits a knio-ht the other a peasant. She then bids Gila, after revealing t, ' her - · Aurora's - name and rank, to inform Segismundo that Clavela wishes him to corne tbat night to the castle. Aurora believe; that when be answers this summons, she can in fer his station frorn bis choice of attire. In order that she may meet with no rivalry from Clavela in her amour with Segismundo, Aurora resolves to endeavor to effect a reconciliation between her and Ricardo. Accordingly, on Ricardo's next visit to Clavela she orders each to give bis version of their quarre 1, and when they have done so, she bids them embrace and renew their old relations. The peaœmaker's efforts are in vain, however, for Clavela insists that she will not abandon Segismundo for Ricardo. Aurora then appoints the rejected lover one of her gardeners, that be may remain at the castle and press bis suit; but she expressly forbids him to enter the garden at night, under the pretext that at that tirne and' place her father is wont to confer with her secretly. She brings the interview tô a close b-y warning Clavela against ever mentioning Segisrnundo's name, under penalty of being confined in a con vent for the remainder of ber life. Gila delivers to Segismundo the message given 'ber by Aurora, and hr;: reg-rets that it should have come from Clavela instead of JUAN PEREZ DE MONTALVAN Aurora. Still he rnakes the best of his disappointment, and attiring himself in the knight's suit, that evening repairs to the garden. When Aurora calls from a latticed window, be naturally mistakes her for Clavela, who ostensibly sent for him. Knowing that Clavela is of noble family, Segismundo feigns that he has sprung from plebeian stock, in the hope that the supposed Clavela will abandon him and thereby leave him free to woô Aurora. Further to mislead her, be asserts that only with the object of diverting Aurora did be tell ber that he was of royal birth. Fearful, bowever, lest the real aim of these statements be tao obvions, reassuringly he adds· tbat Aurora cannot compare with her, whom he loves far mo(e. When the Princess speaks, ber trern bling voice betrays her despair and confusion, but Segismundo quit-e deceived, only congratùlates himself tbat he is so effectively misleading Clavela. Disregarding the strict prohibition of Aurora, Ricardo now· enters the garden, and on bearing his footsteps she fears that it is ber father. Begging Segismundo to withdraw before be be discovered, she adds that perhaps the intruder is a visitor to the Princess, and then closes the window. The jealousy of Segismundo is now aroused, and be determines to learn the identity of th.e new-comer. Through the darkness Ricardo descries the form of Segismundo, and assuming him to be the King, corne tG' see Aurora, be tries to retreat. Segismundo, hpwever, i:tmembering what Aurora bas just told him, pursues Ricardo; wbereupon the latter imagines bis rnolesti;r is some ri:val for Clav;ela, and drawing his sword attacks him. The commotion being heard by Claveta, she cries for help, and Aurora appears with attendants and lights. The Princess orders the combattants to give their names, and asks Segismundo with whom be has been holding a tryst. He replies : " With Clavela ", and although Aurora insists that he is mistaken, yet she becomes so susµicious that the pair. have actuàlly been speaking togethèr, that futious she sends Cla- . vela to her room. Wondering ·who his -as&ailant was, Rica~do 1s, �GEORGE WILLIAM BACON JUAN PÉREZ DE MONTALVAN next dismissed, and Aurora then causes Segismundo to hand over his sword and be imprisoned. peculiar circumstances attending the birth of the two brothers made it impossible to determine which was the eider, consequentl_y the same name was given to both. When they reached matunty, the senate decreed that our Segismundo should become King, ·whereat his brother not only usurped the throne but won over his fiancée. To save lus life, the rightful ruler wa~ compelled to flee to the mountains. Aurora now discloses bow, that night, she impersonated Clav~la: and informs Segismundo that his opponent was Ricardo. Gi~mg the former her hand, the Princess confesses her love, wh1le Clavela finds a husband in Ricardo. AcT III. Notwithstanding the resentment that, through bis deceitful declarations, Segismundo aroused in Aurora during their interview in the garden, her love at last triumphs and conducts her to bis dungeon. After informing him that he is released, and m~st leave the castle immediately under pain of death, she presents h1m with a horse and two thousand crowns. Concluding, she declares that the falsity of his previous assertions regarding his nobility bas been proved by tbose statements he made in the garden. In the name of a lover and a King, Segismundo now thanks Aurora for her kindness, and passionately maintains tbat bis love for her is sincere, and that he really is of royal blood. Disconcerted that Aurora should have learned wbat be told the supposed Clavela, be is about to offer an explanation wben she abruptly retires, leaving him to imagine that for vanity's sake Clavela has betrayed what she bas heard. The Kin<T now visits the castle, and informs his daughter tbat t:, she is betrothed to Segismundo, King of Greece, wbo has corne in persan to ask her hand. Aurora is overjoyed, but ber bappiness turns to consternation when she beholds, about to embrace ber, one whom she bas never seen. Heedless of the stranger's protestations that he is ber fiancé, she shrinks from him, and' cannot understand why he should have the same name as ber lover. At tbis moment, the other Segismundo appears and declares that he is the rightful King, while his brother, here present, is but the Prince. The latter denounces the new-comer as an impostor, and great confusion ensues. Finally, Aurora's father grants o~r Segismundo permission to speak, and he relates that, accordmg to a custom long prevalent in Greece, the prospective heir to the throne always bore the name Segismundo. In the present case, Los Amantes de Teruel. (The Lovers of Teruel) . AcT I. Don n·1ego an d Dona - Isabel, of Teruel, have for some time loved one another. Don Fernando is also enamored of Isabel and her cousin, Elena, of Diego. That Diego may be left free fo; her, Elena _determines to encourage Fernando in his passion for ls~bel, hopmg that eventually she wil! transfer ber affection fro111 Diego to hi 111. To induce Fernando to believe that Isabel really regards . him with favor, the schemer sends him in the latter's name billets-doux and love tokens, thereby furtherino her stratagem. i, . Spurred on by Elena, Fernando is most hopeful, and one m?ht causes music to play beneath bis adored one's window. Diego and Elena bappen to be with Isabel, and be assumes that the serenade is given by some rival of his. In spite of the fact th at. t~e ?allant cries « Isabel », the latter assures Diego that the music 1s mtended for Elena, and to convince him of this gives orders that the unknown be admitted. Fernando now appears, and REV{JE HISPANJQ CE. B �66 GEORGE WILLIAM BACON upon being rebuked by Isabel for his effrontery, replies that the favors he has received from her have led him to assume that such an attention would be welcome. Promising to visit her again the next day, he then takes his departure. Diego fl.ies into a passion, and after bitterly upbraiding Isabel is about to rush off, when she locks the door and begs to be heard. After declaring that she has always been faithful to him and bas never writteo or spok.en to ber visitor, she adds that if he is still unconvinced, let him refer the matter to her father, Don Pedro. She then bursts into tears, and Diego, full of compassion, states that he will adopt her suggestion . Elena realizes that the su.:cess of ber intrigue depends upon her seeing Pedro before Diego eau do so. Accordingly, she loses no time in seeking an interview with him, and asserts that Fernando is paying court to Isabel, and that this may excite Diego's jealousy. To avoid a possible quarre! between the rivais, he sbould compel Isabel to marry one of them immediately. Pe~ro thanks Elena for her interest, and says that without coosulung Isabel he will choose Fernando, since he is rich and Diego poor. On tbis, Elena retires. . . Fernando oow enters, and briefly acquaints Pedro w1th lus love for Isabel and desire to marry her. Hardly has he concluded when Diego appears, bent on the same mission. At areat lenath and with much rhetoric, the new-comer pleads his 0 kl . 0 cause and tluowing himself at Pedro's feet, threatens to ta e 11s own life if bis demand is rejected. Pedro answers that he will reserve bis decisioo, for . at· prese,nt Diego is not sufficiently wealthy to be considered; whereupon the latter requests th~t be be granted three years in which to make his fortune. To th1s Pedro agrees, and extends the tim.e to three years and three ~a_ys. Diego then declares that it is his intention to join the expedmon of King Carlos, who is about to leave in search of Soliman. JUAN PÉREZ DE MONTALVAN AcT II. Although the three years and three days granted to Diego have almost elapsed, yet h'e bas not met with longed-for good fortune. ':'7hile in a raging storm the army is disembarking on the A~ncan coast, the skiff conveying King Carlos from his ship to the shore is upset. As soon as Dieao sees the accident he plunges into the surf· and rescues the°King, but wins n~ reward beyond_ tb_anks and the promise of being kept in mind in the future . Tlns 1s a great disappointment to the soldier for be had _expected to receive a more substantial tribute of th~ King's gratitude. For two years Diego bas had no reply to the many letters he ?as sent_ Isabel through Elena, whicb has caused him ever increasi~g anx1ety. Isa~el, on her part, is worried that during the same tJme she _bas rece1ved no word from Diego. That such should be the case 1s due solely to Elena, who by intercepting the lover's le~ters hopes to lead Isabel to belie\·e that Diego is dead; and Diego, tbat Isabel bas marriedFernando. Notwithstanding Elena's ruse, however, Isabel feels certain that ber fiancé will return before the expiration of the given time, and ber steadfastness at last 1;1akes the schemer desperate. She determines to crush Isabel s hopes once ~or ail, and with this aim causes to appcar before the latter a fnend of Fernando, in the disguise of a soldier. ~ben the stranger asserts tbat he bears a letter for the father of Diego, and asks wbere be can find him, Isabel naturally inquires after l_ier lover, and is told that he is dead. On hearing this she falls Ill a _swoon, and Elena is delighted at the outcome of her stratagem. Meantime, Diego leads an attack on the city of Tunis but as be~ore, his bravery passes unrecognized, and overcome' with despair he commands his servant to kill him. The domestic of �68 GEORGE WILLIAM BACON course refuses to obey, and while the pair are wrangling and disputing, King Carlos approaches, and asks what the trouble is. Hereupon, Diego relates the story of his life, and declares that bis sole object in joining the expedition was to make himself sufficiently rich to gain the hand of Isabel. Since in this he bas failed, and the time allotted him bas almost expired, he no longer wishes to live. In conclusion, he implores Carlos for aid; to :which the latter replies that his complaint is just, and bestows upon him the captaincy of his company, four thousand ducats from the Kings share of the booty, and an annual income of three tbousand from the revenues of Teruel. Further, he gives him permission to depart for home at once. AcT III. The time li mit set for Diego's return has now passed, and. Pedro and Elena are anxious to have the marriage between Fernando and Isabel consummated. Although the latter is heartbroken and full of misgivings, she finally yields to the threats and coaxing of her father, and aftcr she has reluctantly consented to become Fernando's wife, the ceremony at once takes place. Meanwhile, Diego has landed on the Spanish coast, and is journeying with al! possible speed toward Teruel. He reaches there just as the town dock is striking ren, two hours after the expiration of the time allotted. Filled with apprehension, he hastens in the direction of Isabel's home, and endeavors to persuade himself that be may not yet be too late. When near the house he meets bis loved one's servant, and from the volley of exhortations to the saints with which she greets him, and her extreme agitation, he fears that the worst has happened. After expressing her surprise at the return of one supposed to be dead, she reveals to Diego the sad truth regarding ber mistress. He is deeply moved, and on declaring that he must see her, the faithful servant bastens to forewarn Isabel, fearing that if JUAN PEREZ DE MONTALVAN Diego present himself unannounced the shock may kill her. When Diego enters Isabel's apartment, an affecting scene takes place, and, at last, in his despair the wretched lover wildly proposes a dozen ways to nullify what bas been clone. Overcome with grief, Isabel replies that there is no remedy, and fearful of the result should Fernando appear, begs him to depart. This he refuses to do, whereat the realization that his life depends on bis immediate compliance, leads ber to assert that she detests him. To her horror Diego falls lifeless to the floor, as Fernando enters. Suspecting infidelity~ the infuriated husband is about to draw his dagger, when Isabel informs him that hü; intended victim is already dead. Fernando then demands an account of what has taken place, and after Isabel has given it, she expresses the wish that she might join her lover. In a passion Fernando retires, and Isabel, grasping the band of her departed fiancé and s~vearing that she will be his bride in death, falls senseless upon lus body. Whèn Fernando returns soon after and finds Isabel still wit~ the dead, furious he threatens to take her life and 1s shocked on discovering that she, too, is a corpse. ' Amor, Lealtad y A:nistad. (.Love, Loyalty, and Friendship). ACT L . Lisardo, a member of the Court of Scotland, having for some tlme observed 'the dejection of his friend Iacinto, asks him the cause of it. lacinto replies that three years previous he came to Scotland as ambassador to the French King, Felipe, whose daughter Clorinarda at that time becarne the wife of the Scottish King, Filiberto. Sorne rime before leaving France, and while still quite young, be had fallen in love with Laura, one of the Queen's �GEORGE WILLIAM BACON attendants, and was about to ask permission of the King to marry ber, wben Lisardo arrived at the Court from Scotland. The abject of his visit was to arrange terms of peace between the two countries, and to betroth his King to the Princess Clorinarda. His mission was successful, and Clorinarda soon departed for Scotland, accompanied by Laura and lacinto. Arrived there., the lovers continued their attachment., and often congratulated tbemselves that a kind fate had permirted them to remain together. After a time, hO\vever, Iacinto realized that Laura's affection was being transformed into indifference, and soon this feeling passed into disdain and then into abhorrence. He felt certain tbat some rival had taken possession of ber heart, but thus far he has not been able to discover his identity. When Jacinto has fi.nished his naITative, he b gs Lisardo to use bis influence with Laura. in an endeavor to persuade her to restore him to her good graces. Such an appeal greatly perturbs Lisardo, for it is he himself who has unknowingly won Laura's love from Iacinto. He sees that his obligations as a lover and as a friend are at variance., but finally selves the dilemma by determining to be true to Jacinto and promising to comply with h.is request. Shortly after this, the King confesses to Lisardo that be bas long been madly enamored of Laura, and after pledging him to secrecy asks his assistance. He unfolds a plan, in acccordance with which Lisardo is to embrace every opportunity of speaking to Laura on the royal behalf; and whenever his Majesty holds an assignation with her by night, he is to impersonate Llsardo. The latter is now in a more embarrassing position than before, since he is between three fires, but as the King's desire must be gratified, be answers that he will do whatever he can . Lisardo, mindful of bis promise to the King, informs Laura that he - Lisardo - will visit ber at midnight, but so nervous and ill at ease does he appear that L1ura observes it, and asks what the matter is. Lisardo excuses his confusion by replying JUAN PEREZ DE MONTALVAN 71 that the King is at prescnt a hidden listener, - which is really the case - , and this so dismays Laura that sbe hurries away. In her embarrassment, however, she makes a misstep and is about to fall, when Iacinto catches ber in his arms. So utterly disconcerted is she that inadvertently she exclaims: "I am yours "; whereupon Jacinto, delighted, resolves ro seek an interview with her. Acr II. It is nearly midnight, and Laura is momentarily expecting Lisardo. The Queen, who for some ùme bas entertained suspicions regarding ber husband's fidelity, is so restless that she cannot sleep, and rising joins Laura and tells her of ber fears. The latter - quite unaware that she is the indirect cause of the Queen's anxiety ~ endeavors to reassure her, and declares that the King's affection is too strong for him to be untrue. The Queen then withdra,vs. Two courtiers, Iulio and Alexandre, have long been jealous of Lisardo's attentions to Laura, and decide to kill him wbile be is visiting her by night. Choosing the present one for their dastardly crime, they approach Laura's balcony., and Lie in wait for their victim. Ginés, the latttet's servant, who is searching for bis master, espies Iulio, and assuming him to be Lisardo hands him a letter from Laura, and declares that she is infatuated with bim, and will meet bim at midnight. Iulio replies tbat he will keep bis engagement, and is more tban ever determined to put ao end to his rival. At this moment Jacinto, hoping to catch a glimpse of Laura, draws near the balcony, and when she hears his footstep , she supposes him to be Lisardo. CalLing to bim to stand below, she addresses bim .i n most endearing· tenns, and as she does not discover her mistake, lacinto resoJves not to make known his identity. The King, who disguised as Lisardo has corne to call upon Laura in accordance with his plan, conjectures that the barely dis- �72 GEORGE WILLIAM BACON cernible figure of lacinto is that of Lisardo, and is convinced that his surmise is correct on hearing Laura address him by that name. He decides not to reveal his presence, however, and at this juncture Lisardo hirnself appears, accompanied by Ginés. As soon as the latter sees tbe muffied figure oflacinto he recognizes hirn, and informs bis master of bis almost certain suspicions. But Lisardo imagines Iacinto to be the King,_and while be and Ginés are discussing the mattet Laura takes leave of the mysterious one, bidding him rejoin her in the garden the next morning. Lisardo beccimes forions at this, and retires in high dudgeon. Laura closes the window, _and lacimo is about to withdraw, when Iulio and Alexandra corne forth from their ambush. When the King espîes the pair, he st1pposes that Lisardo and Ginés have returned, and Iacinto, who in concealment is now awaîting the chance to take vengance upon the former, entertains the same opinion. On seeing the King the bravoes naturally assume him to be Lisardo, their bated rival, and drawing their swords they attack bim. His Majtsty valiantly defends himself, and cries : "Treason ", identifying the assailants as traitors, who bave seized upon such a favorable opportunity to assassinate bim. Jacinto rushes forth from bis hiding-place, and endeavors to kil! the pair, or at least to capture tbem. ln both he is unsuccessful, however, and they make good their escape. When the King asks bis rescuer whether he recognized the would-be murderers, jealousy impels him to reply that be is certain tbey were _Lis~rdo and Ginés ; and be adds that as the former is aware be ·has a royal rival, he would naturally harbor enmity towards him. The King, much surprised that Jacinto knows of bis ruler's infatuation for Laura, inquires how he heard of it, and is told: " Through Lisardo ". He then thanks Iacinto for bis loyal defense, and they take their departure. Lisardo, who is searching for the King, now appears, and the Queen having corne out upon the balcony espies him, and asks _w bether he 1s her loved one. Mistaking the Queen for JUAN PEREZ DE MONTALVAN 73 Laura, and faitbful to the pledge be gave the King, Lisatdo reveals bis identity, and- after urging the supposed Laura to grant ber heart to the King, states that since she has a royal lover he himself must abandon her. AcT III. Now that the Queen is apprised that ail her anxiety regarding her husband bas been occasioned by Laura, she berates the latter soundly and threaten·s to ex·pose her. After Laura has denied the truth of the Queen's accusations, and has declared that she still loves Lisardo, she reveals how the latter bas been forced by the King to act as his agent in his amour with her. At this disclosure the Queen is greatly surprised, and she apologizes for having made sucb unjust allegations. Hardly has ber Majesty witbdrawn wben Jacinto appears, and afrer telling Laura how she mistook him for Lisardo the previous night, be reproaches ber bitterly for her infidelity. She i_s unmoved, however, and on her coolly informing him that she loves Lisardo and has never cared one whit for him, he retires in a furious passion . Lisardo relates, at great length, to Laura the story of his life, anq dedares that bis existence is now made wretched tbrough the constant importunities of the King and Jacinto for assistance in . their respective love intrigues. And worst of all , Jacinto' coniecturing that his - Lisardo's - attentions are actuated solely by a desire to win Laura for bimself, has believed him false and called him a traitor. Laura listens in rather a disinterested way, and when Lisardo bas concluded, she informs him that it was the Queen, and not she, to whom he confided bis wo<>s the oight before, and declares that he need barbor no jealousy toward either of her other suitors, for she loves him alone . lacjnto, who is playing the eavesdropper in order to ascertain whether Lisardo has ·been soliciting Laura, is delighted to find . �74 GEORGE WILLIAM BACON his suspicions unfounded, and repents of baving so unjustly accused bis friend. The King learns from the Constable t~at his wou~d-be assassins have been arrested, and are not L1sardo and Gmés, as Iacinto had asserted, but Iulio and Alexandra. Furtber, that they made a complete confession of their. plan_ to m~rder their rival, Lisardo, and had attacked the King m m1stake for him. That bis wife may have no further occasion to foster jealousy toward him, the King determines to force Laura to marry immediately. Accordingly be summons ber before bim, and on bis abruptly acquainting ber with his intention, she becomes greatly disconcerted. Fearfully she asks who her ch?sen busband is, whereupon the King, wishing to discover wh1ch of ber two sui tors she loves, replies : " Iacinto ". " Death rather than marry th~ latter", affirms Laura; on whi~h the Kin~ declares that knowing ber love for Lisardo he w1ll choose h1m as her husband. He adds that it grieves him that Lisardo should have been so unfaitbful as to betray to the Queen ber husband's infatuation for Laura. Hereupon the Queen, who is present, corrects this erroneous idea by explaining bow Lisardo mistook her_ for Laura, and thereby unwittingly dtsclosed the secret. Iacmto confirms ber statement regarding Lisardo's loyalty, and confesses that jealousy led him to misinform the King as to the identity of the latter's assailaùts. Lisardo now rushes in, and is about to stab himself when the dagger is struck from bis band by Ginés. Th: desperate man exclaims that he is wearied of a life so full of mals, and prefers to end it ratber than be a rival of the King. Promising to serve as best man at his wedding, the King then presents him with the band of Laura and the Marquisate of four large cities. Finally, the Constable makes known that Lisardo_is bis son, who was born to him in bis youth by a noble Spamsh lady. When Lisardo hears this he is overjoyed, and declares that after having JUAN PEREZ DE MONTALVAN 75 suffered such worriment and anxiety, he now regards his bappiness as complete. La Centinela .del Honor. (The Sentine! of Honor). AcT I. Fèaring lest Enrique, their King, may ~die without leaving a successor, al! the Irish are demanding tbat he marry, and yet, strange as it may se;::m, he flatly refuses to do so. The real reason for this lies not in the fact that be is opposed to marrying, but that for some rime be bas been secretly enamored of one Teosinda, and wishes to make ber bis Queen. He is quite unaware, however, that Teosinda is the wife of Marco Antonio wbo married her in secret; and he is equally ignorant of the 'unenviable position in which he placed his courtier, when he requested him to be his intermediary. Through him bis Majesty bas learned tbat Teosinda does not wish to marry, whereupon the ruler suspects his go-between of being in love with ber, and of falsifying ber messages. With the abject, rhen, of ascertaining if such is not the case, Enrique enlists the aid of the Marquis, and asks him to deliver to Teosinda a gift and a letter. If ber reply shows that she really loves the King, the treachery of Marco Antonio will be proved, and be will be put to deatb. Since the Marquis, too, is enamored of Teosinda, the discovery that he bas a rival in the King fills him with dismay, but bis only course is to comply with the royal will. When the Marquis reaches Teosinda's, be is confronted by ber cousin, Leonisa, wbo lives witb ber, and wbo was once the abject of bis affections. Of course be is no little confused , and upon Leonisa inquiring what the rnatter is, be replies that be is suffering cruel torments, the nature of wbich be <lare not �GEORGE WILLIAM BACON explain. A little coaxiog, however, induces him to think better of bis resolve, and when he has finisbed the story of bis sorrow, Leonisa offers to aid him in his suit witb her cc,usin. The Marquis is overjoyed, and after Leonisa has confessed her love for the King, he promises to requite ber kindness in any way that may be in his power. Wishing to Jose no time in furthering ber designs upon Enrique, Leonisa asks the Marquis to give her the letter intended for Teosinda, and bids him report to the King that Teosinda received it and wishes to speak with him. At the assignation she will impersonate her cousin, and receive wbatever token mav be intended for ber. The Marquis then takes his departure, '1eaving Leonisa well sacisfied with the cleverncss of ber deception, for no one kno"Ws better tban she that Teosinda is already marrid. As soon as ber visitor has withdra,vn, Leonisa breaks open the letter, aùd is busily engaged in perusing it wben Teosinda unexpectedly enters the room.. Realizing the uselessness of attempting to conceal the 1etter, since Teosinda must have already espied it, Leonisa pretends that it is for ber, whom the King now regards as bis inamorata. Teosinda can scarce believe this good news, and when, at ber request, Leonisa bands her the epistle, she reads it with the greatest delight. Never Joes she suspect the deception, for ber oame does not appear in the letter, having been placed only upon the envelope. At this juncture Marco Antonio appears, and his ,vife hastens to tell him of the change in the King, and shows him the letter. But he is not so easily tricked by Leonisa's stratagem, for he declares that be knows that the King still loves Teosinda, since he has just asked bim to deliver a gift to ber. Stroogly suspecting that his wife is in love with Enrique, his jealousy is all aroused, and uoder the pretext that he wishes to aoswer the letter he obtains possession of it. He then asks to be left alone, a_n d when he has finished reading the communication, he feels confident that his suspicions are well founded. JUAN PÉREZ DE MONTALVA 77 Meantime, the Marquis has reached the palace, and at the King's request to tell of his meeting witb Teosinda, gives a wholl_y false account of ~·b~t has transpired. The King is delighted wnh a report of h1s inanwrata so radically different from tbose furnished by Marco Antonio, and declares that since the latter's treachery is proved, the Marquis will henceforth be bis c~nfidant. Upon the appearance of Marco Antonio, the King asks ~un w!1at success he had with Teosinda, to which he replies: She 1s of marble; tbere never was a disposition more i□ trac­ table ". , Wl_1en his Majestt ~serts _that such is not the case and abrupt!) reures, the courtier 1s funous, and determines to take instant veng~nce upon his supposedly unfaithful wife. Hurrying home, he seiz~s a sword and buckler, and is about to leave the house when, 10 the darkness, he is imercepted by his father, the Duke. The ~atter, who knows nothing of his marriage, is surprised to ~ee hm, thus accoutered, and demands to know the reason for it. At first Marco Antonio shows no disposition to comply with the request, but finally bis father induces him to make a complet,e conf.ession. Wh ile the Duke by no means approves of his sons _actions, he pardons him, and impresses upon him the nece~sny of ever suspecting Teosinda, since ail women are decenful. As_ soon as the youthful husband has Jeparted, the Duke determ10es to folJow, and assist hirn in any way that he 111ay be able. ACT II. . Scarcely has Marco Antonio arrived before the house of Teosinda, when the King, accompanied by the Marquis and Coum also appears. ot long after, the Duke stea1thi1y approache; throu~h the darkness, and espying the otbers, resolves to conc:al himself and a,;vait developments. Almost immediately Leonisa cornes out upon the balcony, and a moment 1ater borh Marco Antonio and the Duke - each quite unaware of the �GEORGE WILLIAM BACON other's presence - identify one of the trio below as the King. Impersona6ng Teosinda, Leonisa expresses regret at having so long refused to grant Enrique ber love, and confesses her desire to marry him. Dclighted, the King promises to become her husband, wbile Marco Antonio, equally deceived with him, is wild wirh rage, and more eager than ever to put bis wife to deatb. The Duke, however, mistrusts the apparent iden6ty of the person on the balcony, for believing that his son is in the house, he naturally cannot u11derstand how Teosinda should be speaking to the King. As soon as Enrique and his companions have departed, he determines to learn the identity ot the figure remainîng, and accordingly asks Marco Antonio who he is. The latter replies : " A gentleman; and I must be left alone here. " One word leading to another, very soon swoLds are drawn, but, fortunately, after a few parrîes the two recognize each other, and the son then tells of his intention to kill Teosinda. The Duke regards such an extreme action as unwarranted by the present evidence, and expresses his belief tbat it was certainly not Teosinda who appcared upon the balcon y. Furtber discussion of the matter is made impossible by the appearance of the Marquis and the Count, and fatber and son retire to a spot \vbere they can play eavesdropper without the likelihood of detection. Teosinda is the subject of the newcomers's conversation, and the pair in hiding soon hear the Marquis affirm that she will be l1is, even though the King is enamored of her. Marco Antonio can no longer restrain bis anger, and rushing forth he brands the two courtiers as traitors, and orders them to leave at once. This they refuse to do, whereupon the Duke and he attack tbem, and force them to flee, the Cou nt being pricked in the band. Though they are by no means sure of the identity of their aggres ors, the Marquis suspects one to have been Marco Antonio, and convinces the Count of the necessity of their seeing the King before be can do so. To shield tbemselves, they will relate that as they were passing Teosinda's bouse JUAN PÉREZ DE MONTALVAN 79 on their way home from the palace, tbey saw two masked men standing by the door. They asked them their names, and because they received no reply, they courageously attacked them. In defending hirnself, one of the strangers let fall the hood from about his head, and his identity was revealed - be was Marco Antonio. • When the schemers rehearse this fictitious story to the King, be praises their loyalty, and nmv convinced that Marco Antonio is his rival for the band of Teosinda, he declares that he must die. On the morrow he will give a hunring party, at which he will ask the traitor to be present, and the Marquis and Count are to decoy him into a lonely spot and murder him. Although deüghted with this plan, for the sake of appearances the pair at first venture a feeble remonstrance, whereupon Enrique swears that if they are cowards he will do the deed himself. They then express their perfect willingness co comply with the royal desire, and scarcely have they clone so when theîr imended victim enters. Bidding the others withdraw , the Kinogives the 0 ' supposed traitor a most cordial welcome, and asserts that since Teosinda has now granted him - the King - her love, be proposes to enjoy her that night. As Marco Antonio has always been most faithful, be will accompany him, and on the day following will also join him in a hunting expedi6on. The wretched husband is of course horrorstruck, and alù1ough he is constrained to acquiesce he shows such marked ao-itation that the 0 ' King considers it a mute confession of his treachery. His interview with Enrique proves to Marco Antonio the ~tter absurdity of his having followed the Duke's counsel regardmg Teosinda. He is angered with himself that he did not kill her when he intended, for how can there be the slightest doubt of ber guilt. Had he only followed his own wishes, instead of his father's, he would not now have to witness bis own dishonor. Filled with such bitter reflections, he meets the Duke, and, eager to vent lùs feelings, upbraids him for having given such advice. �80 GEORGE WILLIAM llACON JUAN PÉREZ DE MONTALVAN But the Duke does not lose his temper, and after having heard the story of bis son's distress, consoles hi[I), and assures him that he himself will defend the house of Teosinda against the King. the house. Enrique accosts him, and when, a little later, the Marquis an<l the Count return, they find the pair busily enaaged in conversation. Unluckily for Mulete, the Marquis reco;nizes him and reveals his identity to the King, who orders him put in irons, that the following day they may subject him to a searching cross examination. Immediately following the withdrawal of the royal party Marco Antonio appears, and, soon after, the Duke. So unceremoniously was Mulete hustled away, that he had no chance to close the street · door, which he had left open with the intention of soon reëntering. The moment the Duke and his son see the open door, they rashly conclude that the late encounter betv,:een the former and the Marquis and Count, was but a ruse of the King ~o lure the Duke from his post. With the door unguarded, the Kmg \\'Ould be free to pass in, and they consider it very probable that be has ùone so. Filled with anxiety, the Duke declares that he will enter and ascertain whether their suspicions are correct, while Marco Antonio will stand guard, in case the Marquis and Count shouJd return. ACT III. In accordance with his promise, the Duke takes up his stand before the dwelling of Teosinda, and very soon the King arrives, accompanied by the Marquis, the Count, and Marco Antonio. When Enrique approaches the door sufficiently to espy the muffied figure of a man standing beside ir, be bids Marco Antonio go learn bis identity. The courtier obeys, but before be can draw near the Duke, the latter demands bis name. Agreeably to a preconcerted arrangement, by which be is to answer any challenge of his fatber by the word" Honor ", Marco Antonio gives this pass word, and the Duke asks him to approach. He replies that he fears to do so on accounr of the proximity of the King, and, for the same reason, deeming fuhher conversation unwise, returns at once to tbose awaiting him. They are surprised to be told that the stranger is undoubtedly an insane soldier, who demanded Marco Antonio's name exactly as if be were on guard duty. Who the madman is could not be learned. The King then requests the Marquis to go fon-..-ard, but he meets with no better success, and the like is true of the Count. Irritated, Enrique swears that he himself will either gain the desired information or take the ·m adman's life. But notwithstanding that the monarch makes known bis identity, he fares little better tan the others, for the unknown gives his name simply as " The Sentine! of Honor ". Enrique is furious, and bidding bis companions kill the traitor, a desperate conflict ensues, in whicb the Duke, all the wbile retreating, keeps bis adversaries at bay. Very soon the combattants are lost to view in the darkness of the night, and while the King is reflecting upon the stranger's bravery, Mulete, the servant of Marco Antonio, comes forch from 8r For some rime Teosinda has feared that sbould the King discover ~1arco Antonio's love for ber, his life would be endangered, and th1s drea<lful thought continually harasses the unhappy woman. On the night in question she has a drearn in which Enr~que kills he_r husband and she falls dcaù from gri:f. Awaking ternfied by th1s awful vision, Teosinda calls for Leonisa and i~st as the latter responds the Duke enters the apartment. 1Teosmda asks her cousin for a light, and while it is being brought the Duke secretes himself behind a door determined to Jisten to their conversation. Upon Leonisa's retur~, Teosinda relates her dream, and in spite of her cousin's consolation bursts into tears .. Wha~ever suspicions the Duke may have entertained r~gardtng l11S daughter-in-law's fidelity are now beginning to be dtspelle<l, and be decides to make his presence known and assure her that her dream is unrrue. But the moment Teosinda REVCE HISPANIQCE. B 6 �82 GEORGE WILLIAM BACON beholds him she imagines that be has corne to teU her of Marco Antonio's deatb, and declaring that she alone is to blame, bids him kill her out of revenge. The Duke replies that his son is still alive, but in grave danger from the King, and then expresses bis distrust of the hunting party to which Marco Antonio has been invited. Teosinda begs him accompany her husband on the morrow and protect him, and having promised to do so, the Duke takes bis leave. The moment they are aloue, Teosinda informs Leonisa that she proposes ta aid the Duke in saving her husband's life, and asks her to go with her. Leonisa is delighted, and gladly accepts the invitation, for in this way she hopes to have an opportunity of speaking with the King. The following day, true to his word, the Duke dogs the hunters as closely as be <lares, and as last overhears the Count and Marquis endeavoring to extort a confession from Mulete. Angered on learning nothing of his master's movements the preceding night, the imagine that be is feigning ignorance, and tic him to a tree, with the declaration that they will stab him to death. As soon as the two have departed, the Duke leaves his hiding-place, releases the unfortunate lackey, and engages him in conversation. Imagine their horror, when, shortly after, covered with blood and crying " Treason ", Marco Antonio dashes towards them and falls at their feet. A hurried examination shows a severe, but not fatal wound in the head, and, immediately after, the Duke announces bis determination to seek out and punish the assassins. This declaration seems ta infuse fresh vigor into Marco Antonio, and he is about to follow the retreating figure of the Duke, when the King suddenly appears. Disappointed ta find the abject of his hatred still alive, Enrique, to tonnent hirn, daims that he has enjoyed Teosinda, and then leaves him. Wild with rage, Marco Antonio bursts forth into an impassioned tirade, which is interrupted by the approach of his wife. Turning upon her, he charges ber witb infideliry, and notwithstanding ber denials, swears that she will pay the penalty by death. Teosioda JUAN PEREZ DE MONTALVAN assure5 him that it .,vill be . a pleasure to die at h"1s h an ds, w 11ereMa A upoo rco ntomo seemg the King and Leoni· . h d' b"d I fi Il · sa m t e 1stance 1 s ier o ow h1m, and withdraws. ' u~ea~ti~e, the Duke,_ assisted by Mulete, has captured the Marq· s tankill ount, and bnnging them before the Kin g, as k. s perm1s. h s1on o t e~. Before Enrique bas a chance to reply, ail are start~!~fte;eosmda and her_ husband standing on a cliff above them. g no,~n to the King his resolve regarding Teosinda Marco Amomo assures him of the utter futility of his , threats to rescue her and kill h. . b r present them h . im, smce e1ore he can reach s e w1ll be dead. In response to his Mai· esty's . . what provoke h. mqu1ry as to for T . d s l i~ to such cruelty, the courtier tells of his love fulne~os1~ aÎ t 1e1_r secret marriage, and her subsequent unfaith. xp ,ananons by the King and Leonisa now follow a~d t~e latter s ardent desire is gratified when E . h ' h1s w 1fe To th C nnque names er while Ae o~nt and Marquis the Duke grants a pardon Kin bar~o ntomo and his wife descend to kiss the fret of ~ g w o ias been the sole cause of their unhappiness. M Como Padre y como Rey. (Like Father and like King). AcT I. Conrad, an old man who has b f; Minister, informs Carlos ' h . een or many years Prime - that on a f w o 1s generally accepted as bis son asked the Ki~gcotunbt o lladvance<l age and failing health, be bas 0 e a owed to res · · l· , great <lelight th K ign 10 us sons favor. To bis I gence is m;st e tnlg Jas acceded to the request. This intelliunwe corne ta Carlos fi l1 1· ~uties of his office will l . ' . or e rea 1zes that the of his supposed sister V;~r:!~/ef;1ve ,l11m of the companionship enced the warmest affect' w'.1S h~mawho~ he has long experi. 1011. therefore t d h appomtment without . . C o•. ' o ec me t e g1vmg onrad h1s real reason for so doing, r �JUAN PEREZ DE MONTALVAN GEORGE WILLIAM BACON he offers several very plausible excuses as to why he should not accept it. Conrad replies that although his objections are, in themselves, just, yet be cannot refuse to serve, especially after the request made to the King has been granted. Carlos is greatly disappointed at Conrad's ans,ver, and resolves ,to have an interview with the ruler, whom he never for a moment suspects to be his own father. That Carlos is a natural child the King does not wish revealed till bis own death, for havin(,T a leoitimate son who is heir to Sicily, he does not yet b b know what he will be able to bequeath to Catlos. Conrad, who has reared the latter from infancy, alone shares the secret. \Vhen Carlos cornes before the King, he states, at some le.ngth, that he is wholly unfitted for the responsible position for which he bas been chosen, and condudes by giving thanks for the honor that has been conferred upon him. The King, however, declares that be is well equipped to fill the office creditably, and after giving him some sound advice as -tO how he should proceed, dismisses him. Violante, who for some time has been the impassive recipient of t.b.e most persistent attentions frpm . the Prince, now receives a call from him. Annoyed by his importunities, she treats him with indifference and begs him withdraw, for in the absence of her father - Conrad - and brother her reputation is endangered. He refuses to comply with her request, and while they are disputing Carlos appears. The Prince shields himself by asserting that be is waiting to confer with Conrad on a matter of business, and then states the nature of it - supposititious, of · course - to Carlos. After the latter has assured him that bis message will be delivered to Conrad, and an answer sent him at the palace that same day, the Prince takes bis departure, greatly piqued by Violante's reception. As soon as he is out of hearing, Violante declares to Carlos. that although, of course, she can never become his wife, yet she will always remain faithful to him and wiU never marry the Prince. ACT II. T hat he m~y be able to judge of bis son's ability in his new office, the King secretes himself in the hall where Carlos is giv'.n_g an audience and receiving various petitions. After the peut10ners have been heard, and all present have retired, a servant bands the young man a note from Violante. As be is about ~o read it, the King makes kno,vn bis presence, and Carlos bast1ly,_ ~nd without being observed, slips the letter into a roll of pet1t10ns he is carrying. The King tells him that he has a natural son who has been reared incognito, and adds that he wishes to conf~r wi~h Carlos as ~o how best he should inform the people of tl11s, wnhout offending the Prince. He then hands Carlos a paper stating the full details of the case. As the latter stretches forth bis band to receive it, he accidently lets fall the bundle ~f petmons, which the King, desirous of examining, at once picks up. Carlos becomes greatly em barrassed and confused, and makes several excuses, to the end that the King will hand back the package. All in vain, ho,vever, for his Majesty deliberately inspects the papèrs, one by one. At last he falls upon Violante's lett~r, _and to the utter dismay of Carlos reads it aloud from b~gt~ntng to end. Therein, she implores Carlos to be hersj and hmtmg ~hat their fortune looks more propitious, promises to commumcate something of interest when she next sees him. Th~ young Minister is thoroughly frightened, while the King believ~s that Conrad has revf aled the secret to his daughter Viola~te .m the hope that she may become the wife of Carlos. Feignmg to be highly incensed at bis son, the King sternly d~clares that henceforth he shall sleep in the palace where be w11! · state business that be will ' . be kept so engaged with have no urne for amours. a Qui_t: contrary to the King's assumption, it was not through ny disclosure of Conrad, but solely by means of an accident �86 GEORGE WILLIAM BACON that Violante learned of the royal descent of Carlos. While looking through her fatber's desk, she cbanced to find a paper certifying to the former's noble birth, and delighted that ber supposed brother was really not related to her, she immediatèly dispatched to him the letter which eventually fell into the bands of the King. In her joy, she also imparts the glad news to her cousin Elvira. The latter, quite unknown to Violante, is also in love with Carlos, and, mad with jealousy, resolves to avenge herself upon him by rehearsing to Conrad, at the first opportunity, what Violante bas told ber. Conrad bas been severely reprimanded by the King for betraying such a confidence; and when, through Elvira, he finds that it was Violante herself who Las placed him in this false light with his Majesty, he tells Elvira he will punish Violante, and at the same time repair the mischief that she has done. He then discloses the stratagem by which he hopes to attain bis object. In accordance with this stratagem, Conrad informs Carlos that the person named in the paper found by Violante is not be, but the King's son - deceased for some years - , and that Carlos is bis own son. The two lovers are dismayed at this, but a servant who overheard the conversation between Conrad and Elvira, assures them that they have no cause for anxiety, and then repeats what Conrad told Elvira in regard to bis proposed stratagem. Carlos can scarce believe what he hears to be true, and, in order to confinn it, bids Violante confess to Conrad ber discovery of the paper. She is also to assert that, relying upon its declaration, she has promised Carlos that she will become his wife. In this way, Conrad will be forced to speak the truth about the matter. AcTIII. Agreeably to the King's command, Carlos has changed his place of residence, and at the palace, where he is now living, receives a message from Violante asking him to call upon her JUAN PEREZ DE MONTALVAN that evening. Soon after nightfall he approaches her bouse, and sees two men whom he assumes to be the Prince and a friend. He is furious with jealousy, and only the uncertainty attending their identity deters him from attacking them. The pair, however, is no other than the King and Conrad, the former having corne to ascertain whether Carlos is visiting Violante in disobedience to his orders. That Conrad may entertain no suspicions as to the real abject of his visit, the King accounts for bis presence by a plausible excuse, and, confident that Carlos is not there, decides to return home. When about to take leave of Conrad, he discerns two figures through the darkness, and while be and Conrad retire into the house, the strangers station themselv.es under Violante's balcony. They are the Prince and a companion. The former, who for some time bas been jealous of Carlos, is about td execute a stratagem, with the object of determining whether his rival is in the habit of keeping nocturnal assignations with Violante. In accordance with bis plan, the Prince loudly cries out several times << Carlos», whereupon Violante opens her window. Convinced that Carlos bas been expected, his curiosity is satisfied and be is about to depart, when Conrad, who bas beard him cal!, appears at the door, and mistaking him for Carlos begs him to return at once to the palace lest he be discovered by the King. The Prince then withdraws, and .the King, equally deceived with Conrad, orders the old man to follow him and ascertain whether be returns to the palac.e. Violante now espies the King, and supposing him to be Carlos, asks him to corne to ber room. He does so, and after she bas confessed ber love, his Majesty, greatly to ber embarrassment, reveals bis identity. In ber anxiety to correct the mistake she bas made, Violante stoutly declares that she bas never loved Carlos, and fearful that at any moment he may enter, she implores the King to vithdraw. He complies with her request, and hardly has be left the house when he meets Carlos. Unluckily, the latter again mistakes bis father for the Prince, and after �88 GEORGE WILLIAM BACON JUAN PEREZ DE MONTALVAN telling him tbat he bas learned he - Carlos - is not Violante's brather, declares tl1at be will challenge a11 rivais. Imagine Carlos's dismay wben he finds that he bas been speaking to his father, who after meting out to him a severe, though entirely feigned reprimand, allows bim to depart. Acting upon ber lover's advice, Violante acquaints Conrad with the discovery she made in the latter's desk, and also with her promise to marry Carlos ; and adds that it is now imperative for him to state the truth regarding their relationship. Conrad, however, is determined not to reveal the secret, and, to her surprise and disappointment, replies that he will tell nothing. At this moment the Prince reappears, and angercd both by Violante's coolness and his father's opposition to his suit, - for be is already betrothed to Isabel of France - , he attempts to abduct ber. Hereupon, Carlos, who has been hiding in the bouse since bis last meeting with his father, rushes out and challenges him. The Prince, in a furious passion, is about to draw his sword, when the King enters ; and after the ruler has reprimanded, as his sons, both the combattants for having disobeyed his orders, he bids Carlos offer his hand to Violante, and the Prince prepare for his marriage with Isabel. obstacles cannot turn the Prince from his purpose. On the contrary, they serve 9nly to increase bis detennination. The night following that on ,vhich Ladislao was attacked, finds him again at his usual post, and as soon· as Estela espies him she speaks to him, under the supposition that he is Carlos. The Prince is disappointed, however, not to be addressed by the name of his rival, for in this way he has expected to discover h'is identity. Accordingly, after a few moments's conversation, he chides Estela for having forgotten bis name, adding that if she had not, she would surely make use of it. To his chagrin, she replies that he cannot have so soon forgotten the compact they made, whereby, for the sake of security, he was to remain unnamed. Not till after Estela has reassured the Prince of her love, does she begin to doubt that be is Carlos, and in order to confirm or allay ber suspicions she makes use of a ·c!ever stratagem. Lowering a ribbon, she bids him fasten thereto the love-token thrown by her to Carlos the previous day, explaining that ber brother Alexandra, wbo gave it to her, nmv needs it. This request puts the gallant in a most unenviable predicament, for be is quite ignorant of even the nature of the token. Much confused, he assumes the same to be a jewel, and falteringly replies t)1at be bas forgotten to bring it. At this, Estela declares him to be the Prince, and Carlos, whose jea1ousy is excited from baving overheard the conversation, rushes forth from his place of concealment, and furiously attacks him. Two corn panions, Federico and Ricardo, corne to Ladislao's a.id, while Carlos is supported by his servant Viento. So effectively do the aggressors ply their swords, that after a b1:ief resistance the Prince and his friends are forced to fl.ee. Short as was the con:flict, it has been overheard by Alexandra, who, the moment he appears, is also set upon by Carlos. Only his abrupt command to hait saves him from injury, and instantly the young suitor realizes the mistake be has made. Pre- Coma se guarda el Honor. (How Honor is guarded). ACT I. , Ladislao, Prince of Hungary, is madly infatuated with Estela, the inarrwrata of Carlos, and in the hope of gaining her affection often takes up bis stand by night beneath ber balcony. That he receives no encouragement from Estela, that be bas been attacked one night by a persan whom he assumes to be her lover, and that his father is bitterly opposed to bis actions, - ail tbese �90 GEORGE WILLIAM BACON tending, however, that he is unaware to whom he is speaking, Carlos complies with Alexandro's request to relate the causes of the dispute ; and after he has done so in detail, Alexandro reveals his identity and bestows upon him the hand of his sister. Having done this, he narrates at length the history of Estela and himself. Twin-born in a castle close to the sea, about four miles from their present residence, they were mere children when, one day, the castle was suddenly inundated. By means of a boat their father carried them to safety, and he was about to rescue his wife when both were drowned, together with a thousand others. A relative reared the two orphans, for whom, during fifteen years, the one remaining tower of the castle has st.ood as a bitter reminder of their misfortune. When Alexandro has concluded his narrative, he adroits Carlos to the bouse that he may give bis band to Estela, and at the same moment the Prince appears. Throu_gh representing himself to a maid-servant as the lackey of Carlos, he gains an entry - just in time to avoid meeting bis father; the King, with torches. and attendants. Naturally, the appearance of the Prince occasions a war of words, suîficiently audible to attract the King's .attention. As soon as he bas distinguished bis son's voice amidst the uproar, the ruler directs the door to be broken down, whereupon the occupants of the house rush out in the wildest confusion. When quiet is established, the King deprives Ladislao of his sword, and orders bis imprisonment, while Estela, on her knees, tells of his long continued importunities. Furious, the young gallant is Ied away, and the King assures Estela that never again will be have an opportunity to annoy ber. AcT II. A ·confinement of two months bas not tempered Ladislao's intractability, and when his father learns that he has attempted JUAN PEREZ DE MONTALVAN to contrive the murder of Carlos, he visits him in his prison . Sixty years of rule find the King very desirous of abdicating in favor of bis son, but he realizes that this is impossible unless the Prince radically changes bis mode ofliving. Accordingly, at some length, he reproves him for lùs waywardness, bids him deport himselt as befits a future King, and concludes with the request that he marry the Infanta of Polonia. Her ambassador is even now in Hungary, and with him he has already discussed this most important matter. If. he does not obey, he will kill him rather thari let him be bis successor. Scarcely has the King withdrawn, when Ricardo enters and announces that be bas bribed Camila, Estela's servant, to admit the Prince to ber mistress's apartment. Till a late hour each night, Carlos is engaged at chess with his brother-in-law Alexandro, and therefore it will be easy for the Prince to meet Estela. Naturally, Ladislao is overjoyed on hearing such good news, and bestows a chain upon Ricardo as an evidente of bis gratitude. At the hour appointed, Camila fulfills ber promise, and as the Prince is groping about the apartment in the darkness, he overturns a small table. He manages to secrete himself just 111 time to escape being see11 by Estela, wbo enters accompanied by Camila with a light. Immediately, the overturned table strikes her attention, and Camila, in confusion, hastens to assure her that it was she who stumbled against it. The retirement of Camila is followed by the appearance of the Prince, who declares that if Estela call for help, he will assert to her husband, when he answers her cries, that it was she herself who invited her calier. Deeming strategy more prudent than resistance, Estela feigns acquieicence, and the Prince, delighted, removes his sword and buckler, and lays them on a table. The moment be has done so, Estela, to bis consternation, seizes the sword and cries loudly for help. Extinguishing the light, Ladislao makes bis escape, none too soon to avoid �92 I GEORGE WILLIAM BACON · encountering Carlos and Alexandra. To them Estela reveals her suspicion that through bribery the Prince gained access to her apartment ; and acting on this suggestion Carlos, shortly after, draws a dagger on his servant Viento, and bids him confess all he knows about the matter. The terrified lackey at once exposes the treachery of Cami la, and while Carlos pretends to pa_rdon her, he directs Viento later to take her life by hanging. Furious tbat Esrela should have so tricked him, the Prince devises another stratagem. Causïng Federico co inform Carlos that his immediate presence is desired at the palace by the King, Ladislao repairs to the home of the former, and is ab,out to enter when he is confronted by Estela, sword in band and garbed as a man. Knowing that Carlos has already left the house, the Prince is surprised to encounter such opposition, but bis surprise is tr-ansformed into jealousy when the stranger announces that he is the lover of Estela. Meantime, Federico has betrayed to Carlos the Prince's ruse, whereupon the aggrieved husband hurries home, and, hidden near the door, overhears the declarations of the mysterious one. Unaware that througn Viento Estela bas also been apprised of Ladislao's deception, and has adopted her disguise in order to thwart it, Carlos experiences a jealousy equalled only. by that of the Prince. Very soon, the latter fües into a rage and attack~ Estela, who bravely defends herself, at the same time retreatiog into the house. Sirnultaneously the combattants espy Carlos, and the Prince withdraws, while the former resolves to enter his house and put Estela to death. Before he can do so, however, bis wife appears in her usual dress, and to his question regarding the strauger, replies that she will bring him fonh from the bouse. In a few moments she reappears, garbed as before, and Carlos is about to take vengance upon the supposed intruder, when Estela reveals ber identity and tells why sh€ adopted such a disguise. Alter praising her determination and ingenuity, Carlos affirms that if they would escape the further pe'rsecutions of the Prince, t11ey must flee immediately JUAN PEREZ DE MONTALVAN 93 to the solitary tower of the castle that was overwhelmed by the sea. • AcT III. Carlos, Estela, and Alexandra have passed more than ten years undistnrbed in their lonely retreat. Ladislao is now King, but still -unmarried ; and, strange to say, the time tliat has gone by since the sudden disappearance of Estela bas not cooled his passion. Indeed, the lapse of years seems only to increase bis despair, and the consolation offered by bis old companions, Ricardo and Federico, avails hirn but little. One day, when he has been more than usually despondent, and their efforts to cheer bim have been in vain, Ricardo, as a last resort, suggests a hunting party, and to this the King assents. Meanwhile, Carlos's daughter Rosaura has gained the consent of her father to take her to land, for during her ten years of life in the tower, sbe has never seen more than the dreary expanse of water surrounding it. Estela is overcome with grief on parting from her husband and child, and so poignant is her sorrow that it would seem tbat she bas a presentiment of the misfortune destined soon to befall them. When they reacb the shore, Carlos leaves his daughter in order to pursue a deer, which bas already been wounded by the King, and which passes close by them. The child has not been long alont when a huntsman suddeoly appears, and so terrified is she that she attempts to flee. · But run as sbe will, Rosaura is no match for the stranger, and he soon overtakes ber. Struck by her beauty, he is extolling it in extravagant terms, when Carlos, who has espied the couple from a distance, approaches. Wishing to discover the identity of the huntsman without himself being seen, be hides to listen to their conversation. Imagine his horror when he recognizes the stranger as his enemy, Ladislao. The latter as quickly identifies the features of Rosaura with those of Estela, and, overjoyed, asks her the names and whereabouts of �94 GEORGE WILLIAM BACON ber parents. In her innocence the child reveals al!, and if the King is transported with delight, Carlos is overwhelmed witb despair. Having gained the information be desires, Ladislao asks Rosaura to accompany bis, and on her demurring attempts to carry her away, when Carlos rusbes forth froro his hiding-place. Assuming that the latter intends to kil! him, the King brands hirn as a traitar, whereupon Carlos, in tears, throws himself at his feet, declaring that only for the chase bas he brought his musket. Rosaura, surprised to see ber father weep, suggests that they return home, and the King angrily orders them to begone at once. Heart-broken, Carlos leads bis child to the boat, while Ladislao calls for Federico and Ricardo ta go with him to the tower. When Carlos appears before Estela and Alexandro, his look of worriment does not fail to escape tbem, and on their asking the cause of it, he hints at wbat bas occurred, and adds that already their persecutor is on bis way thither. Filled witb despair, the little company closes all the openings in the tower, and then ascends ta the summit to await the arriva! of the King and his men. The latter soon appear, and scaling ladders being placed against the walls, Ladislao commands that Carlos be put to deatb, and his body cast into the sea. Federico and Ricardo have already begun to ascend, and the others of the party are about to follow, when Carlos asks tbat they halt and give him their atteution. At great length, he relates the story of his life, and the many persecutions whicb his wife and he have suffered at the bands of the King, and concludes by declaring tbat they will die together. With these words, be clasps Estela in his armsand leaps into the sea, Ladislao, startled by this unexpected act, excitedly orders a boat to be manned, while Alexandro barely forestalls Rosaura from following the example of ber parents. Those sent ta the rescue are successful, and when Carlos and his wife prostrate themselves before the King, the latter praises her determination, and bids them both rise. As an evidence of bis approval JUAN PÉREZ DE MONTALVAN 95 of Estela's conduct, he then announces tbat Rosaura shall be his Queen, while to Carlos be gives the governorsbip of the country, and to Alexandro six estates . Cumplir con su Obligacion. (To do one's Duty). AcT I, Don Juan, a member of the Court of Clenardo, Duke of Florence, is beloved by Camila, the latter's sister, and he responds to ber affection. He is loved also by Celia, Camila's cousin, of whom Clenardo is enamored. In spite of the love whkb Clenardo shows for Celia, she treats him with the utmost indifference, and repels bis advance. Quite unaware of the attachment existing between Juan and Camila, Celia resolves to ask her aid in winning him, and accordingly, after confessing her love for Juan, requests her to communicate it to him. This of course amuses Camila's jealousy, and so ill at ease does she become, that Ceha, with a bantering air, accuses ber of being in love with Juan. Observing' the reluctance of Cam il a to corn ply with the demand she has just made, Celia adds that if she does not do so, she will herself deliver the message to Juan. At this declaration, Camila decides that it is best for ber to gratify the desire of ber rival, and, therefore, sbe states that she will interview Juan at the earliest possible moment. Clenardo deduces from a remark let fall by Celia, that sbe bas bestowed ber heart on another, and never suspecting him to be Juan, he confides tq the latter tbat he bas a rival, and ai;ks him to ascenain wh_o he is. Jua11, equally unaware that he is the cause of Celia's coolness toward Clenardo, assures him that be will do all in his power to find the offender. Acting upon a hint �GEORGE WILLIAM BACON JUAN PÉREZ DE MONTALVAN previously dropped by Celia, Clenardo then advises Juan tbat the quickest way for him to salve the problem will be to ask Camila whether she can reveal the identity of Celia's new lover. On meeting Camila, Juan is about to follow Clenardo's suggestion, when she interrupts him and - with the abject of learning whether he cares for Celia - inquires if he is in love. He ans,vers affirmatively, but al! her fears vanish when he adds that she herself is his inamorata. Camila feels so reassured, that she resolves to make no allusion to the message which Celia has requested ber to deliver. Juan, mindful of his promise to the Duke, now inquires whether Celia has a lover, and receives the reply that she has, and that he is Clenardo. From this be concludes that the latter's suspicions are groundless ; wlùle Can:)Îla, who very naturally does not desire to reveal Celia's infatuation for Juan, congratuktes herself that she has maintained silence on that subject. At this moment Clenardo appears, and, to their utter dismay, announces that Arnesto, Marquis of Santelmo, who bas been betrothed to Camila, is nearing the city, and that he is going forth to welcome him. the ribbon, and declares that her jealousy is groundless. Camila does not believe hirn, bowever, and when she carries out her threat exhibits the ribbon to Clenardo as evidence of the truth of ber assertions. Camila's disclosure serves to confirm, in the Duke's opinion, the correctness of the statement made to him by Celia, that Camila cculd tell who his rival was. He feels that J~au bas betrayed his confidence, and after first planning to put h1m to death, finally decidcs to banish him the next day. Camila is overcome with remorse at what she has done, and resolves to see he1' lover that night, at ail hazards. When he appears before her, in answer to her summons, she asks him to relate the story of his life, for knowing bim to be a Spaniard, she has often wondered why be has been so long absent from his native country. He tells her tbat his real name is Carlos Enriquez, and tbat his long stay in Italy can be explained by the fact tbat during ail this time be has been searcbing for the traducer of !_lis sis ter Estela. After the crime her deceiver B.ed to Ital y, wh1le she entered a nunnery. Thus far, his search has been fruitless, but he hopes that he may yet have th~ satisfaction of killing the traducer on sight. The two !avers are now startled by tbe unexpected appearance of Arnesto, who has been lurking about in the endeavor to find who his rival is for the band of Camila. He has very correctly concluded that her coolness towards him is to be accounted for through ber already having bestowed her affection on another. Hardly has Amesto entered the room ,vhen Clenardo appears, a~companied by attendants, and challenges him. Asked to explain ~is presence there, Arnesto states that be is looking _for his nval, on whom be desires to take revenge. Clenardo, supposing, of course, tbat Juan bas came to visit Celia, the former's fiancée, then assures Arnesto that he bas no bornund for i· ealousy> and bids 1• 11 m depart. After be has clone so, Clenardo furiously turns upon Juan, and accuses him of being a traitor and a deceiver. Juan is thereby placed in a very perplexing situation, for to deny that AcT II. Arnesto :irrives at tbe palace, and feels confident that Camila's heart will be bis as soon as she beholds the splendid retinue which accompanies him. Quite contrary to his expectations, however, she scarcely deigns to notice him, and their first meeting is abruptly terminated by his leaving ber in great vexation. , Meantime, Celia bas not scrupled to evince her affection for Juan, and, in the very presence of Cami la, gives him a ribbon upou ,vhich his name is embroidered. At this, Canùla flies into a passion, and after furiousl y u pbraiding ~er lover for infidelity, declares that sbe will expose his relation~ with Celia to Clenardo. In the hope of pacifying Camila, Juan then bands her REVCE HISPANIQ UE. B 97 �GEORGE WILLIAM BACON • 1 1 he has corne to press his suit with Celia would be a tacit adn_iission that Camila was the abject of bis love; and the latter bemg betrothed to Arnesto, Clenardo would be angered in either cas:. Therefore, be keeps silent, while Clenardo promises to spare h:s life on condition that he leave Florence the following day. AcT III. In accordance with Clenardo's decree, Juan departs from the city and enters upon his journey ta Spain. He has not gone far, however, when be i~ overtaken by a servant of Arne~to, :"'l~o bands him a letter from his master, and asks him ta dehver 1t m Madrid. Juan promises ta comply with the request, and t~e ''.alet turns back. Observing that the letter bears the address of h1s s1ster Estela Juan becomes suspicious, breaks the seal, and reads Arnes~o's solemn pledges of eternal fidelity to _the un~ortunate girl. Knowing that ber traducer intends marrymg Cam1la, Juan - wholly disregarding the danger ta which bis own life w1ll be exposed - resolves to · return ta Florence and put Arnesto to death. . Meanwhile, Camila is in great distress, for with Celia reconciled ta Clenardo, and Juan banished, she fears that so~n s~e will be forced ta become the bride of Arnesto. So determmed 1s she bowever, that she will never marry him, that she endeavors by ~1 eans of a, stratagem at least to defer the ~arriage. The ruse fails and driven to desperation by Clenardo fixmg the day following 'for the ceremony, she invents another deception. H~r astuteness this time is successful, and Arnesto becornes so d1sgusted with her that he resolves to depart for Spain the next day. There be will "Vt{ed Estela, whom be now deems far superior in all respects to Camila. Juan reaches the palace that night, enters Arnesto's room by means of a master-key, and attacks him. Arnesto - by go_od luck _ bappens to b_e awake, and bravely defends himself w1th JUAN PÉREZ DE MONTALVAN 99 a dagger that be has snatched up. He is wounded, however, in the encounter, and Clenardo having heard the uproar, appears . with attendants and lights. Juan explains to him why he has attacked Arnesto, and when he has concluded, Clenardo - at first disposed ta have the assailant executed - relents and .grants him a pardon. Arnesto then tells of his intention to . marry Estela ; Camila declares, greatly to the astonishment of al!, that she is Juan's fiancée; and Juan confesses that it was she, and not Celia, who was the abject of bis visit on the night he was discovered in ber room by Arnesto and Clenardo. On this, the latter bestows upon Juan the hand of Camila, while he himself is iccepted by Celia. La Desdicha venturosa. (The Lucky Misfortune). ACT I. Carlos Esforcia, Duke of Milan, has been driven from bis throne by his brother Rodulfo, and forced to flee for his life. Accompanied by his servant Beltran, he takes refuge with Fileno, a peasant, in the mountains near Mantua; and, shortly after his arrivai, thanks Fileno for bis hospitality and gives him a diarnond ring worth five hundred crowns. He does not disclose his identity, however, nor does he offer any explanation for having corne there, further than that he is compelled by circumstances to live in secrecy. Enrique, Duke of Ferrara, one of the suitors of Vitoria, Duchess of Mantua, complains to her that she treats him with indifference, and is told that it is useless for him to continue his attentions for she will never regard him favorably. Disheartened, he retires, while Vitoria's cousin Clavela, who has been present at their meeting, expresses het surprise that she should havetreated �100 GEORGE WILLIAM BACON Enrique in such a manner. Vitoria replies that none of her admirers bas courted ber long enough to warrant any encouragement, and, besicles, it is of ber wealth and not of ber that they all are enamored. They know, of course, that she is the sole heiress to the fortune of ber fathèr, the late Duke of Mantua. Shortly before this, the Marquis Otavio, another of Vitoria's suitors, had written ber a declaration of bis love, and almost ,immediately had received a disdainful answer. Furious, he now determines to have revenge by murdering Vitoria, seizing ber estates, and making himself Duke. Before carrying out this step, however, he decides to enlist the aid of bis frien<l Arnaldo, and in order that he may be able to communicate to him his plan without fear of detection, he leads him to a lonely spot outside the city. As soon as Arnaldo bas promised his support, Otavio declares that they will have a good opportunity to kill Vitoria that very afternoon, since she is to visit the neigh borhood on a hunting cxpedjtion. The conspirators then withdraw, and soon the Duchess appears, unaccompanied. Declaring that she will rest a while in such a quiet spot before rejoining her companions, Vitoria throws herself clown, and re.flects at length how much greater happiness she enjoys than if subject to i:he caprices of a husband. Just as she finishes her soliloquy, Otavio and Arnaldo return, and scarcely has the former asserted that his enemy is wont to rest there, when he espies her. Overjoyed, be calls ber name, and approaches, ·white Vitoria, recognizing bis voice, fears that ber life is in danger. However, she conceals her alarm as best she can, and demands of Otavio why be, a vassal, should <lare corne before ber. Reminding ber of the scornful treatment he bas suffered at ber bands, be announces that be has sought this very occasion to take revenge, and then draws his dagger. At this moment, Carlos clashes forth from some bushes, where, in concealment, he bas overheard the conspirators discussing their plan. Unsheathing his dagger, the pseudo-peasant attacks Otavio JUAN PÉREZ DE MONTALVAN 101 and kills him, while Arnaldo .flees for bis life. In wonderment Vitoria asks ber rescuer who be is and bow be came there t~ which q~es:ion ~e replies by praising ber beauty and ass~r~ing that he 1s Fedenco, owner of a small farm near by. Having overheard the plot tbat had been hatched aaainst ber life be ar~ed himself, and resolved to defend ber. In °spite of his pr~testa~10n_s that only to have been able to rescue her is ample reward, V1tona declares that she can never repay bim, and he must accompany ber to Court, since he deserves a better life. Federico than~s her, ~nd ·together they depart, she chiding herself for even danng to thmk that perhaps ber gratitude may turn to love. AcTU. En~ique complains to his servant Fabio that in spite of all his atte_nt10ns to Vitoria she remains indifferent, and that although, be 1s not yet enti_rely disheart~ned, be does not know wbat step next to take. Fab10 suggests that he asks Federico, the new courtier, to intercede for bim, as he feels sure bis influence with Vitoria is great enough to persuade her to be m.ore favorable Enrique replies that he will follow this advice, for be h~ exhausted all his ingenuity; and at this instant Federico - i. e. Carlos - appears. Enrique declares that he is enamored of one who treats him coldly, and upon Federico askina if it is Vitoria he repr1e~ "Yes, an d I will make you head of b the Duchy of, Ferrara, 1f you can win ber favor for me. " _After than~ing Enrique for bis generous offer, Federico prom_,ses to do bis utrnost to help him, but adds tbat he believes be w,11 not meet with success. If one well versed in the art of lovemaking has failed to move the Ducbess, what can a poor uncultured peasant expect to do. Enrique is most sanguine however ' lover's' an d rep 1·1es that often an intermediary succeeds when the efforts have been fruitless. Vitoria laments that at last she has fallen a prey to love, but �102 GEORGE WILLIAM BACON comforts herself by the thought that she made a brave resistance, and thus far has been able to conceal her affection. What vexes ber most is that the abject of it should be à peasant. From suc h reflections she js arou,sed by the entrante of Fileno, who has corne to speak to Federico. Startled to find himself in ber presence, he tries to withdraw, but she bids him remain, and asks him who he is. Fileno tells her, and after stating that he bas come to see Federico, a friend ttnd relative, apologizes for intruding, and again attempts to retire. As before, Vitoria prevents him, and then dedaring that she bas some questions to ask, warns him to give truthful answers else he may lose bis life. Alarmed, he breaks forth into protestations, which she soon interrupts by demanding whether he who saved her life is really a peasant. At first Fileno hesirates, but again admonished to tell the truth, replies in the negative; whereupon Vitoria, delighted, asks who the stratiger is. Fileno assures her that he knows nothing further than that - in no_ble dress - he came to live with him, and soon after -his arrivai gave him a ring worth five huhdred crowns. He is undoubtedly of high rank, in spite of his disguise as a peasant. Scarcely able to restrain her joy, Vitoria expresses the belief that Fileno bas guessed correctly, and dismisses him with a promise of future reward. As soon as he has departed Clavela appears, and upon Vitoria asking ber why sbe seems so restless and melancholy, she replies that she is in love with Federico. Asserting that she does not believe him to be a peasant, Clavela begins to praise him, but Vitoria soon interrnpts her, and warns her that if she does not repress ber affection sbe will be made to suffer. Federico is a rougb laborer, and she, of noble blood, cân never become his bride. Having given this admonition Vitoria angrily departs, while -Clavela, regretting that she bas been so confidential, determines to write to Federico to meet ber in the palace garden tbat night. Beltran, the servant of Federico - i. e. Carlos - , now JUAN PÉREZ DE- MONTALVAN 103 enters, and Clavela, enjoining secrecy, states that she wishes him to carry a letter to bis roaster. Telling him to wait till she writes· it, sbe retires, wbile be endeavors to decide whether or not he is playing the part of pander. When Clavela reappears anl hands Beltran the letter, he asks wbether she will not rerounerate him; whereupon she gives him a diamond, and again enjoining secrecy, bids hi.m depart. Beltran executes bis commission imrnediately, and Carlos, on receiving the letter, asks him who was the sender. " The signature will tell yàu ", replies the lackey; and the moment Carlos sees it to be Clavela's, he exclaims " She is too late, for I love another. " At thfa juncture, Beltran announces the entrance of _Vitoria, and Carlos bids him withdraw. In response to her question as to why ·b e is so melancoly, Federico tells Vitoria that be is love-sick, and answers affirmatively ber further query as to whether his inamorata lives at the palace. Vitori~ then suggests several with whom he might be in love, - modesty alone preventing her from naming herself - , but Carlos maintains that all her gu_esses are. incorrect. Thereup6n, Vitoria confesses that although she has resisted bravely, love has mastered her also ; and declaring he must aid ber, asks him to deliver a letter to her admirer. While she retires to write it, Carlos laments at length that he, who loves her, should be forced to be her gobetween. \Vhen Vitoria returns and gives the letter to him, he inquires to whom he is to deliver it, and is told that he will know from the direction. In spite of his protestations the Duchess again retires, and Carlos, furious and without looking at the address, tears the letter to bits. At tbis, Vitori-a a:bruptly rëenters, and bidding him patch together the paper and deli ver it, warns him that if he trifle with her he will surely suffer. She then departs, while Carlos collects the scattered fragments of the letter, which, to bis joy, he finds intended for him. Therein, Vitoria, enjoining the greatest secrecy, asks him to meet her �GEORGE WILLIAM BACON the gârden that night; and he at once conjectures tbat Fileno has disclosed to her his nobility. ju ACT IIJ. When Carlos, accompanied by Beltran, reaclies the garden that night, he bids _the lackey remain behind while he-draws near the palace. Clavela is already waiting for him at a window, but Vitoria bas not yet appeared. The moment the former espies Federico she gives a low whistle, and be, rashly supposing ber to be the Duchess, !oses no time in declaring his love. Just as he has concluded, Vitmia approaches, but although Clavela soon descries the new- comer, she is unable ro ascertain her identity. The possibility, however, tb.at she may be the Duchess so terrifies Clavela, that she can make· no answer to Federico's declaration, wheréupon he - supposing them ta be alone - asks why she remains silent. Recognizing the voice of Federico, Vitoria, in surprise, determines to listen · further, and soon ·hears him ask " What has caused you to change so in your . treafment of me ? " Furious, and swearing vengance on Clavela, she departs, just in time not to discover Federico's error, since a moment later he addresses Clavela as Vitoria. To find that it is not she but Vitoria ~hom he loves of course angers Clavela, and in -a long and sarcastic discourse she ad vises him to be more careful in the conduct of his love affairs. She then closes the window, leaving Carlos to mourn over his mistake. Reflecting that if he may not speak to Vitoria he may at least look upon her dwelling, the làve-lorn Enrique cornes to the garden just as Carlos, disheartened, is about to depart. Under the assumption that he is Beltran, Carlos calls to him to approach, and after telling of the blunder be bas just made, laments thas Clavela now knows of bis love for Vit0ria. He theo bids him follow him home. Wild with rage, Enrique remains motionless, and a few JUAN PÉREZ DE MONTALVAN ro5 moments after Carlos has gone, Beltran appears. He boastfully announces that as he has been ordered to watch the garden Enrique must leave, a declaration which so angers the latter that be draws h.is dagger. Terrifi.ed, Beltran begs for mercy, while Enrique avers that this is not the only grudge he has to settle with him. He then accuses the lackey of serving as messenger between Vitoria and Federico, and swears he will kill him if be does not truthfully ansvyer ail his questions. When Beltran has solemnly promised to do so, Enrique asks what success Federico is having with his suit, and what pledges he has received and given. Beltran protests he knows nothing further than that Vitoria wrote to bis master to meet ber that night; and when Enrique bids him be off, he complies with the greatest alacrity. Angered at ber cousin for having forestalled ber appointment with Federico, the following day Vitoria scores Clavela, . and declares tbat it is useless to make a denial. Equally forions, Clavela replies " I am not to blame for your follies " ; and rhen tells of her love for Federico and of the letter she wrote to him. After having related how she was taken by him for Vitoria, she taunts the latter for having fal1en in love with a peasa:nt, and abruptly leaves her. A few moments later, a servant announces ·the entrance of Conrado, ambassador of Milan, wbo states that he has corne to inform Vitoria of an important matter. Having recounted how Rodulfo, the brother of Carlos, drove the latter from his throne • and forced him to flee for his life, he tells tha t . the usurper has just been killed by being thrown from his horse over a precipice. Sinct Carlos is supposed, to be dead, Vitoria is heiress to the duchy, and she must go immediately and daim it before different factions cause trouble. At this j~ncture, Carlos appears, and after J1e and Conrad have recovered from their mutual astonishment on seeing one another, the ambassador informs him of his brother's sudden death . Amazed to learn FederiGd's �GEORGE WILLIAM BACON JUAN PEREZ DE MONTALVAN identity, Vitoria gently chides him for having acted the peasant, but he interrupts her, and protesting that it was necessary, asks for ber band. Scarcely has she bestowed it, when Enrique and Clavda enter, accompanied by Beltran, Fabio and Fileno. Rudely thrusting them al! aside, Enrique attempts to attack his rival, the peasant, but Vitoria prevents him, and declares that Carlos is now Duke of Milan and her future husband. At this disclosure, Enrique's anger vanishes, and, together with Clavela, he hàstens to congratulate the happy couple. su mes that in the latter he will find his rival for the love of Flora. Accordingly, he informs Ludovico that Flora has now a royal suitor, and orders him to cease his attentions. Ludovico is of course greatly surprised, and denies that he has ever paid court to Flora; whereupon Ordoiïo becomes so enraged that the Marquis determines to accept the situation, and promises to comply with his request. At first, much puzzled why the Prince should entertain such an erroneous belief, Ludovico finally conjectures that Leonardo bas perpetrate:i a deception in order to shield himself. Meantime, King Alonso has heard of his son's amour, and resolves to put an end to it. His chief motive for wishing to do so is, that for political reasons he desires Ordofi.o to marry the daughter of the King of Castile. Acting on Ludovico's advice, that the most effectual way to terminate Ordofi.o's attentions to F!ora, will be to cause her to reside in the palace till his marriage with the Princess may be arranged, Alonso requests Leonardo to bring her thither. . When Leonardo communicates to Flora the King's desire, she expresses her pleasure that she will be freed from the annoying importunities of the Prince. Hardly has she made this remark when the latter appears, and orders Leonardo to retire, explain~ ing that he wishes to speak with Flora in private. Leonardo obeys, and Ordofio again presses his suit, and is again rejected. During the interview, Flora unwittingly lets fall a letter written by her to Leonardo. The incident is observed by Ordofio, who, on stooping to pick up the letter, purposely substitutes one addressed by him to Flora. She does not notice the exchange, and Ordofi.o, handing her his letter, puts hers in bis pocket. He then summons Leonardo and takes his departure. Flora, noting how much Ordoîio's boldness distresses Leonardo, begs him not to become disheartened, and then gives him the letter, which she of course supposes is her own. Not for some time has Leonardo the opportunity to read the note, and ro6 La Deshonra honrosa. (Honorable Dishonor). AcT 1. Ordoiïo, Prince of Le6n, attended by musicians, cornes by night before the house of the Ducbess' Flora, with whom be is in love. After the musicians have played and sung for a short time, Flora throws open a grated window, and Ordoiïo tells her of his affection, and praises her beauty. But all his fervent declarations avail nothing, for when be has wncluded, Flora positively refuses to yield him her heart. This rebuff no little vexes Ordoiïo, and wben now Flora's lover, Leonardo, appears, he angrily bids bim be off, for although the Prince does not know that the new-comer is a rival, be naturally assumes him to be Leonardo, in order to escape Ordono's wrath, asserts that his • purpose is not to woo Flora but to protect her , on bebalf of an intimate friend, from his - Ordoîio's - molestations. He stoutly maintains tbat he intends fulfilling bis obligation, at wbich Ordoîio flies imo a passion and swears that he will be bis eternal enemy. After some inquiry, Ordon.a learns that Leonardo's closest friend is the Marquis Ludovico, and therefore he logically as- ro7 �I08 GEORGE WILLIAM BACON JUAN PÉREZ DE MONTALVAN when he finally does so and sees that it is ,,,ritten by Ordoi'i.o to Flora, be supposes tbat it has been given him designedly as a rebuke. to bis mistress, Laura. Ludovico experiences great embarrassrr.ent at being thus discovered, for be fears that if Ordono find that Laura and not Flora is his mistress, it will go bard with both him and Leonardo for the deception they have perpetrated. Ordono, on bis part, evinces considerable surprise, but supposes that Ludovico is merely trifling with Laura. When he expresses a desire to intervie\v the Marquis, the latter becomes even more disconcerted, since he suspects that Flora will be made the tapie of conversation. His fears are realized, for Ordono now alludes to Ludovico's - supposed- affection for Flora in such plain terms that he is filled with dismay, and Laura made furious with jealousy. Ludovico finds himself in a most unenviable predicament, for if he his to shield Leonardo, he must admit his own supposed love for Flora; which confession would entai! for him the loss of Laura. ln such a dilemma the Marquis determines to keep silent, but Ordono bas already deduced, from what he has just seen and heard, that Flora is enamored of Leonardo. ln the hope, therefore, of ascertaining whom Leonardo loves, he contrives the following stratagem. He first dispatches an anonymous letter to Leonardo, requesting him to meet the writer that night at a certain spot near the palace. He then arranges that one of his servants, in disguise, shall repair to the rendezvous at the hour appointed, and by some pretext detain Leonardo white he himself plays the spy upon the dwelling of Flora. Ordono expects to ascertain through this artifice whether Leonardo or Ludovico is the lover of the Duchess, for if it be the former, LudoYico will not visit her; if be does, then he himself must be her admirer. Another heated dispute ensues between Leonardo and Flora during which she accuses him of being untrue to ber and loving another. Leonardo attempts to answer theses charges, whereupon Flora declares she will giYe him, that night, a final chance to explain himself, and retires. Great is his distress, therefore, on receiving the anonymous sumrnons, for if as a man of honor he AcT Il. 'i' As Leonardo's name does not appear in the letter written to him by Flora and appropriated by Ordono, the latter of course assumes that it was intended for Ludovico, and he is more jealous of the Marquis than before. With the abject, therefore, of discouraging him in his supposed love for Flora, Ordo.no devises the following ruse. He bands the letter to Leonardo, with the request that he deliver it to Ludovico, and name the sender. In this way the recipient may learn that it is the Prince whom Flora now loves, and if, knowing this, he persists in his attentions, he will be put to death. Ordoi'i.o, on observing in Leonardo's band the· very letter that the former gave to Flora, is natural-ly much puzzled how Leonardo came into possession of it; for he assumed that Flora would bestow it upon her ostensible lover, Ludovico, in mistake for the one of hers which he - Ordono - had picked up. Accordingly, Ordono questions Leonardo regarding this, and receives the ans\\'er that Flora gave him the note to deliver to Ludovico, in order that the latter may know she has now a suitor in the Prince. This explanation entirely satisfies Ordono, who bids Leonardo surrender the letter, and deliver to Ludovico the one which be has aiready handed him. He then withdraws, and when Leonardo reads the note - which was that originally intended by Flora for him - he assumes it to be written to Ordono, and is much distressed. Consequently, when he encounters Flora be bitterly upbraids her for having been so unfaithful, and a stormy scene ensues. Ordono decides to interview Ludovico, and unfortunately chances to corne upon him at the very time be is rnaking love ro9 �GEORGE WILLIAM BACON JUAN PÉREZ DE MONTALVAN answers it, he will forfeit the last opportunity of regaining his mistress's good-will. Ludovico now appears, and tells Leonardo of the unpleasant situation in which he is placed regarding Laura, and of how he could not avoid exciting her jcalousy. Leonardo offers to settle the difficulty, and then relates bis dilemma. When he has concluded, Ludovico announces his intention of impersonating him and meeting the unknown, thereby leaving him free to visit Flora. but hi~ serv~nt~ are well aware. Leonard0 is astounded, and rashly assummg h1s mformant to be her ~educer, resolves to pùt Flora ~o death. Finding her asleep in the garden at nigbt, masked, he 1s about to stab her with a dagger when she awakes, and so startles him that he lets fall the weapon. Terrified, Flora calls for help, whereat two servants answer her cries. The domest1cs, however, are intimidated by Leonardo, who is about to effect his escape when the King appears, accompanied by Ordoîio, Ludovico, and Laura. Explanations now follow, and after all present have told of their several mistakes and deceptions, Flora offers a pardon and her hand to Leonardo, while Ludovico iv accepted -l;iy Laura. " I 10 ACT III. True to his promise to Leonardo, Ludovico has presented himself at the time and place specified in the note received by the former, and so well did he impersonate Leonardo, that Ordoiio's servant was effectually deceived. Accordingly, be assures his master that Leonardo met him exactly as he was requested to do. At the same hour as this meeting, Ordofio discerned a man entering the bouse of Flora, and of course he assumed him to be Ludovico. Wild witli jealousy, he now resolves to punish not only him, but Leonardo and Flora as well. With this intent, and fully aware that he cannot marry Flora, since his father Alonso has chosen for him the Castilian Princess, he asks Alonso to force Flora to become the wife of Leonardo. Ordono imagines that by this arrangement Ludovico _and Flora will be disappoir:ited in their hopes, while Leonardo will suffer the disgrace of being compelled to marry another's mistress. The King promises to grant his son's request, but Ordono sobn becomes vexed on reflecting that, after all, the one most to suffer from this plan will be himself; and it galls him that Leonardo is to marry the very lady whom he himself loves. Wishing, then, to take vengance upon Leonardo for all the anxiety and jealousy the latter has occasioned, Ordono tells bim that his intended bride, Flora, has lost her chastity; of this not only he III Los Desprecios en qttien ama. (The Disdain of One who loves). ACT 1. The late father of Claudia, Countess of Belfl.or, in his will appointed his nephew Alberto, Duke of Florence, ber guardian, and left to him the choice of her husband. When Claudia realized Alberto's authority she became piqued at him, and although he was enamored she forbade him to visit her, under the pretext that it might cause a scandai. ~lberto now sends her by his servant Yepes a letter, in wh1ch, after expressing regret that he bas been treated with such indifference, he asks whether Federico, Duke of Ferrara wbo, be says, has besought him for her hand, - will b_e acceptable to her as a husban.d. The real purpose of Alberto in thu~ writing Claudia, is to lead her to suppose that, at this ?art1cular time, he is at Florence, while actually be is on a huntrng trip quite near her estate. Wishing to ascertain whether she bas a lover, he determines to call upon ber incognito, and in the �GEORGE WILLIAM BACON JUAN PEREZ DE MONTALVAN disguise of a peasant approaches her house, and calls loudly for help. Claudia hears bis cries, and bids ber attendants learn the cause of the disturbance. Very soon she is startled by the abrupt entrance of Alberto, who, sword in hand, gaves profuse thanks for ber timely aid. Asked his name and why he created such an uproar, Alberto replies that, a Spaniard, be bears the name Don Juan Manrique, and that be is being hounded by Alberto for having killed his - Juan's - fiancée's traducer. Had it not been for the arrivai of Claudia's servants he would have been taken prisoner, and now that he has found a sate refuge be asks for protection. This bis· hostess assures h.im he ,vil! have, and never suspecting his identity she appoints him ber secretary. Federico, ,vhom Alberto spoke of in his letter to Claudia, also deciJes to visit ber incognito, in order to learn whether ber beauty warrants ail the extravagant reports he bas heard regarding it. On reaching Claudia's estate he meets Yepes, Alberto's servant, and by means of a bribe succeeds in hiring with him as a lackey, under the name of Fabio, a Spaniard. Meanwhile, Laura, Claudia's sister, bas been greatly concerned by the fear that when Yepes returns t? Florence, be may inform Alberto that the Counttss is harboring the murderer, Don Juan. She communicates ber apprehension to Claudia, and advises ber to seek Juan's advice in the matter. Claudia accordingly sends for Juan, and handing him the letter written to ber hy Alberto i. e. hirnself - requests him to answer it. Alberto momentarily foroets his assumed rôle as secretary, and addresses Claudia in 0 rather affectionate terms, whereupon she rebukes him, and reminds .him tbat such language does not become a menial. ber. Although she loves Juan, his station precludes her revealing it, and when he has finished the letter, she is forced to be contented with remarking that what Alberto has written conceruing himself is intended only to deceive, and tint she feels higher regard for Federico. For some time Alberto has distrusted the lackey Fabio, and when, one day, he sees him feasting his eyes upon Claudia's beauty, he feels convinced that he is none other than Federico. Hoping to gain some information from Yepes, at the point of a dagger he commands bis terrified servant to tell ail he knows about Fabio. Further than that the stranger enoaged with him Yepes can impart nothing, and is amazed whenb Alberto makes ~no"'.n his belief, and warns him not to betray bis - Alberto's 1dent1ty to Federico. I 12 ~ AcT II. Juan infor.ms Claudia that he cannot reply to Alberto's letter unless be first confers with her; whereat she bids him read it to 113 Sii:ce the receipt of Alberto's letter, Claudia has been greatly worned over het prospective betrothal to FedericoJ and she now • apprises Juan - i. e. Alberto - that for some time after Alberto had become h~r guardian, she hoped he would marry her; but the rumor of ]115 engagement to a Hungarian lady so vexed her, that for revenge she refused further to receive him. Claudia ends ber confession by intimating that for a busband she would far prefer Juan to Federico. Although Alberto is of course overjoyed by this lasr avowal · If through paying court to' Yet he decr"d es to test the truth of 1t. Laura: h~ can excite Claudia's jealousy, be assumes that he will then _be Justifie~ in believing that she loves him. Putting this plan rnto e~ecut1on, Juan declares to Laura- in Claudia's hearing - that he rs rnadly enamored of ber, which statement so delights ~er that, at the end of their interview, she gives him a valuable nng as a love token. When she bas retired Claudia appears and after furiously upb ra1·d·rng J uan, orders h"1rn to- surrender the ' nna . and leave f;or spam · mune · d.1ately, since Alberto has written that0 he knows of his whereabouts. As Alberto has almost certainly identified Fabio with FedeREVUE HISPANIQUE. B 8 �GEORGE WILLIAM BACON JUAN PEREZ DE MONTALVAN rico so the latter bas entertained strong suspicions toward Juan, and'finally be makes an effort to verify them. Gi':'ing Jua~ a Jetter addressed to Claudia, he asks him to deliver 1t, assummg that if be be Alberto, jealousy will prevent him from d~ing so. Juan, however, complies with the req~e~t, a_nd Claudia rea~s aloud, in his presence, tbat Federico is hvmg 1~ ber house d1sguised as a servant, and begs leave. t? speak wnh her. At this, Juan fües into a passion, and se1zmg the letter tears it to pieces. ACT III. Notwithstanding her indifference, and even cruelty, several reasons warrant Juan in assuming that Claudia loves bim but does not wish him to know it. With this conviction, he decides to disclose his identity on the first favorable occasion. Fabio, who has been pressing bis suit with more ardor than success, determines once for all to put an end to his suspicions about Juan, by sending a messenger to Florence to ascertain· whether Alberto has left tbere. The courier returns bearing the news that Alberto is with Claudia, and that in spite of all his precautions his amour has become a topic of common conversation in the city. Simulating great excitement, Yepes now informs Claudia that Alberto is angered at ber harboring a fugitive from justice, and intends coming that very day to wreak vengeance upon her. Claudia can no longer restrain her feelings, and confessing to Juan ber l0\ e, exhorts him to flee for bis life. At this, Federico betrays the supposed fugitive's identity, and after expressing regret that Alberto should have so duped him in his suit, asks Claudia to decide between them. Lest he be considered unjust toward Federicp - whom he avers he never intended to deceive, - Alberto urges Claudia to choose the former as her husband, but greatly to his joy she announces that she will be his wife, while Federico will bt made happy with Laura. 114 That Laura should have evinced such affection for Juan as to bestow upon him a ring, greatly vexes Claudia, and after severely censuring her sister, she determines to rebuke Juan and c~force ber order regarding his immediate departure. Accordmgl~, convinced that Fabio is federico, in Juan's presence _Clau~1a thanks him for his letter, and asserts tbat she will soon g1ve h1~ a reply. He then witbdraws, and the consideration_ show_n Fab1~ produces upon Juan exactly the effect that Claudia desires ; tt leads him to suppose that she bas never cared for him •. This is far from being the case, however, for even now her ~ove 1s so str~ng that only with the greatest dif6culty can sbe refram from shov:· 1ng it. In a stem tone, Claudia declares to Juan that her prev1o~s command must be obeyed that very night, and adds that she w1ll furnish the money needed for his journey. Meantime, from certain gossip that has reached her ears, Laura deduces tbat Juan has been boasting of the several favors s_he has granted him. She resolves, therefore, l:enceforth to treat ~um coolly and at the first opportunity asks h1m to return l:er nng. Wholly unaware that through Claudia the ring ha~ agam co~e into Laura's possession, Juan replies that he bas 1t safely laid away and would fain retain it. Hereupon, Laura defiantly flaunts the j:wel before him, and after accusing him of treachery an deception, retires in high dudgeon. rr5 1 El Fin mas desgraciado y Fortunas de Seyano, 6 Amor, Privanz.a y Castigo. (Sejanus's Fortunes and Most Unhappy End, or Love, Favor and Punishment.) AcT I. ~hortly after the ascent to the trone of the Emperor Tiberius, an insurrection broke out among the legions stationed in Pan• �II6 GEORGE WILLIAM BACON nonia and he sent thither to restore order his son Drusus and ' his confidant, Sejanus. After having put to death Parthenius, the leader of the rebellion, and all his mutinons associates, the Prince forced the legions to accept his father as Emperor, and returned triumphant to Rome. Accompanied by Sejanus, Drusus now appears before Tiberius, and the former relates to the Emperor the story of the insurrection and its subdual by Drusus. When he has concluded, Tiberius praises Sejanus highly for his victory, and, in spite of his assurances that the credit therefor is entirely due to Drusus, bids him name his reward. Sejanus asks that, as commander of the pr.etorian bands, he be permitted to assemble ail bis troops in one spot outside the capital, since thus they will be kept free from the vices of the city. Tiberius, of course wholly unaware that such an arrangement has for its sole object the favoring of Sejanus's designs on the Empire, gladly grants his request, and is gratified at his apparent interest in the army's welfare. The Emperor then announces that the name 0f Sejanus will be placed upon all the standards, that everyone may know he is his favorite. At this Sejanus is delighted, while Drusus becomes furious with jealousy. Laura, the wife of Sejanus, has observed that his increased favor and patronage with Tiberius has caused him to treat her with growing neglect and contempt. For some time she has borne his scorn, and even abuse, without remonstrance, but at last ber patience becomes exhausted, and she bitterly reproaches _him. In answer to her accusations of faithlessness and neglect, Sqanus haughtily declares that he is too much in the Emperor's go~d graces to concern himself with her, and that if she ever agam molest him he will kill ber on the spot. Sejanus now presents several ordinances to Tiberi_us for ~is approval, before offering them to the senate. Not~11thstandrng the protestations of Drusus and his brother Germamcus that the articles are very unjust, the Emperor passes favorably upon JUAN PEREZ DE MONTALVAN 117 them, and swears that anyone who speaks ill of Sejanus will lose bis life. This so exasperates the others that Drusus, after exchanging a few heated remarks with Sejanus, gi\'es him a cuff in the· face. The favorite is fairly beside himself with rage, and swears that he will have revenge. AcT IL After having made an unsuccessful attempt upon the life of Laura with a dagger, Sejanus resolves to avenge himself upon Drusus. Accordingly, under the pretext that the latter has to conduct_a campaign in Illyricum, he orders him to proceed thither, and after he has left Rome, Sejanus confesses to his wife Livia that he is enamored of her. Although Livia reciprocates Seja~us's passion, yet she does not in tend to reveal this at present, hop111g thereby to gain a firmer hold upon ber paramour. Therefore, to his utter surprise and chagrin, she receives his extravagan~ c~nfession of love with the utmost coolness. Such apparent md1fference serves only to embolden Sejanus, and through a shrewd and clever speech he leads Livia to abandon her ruse and confess her infatuation. When Drusus left Rome, Sejanus caused Germanicus to accompany him, for knowing that the former would fall heir to the empire on the death of his brother, he regarded him as an obstacle to the execution of his plans. Shortly before the departure of the two, Tiberius overheard a conversation between them, in which they branded Sejanus as a traitor and a scorner of justice. This revelation startled the Emperor not a little, and he was half inclined to give credence to it, wben, on bidding him farewell, Drusus and Germanicus both advised him to beware of bis f~vorite. Naturally suspicious, Tiberius was led by their warnmg seriously to question Sejanus's fidelity. He fully realized that from time to time Sejanus had been granted so many privileges that at present he held most of the real power, while he �II8 1 1 • 1 GEORGE WILLIAM BACON himself was a mere figurehead and a ruler in name only. An incident nov-1 occurs, however, that turns the tide decid~dly in favor of Sejanus, and removes all the suspicions that Tib€rius has entertained. On the plea that the Emperor needs a change of scene, - but really to place him far from the seat of the traitor's contemplated coup, and to ma~,e him incapable of resistance at the crucial moment, - Sejanus induces him to retire to Capua. While the pair are tbere feasting in a natural cave, part of the roof collapses and buries the Emperor under the rock. Sejanus, although wounded and at the imminent risk of his life, exrriçates Tiberius from the debris and carries him to the open air. Never suspecting that the desire to curry further favor was the sole motive which prompted bis rescuer, the Emperor is filled with gratitude, and Sejanus hopes that he will be handsomely rewarded. AcT III. Sejanus has had both Germanicus and Drusus put to death, and upon being_ satirized for bis cruelty by one Martius, a poet, swears that another such offense will cause him to meet a like fate . Laura, who bas been repudiated by Sejanus, is filled with jealousy, and determines to have revenge. Her resolution · is strengthened when, on protesting at Livia embracing Sejanus, the former declares that fürther remonstrances will surely cause her death. Furious, the injured woman visits Tiberius, and after rehearsing ber life before her marriage to Sejanus, his subsequent cruelties, and his passion for Livia, betrays his designs upon the empire. Reminding Tiberius of the many murders her husband has already contrived, she declares that after killing them both he intends marrying Livia, and finally implores the Emperor to have him executed. To this Tiberius consents, assuring her that he now full y realizes his danger. U ncertain what means to adopt to capture Sejanus before he JUAN PÉREZ DE MONTALVAN 119 may have a chance to resist, Tiberius sends for Sertorius. When the Emperor asks him what the general feeling is in regard to Sejanus, Sertorins, well aware of the patronage the former enjovs with Tiberius, imagines that the Emperor ,,·ishes to trap hi~. Fearful of revealing the truth, be replies that Sejanus is an u~iversal favorite, whereupon Tiberius contradicts him and urges him to speak frankly. Sertorius then discloses all that be knows regarding Sejanus's treacbery, and at the Emperor's request proposes a plan by ,vbich he may be taken prisoner. ln accotdance with Sertorius's advice, Tiberius sends to the senate a letter enumerating the many crimes of Sejanus, and then causes ail the troops to be withdrawn from the city, in order to prevent a possible uprising on their leader's arrest. He commands Gratianus, captain of the guard, to arrest Sejanus and release the son of Germanicus, who has been nearly starved to death in his cell at the forrner's instigation. Notwithstanding the traiter bas had a warning dream and has observed many bad omens, he feels' so confident in bis power that he entertains no suspicion of the fate awaiting him. He is therefore amazed when a servant tells him that the bouse is surrou~ded by military. Gratianus now appears accompanied by sold1ers, who seize Sejanus and lead him to prison, witl10ut . eYen giving him the opportunity to say farewell to bis mistress Livia. All bis friends and servants are likewise arrested and later put to death. Confident tbat he has been betrayed. by La~ra, Sejanus is hurled from a bigh rock and dashed to pieces; while Livia, fearing the wrath of Tiberius, voluntarily meets the same fate. By order of the Emperor the two mangled corpses are buried in one grave, and Laura regards ber desire for vengeance as now satisfied. �I20 GEORGE WILLIAM BACON Los Hijos de la Fortuna, Teâgenes y C lariquea. (The Children of Fortune, Teagenes and Clariquea.) AcT I. Anaximandro, King of the Persians ; Tiamis, King of the Besanos; and Nem6n and Teagenes, Princes of China and Thessaly respectively, individually declare it to be their intention to marry the beautiful Clariquea. Becoming involved in a heated argument, the rulers are about to support their daims with the sword, when Neusicles, a Priest, appears accompanied by King Eumenes of Egypt. The latter, at whose Court the rivals are, bids them cease their dispute, and Neusicles asks leave to address them. The Priest relates that Clariquea, the object of their affection, in her infancy was rescued by him from the sea, fi.fteen years before. After rearing her, he dedicated her to the worship of the Goddess Isis, of whom she is now a Priestess. Having observed that she never evinced affection for any of her numerous suitors, be decided to consult the oracle regarding this matter, and received the answer that a certain one of the royal party now present would become her husband. In conclusion, Neusicles urges the aspirants to refrain from violence, and to direct al! their efforts towards the winning of the lovely Priestess. Teagenes, who has been the winner in some military contests that have just been held, is now publicly crowned victor on the steps of the temple by the Princess Sinforosa. Although Sinforosa loves the champion, yet he merely admires her beauty, and makes no response to her passionate declaration of love. The moment he beholds Clariquea, on the contrary, he is enamored, and enters into conversation with her. The Priestess experiences a like infatuation, and arouses the jealousy of her other admirers JUAN PEREZ DE MONTALVAN 121 by soon bestowing upon the victor a small torch which she carries. So love-sick has Teagenes become that he calls upon Clariquea, and after confessing his passion receives the assurance that she will be his bride. Their conversation is a~ruptly terminated, however, by the unexpected appearance of the other suitors, who, escorted by Neusicles, have corne to learn which one Clariquea will choose for a husband. Teagenes retires just in time to avoid being seen by them. Sinforosa acts as spokesman for the party, and while telling the abject of their visit she secretly hopes that Clariquea will select King Eumenes, the former's brother. Notwithstanding the Priestess has been apprised of Eumenes's passion, she resolves to make known her real feelings, and is about to name Teâgenes when Neusicles abruptly halts her. Warning her in an aside, of the jealousy she will excite towards Teagenes by such an action, he advises her to defer her declaration. Accordingly, Clariquea, to the great disappointment of the party, announces that she loves no one, and therefore will not marry. After ail have withdrawn, Sinforosa again declares ber love to Teagenes, and on being rejected becomes furious, and swears that she will have Clariquea put to death. She then retires, and Clariquea having overheard her threat, suggests to Teagenes that togethe,r they flee the country, to which proposition be assents. Neusicles accepts their invitation to accompany them, and the three make immediate preparations for their departure. AcT IL The fugitives set sait for Natalia, and after weathering a terrible storm fall ioto the bands of pirates. The 1atter bring prisoners and spoils ashore, and while they are celebrating their victory by a feast, Clariquea very cleverly instigates among them a general quarre!, in which they draw their swords and eut one another to pieces. �122 GEORGE WILLIAM BACON Having thus rid themselves of the pirates, the three travellers are about to return to the ship and resume their journey, when they meet with a band of soldiers belonging to King Tiamis. The trio are captured and brought before the King, who of course recognizes them, and, as a former suitor of Clariquea, at once becorrles jealous of Teagenes. He decides, however, for the present to conceal bis feelings, and employ artifice and dissimulation. Accordingly, when Clariquea begs him to allmv them to depart, Tiamis replies that he will grant ber request only on one stipulation. Some time previous to this, Eumenes bad proposed to Tiamis tbat he should marry the former's sister, Sinforosa, but Tiamis made sport of the offer, and refused to accept it. Eumenes became forions at such an insu!t, and having collected an army is now marching against Tiamis, who is hurriedly preparing for the defense. The stipulation upon which Tiamis asserts he will liberate the prisoners, is that Teâgenes shall be victorious over Eurnenes in the coming struggle . To this Teagenes agrees, and Tiamis treacherously contrives that if his rival survive the battle, he ,vil! be murdered before he can rejoin Clariquea. The latter implores Tiamis to protect her from the fury of Eumenes, and be craftily takes advantage of the maiden's request by conducting ber to a cave, closing the entrance, and making her a prisoner. But Eumenes, while on a scouting expedition, bas already espied Clariguea, and bas become wild with jealousy that she :;hould be in the possession of bis enemy, Tiamis. The hope of obtaining such a Ionged-for prize is in itself quite sufficient to incite Eumenes to battle, while Sinforosa, on her part, desires victory that she may have for a husband Teagenes. · The battle terminates favorably for Eumenes, but Tiamis, although vanquished, wounded, and in despair, cannot endure that Clariquea should become the bride of bis rival and enerny. Therefore be resolves to kill her, and going to the cave stabs todeath, in the darkness, a woman whom be assumes to be the JUAN PEREZ DE M.ONTALVAN 123 abject of his infatuation. Teagenes, who has heard of Clariquea's imprisonment, enters the cavern soon after, and stumbling upon the corpse mistakes it for that of his inamorata. He bursts out into a long plaint, at the close of which Neusicles appears with a light, whereupon they identify the body as that of an attendant of Sinforosa. To the surprise and joy of Teagenes, Clariquea now approaches, having been attracted from a remote part of the cave by his loud lamentations. After Neusicles bas explained the motive for the murder that has just taken place, Clariquea suggests ·they make good their escape before Eumenes capture them. ACT III. Tiamis has been made a prisoner by Eumenes, and, d.espairing of escape, has begged Hidaspes, King of Ethiopia, to rescue him. In response to his appeal Hidaspes is now hastening with an immense army, and is expected to arrive ar any moment. After leaving the cave, Teagenes, Clariquea, and Neusicles put to sea, and a month later landed on the isl~nd of the Lotofagos. They were not aware that the isle was inhabited, and were horrified on finding its denizens to be giant cannibals. After being held captive for some tirne they at last succeeded in effecting their escape, and setting sail, next disembarked on the possessions of Eumenes. Here they are again made prisoners, and brought before the King. After relating, at great Iength, the story of their wanderings and privations, Teagenes asks Eumenes that Clariquea be relc.ased, adding that b.e is perfectly willing to give up bis own life to save hers. Of this Eumenes eagerly approves, since he is only tao glad to have an opportunity of putting Teagenes to death, and of marrying Clariquea without interference. Sinforosa, however, objects to the arrangement, since thereby she will be deprived of Teâgenes. After some discussion, she and Eumenes decide to remove the Iovers separately from the city, �124 GEORGE WILLIAM BACON in the expectation that if they cannot see one another, they will each become enamored of their respective admirers. This plan is carried out, but soon Teâgenes accidently meets Clariquea, to the great joy of them both. A little later, Neusicles joins the pair, and after acquainting them with the proxiinity of Hidaspes, and with the custom of the Ethiopians of sacrificing to the Gods whomsoever of the enemy they first encounter, be suggests that they repair to the temple of Apollo, and make inquiry regarding Teâgenes's parentage. His advice is heeded, but after having heard the oracle's revelation, the wanderers fall into the bands of Hidaspes. They are about to be placed upon the sacrificial pyre, when Clariquea, begging a brief respite, relates "\vhat the oracle bas just disclosed, as follows. Teâgenes is the son of Olontes, King of Greece, and Ariadna, who died in labor. Soon after Teagenes's birth, Olontes became infatuated with Clarinda, who, through jealousy, ordered her cousin Telem6n to put the babe to death. Instead of obeying Clarinda's command, bowever, Telem6n abandoned Teâgenes on the shore of the Ionian Sea, and he was reared by the DemiGods. Being of royal blood, he is now exempt from sacrifice. Clariquea also escapes immolation, since she is the daughter of Hidaspes and his Queen, Persina. From a strange cause she was born white to her dusky parents, and Persina, fearful of being accused of adultery, substituted another child for her. The babe was then placed in a boat with a ring and a document, and, sent adrift. When Clariquea has finished narrating the oracle's revelation, Persina admits the truth of its statements regarding ber daughter; while Hidaspes, after freeing Eumenes, bids Teâgenes becorne the husband of Clariquea, and Tiamis of Sinforosa. JUAN PEREZ DE MONTALVAN 125 Lo que son Juicios del Cielo. (What the Judgments of Heaven are.) AcT I. For a long time Duke Roberto and Leonor loved one another, but because they belonged to rival families ber father would not permit her to marry him, and forced her at the point of a dagger to become the wife of the Marquis Alexandro. Since then, Roberto's love for her has increased, and, in proportion, his jealousy towards her husband. While Roberto is considering by what plan be can best gain possession of Leonor, he receives a letter from her to the effect that her husband will soon depart for Rome, and that, taking advantage of the latter's absence, she wishes to see him in secret. Roberto is delighted, and sends word that she may look for hirn. Alexandro, who has long suspected bis wife's love for Roberto, and who therefore fears to leave her unguarded during bis absence, asks Lisardo, his intimate friend and brother of Roberto, to keep a watch over her. Lisardo assures him that although bis suspicions are entirely groundless, he will faithfully comply with his request. When Roberto visits Leonor, he finds her in the company of Angela, her sister-in-law, and quite unaware that Angela also loves him, begins to address his inamorata in endearing terms. Leonor, fearful of Angela's jealousy, quickly interrupts hirn, and warning him, in an aside, of bis danger, begs him forever to cease his attentions, since by continually haunting her he endangers ber honor without profit to either of them. She urges him to transfer his affections to Angela, who loves him, and then abruptly retires. Roberto is in despair, while Angela eagerly embraces the �GEORGE WILLIAM BACON JUAN PÉREZ DE MONTALVAN opportunity to declare her love and to offer consolation. Such forwardness, however, disgusts Roberto, and repelling her .advances and declaring that he will have nothing to do with her, he takes a hasty departure. of her apartment, and stops to listen. He hears Leonor confess to her servant Inés ber jealousy of Angela, her love -for R~berto, and regret at dismissing him; she then orders Inés to seaich for him at once, and bring him to her room. Alexandro furious ' ' resolves to impersonate Roberto, the better to inform himseh concerning Leonor's relations with him during his own absence. As Inés emerges from the apartment, Alexandra, with drawn sword, compels her to call to Leonor that Roberto has arrived and he then enters. Leonor tells him of the jealousy be has aroused' in ber .by paying his addresses to Angela under the former's very roof, and after declaring that he has done so only out of spi te., requests him never again to visit her - Leonor. She concludes by stating that if Alexandra should discover him in her company, he would kill him. The supposed Roberto now reveals his identity, and, arnazed, Leonor declares that if she bas offended him he must kill her on the spot. Alexandra assures her that she is in no danger, but that Roberto must die. · 126 ACT II. Roberto, although well aware that Leonor is determined he shall cease his attentions, still persists in his resolve to gain possession of her. Angela, on her part, shows equal determination to win him, and, notwithstanding his marked aversion to her, is untiring in her solicitations. Difficult as it has been for Roberto to obey Leonor's command that he should not call upon her, yet for some time he has forced himself to do so; at last, however, his self-control fails him, and he resolves to visit her again by night. When he has almost reached her apartment, he is challenged by a ·mufr1ed figure, which proves to be that of Lisardo . In spite of Roberto's assertions that he loves only Angela, Lisardo declares that he knows of his affection for Leonor, and that he is watching him closely. He concludes by warni.ng him to cease his visits, whereupon Roberto fües into a furious passion and retires, vowing vengeance upon Lisardo for his interference. Leonor has been downcast ever since her rude disrnissal of Roberto, for ,vhile, at the moment, she felt forced to take such a step, yet she hoped he would soon return. Full of jealousy towards Angela, and quite unmindful, too, that it was she herself who sent for Roberto, Leonor now regards her lover as false, and is well-nigh distracted. Meantime, Alexandro has returned from Rome, but not wishing his arrivai to be known, has cautioned Lisardo against speaking of it. During his absence, his suspicions concerning Leonor waxed so strong, tbat he decided secretly to return and play the spy. By night, muffied in his cloak, he cornes to the door ACT 127 III. Alexandro compels Leonor to semi a note to Roberto requesting him to visit her that night, and so closely does he watch her while she writes, that she cannot give her lover the slightest hint of his danger. Roberto promptly responds to the summons sent him, and when about to enter Leonor's apartment, is set upon and mortally wounded by Alexandre and the latter's father, Federico. Before expiring, be brands bis assassins as cowards and traitors for attacking him in such a covert way, instead of in the open field. A short time before tbis, Alexandro sent Lisardo to Rome, that be might not interfere with his designs against Roberto. Alexandra now feels certain that the public will lay the crime not to him, but to Lisardo, for the latter's cnmity toward Roberto is no secret; and further, h.is absence in Rome will natur- �128 . . GEORGE WILLIAM BACON all y be attributed to his desire to escape punishment. Accordingly, Alcxandro will remain free from ail suspicion. One point, however, has served sorely to trouble the conscience of Alexandra siuce the murder. It has always been his custom to have mass said for the repose of the soul of anyone of lùs subjects who has met a violent death, in order that the punishments of the deceased might be lessened. These masses he has never failed to attend. In the present case however, Alexandro bas been so engrossed by his own safety, that he has neglected to have the usual ceremony performed. He communicates bis an.xiety to his father Federico, but the latter assures him that he need have no concern, for Roberto expired uttering blasphemies, and rherefore a mass is unnecessary. Hardly bas Federico ceased speaking, when the spirit of the murdered Roberto appears, and reproaches Alexandra for having so shirked his duty towards the dead. The apparition declares rhat altbough his last audible words were blasphemies, yet he later made a c.onfession to God of his sins, and bit off bis tangue as a pennance. Thereupon, God pardoned him, gave him a place in heaven, and caused him to make bis present visitation. Alexandra, greatly awed, declares that he will never again fail in bis duty, and promises to obey the spectre's order to depart at once for Rome and interview the Pope, wbo will restore friendship bet,.,,·een Lisardo, Alexandra, and Robeno's relatives. The gbost then disappears. El .Mariscal de Vir6n. (The Marshal of Vir6n.) Acr I. Don Carlos, Marshal of Vir6n, and Dona Blanca have for some time loved another, and nothing occurs to mar their JUAN PEREZ DE MONTALYAN 129 happiness till King Enrique becomes enamored of her. Fearful to inform Carlos that sbe has a suitor in the King, lest he become jeal~us ~nd i~sult him, she retires from Paris to a country-seat, hop1ng m this way to be able to free herself from the unwelcomc attentions of royalty. Much as she is worried by ber e_mbarrassing position, she feels far more anxiety for éarlos, smcc she fears that if the King discover him to be his rival he will <letest him, notwithstanding the fact that hc now enjoys the royal favor. Her uneasiness is increased by a dream that she has had, in which the King quarreled with Carlos and killed him. As only Carlos knows of her retirement from Paris, Blanca feels ~ertain th~t she ,vi!l no longer be annoyed hy the King's attentt~ns, a?d 1s therefore embarrassed and surprised when, one day, h1s Maiesty appears before her. He notices ber confusion but assuming it to be caused by the royal presence, begins t~ press bis suit wîth ardor. Blanca treats him \vith indifference and he, pi.qued at ber, and becoming more bold and impudent: finally declares tbat he will obtain by force the favor she denies him. At this m~ment, to ber utter dismay, Carlos appears, baving corne from Pans. Angered on finding Enrique with Blanca, he exp_resses his displeasure in no mild terms, whereupon his Maiesty, although surprised that he has a rival and ratber vexed at C1rlos's blunrness, bcstows on him her band, and creates him Duke of Vir6n and Peer of France. The King adds that although he has long Joved Blanca, he withdra,vs bis daim in fa:7or of Ca~los, from his desire to reward him for his many fatthfol services. Blanca's delight knows no bounds, but Carlos deems that he is ill paid, and resolves to take immediate steps better to compensate himself. Previous to this, there h;id been war between France and Savoy, and although the Duke of Savoy had come to the French court to negotiate peace, be had asked certain concessions not agreeable to the French, and therefore his mission was unsuccessful. The ,var was renewed, and Carlos, in his disappointREVUE HISPAN/Ql' E . B 9 �130 JUAN PEREZ DE MONTALVAN GEORGE WILLIAM BACON ment, now decides to interview the Duke and endeavor to better his condition. The Duke soon finds that the Marshal is open to flattery, and by some very clever manceuvring at last induces him to offer bis aid to Savoy. In addition, Carlos promises that he will surrender a marq.uisate and a considerable portion of France. As a reward, be is to have the band of Margarita, sister of the Duke, in marriage. AcT IL The Savoyards attack Amiens, and Carlos, true to bis promise of aid to the Duke, determiues to withhold the defense, in order that the enemy rnay effectiYely besiege the tO\rn. He carries out his plan, and the Savoyards are steadily gaining ground, when he chances to encounter the Conde de Fuentes, a doughty old Spaniard, whom be first met as the companion of the Duke on the latter's mission t0 negotiate peace with King Enrique. Carlos declares that he is also a friend of the Duke, and tbat he bas pledged himself to aid him. Thereupon, Fuentes calls him a traitot and a coward, and adds that Savoy does not need his aid to win the battle. Carlos is brought to a realization of his duty by this arraignment, and plunging into the thick of the fight bravely Ieads on the French troops, who have been faltering and falliug back. He hopes that it is not yet too late to regain what his treachery has lost, and he shows such wonderful bravery and daring, · tbat the King remarks upon it to several of bis other officers. When the battle is ended - a victory for the French, Carlos hastens to Blanca, and finds her sad and disconsolate. He assumes it to be due to his long absence, and is surprised, therefore, when she declares that she became heart-broken on hearing of his offer to aid the Savovards. She does not reveal how she learned of his treachery, which was made known to her purely by an accident. Sorne time before Carlos's arrivai at Blanca's home, a letter ; 13 I addressed to him was delivered there. Suspecting it to be from some rival of hers, Blanca opened it and found enclosed a picture of Margarita. On reading the letter, she discovered Carlos to be a traitor, and that he was to receive for his services Margarita, five hundred thousand ducats, and the ruling power over Burgundy, Blanca now takes advantage of Carlos's visit to reproach him for his faithlessness towards his King and her, adding : - « So much does the King esteem you, that, if necessary, he will make peace in order that your marriage with Margarita may be consummated. » At this ·moment, the King, who has been a hidden listener, enters, greatly to the confusion of Carlos. Congratulating him on the victory at Amiens, his Majesty appears so affable, that the traitor is beginning to be reassured. But to his s~rprise,. Enrique soon accuses him of treachery, whereupon Carlos fe1gns to be greatly angered, and determines to kil! the ruler i? order to save his own life. He lacks the courage to carry out h1s re:olve, however, and the King, declaring that he knows of h1? pledge to the Duke, scores him, but promises to grant him a pardon if he will ask for it. Enrique substantiates his declaration by exhibiting a number of papers, the contents of whicb are most incriminating. Notwithstanding these clear proofs of his guilt, Carlos declares that since he is innocent he will not ask for a pardon, and the King leaves him in disgust. Dropping into a chair, he falls asleep, only soon to be rudely awakened by the King and attendants. ~e is ~rdered to band over his sword, and realizing escape to be 1mposs1ble, reluctantly obeys. Greatly to his surprise, Enrique commands that he be taken to Paris and confined in a dungeon . . AcTIII. It was Carlos's false pride and vaniry alone tbat prompted him to reject with scorn the offer of pardon made by the King, and �132 GEORGE WILLIAM BACON JUAN PEREZ DE MONTALVAN . 1 now, although in prison, he feels certain that ~lis Maje~ty _will not punish him, but is merely trying to fnghten h1m_ mto submission. He is much surprised, therefore, when he rece1ves a visit from the Chancellor, who informs him that his deatb ~ente~ce has been passed by the judges, and that the scaffold awans hnn. The King now appears, and Carlos, throwing hirnsel~ at his feet beos for mercy in such a pathetic way that only w1th the ore;tes; difficultv can Enrique master his emotion. The unfor~unate Marshal -recounts, at length, his many faithful s~rvices, and asks, if he must die, that his execution take place pnvately, in order to spare him the disgrace . His prayer_s for mercy are of 110 avail, however, for the King, sternly declanng that he cannot annul the sentence, abruptly leaves him. A few hours later, Carlos is led to the block and his head struck off. The King is not present at the execution, but, soon afte~, calls upon Blanca, who has witnessed it. At his request, sh~ g1Yes_ a minute description of the gruesome scene, and emphas1zes wtth what coolne~s her lover met his death. When sbe has condud~d, she bursts into tears, and the King is deeply moved_~ Exhortmg her to cease weeping, and be of good heart, he promises to make reparation for her loss by a lover that will in every wa~ be the equal of Carlos. Blanca, however, decla:es that after hav1_ng_been so great:y disappointed in Carlos, she "'.ill never love agam , _a'.1d the King takes his departure, mounung the loss of a com t1er unexcelled in bravery and daring. La mas constante ]vfojer. (The Most Devoted Fiancée.) AcT I. rd Carlos and Isabel belong rival families, -:- be . to the Esforcias, and she to the Borromeos. otwithstandmg tlm, tbey . ' · 1 33 have for some time loved another ; but now Isabel's father, who bears a deadly hatred towards Carlos, is about to compel her to become the bride of the Cou nt of Puzo1. Not onl y has be asked permission of the Duke of Milan to marry Isabel fo the Count, but Rosaura, the Duke's sister, has promised to intercede with Isabel in behalf of the prospective bridegroom. In spite of these arrangements, Isabel assures Carlos that she will ever remain faithful to him and will never rnarry the Count. As yet, Isabel does not know that she has a third lover in the Duke, and the Count is equally unconscious that in him he has a ri\·al. He is soon apprised of the fact, however, for when he calls upon the Duke to ask for the hand of Isabel, which it is in his power to bestow, he receives the reply that one never gives to anotber what be desires himself. Having made this discovery, the Count discreetly withdraws, and resolves to say no more to the Duke on the subject. In order the more advantageously to press bis suit, the latter now sends for Carlos, and after confessing his love for Isabel, much to Carlos's surprise and dismay, gives him a verbal message to deliver to her, and exhorts him faithfully to pe1form his duty. Rosaura is, on her pait, in love witb Carlos, and decides to ask Isabel to assist her in ,vinning him . After declaring that she has abândoned her old lover, tl1e Duke of Ursino, in favor of Carlos, sbe reveals to Isabel her affection for the latter, and implores her to communicate it to him. Isabel becomes greatly agitated and confused, but is obliged, of course, to comply witb Rosaura's request. Accordingly, when Carlos and Isabel next meet, eacb has very unpleasant news to communicate to the other. After having delivered their respective messages, they fully realize in what a critical situation they are placed, and confer as to their best course of action. After some discussion, they decide to flee the country immediately and pass to France or England, meanwhile divening tbe Duke and Rosaura with promises and excuses . �1 34 GEORGE WILLIAM BACON Acr II. It is night, and in accordance with the plans which Carlos and Isabel ba\·e made, the horses are saddled and waiting, and the lovers are ready to flee the palace. As they are about to leave the apartment oflsabel, they hear footsteps, and she bids Carlos conceal himself. Hardly has he done so when sbe encounters the Duke, who, after telling Isabel of bis love and chiding ber for ber coolness, produces a letter and requests her to read it. But before sbe can break the seal the Duke withdraws, and Carlos reappears. Demanding the letter, he reads it aloud from beginning to end, in spite of her command that he straightway tear it to pieces. The writer is the Duke, who informs Isabel of bis intention to make her his bride the following day. Isabel becomes furious, while Carlos, mastering bis emotion, advises her to submit to the wishes of his royal rival, for she will thereby be doing her duty. Isabel, however, firmly declares she will never marry the Duke, and snatching away the letter, tears it to bits. Carlos is rather vexed at her conduct, which he regards as nothing less than an insult to the Duke. Footfalls are now heard, and Carlos, on Isabel's order and much against his will, bides a second time. The Duke again appears, and asks Isabel what answer she has to make to his letter. Wishing ooly to gain time till she can effect her escape with Carlos, Isabel replies that she must first consult her father before giving a definite answer. This enrages the Duke, and swearing that if she will not have him as a husband he will enjoy her by force, he is about to carry out his tbreat, when Carlos rushes forrh from his hiding-place and commands him to desist. Never having suspected Carlos to be his rival, the Duke is of course greatly surprised, while Isabel, in dismay, begs him to spare her lover's life. The Duke replies tbat he wiU grant the request, for knowing Carlos's readiness to die for her, he does not wish to JUAN PEREZ DE MONTALVA 1 35 give bim such satisfactîon. He affirms, however, that he will continue paying court to Isabel, if only to tonnent him. The tv:o lovers at last succeed in lea,·iog the palace unobserved, and after having traveUed several miles, stop at a small town to rest. Here, they learo that spies are already pursuing Carlos, and that the Duke has placed a premi.um upon lùs head, dead or alive. Isabel, terrified, implores him to abandon ber and fl.ee with all possible speed to France, which course he finally decides to adopt. Shortly after Carlos has departed, the Duke arrives, and seizing Isabel brings her back to the palace. Acr III. Isabel, at Rosaura's request, describes Carlos's hurried departure from the village, and adds that before they bade each other farewell be betrothed himself to ber. On hearing this, Rosaura becomes furious, and at the first opportunity imparts what she has learned to the Duke, who also is angered. \Vhen he next meets Isabel a heated dispute ensues, which is rudely interrupted by shouts and a great uproar, in the midst of which Carlos clashes into the room and throws himself at the Duke's feet. At great length, the fogitiYe relates the story of his life and the brave deeds he bas performed for his ruler, and declares that by abducting Isabel be saved both the buke's reputation and bers . When he heard that she was being forcibly detained in the palace, be resolved to return and protect her honor; and he concludes by asking for ber hand. The Duke remaias silent till Carlos has finished speaking, then ordering Rosaura to conduct Isabel to !1er room, he drags the suppliant to an apartment and locks him m, a prisoner. Rosaura, having overheard ber brother conspiring with the Countof Puzol and three others to kilt Carlos that same night, discloses the plot to Isabel, and advises her to furnish her lover with means of defense. lt is purely a selfish motive which �GEORGE WILLIAM BACON JUAN PEREZ DE MONTALVAN prompts Rosaura thus to protect Carlos, but Isabel, unsuspecting, thanks her profusely for her apparent generosity, and arrning herself hastens to him. When the four bravoes attempt to execute their dastardly plan, they meet with a determined resistance from Isabel, who attacks them so effectively that they are forced to flee for their lives. The whole palace is aroused by the uproar, and when the Duke reaches the spot, be finds Isabel, sword in ha11d, standing on the threshold of Carlos's apartment. Throwing the blade at the Duke's feet, she narrates what has just occurred, and swears that whoever will harm her lover must first pass over her dead body. The ruler is much affected, and replies that such devotion compels him to bestow upon Carlos h_er band . Isabel then informs Carlos that it is to Rosaura that be really owes his life, while the Duke adds that his sister's former suitor, the Duke of Ursino, is even then journeying thither, and that as soon as he arrives a double wedding will take place. anx.iety, for not only is she jealous of her sister, but is annoyed by the attèntions of the Prince. The approacb of Aurora rouses Clavela from these reflections, and with the object of spying upon ber sister, she quickly conceals herself in an adjoining room, unobserved. In a soliloquy, Aurora declares herself to be responsible for Féliz's absence at the wafs, having contrived it in the hope that he would forget Clavela. If she cannot have him for her lover, she ·will die. Furious, Clavela appears, and after warning Aurora that as a younger sister she is subject to ber, threatens to take vengeance should she persist in her determination to gain Féliz . A heated dispute ensues, at the end of which Aurora affirms she will consider only her own interests, and retires. At considerable length Clavela then laments her unhappy lot, - reflections which are interrupted by the entrance of Sabina, a duena, with the announcement tbat the Prince desires to speak to ber. Scarcely able to restrain her anger, Clavela is of course obliged to bid Sabina admit the caller, and on his appearance she kneels before him. Bidding her rise, the Prince seats himself and· requests her to do likewise, whereupon she asks if they are to converse before Sabina and his retainer, Juan. The Prince answers in the affirmative, and Clavela declares that the pair will suspect her of encouraging his gallantries. But her protest is of no avail. Asked when she will treat him with less disdain, Clavela begs the Prince to cease his visits, for not only are they futile but they injure her reputation. Meantime, Juan, who loves Aurora, inquires of Sabina how soon sbe can induce her mistress to regard him more favorably, and receives the reply that her coolness is due to her love for Féliz. In order to deceive Juan, Sabina, who is enamored of him, adds that she will bring his suit to a satisfactory termination just as soon as the Prince meets with success in his. At this juncture, the latter tries to seize the band of Clavela, whereupon warning him not to forget bis rank, she starts to withdraw. Morir y disimular. (To Die and to Conceal.) AcT 1. Clavela, secretly married, two years before this time, to Féliz - now at the wars - , reflects that ]1er younger sister Aurora, who lives with her, is enamored of him. Aurora, however, bas never suspected the relations existing between the pair, and imagines Féliz to be nothing more than Clavela's gallant. The reason for Clavela having kept ber marriage a secret, is that ber father - impelled by a feud of long standing between him and the father of Féliz - stipulated in his will tbat should either of his· daughters marry Féliz, she should be deprived of her inheritance. But Clavela's secrecy bas been productive solely ot 1 37 �1 39 GEORGE WILLIAM BACON JUAN PÉREZ DE MONTALVAN Nothing daunted, however, the Prince makes a second attempt, and at this moment Féliz, in travelling dress and beariog a general's truncheon, enters unobserved. Greatly disconcerted on seeing the Prince, Féliz detennines to apologize for his intrusion by pretending he has corne to tell him of his victories ; and advancing, falls on his knees before the gallant. On learning the abject of his visit, the· Prince, altbough furious, gives him an apparently cordial wekome, and immediately after Clavela's withdrawal bids him accompany him, and departs. ingly when the dueiia gave the letter to Juan she had no fear that her deception would be discovered. In the note Aurora asked the recipient to visit ber the coming night at twelve o'clock, but Sabina has decided to impersonate ber mistress, and thus have a good opportunity of holding a love meeting with Juan. Féliz and bis servant Juanelo chanced to see Juan leave Clavëla's, and suspecting bim to have brougbt her a message from the Prince, the aggrieved busband swears that such treatment will make him turn traiter. He complains bitterly of bis misfortunes, but Juanelo avers tbat he can easily put an end to them by confessing to the Prince that be is married. Féliz, however, refuses to adopt this advice, and declaring be will suffer in silence, bids Juan accompany him while he visits Clavela. Although it is only eight o'clock, Aurora is already ex.pressing her impatience to see Féliz, and, therefore, wbeu be now appears ber joy knows no bounds. She alone, however, derives pleasure from the meeting, for bath Féliz and Sabina are no little embarrassed at their predicament. Sabina, fcaring that before Féliz retires, Juan may arrive in answer to the letter, bastily withdraws to devise some stratagem to preclude this ; while Féliz decides to deceive Aurora by pretending tbat it is she whom he bas came to visit. At this most inopportune cime Claveta appears, and seeing her busband talking with Aurora, bides to listen. Believing bis compliments to be sincere, her anger becornes aroused, and soon unable to restrain it, sbe rushes forth crying "Continue your conversation!" Féliz is filled with dismay, but, a moment later, is rescued from his unenviable position by the abrupt entrance of Sabina. Apparently mucb excited, sbe urges him to !cave at once, for Juan has arrived with the news tbat the Prince will very soon come to see Clavela. Quite deceived by this stratagem, Aurora also begs Féliz to depart, and be does so, followed by Juanelo. The others then withdraw, and Clavela, finding herseJf alone, gives vent to her feelings in a long soliloquy. Lamenting over AcT II. At Aurora's request, Sabina describes the Prince's v1s1t to Clavela, and its abrupt termination. In order to encourage her listener's infatuation for Féliz, Sabina then pretends to have told him that Aurora purposed writing to bim; wheïeupon, overjoyed, be declared that she had displaced her sister in bis heart. Sbe must be careful to conceal her love, however, lest Clavela discover the change in his affections. Entirely deceived, Aurora gladly accepts Sabina's offer of assistance, and swears she will go to any extreme to win Féliz for ·her husband. At this instant, Juan approaches, and assuming that Sabina is furthering bis suit with Aurora, hides to listen. The former has already seen him, however, but believes that he is not dose cnough to overhear tbeir conversation. In a few moments Aurora hands Sabina tbe letter wbich the due1ïa has pretended' Féliz to be expecting, and bidding ber deliver it, retires. Juan im:nediately cornes forth from his hiding-place, whereupon the crafty Sabina gives bim the letter, and, with an admonition to follow its instructions, asks him to leave at once lest he be seen by Aurora . Overjoyed at his good fortune, be fittingly expresses his appreciation, and departs, leaving Sabina to exult over her clever stratagem. Although Aurora of course intended her epistle for Féliz, Sabina influenced her to omit bis name, and accord- �JUAN PEREZ DE MO. TALVAN GEORGE WILLIAM BACON ber husband's seeming - infidelity, she at first swears she will take vengeance by encouraging the visits of the Prince, but later decides to suffer in silence. Mucb pleased by the success of her ruse designed to cause the immediate departure of Féliz, shortly before midnight Sabina stations herself at a window opening on the garden, to await the arrival of Juan. Muffied in bis cloak, he soon appears, and on espyinoat the casernent, supposes it to be t, a woman's fioure b Aurora. He realizes bis mistake only wben Sabina . bids him approach, and states that she will unfasten the door, as her mistress wishes him to corne in. However, the next step in ber stratagem - that of admitting Juan and then imperso1)ating Aurora the wily duena is prevented from carrying out, for at this instant a masked man draws near, and Juan, ~uspecting hirn to be the Prince, bids ber wait till be pass by. As soon as the intruder whose identity Juan has rightly guessed - espies a man speaking at the window, be rashly assumes him to be some gallant of Clavela's, and becornes furious with jealousy. Féliz and Juanelo now appear, and so angered is the former on recognizing the Prince that he can scarce refrain from attacking him. He decides to advance stealthily without making his presence known, while the Prince swears he will take vengeance on Clavela for her faithlessness. Much frightened, Sabina leaves the window, and Juan deems it best to retreat, in order to avoid an encounter with the Prince. Before he can carry out his intention, the former draws his sword and attacks him, just as Féliz, unable longer to restrain himself, rushes with drawn blade upon them both. Closely followed by the Prince, Juan takes to bis heels, and Féliz pursues them. Féliz soon overtakes the Prince, and sparing his life only on account of bis rank, unrecognized, seizes him and throws him bodily into the street. AcT III. Juan calls upon Sabina, who, disappointed that the untimely appearance of the Prince and Féliz frustrated ber intended love meeting with him, has already planned a ruse to gain another assignation. Giving Juan a letter which she has just addressed to the Prince, she bids him deliver it, wherei.1pon he asks if he cannot see Aurora before he leaves. Sabina replies that she bas retir.ed to ber apartment, but if he corne that night she will receive him. Juan then departs, and an instant later J:uanelo appears in the ballway outside. Although he wishes to deliver a message to Clavela from Féliz, in order to mislead Sabina he pretends that he desires to speak to Aurora. Sabina is not so easily deceived, however, and suspecting the real purpose of bis visit, refuses to unlock the door of the apartment. At this, Juanelo loudly protests that if Juan was admitted be should be ; and the racket being heard by Clavela, she cornes to see what the trouble is. Sabina declares ' 1This servant wanted te corne in, and I wouldn't let him" ; whereupon Clavela wilily replies "You did quite right, but now that I am here you may go". Loath to obey, Sabina leaves the room, but stations herself where sbe can overhear their conversation. Observing that Clavela has been weeping, Juanelo asks her the cause of ber sorrow, and she asserts that she is grieved that Féliz should have spoken so affectionately to Aurora. Juanelo declares that ber suspicions are groundless, for it was on ly to deceive Aurora that Féliz acted in sùch a manner. He had corne to see Clavela, but on encountering Aurora was forced to make use of strategy, for, otherwise, Aurora would tell the Prince that Clavela's aversion to hirn was due to her love for Féliz. Finding that Clavela's suspicions cannot be dispelled by argument, Juanelo ceases his efforts, and delivers his master's message, whid1 is �GEORGE WILLIAM BACON ta the effect that he will visit Clavela that night. Partially reas- sured, she asks if Féliz really loves ber, and so effectually does Juanelo at last convince her of this, that she parts from him in-a very contented state of rnind. A long soliloquy of Féliz regarding bis ill fortune is brought to an end by the return of Juanelo, who states that although he was received by Sabina, he contrived to see Clavela alone. Upon Féliz making known bis fear of the Prince, Juanelo urges him to take vengeance, but be replies that he cannot, for it would be traitorous ta kill the Prince, and unjust to kil! Claveta. On the other hand, to reveal that he is her husband will not cause the Prince to cease his attentions, but will only expose him Féliz - to the contempt of the public. Therefore, his best course is neither to speak nor to act. Having overheard the entire conversation between Clavela and Juanelo, Sabina resolves to make use of her information for the benefit of Aurora. Accordingly, after protesting to the latter that the Prince and not she - Sabina - was ta blame for Aurora's failure to meet Féliz the night before, Sabina asserts th.at the latter will corne ta ber apartment that night. Aurora is delighted, and Sabina withdraws to await the arrivai of Féliz and intercept him before he shall see Clavela. The Prince receives from Juan the letter given him by Sabina, and after eagerly reading it, dispatches bim for his cloak and buckler. While these are being brought, be again reads the letter. Therein, Sabina states sbe will await him that night at twelve o'clock at the rear door of her mistresses' bouse, and will conduct him to the apartment of Clavela. He will thus be able to overcome the latter's disdain without fear ·of dh;covery ; but let him be sure ;iot to forget to bring Juan . When the latter re-enters with the cloak and buckler, he expresses the hope of seeing Aurora, while bis master swears he will take vengeance on Clavela for holding a love meeting with the gallant he attacked in the garden. JUAN PEREZ DE MONTALVAN r43 The two at once leave for Clavela's, and on reachinob there , see someone at an upper window signalling them with a handkerchief. The Prince asks if it is Sabina, and after receiving an affirmative answer, is told that in a moment the door will be opened. Sabina then goes downstairs and admits the couple, with a caution to make no noise. Scarcely has the door closed, when Féliz and Juanelo unlock the garden gate, and stealthily enter the bouse. T o Féliz's astonishment, they find it enveloped in complete darkness, and cautiously grope their way from room co room. Meantime, agreeably to Sabina's directions, Juan has left the Prince with Clavela, and stationed himself at the door of one of the apartments, tbere to await the appearance of Aurora. He never suspects that it is not she but Sabina who intends to receive him, and can scarce curb his impatience. Before long, he hears footsteps close by, and, startled, cries "Who goes there? ". No answer cornes to bis question, and the intruders, who are Féliz and Juanelo, soon pass on. The discovery of a man in the bouse immediately causes Féliz to suspect Clavela's fidelity, and he confides to Juanelo his regret at not having kilted the gallant on the spot. Fearful now that her ruse may lead to serious complications, Sabina approaches the spot where Juan is waiting, and as soon as be hears her footsteps be bopes that it may be Aurora, and retreats a little to await developments. At this moment, Clavela is heard to call to Sabina for protection, and the Prince to declare "Nobody will corne to help you ". Although Sabina bears the cry, she resolves not to heed it ; but Féliz, recognizing his wife's voice, draws bis sword, and, as quickly as the· darkness will allow, proceeds in the direction of the sound. " Are· you going to kill me with my own daooer ~" Ob • -' shrieks the Prince ; and a mome11t later, struggling for the possession of the weapon, he and Clavela emerge from ber apartment. Alarmed at the racket, Aurora appears with a candie, by < �1 44 GEORGE WILLIAM BAcoJ the fückering light of which the Prince recognizes Féliz, who has jµst reached the spot . In astonishment, he asks the latter who iqvited him there, whereupon Clavela declares that ït is she whom he has corne to visit. Aurora denies this, and asserting that Féliz has responded to her invitation, asks Sabina if' such is not the case. Embarrassment prevents the usually ready dueiia from at once replying, and a whispered admonition from Aurora is needed to bring forth the desired confirmation. Cla vela then asks to be heard, and after declariug that Féliz is ber husband, tells in extenso of their secret marriage and the worry that bas been caused them by the actions ·of Aurora and the Prince. ln conclusion, she throws a dagger at the latter's feet ' and swears that both Féliz and she will kill thernsel ves if he . persist in his attentions. " You are a brave woman ! " cries the Prince ; and after be bas been addressed by Féliz at great length, he bids him live in peace with Clave la, and makes Aurora Princess. No hay Vida como la Hanta. (There is 110 Life likc Honoi;.) AcT I. Don Fernando has corne to Valencia from Zaragoza in order to marry his cousin Leonor, agreeably to bis father's desire. While passing a.long the street leading to her house, be falls into a dispute witb a stranger over some trifl.ing matter, and the argument soon becomes heated. Fernando loses his temper, and striking his opponent with his sword, is arrested and thrown into prison. Although an attorney has offered to effect his release for the sum of twenty crowns, ye~ Fernando bas not the money to engage him ; and he will not ask Leonor's father for assistance, as hc does not wish him to know what has taken place. Con- JUAN PEREZ DE MONTALVAN sequently he is forced to languish in chains in a dungeon. Entering into conversation with Carlos, a feilow captive, Fernando asks him the cause of his imprisonment. Carlos relates that poor, but noble, he ,vas one of many sui tors for the band of a lady whom - wishing to conceal her real name - he calls Cassandra, but who is none other than Leonor. One day, while riding in her coach, escorted by al! her suit0rs, the horses ran away, and she was thrown into a river and would have drowned, had not Carlos plnnged in and rescued her. At this, Cassandra expressed ber gratitude for his long-continued attentions, and after declaring that to him she owed her life, confessed that she loved him. Carlos then took leave of her, and went to a mill near by in order to dry his gam'1ents. Night had faI!en when he set out for home, and while passing a lonely spot he was at't:acked by six men, whom. be recognized as Count Astolfo and attendants. The Count was one of Leonor's most ardent suitors, and ber rescue by Carlos so aroused his jealousy, that he resolved to punish him. Carlos realized that be would receive no quarter from bis assailants, and unsheathing his sword, dealt Astolfo sucb a severe blow that blood was drawn. For thus defending himself he was arrested and imprisoned. Hardly has Carlos finished his story, when bath the prisoners are informed that they are released. Previous to this, Carlos bas learned from the servant of Fernando the latter's abject in coming to Valencia, and consequently he now shows great embarrassment when Fernando, explaining that he is wholly unacquainted with the town, asks that be conduct him to the bouse of Don Pedro de Ibana, Leonor's father. Carlos is naturally very loath to comply with such a request, but deems it best to acquiesce. When the rivals reach Pedro's residence, Carlos, under a pretext, manages to be the first to interview Leonor, and brietly tells her of their predicament. She assures him that since she will ever remain true to him, he bas nothing to fear from FerREVUE HISPANIQUE. B �GEORGE WILLIAM BACON nando. In bis haste, however, be neglects to warn ber against alluding to the episode of the runaway and rescue, and therefore when later, in Fcrnando's prcsence, Leonor happens to mention Carlos's hernie deed, Fernando is euabled to identify her with Cassandra. Hereupon, jealousy at once manifests itself, and as the rivais take leave of Leonor each threatens to kill the other. AcT II. While Carlos is calling upon Leonor, they hear her father Pedro approaching, and the lover bides just in time to escape decection. Pedro tells his daughter that he is determined sbe shall not marry a poor man like Carlos, and that he has chosen Astolfo in place of Fernando for her husband. He - Pedro - will derive so much advantage from tbis marriage, that he has already inforrned Astolfo of his decision. With the object of deceiving her father, Leonor replies that, agreeably to his original desire, she loves Fernando and cares nothing for Astolfo; as for Carlos, he does not merit even a servant's position in the household. Pedro then consems that Astolfo be rejected in favor of Fernando, but only on condition that their marriage take place irnmediately. This stipulation is designed by Pedro to shield him from Astolfo's anger at his disappoinJment, for if Leonor marries at once, he can the more plausibly assert tbat she made such a sudden change in ber intention without his permiss.ion. As soon as Pedro has withdrawn, Carlos cames forth from his hiding-place, and, wild with jealousy, denounces Leonor for her faithlessness in speaking of hirn as she bas just done. After a stormy sceue, in ,vhich she endeavors to ex plain why she made such assertions to Pedro, Leonor promises to become the wife of Carlos by a secret rnarriage .. Estela, a cousin of Leonor, who knows of the latter's affection for Carlos, and '\\ ho is herself infatuated with Fernando, now endeavors t9 persuade Fernando to transfer his love from Leonor JUAN PEREZ DE MONTALVAN 147 to her, in order that the former may be left free to marry Carlos. All her efforts, however, are futile, and tend only to render Fernando more enamored of Leonor than before. · In accordance witb a promise made to Leonor that he will visit her that night, Carlos reaches her house, and calls to ber. She opens her window, and seeing tbat it is her lover who is below, aoes downstairs to admit him. Meantime, Astolfo, in disb guise, appears, whereupon Carlos, fearful of being det~cted, beats a retreat. Leonor opens the street-door, and assummg Astolfo to be her lover, ,,·ekomes him and conducts him to her apartment. Only when Carlos returns, shortly after, and shouts to Leonor that be is waiting for admittance, does she discover the mistake she has made; . but she cannot penetrate the disguise or the intruder. Fearful of a duel, tbe frightened girl begs ber ·;isitor to depart, while she defers admitting Carlos till be rnay have done so. Furious at the delay, Carlos breaks clown the door, rushes upstairs, and challenges Astolfo ; whereupon Leonor reveals her visitor's deception and wanton actions, and declares that she is for ever ruined. Carlos, bowever, assures her that she will be avenged in bis coming duel with Astolfo, for be intends putting him to death. AcT III. The <luel between Carlos and Astolfo has had just such a termination as the former wished, but he bas been obliged to flee Valencia and take refuge in the mountains. Here he learns that a premium of six thousand ducats bas been placed upon bis head by the Viceroy, that which makes his return to the city impossible. Desiring to obtain some news of Leonor, Carlos sends bis servant to visit ber, and finds that she is in extreme poverty owing to the death of ber father, and subsequent disastrous law-suits. Deeply moved, and fearing lest Leonor may be driven to sell her honor in order to obtain the necessities of life, Carlos at �148 GEORGE WILLIAM BACON once resolves to surrender himself to the Viceroy, with the request that the sum standing upon his head be paid to Leonor. While on the way to Valencia, Carlos decides to visit Leonor before carrying out his intention, and therefore, in order ta avoid capture, is compelled to defer bis call till nightfall. When he reaches her house he hears voices ,vithin, and taking up bis position near the door, later sees a man enter a coach and drive off. The visitor is noue other tban Fernando, but Carlos supposing him to be sorne gallant, regards bis worst fears as realized. Determini-ng to delay no longer, he bids bis servant communicate bis intention ta Leonor, while he hastens ta the house of t;he Viceroy. The night being now far advanced, the Viceroy has long retired, but Carlos declares he must see him at once. So extraordinary is his behavior that the attendants regard him as insane~ and hesitate before makiog known his desire to their rnaster. When the Viceroy appears, Carlos asks to speak with him in priva te, and this request being granted, he discloses his identity, and tells of Leonor's poverty and of his resolve ta die for her sake. Baving been informed by the servant of Carlos of bis master's intention, Leonor, accompanied by Fernando, hurries to the Viceroy's. They enter the apartment just as Carlos bas finished speaking, and Leonor declares that if her lover be executed she will take her own life. Convinced that Astolfo is the real offender, the Viceroy, bowever, pardons Carlos, and after praising his nobility of cbaracter, presents him witb double the sum placed on bis bead, or in ail, t,velve thousand ducats. Meantime, Leonor's cousin, Estela, bas appeared, and now when Fernando sees that he cannot have Leonor for bis wife, he oflers bis hand to Estela, and is accepted. JUAN PEREZ DE MONTALVAN 149 Olimpa y Vireno. (Olimpa and Vireno.) AcT I. Olimpa, Countess of Bolland, in spite of the fact tbat she is betrotbed ta Carlos, Dauphin of France, confesses to the fickle Duke Vireno tbat she loves him. Vireno, on bis part, is about to marry Princess Fenisa of Bungary, and leaves for that country the next day. Previous ta this time, the King of Thrace had entered upon neootiations for a marriage between Olimpa and bis son Eduardo, and the latter, curious to see bis future fiancée, as his father's envoy journeyed incognito to Bolland bearing documents relative to the proposed union. On meeting Olimpa, Eduardo was charmed with her beauty, and after disclosing his identity, pressed his suit with such apparent success that be already regarded ber as won; - a conviction wlùch the people at large shared. At this juncture, there arrived at the Dutch Court a French emissary, Roldan, who came ta ask the hand of Olimpa for his relative the Dauphin. Roldan's mission being successful, Olimpa's love for Eduardo of course ceased, and she refused longer ta receive bis attentions. Made furious, and rashly imagining that hi, old enemy Vireno had influenced Olimpa against him, Eduardo returned home, and now declares that througb war he will avenge the insult offered him by Olimpa. First, he proposes visiting France and compelling the Dauphin ta renounce his claim; then he will return to Bolland, kil! Vireno, and marry Olimpa by force. AcT II. Vireno has been captured by Eduardo near Belgrade in Thrace, while on bis way to espouse the Bungarian Princess, Fenisa. �150 GEORGE WILLIAM BACON Far from considering his arrest as a calamity, Vireno regards it as a stroke of good fortune, since it relieves him from marrying Fenisa, whom he bas never seen. His fickle nature causes him entirely to forget his former love for Olimpa, and he amuses himself by winning the favor of Eduardo's cousin, Irene. Although for some time she has been madly enamored of Eduardo, Yet he does no more tban admire her beauty ' and sheis, therefore ' ready enoug_h to bestow ber heart upon Vireno. Meanwhile Olimpa has heard of Vireno's plight, and resolves to make an attempt to effect his release. Journeying to Thrace in the guise of an envoy, escorted by Roldan and her attendants, she asserts to Eduardo that she bas been sent by Olimpa for the purpose of arranging peace, and also of asking that he deliver to the latter Vireno. In the course of tbeir conversation, Eduardo makes an imputation of the past relations of the pair, whereupon Olimpa flies into a passion, and is about to be arrested, when Vireno betrays ber identity. At great length, Olimpa then recounts ail that bas passed between ber and Vireno up to the present time, and states that the blame for the failure of Eduardo's suit rests upon ber, not Vireno. Although she is equally indifferent to Eduardo and the Dauphin, yet, since she is in the former's power, she will tnarry him if be wishes, provided he release Vireno. To the second part of this proposition Eduardo assents, but he refuses to take Olimpa for his wife, on the ground that she does not love him. At rhis, Olimpa asserts she will then carry out ber contract of marriage with French ruler, but Roldan declares that, as bis representati ve, he will not permit her to do so, since she bas already confessed ber love for Vireno. When Olimpa realizes that she is rid of both Eduardo and the Dauphin, she. joyfully announces that with Vireno she will return to Rolland. This statement dismays Irene, who has planned by marrying Vireno to avenge herself upon Eduardo for his coolness. As might be expected, Vireno welcomes such an opportunity of changing the object of JUAN Pf:REZ DE MONTALVAN his unstable affections, and having announced his intention of accompanying Olimpa, he he_lps ber make ready to embark. AcP m. Olimpa, Vireno, Roldan, and their atten_dants la~d ~n a small island in the Aege:m Sea. Sorne time prev1ousto thts, V1reno persuaded Olimpa to yield up to him her honor, and since then he bas shown a growing indifference toward ber. He now resolves to ·abandon her, and deems the present moment most favorable for carrying out his intention. Accordingly, by night he stea~s from ber tent while she is asleep, and in a small boat effects bis escape. On awakening, Olimpa is surprised to fi.nd her lover rnissing, and only learns of what be has done through Roldan, who bappened to see him take his surreptitious departure .. Overcome with grief, the unfortunate wornan declares she wtll not return home shunned and despised, but will retrace her steps to Thrace whitber she feels confident Vireno has been drawn by ' his former infatuation for Irene. Olimpa's conjecture regarding Vireno could not have been more correct, for now be is putting forth all his efforts to regain the favor of his Thracian mistress. Declaring to her that she has quite displaced his affection for Olimpa, be states that with the latter'sconsent be desires to become ber husband. Irene, however, bas profited by Olimpa's experience, and replies that she has no faith in his declarations and will not marry him, whereupon he swears tbat he will yet conquer ber. Meantime, Olimpa bas arrived, and on fi.nding Vireno alone after bis interview with Irene, she beseeches him to take pity upon ber. In a haugbty and disdainful tone he asserts that he is the busband of Irene, which statement so enrages Olimpa that she kills him by a pistol-shot. Crying " Treason in the palace:•, Eduardo and attendants rush to the spot, but after the assassm bas exculpated herself in a long and elaborate speech, Eduardo �GEORGE WILLIAM BACON JUAN PEREZ DE MONTALVAN 1 53 pardons her, and orders a fitting burial for the body or Vireno. nople. Heart-broken over the Joss of bis mistress, Palmerin determines to endeavor to bury his sorrow in ad venture, and joins the forces of Florendo, King of Macedonia, who is at war witb the Palmerfn de Oliva. enchantress Lucelinda. Florendo bas just concluded a treaty of peace with Constantinople, one of the terms of which is that he shall have for a wife the Princess Polinarda . He now falls to reflecting what may have become of the illegitimate child born to him by Griana, the present wife of the Hungarian Prince Tarifo. Enamored of Florendo before ber cornpulsoi:y marriage to Tarifo, Griana yielded up her honor and t)aave birth to a son - Palmerin - , who, to conceal her sharne, was exposed to the wild beasts in the mountains. Florendo hopes to drown these sad thoughts in the happiness ot (Palmcrin of the Olive Tree.) ACT I. Torn by brambles and dishevelled through pursuing Palmerin, Laurena at last overtakes hirn, and reproaches him for bis cruelty in deserting ber. He replies that since he is her brother he cannot respond to ber affection in the way she desires, whereupon Laurena declares that no relationship exists between them; this she bas learned from ber mother Laurencia. The latter told her that soon after the death of their son, ber husband Guardo found Palmerin lying between an olive and a palm tree - hence bis name - , and brought him home and reared him. The rich purple swaddling-bands which covered him told of royal blood, but nothing could be learned regarding the identity of bis parents. Laurena's revelation arnazes Palmerin, and after confessing his love, be solemnly promises to marry ber, adding that some day he may become King. A messenger from the Emperor of Constantinople now v1s1ts Guardo in his mountain home, and asks him whether he can impart any information concerning the whereabouts of the Princess Polinarda. Hcr step-mother, the Empress Eufrasia, having died childless, she is heir apparent to the throne. Guardo replies that, when but two years of age, Polinarda was sent to him by her father to escape Eufrasia's cruelty, and under the name of Laurena has been reared as one of his family . Laurena now chances to appear, and when Guardo reveals ber identity to the envoy, the latter addresses her as " Your Highness ". Great is the girl's surprise to learn of ber royal descent; and after taking a fond leave of Guardo, she departs with the deputy for Constanti- possessing Polinarda. Meantime, Palmerin invades the enchanted stronghold of Lucelinda, who rneets him in the guise of a horrible serpent. After she bas been beheaded the sorceress surrenders, and, assuming ber true form, throws about Palmerin's neck a magic scarf, destined to blot out al! recollection of Polinarda. AcTIL Lucelinda bas become enamored of Palmerin, and offers him a life of ease and amorous pleasure if be will consent to remain with ber. His love for Polinarda, however, leads him to decline her invitation, whereupon he is made prisoner, and only at the end of three years effects his escape. Sorne time after this, Palrnerin meets a squadron of troops with Florendo at their bead, and as soon as the King espies him he orders his execution, rashly assurning him to be the lover of the royal enemy, Lucelinda . The adventurer, quite una,vare whom he is addressing, replies tbat Palmerin de Oliva will sell his life dearly, whereupon Florendo reveals his identity as King, countermands bis cruel decree, and confesses that the mere mention of �JOAN PEREZ DE MONTALVAN 1 54 1 55 GEORGE WILLIAM BACON Palmerin's ~am~ strangel ' affects him. So frce does the King s-0on feel w1th h1s newly formed acquaintancc, that he discloses liis love for Polinarda, of wbose beauty he yet know only through r~port. This confession dismays Palmerin, and he recalls a_ declarat1on made to him by Lucelinda, to the effect that s1.nce he refused. to love_ her, out of revenge shc would pre\·ent h1~ from. marrymg.Polmarda, ""ho would be ,Yon by another. His refiecnons, however, are soon rudely discurbed by Florendo, who bids him ,isit Polinarda as his envov and conduct herto him tbat bis marriaae may be consummated~ ' MasLering his emotion with difficulty, Palmerin sets sail for Constantinople, delivers Florendo's message to Polinar<la, and e_mbark~ with her on the return vo age. Out of reveoge Luce1,~da ra1ses a fearful storm, which almost engulfs their ship. In lu~ terror Palmerin jumps overboard, and after a bard stmgo-le w1th the waves reaches the island of Jealousy. Here, be fin<ls an enchanted tower containing mirrors which revea1 to a lover the present occupation of bis lady, and be determines to test thern. 1 Acr III. . On en_rering the tower, Palmerin is contronted by an inscripuon statrng that any knight who sets foot upon the island must remain there in the service of Queen elenisa for one year, ~nless be s~cceeds in vanquishing twenty-fi,·e savages. Approachmg the m1rrors, Palmerin beholds therein the recent storm the. final arrivai of the ship at its destination, the reception of Polinarda by Florendo, and her entry into his palace. Furiou~ with jeal?usy, he _is prevented from destroying rhe rnirrors only by Selenisa, who mforms him that he must now encounter his barbarous opponents. Although he wins the contest, Selenisa is o enarnored of bim that she refu es him pc.:rmission to leave ber. On this, Lucelinda cornes ta his aid, and through her gift of a magic ring, which renders the wearer invisible at pleasure, he escapes the guards <letailcd to watch him. Meantime, Florendo hasdiscovered Polinarda's love for Palmerin, and resolves to put the latter to death. Accordingly, he causes to be circulared through ail Greece the announcement that Palmerin is a traitor, hoping that he will deny the charge in person. As soon as be has eluded the guards of elenisa, Palmerin hastens to Polinarda, and assuming invisibility addresses ber. Recognizing his voice, she imagines she bears the spirit of her departed lover speaking, and is amazed when Palmerin soon assumes form and embraces her. At this moment Florendo cnters, and the sight of bis rival so infuriates him tbat he orders bis execution. Palmerin again avails himself of the magic ring, and after be bas vanished, greatly to the mystification of ail, Florendo ioforms Polinarda that since her old lover has been lost at sca, he intends marr) ing ber. Hereupon, Palmerin becomes visible, and is about to be stabbed by Florendo when Lucelinda intervenes. Making known ber identity, the sorceress first reveals the relationsbip existing between Florendo and his intended victim, and then bids the former bestow upon Palmerin the band of Polinarda . Para con Lados Hermanos y Amantes para noso/ros (Don Florisel de iquea) (Brother and Sistcr to the World. Lovers to Oursclves.) (Don Florisel of, 'icaea.) Acr I. As Don Floriscl of icaea is about to leave Grcece, be is intercepted by Clarinda, and furiously berated for deserting her. ln his defense, he replies that being ber brother he cannot marry �GEORGE "'ILLTAM 13ACON JUAN PEREZ DE MON'l'ALVAN her, and that moreover, she must yield lO the authority of Trebacio, Emperor of Constantinople, wbo desires ber for his wife. Funher, thar Briana, Trebacio's sister, is about to compel hirn - Florisel - to become ber busband, and to escape tbis he must flee the country. Clarinda now relates to Florisel that she bas just learned that she is the daughtcr of Clorinarda by Telem6n, the former ruler of icaea. One day wbiJe hunting in a forest, Clorinarda gave birch to a son, who, shortly after, was carried off by six armed men, regardless of her protestations. Greatly to ber surprise, howeyer, a lion soon brougbt another male infant - Florisel - , and fearing Telem6n's anger when he should learn of the fatc of his son, shc substituted it for the latter. When Florisel and Clarinda "\\-ere about fourteen years old, the Princess dreamt tbat she was not his sister, and time served only to show that her grmving love for him was not that of a relative. Wben Telem6n died Florisel ascended rhe throne, and, soon after, on her death-bed, Clorinarda gave Clarinda a sealed paper, to be opened only upon the eve of her marriage. Many now courted the Princess, and most persistent among them all, 1 rebacia. At last, she became disgusted with his arrogance and bombast, and summarily dismissed him ; whereupan ,vitb a great army be seized Nicaea, and made Flarisel and her prisaners of war. Having taken them home with him, hc later dcclared tbat Clorinda rnust become his bride, ·while Florisel must marry Briana. On this, Clarinda · opcned the sealed document, and learned part of what she bas jnst narrated. Florisel is overjoyed at hearing that Clarinda is not his sister, and suggcsts tbey devise some stratagem by which tagetber they can effect their escape to Dalmatia. For some tirne Trcbacio bas suspected the mutual love of Clorinda and Florisel, and be now determines to ascertain whether or not bis mistrust is justified. He tberefore causes the sorceress Sinastasia to create a magic garden, in ,ybich is an enchanted fountain possessing the peculiar power of revealing the ideotity of the drinker's loved one. After Trebacio bas exciteJ. the curiosity of bis Court in regard to this wonder, ail repair thither Florisel wearing a magic shield capable of changing him into any form he desires, and Clarinda a scarf ,vhich can prevent aoyonc from approaching her. AcT II. In the bewitched garJen containing the fountain, eight terrible giants seize Clarinda and Briana, ,vitl1 their attendants, and Florisel, accam panied by other knights, hastens to tbeir aid. Altbough from fear bis companions desert hi.m, Florisel, after a desperatc struggle, fi.nally succeeds· in rescuing the ladies, and conducting thern triumphantly before Trebacio. He then relates, at length, the wonderful adventures that have befallen him in tht! garden . When Florisel bas concluded, Trebacio is so delighted with his valor tbat he offers him his cro,1,n and the band of Briana. 1 ot wishing, ho\\'ever, to enterupon a marriage so distasteful to him, the hero thanks Trebacio for bis generous offer, and makes some plausible excuse for not accepting it. The party now dri1iks of the magic fountain, and after Trcbacio and Briana are told that they love Clarinda and Florisel respectively, the mutual affection of the latter pair is revealed. At this, Trebacio flies into a terrible passion, and calling the hapless 1overs traitors, orders their imprisonment. With the hope of ruaking bis escape, Florisel employs his channed shield, and chancres himself inca Trebacio. Unaware of his action, Clarinda 0 wounds him with an arrow, and as he falls - exclaiming that she ha made a mistake - he drops the shield, returns to bis o\\'n form, and becomes unconscious. Realizing that she bas shot ber loœr, Clarinda is overcome with grief, and bursts out into a long, impassioned lamentation, which brings the act to a close. �JUAN PÉREZ DE MONTALVAN 159 GEORGE WILLIAM BACON Acr III. Now that Trebacio has confirmed his suspicions regarding the mutual affection of Clorinda and Florisel, with the aid of Sinastasia he devises a ruse through which be hopes that he may gain Clorinda's love, and Briana, Florisel's. In accordance with the stratagem, the two lovers are confined in separate cells, and . ~ach_told that the other is dead. To further the deception, each 1s daily conducted to a room in which stand two life-like images of the couple, covered with blood. Notwithstanding the persistency with which Trebacio s;:auses this treatment to be continued neither bas yet shown any indication of weakening, but Trebaci~ fee-ls certain that he will soon be successful, and that the lovers will be glad enough to receive the caresses of him and Briana. One day, while Clorinda is kneeling at Florisel's effigy, her lover enters in the form of Trebacio, and throws himself before the figure of bis rnistress. Desiring to mourn her in secret, by means of the enchanted shield he has passed the guards detailed to prevent the couple frorn being in the apartment at the same time. The two soon become aware of each other's presence, and a~ter _recovering from their surprise, attempt to fl.ee the palace. Fmdmg the _gates barred, they seek refuge in an enchanted castle in the garden, but when Trebacio discovers their retreat, he makes ready to take it by storm. Before he can do so, however, the lovers corne into his presence, and relate several wonderful adventures that have befallen them. Arnong the strangest was their encounter in a cave with a spectre which had arisen from a tomb. The apparition declared tbat he was Amadis of Greece and tbat he, and not Telem6n - as generally supposed - was 'the fat be~ of Florisel. Telem6n's son is Trebacio. Soon after Florisel's mother, Juba, had· given birtb to him, a lion carried him away and brought him to Clorinarda, who had just been deprived of her newly born child - Trebacio - by the soldiers sent by Amadis in search of Florisel. In this way, Florisel was thought to be the son of Telem6n and Clorinarda, and Trebacio of Amadis and Juba. Florisel adds that as Clorinda is the child of Telem6n and Clorinarda, she is Trebacio's sister ; while Briana, being the daugbter of Amadis and Juba, stands in a like relation to him Florisel. When Florisel has concluded his strange story, Trebacio suggests that they exchange kingdoms, he returning to Nicaea, while Florisel take possession of Greece. La Puer/a macarena. (The Macarene Gate.) PART FIRST. AcT I. Don Pedro, King of Castile, and son of Alfonso XL and Maria of Portugal, bas been forced by the Arch bishops of Burgos and Toledo to offer bis band to Dona Blanca, niece of the French ruler Juan de Bourbon. Although both the King of England and the King of Iavarre have also sought Blanca in marriage, her uncle, purely for state reasons, has decided to bestow ber upon the Castilian ruJer, ,vhose btotber Don Fadrique is now hourly expected at Paris. The mission of the envoy is temporally to marry Blanca in the name of the King, and then conduct ber to Castile with a splendor and retinue befitting her greatness. Although Blanca has heard nothing prejudicial to Pedro, and feels attracted by his portrait, yet she bas of late observed so many evil omens that sbe bas become extremely melancboly, and looks upon her approaching nuptials with a strange feeling of dread and terror. �r6o GEORGE WILLIA\1 BACO.' . Fadrique now arri\·es at the French Court, and is presented to Blanca by her uncle, the King. The paniard addresses her respectfully as '' Her fajesty, tbe Queen of Castile "; whereupon Carlos, the English deputy, who bappens to be present, very curtly declarcs tbat as Blanca is to become the wife of Pedro, his mission is enùed and he will return home at once. He cxprcs, es his r gret that Blanca should marry a ruler so inferior to bis, and \\ ben Fad.rique naturally resents this slight, the two fall into a heated dispute. The quarrel is stopped b · Blanca and the King, and the former tells Carlos that England will receive an answer through Parliament. Meanwhile, Pedro, accompanied by bis brothers Juan and Enrique, is engaged in a hunting expedition near \ a\ladolid. Having heard extravagant reports of the beauty of Dona Maria de Padilla, Juan's niecc, he evinces a desire to mect her, and accordingly Juan invites him to call tliat evening at his house near by. Hardly bas the invitation bcen extended, when Maria herself suddenly appears, but surprised and embarrassed by the royal presence, tries to "ithdraw unobsen·ed. Pedro has alrcady seen her , ho"'ever, and at once enamored, addres es her and begs her to remain with him. Maria, wbo bas bcen pur uing a wild-boar and bas come upon the King's party by chance, replies that she will be compromised if disco\'ered in this situation, and implores Pedro to allow ber to depart. But ail ia vain, for the monarch, more aad more fascinated, praises Maria's beauty in the most exaggerated fa hion, and ends by promising to ma~e her his Queen. Enrique is astounded, and attempts to reason w1th Pedro, whereupon he abruptly bids him be silent. Fadrique is oow announced, and after <lescribing the rnagnificent feast held in Blanca's honor at Paris, and the evil omens ob erved during ber journey, states to the King that sbe is in Burgos, awaiting hi pleasure. Imagine Faùrique's surprise a~d dismay, when Pedro asserts tbat ther is only one Queen m Castile, and she is Maria de Padilla. This startling announce- JUAN PEREZ DE MO TALYAN 161 ment so angers Fadrique, that he declares Castile will never accept any other Queen than Blanca; and on Enrique reiterating his brother's assertion, Pedro flies into a furious passion. Acr II. Although Pedro has been compelled by his mother to marry Blanca, yet he is still resolved to make Maria his Queen. Accordingly, under the pretext that important business calls him, he leaves Blanca in Valladolid, while he goes to find faria and bring ber ta Court. Shortly after the King's deparrure, one of his intimates, Juan de Hinestrosa, shows Blanca a letter ordering him to take ber under guard to Tordesillas. Blanca, well aware that Pedro loves aoother, is overcome with despair, for she bclieves that her imprisonment will end in death. Fadrique, who since incurring the royal displeasure bas been living in retirement in Toledo, purposes regaining from Navarre two frontier towns, wbich tbat kingdom has wrested from Castile. Through presenting them to Pedro, be hopes to regain bis favor and be allowed to return to Court. One day, white out scouting with bis companions, Fadrique is accosted by Diana, the companion of Blanca, disguised as a horseman. He does not recognizc her, but she soon reveals ber identity, wbereupon ?is first_ question is_ regarding Blanca. For some time the King's 11~fatuat1on for Mana has been to him a source of worry, and lus worst fears are tberefore realized when Diana tells him chat both Blanca and Pedro's mother, Maria, have been imprisoned. he bands him a letter from Blanca, in which the wretched \\"Oman implores bis aid in ber misfortune, for she fears char she will be transferred at any moment from Tordesillas to the Alcazar at Toledo. Fadrique, "- ho is in loYe with Diana, declares that in company with her he ·will immediately go to Toledo. Meantime, exactly as Blanca has expected, the King orders REVUE H!SPAN!Ql'E. B �GEORGE WILLIAM BACON ber removal to Toledo, and a strong guard, headed by Juan de Hinestrosa, escorts her to that city. On passing the Cathedra!, a ruse suJdenly occurs to ber, and she asks Juan to allow ber to enter and pray. At first be refuses, for by the King's order she is to be taken directly to the Alcazar, but after some persuasion be finally consents. Once inside the ,sacred edifice, Blanca bursts out into a long, impassioned speech, in wbich she implores the people of the city to assist ber. The Cathedral at this houris crowded with worshippers, and when she bas concluded ber fervent appeal, all cry " Long live Blanca ! >> Great disorder now ensues, and the rebellious spirit of the people is heightened by the appearance of Fadrique and bis followers. Greeting Blanca as Queen, he. assures her of hid aid; while at this moment Pedro arrives, accompanied by Maria. Fadrique's companions are terror-stricken, but their leader calmly informs Pedro that he has came to Toledo to quell any disturbance which might arise on the appearance of Blanca as prisoner. After begging the King to be lenient witb her, and telling him of his intention to seize and present to him the two towns of Navarre, Fadrique quietly takes his departure. Pedro is furious, and orders that Blanca be imprisoned in the isolated fortress of Sidonia. ACT Ill. Fadrique has been victorious in his campaign against Navarre, and is now living in Giromena, one of the towns be has captured. Some time• before this, Fadrique sent a friend, Gntiénez, to the King at Seville to tell hirn of his success, and offer him the towns. Gutiérrez now returns bearing a letter from Pedro, wherein, after expressing pleasure over his brother's victory, be asserts that be is about to free Blanca, anJ invites Fadrique to take part in a tournament which he intends holding in her honor. Fadrique is deligbted, and, in Diana's hearing, states that JUAN PÉREZ DE MONTALVAN he will start at once for Seville. Diana, downcast and filled with sinister forebodings, warns him of the great risk he will run in accepting Pedro's invitation, and rerninds him of the prophecy recently made to him by a gipsy. The latter warned Fadrique to beware of his brother, who, full of hatred toward him, would some day prove his murderer. But the courageous man is not to be dismayed, and after a journey full of evil omens, reaches Seville. The gates of the city are found closed, and the more fearful of Fadrique's companions nrge him to turn back, declaring that they suspect treachery. Their protestations are in vain, however, and it now being night, aU throw themselves down to sleep near the Macarene Gate. During the nigbt Fadrique bas a dream, in wlùch the gate opens, and a young cleric cornes forth and advises him not to enter the city, for he will thereby meet death at the bands of his brother. But neither this nor the warnings of his companions can sway him from 11is purpose, for he declares that the King has great need of his services. Maria, who has heard of the plot forged by Pedro to kill Fadrique, is pleading with him to spare his brother at the very moment the unsuspecting man appears. Very soon the King announces that he must die, adding that he wishes to be rid of all his traitorous brothers. Fadrique is amazed, for even the many warnings he has received have not convinced him of his brother's pcrfidy. He indignantly denies Pedro's accusation of treachery, declares that he has always tried to serve him, and brands him as a coward and a traitor. Furious, the King calls his guards, and commanding them to lead Fadrique to instant execution, orders that the same punishment be visited upon al! l~is ,issociates. Before expiring, Fadrique breaks away from his captors, and, covered with blood, staggers into the presence of Pedro. Falling exhauste.d ta the ground, he swears that Heaven will avenge bis death, in causing Pedro to be deprived of his kingdom and killed by his brother Enrique. �GEORGE WILLIAM BACON La Puerta ·macarena. PART SECOND. ACT 1. Juan de Bourbon has received a short but sarcastic letter from the King of England, stating that he must have had great love for his niece Blanca, since he decided to give ber into ' the very arms of death, instead of to a King who so richly deserved her. This is the first intimation Juan has received that Blanca's marriage bas not been a happy one ; and from the tone of the note be naturally assumes she bas been putto death. Urged on by his confidant, Don Beltran, he decides to take vengeance on Pedro, and orders that sixty ships be at once made ready for the punitive expedition. Pedro's brother Enrique and Diana left Spain for France soon after the murder of Fadrique, and they now appear before Juan. Diàna presents Enrique to the French ruler, and be, after assuring Juan that Blanca is still ali've, narrates, at considerable length, ail that took place from the time of her arriva! in Spain up to the violent death of Fadrique. When Enrique bas concluded his relation, he makes a touching appeal for aid against the monster, Pedro, and asks Juan for the loan of troops to augment those be will gather in Castile. With the combined forces be will be able to rescue the unfortunate Blanca, and avenge the foui murder of bis brother. As Enrique desires to return immediately to Spain, Juan bids Beltran accompany him, and assures him that the troops will follow as soon as possible. Meanwhile in Castile, Don Tello, a courtier, accosts Pedro, and afrer acquainting bim with his love for Dona Leonor de Guzman, who has attended Blanca ever smce her incarceration JUAN PEREZ DE MONTALVAN in Sidonia, asks him to relieve her and give him ber hand. Pedro grants Tello's request, and adds that as be is going to bunt oear Sidonia, he will in person bestow Leonor upon him. When · the King approaches the stronghold, be espies Blanca at a grated window, and drawing nearer, hears ber conversing with someone ,,,ithin. The unknown, who by ber voice can be identified as a woman, expresses ber opinion of Pedro in no mild tenus, and asserts that she intends convoking al! ber ,relatives against him. Hearing Blanca address her companion as" Leonor", Pedro discovers the latter's identity, and entering the fortress, orders her to give her ]und to Tello and then suffer execution. The wretched lover is of course horror-stricken, but the King forbids him to make any protest. ACT II. One day, while near Sidonia, Pedro falls in with Enrique's servant, Gara vito . The latter, not recognizing the King, tells him of Enrique's appeal to France, and adds that as he does not wish to become King of Castile, he will gladly abandon his campaign if Pedro will recognize Blanca as Queen. On hearing this, Pedro determines to interview Blanca, and pretend tbat within a month she will be released. Having thus deceived Enrique, he will then punish with death ail who have shown themselves rebels. In defiance to Pedro's decree that Leonor should be executed, Gutiérrez, the chief of the guard at Sidonia, not only spared her life but released ber, and, disgu:sed as a peasant, she bas been living in the vicinity. Since leaving Blanca she has been greatly worried about her, and finally, at the risk of her own life, decides to visit ber. Hardly bas she corne into Blanca's presence, wben, to the terror of al!, Pedro appears, and botb Leonor and Gutiérrez full y expect to hear hirn give the order for their execution. To their amazement, however, he greets Leonor kindly, thanks Gu- �166 GEORGE WILLIAM BACON tiérrez for having shown such commiseration toward ber, and in an extravagant speech assures Blanca that he again loves het and will soon release her .. Soon a'rter Pedro's departure Enrique arrives, and hàving told Blanca of his trip to Paris, adds that six thousand men are now on the way from France to join the eight thousand Castilians tbat he has collected. To his great astonï'shrnent, Blanca implores him not to attack Pedro, since be has relented, and will make ber his Queen. Enrique replies thai: he will respect her wishes, and cause the French troops to return, bearing to their King a letter apprising him of Pedro's sudden change of humor. He h_imself will visit Pedro at Seville, and thank him for wbat be has promised to do. As was the case with Fadrique, his brother is perfectly fearless of Pedro, and disregarding the admonitions of bis friends, boldly presents himself before the monarch. Pedro receives him in a haughty manner, and refusing to hear him, turns away. Enrique's friends no~ become frightened, and urge him to leave the palace immediately. He is about to do so, when the captain of the guard appears, and informs him that be is under arrest. Enrique defiantly draws his sword, and replies that he will never be taken alive; which statement being overheard by Pedro, throws him into a towering rage. Nothing daunted, however, Enrique swears that the King will not have the opportunity to murder him as he has done so many others, and then leaves the palace. ACT III. Now chat Pedro regards Enrique as quite deceived by his promise to Blanca, he resolves to have her executed, and accordingly orders bis secretary to prepare her death-warrant. Pedro chances to be in the church, before the tomb of Fadrique, when the secretary brings him the document for bis signature; and after receiving it tells the official to withdraw, as he wishes to JUAN PEREZ DE MONTALVAN remain alone. He then meditates at length upon the step he is about to take, being swayed now by pity for the innocent, trusting Blanca, now by unrelenting cruelty. At last the stronger feeling prevails, and, utilizing the tomb as a table, be is about to write his name, when the life-size statue of Fadrique standing upon the sarcophagus, half unsheathes its sword. Terrified, Pedro declares that he will never affix his signature to the warrant, whereupon the sword drops back again into its scabbard. Although Pedro in tends keeping the promise which bis cowardice has just led him tô make, yet it is far from bis intention to spare the life of Blanca, for he knows only too well that subjects can be executed without the need of a formai warrant. Hardly had _Enrique corne into Pedro's presence on the occasion of his visit to him at Seville, when he heard him mutter that Blanca must die, and he now writes her of the ruler's real intentions. Blanca is astounded on learning that the King's loving assurances were only feigned, and she has not yet recovered frorn her surprise, when Gutiérrez announces that Pedro, accompanied by his mistress Maria, bas arrived. The jailer hastens to welcome him, while Blanca, in spite of Enrique's letter, assumes that he has corne to release ber as he has promised . The moment Pedro has set foot within the fortress, he commands Gutiérrez to be put to death, asserting that this will _be bis reward for having disobeyed the royal mandate regarding Leonor. He then orders the same punishment to be visited upon Blanca, who, breaking away from her captors and covered with blood, staggers into the presence of Pedro and the horror-stricken Maria, and falls Jead at their feet. At this moment, Pedro is informed that a French envoy desires to speak with him. Declaring that he cannot receive him in person, he scri.bbles upon a bit of paper a brief message for him, places it in one of Blanca's bands, and hurriedly takes his departure. The envoy, who is none other than Beltran, is horrified at the sight that greets him, but espying Pedro's note, takes cou- �168 GEORGE WILLIAM BACON rage to loosen it from the grasp of the corpse, and reads it. Therein, Pedro bids him give Blanca the honorable burial she deserves, and Beltran swears that not only w!ll he d.o this, but will also avenge her murder. Hard pressed by the army of Enrique, Pedro takes refuge in a castle, and his brother, with the intention of luring him out, challenges him te• a hand-to-hand encounter with swords. Pedro defiantly accepts the challenge, and after a few parries Enrique makes a misstep, and falls to the ground. He is about to be run through by his opponent, when Beltran hastens to his aid and mortally wounds Pedro, who falls with a cry of" Treachery ! " Thanking Beltran for having thus saved bis life, Enrique now offers him balf the kingdom of Castile, a gift which he gladly accepts. El Reynar para rnorir. (To Reign only to Die.) ACT I. Ariolante, King of Athens and Sparta, realized that on account of his great age bis life would soon draw to a close. Having no male heir, he was naturally desirous of obtaining some information regarding his successor, and to satisfy his curiosity consulted his astrologer, Aristippe. The seer told him that whoever his successor might be, his reign would not last more tban a year, since before the expiration of that time he would meet a violent death. This awful prophecy Ariolante confided to no one but his ad viser, Cle6n, whom he ordered secret1y to obtain from the oracle of Apollo a denial or confirmation. The oracle thrice repeated the seer's prediction, whereupon Ariolante, thoroughly frightened and fearful that the prophecy might become known, banished Aristippe from the country. Out of revenge, however, the soothsayer disclosed the dreadful secret, and accordingly, JUAN PEREZ DE MONTALVAN when Ariolante <lied, no one could be found who was willing to take his place. The courtiers were in despair, and realizing that tumult and sedition would arise from the Jack of a ruler, asked the oracle what course to pursue,. They received the answer tbat whosoever, the following day, should first enter their city - Athens - would be their King. When this revelation is communicated to the people, they are satisfied, and next day, at dawn, gather about the gates to await the arrivai of the unknown. He soon appears in the persan of Aristomenes, who, amidst shouts of welcome, is unanirnously proclaimed King. Naturally, the new-comer expresses great surprise at having been made the recipient of such an honor, whereupon Cle6n gives a very plausible excuse for this unique method of choosing a ruler, and conducts l1im to the palace. Meantime, Lisandro, Prince of Thessaly and rightful heir to the kingdom, bas beard of the death of Ariolante, and now cornes to daim bis inheritance and marry the Princess Irene, his cousin. When he learns, bowever, of the fate tbat awaits the future ruler, he deéides not to ascend the throne, and in order that trene may not suspect him of lacking courage, he tells her that t is only his love for her that deters him from becoming King. l.t this moment shouts are heard, and Aristomenes appears, e~orted by the populace. In extenso, he narrates to them the st•ry of bis life, and before he bas concluded Irene becomes enam•red of him, and decides to warn him of bis danger. Accordingy, soon after his coronation he recei ves a Ietcer from her, wh'1rein, \\'Ïthout giving her name, she discloses the strange circumtances under which he was chosen ruler. When he bas read the letter, he makes known its contents to the courtiers, but asures them that what he has learned will not prevent him from ulfilling bis duty as King. \ �r70 GEORGE WILLIAM BACON AcT :q:. Lisandro, convinced that Aristomenes and Irene are now enamored of each other, is mad with jealousy, ·anù decides to effect the murder of bis rivaL With this intent, he sends a message to his brother, the King of Thessaly, asking him at once to dispatch one Alciades to Athens, that he may kill Aristomenes. Alciades, being quite unknown, can commit the murder and escape with less danger of detection than he himself; if he were the perpetrator, he would no doubt be put to death on the spot by the infuriated populace. Soon after having dispatched the messenger to Thesssaly, Lisandro surprises Aristomenes and Irene in a tête-a-tête which so enrages him that he draws a dagger, and, under the pretense tbat he is seeking self-destruction, attempts to stab the King. The latter, however, always on his guard against treachery, unsheathes bis sword, whereupon Lisandro, startled, lets fall the dagger to the floor. AcT III. Severa! incidents have occurred. which have served to ma!ie Lisandro more jealous of Aristomenes, and, one day, so furio~s does he become at Irene's indifference, that · he declares to 1er he will kill his rival before her very eyes. Hereupon, Irene ru-castically bids him look at himself in a mirror to see how peasant he appears, and then abruptly leaves hjm. Lisandro's ;age knows no bounds, and at this unfavorable time Aristorrenes enters. Declaring that if his rival's anger is partly due o his not having become King, he shall suffer from this vexatvn no longer, Aristomenes tenders him the crown. Lisandro ;t once accepts it, explaining that not fear, but only his love fo Irene and dislike to leave her a widow, deterred him from pnviously ascending the throne. By al! the people he is now pnclaimed JUAN PEREZ DE MONTALVAN 171 ruler, and immediately after he orders Aristomenes to be decapitated. His excuse for such a cruel command is, that as the prophecy foretold 1he first King would meet a violent death within the year (which time has not yet expired), his own safety will be assured only through the execution of Aristomenes. · Sorne time before this, through a note from Aristippo, Aristomenes had learned of Lisandro's design against his life, and therefore, when Alciades arrived from Thessaly, be caused the latter to be imprisoned. Consequently, Alciades has seen neither Aristomenes nor Lisandro, and knows nothing of the transfer of the crown. He is now released, and, soon after, espies Lisandro conversing with Irene in the King's closet. Naturally, be at once assumes him to be Aristomenes, and is certain of the correctness of his identification on hearing him la ter speak of himself as King. Drawing his dagger, be k.ills Lisandro without warning, and Irene, terrified, calls for help . .In response to her cries the courtiers appear, together with Aristomenes, whose life has been spared by them in spire of the King's decree. Alciadcs, after confessing the blunder be bas made in carrying out Lisandro's command, is condemned by Aristomenes to be hurled from a lofty rock; while the latter, again proclaimed King, thanks the people for their loyalty and marries Irene. El Rigor en la Inocencia 6 Privarse de privar. (Cruelty in Innocence or To _Deprive Oneself of Favor.) AcTI. With the · object of procuring Iodgings for the suite of Don Alvaro, Don Juan, the Regidor of Arévalo and Alvaro's servant, Manzano, halt before the bouse of Don Iiiigo and demand admittance. Tamara, Ifiigo's servant, responds, but flatly refuses to allow the trio to enter, and a wrangle ensues, wbicb is termin- �I 72 GEORGE WILLIAM BACON ated by Juan and Manzano drawing their swords and swearing they will pass in by force. Crying "Kil! him ", they are about to attack Tamara, when Iôiao, who has heard the commotion, appears, deprecates the employment of violence, and asks what great persqnage is passing through the town. Manzano replies that it is Alvar Pérez Minaya, heir to the kingdorn of avarre., whom one, now dead, banished from Castile for having upported the new monarchy of the present King, Alfonso XL To the astonishment of Juan and the Regidor, Ifügo d clares that in former years Alvaro was frequently a visitor at his bouse; and while Juan is endeavoring to recollect where he has previously seen Iôigo, the latter bids the trio depan. His threat to kill the first one who crosses the threshold does not atfright them, however, and, angered at his haughtiness, they .ire on the point of entering by force, ,vhen Alvaro himself appears. In answer to the latter's inquiry as to what the trouble is, Iiiigo states that he is defending bis home, and having obtained from Alvaro the pardon which he desires, promises to reveal to him the reason for his action if he will enter the bouse alone with him. Alvaro readily agrees to do so, and cautioning the others to remain where they are, follows Inigo, while Manzano, in wonder, remarks that the buildina must indeed be haunted. A few moments later the pair reappear, and Ifiigo being asked by Alvaro for bis name, replies" I used co be somebody, now I am nobody ", and abruptly re-enters the bouse. His curiosity aroused by the expression of astonisbment which escapes Alvaro, Juan inquires the reason for his surprise, and is told that it is occasioned by the discovery of such a striking man content amidst the most wretched surroundings. Hoping to learn the stranger's identity from the Regidor, Ah-a~o questions him, but the official knows only that the mysterious one bas lived in Arévalo for ten years, subsisting on the chase and what tray alms his servant can gather in the streets by night. Alvaro then describes thedilapidated condition of the bouse and its furnis.hings, JUA PEREZ DE MONTAL\'AN 1 73 and concludes by bidding Manzano summon Tamara. \Vhen the latter appears, Alvaro asks him who his master is, and upon heing told " a poor nobleman ", d clares that be knows uch is not the truth. Amazed that his deception bas been discovered, Tamara states that he will furnish the information desired , if Alvaro will promise to keep it a secret. To chis he agrees, and Tamara tells him that bis rnaster is Ii'i.igo Méndez de Soto, who once enjoyed great prominence in Castile, but later fell into disfavor. Saddened by ,vbat he has beard, Alvaro gives the faithful servant a diamond for Iüigo, and Tamara leaves him with a final admonition not to reYeal the secrec. Juan and Manzano - who have been absent during the interview between Alvaro and Tamara - now return , and announce that the King and Queen have arrived in to-wn, and t!1at her Majesty is en route to Burgos to attend a religious festival._ Pleased at this news, Alvaro testifie bis appreciation by handmg Manzano a doubloon, and ordering Juan to procure a thousa'.1d crowns from the treasury qn the following day. He then b1ds the latter conduct to his - Alvaro's - lodginas as • b pnsoners, under an escort, Inigo and Tamara, and delighted with the gift he has just receiv d, Juan de parts to execute th commission . Scarcely has he withdrawn when shouts herald tJ1e a-pproach of the King and Queen, and upon their appearance a fc,...- moments later, escorted by attendants, Alvaro advances and prostrat~s hirnself before them. With an exclamation of surprise at hav'.ng so unexpcctedly met him after his many ycars of bamshment, the King affectionately bids Alvaro rise and embrace him, and kiss the hand of the Queen. Onlv aftcr considerable urging <loes bis modesty permit him to comp-ly, and be declares that even the Alexander of old is immeasurably inferior to Alfonso, " the new Alexander. " r ot wishina to be O\'erlooked if he can avoid it, Manza no acco ts the King, :nd having enumerated the various posts he bas fiJled under Alvaro since bis �JUAN PÉREZ DE MONTAL A. 174 GEORGE WILLIA t BACO banishment, a ks that be be fittingly rewarded for his fidelity. lfonso commands that be be aranted a hundred ducats for each office he has held and adds that his ma ter will be made Grand Chamberlain. Alvaro's protests against these favors, are intcrrupted by his Maj sty announcing that the Queen wishes further to r ward him by giving him for a wife Dona Leonor de Atayc! , a relation of h r from Portugal beautiful, and talented, and chi f lad • in waiting. The Queen adds that she desires the ceremoo , to be performed immediately, but Alvaro, far from pleased at the prospect, rather rashly declares that there is no need of undue hast . To this the King replies that his z al to reward him admit of no dela •, whereupon Alvaro, realizing the futilit · of protest, acquie ces and cives thanks for such an unlooked for favor. Meantime, Juan ha executed Alvaro' order conc rning Inigo and Tamara, and now rejoins him, on! to be told tO bring the prisoners to him at once. \Vhen Juan has departed, Alvaro recounts to the King the circumstances under which the couple were discovered, and after giving Iiiigo's full name, states that his father was vanquished b ' Alfonso's fath r - Fernando IV. - in Burgo . At this juncture Juan appears with the prisoncrs, and Jnigo immediately asks Alvaro why he has broken his promise not to reveal his identity, and chid s him for having don_e o. The King, however, comforts liiigo by declaring that Al aro bas said nothing but in praise of him, and with the assurance that be believes this eulog • to be well merited, bids him throw himself at Alvaro's feet. Inigo obe s, and as well as his shame and embarra sment will allow, xpresses bis penitence at havincr so unju tly treated one who is really his friend. Telling him to rise, lvaro then appoints Jniao chief cup-bear r to hi Majesty, and restores to him ail rho e towns and villages of which his father was deprived by the former King, Fernando IV. Instantl • realizing be may have ex eeded his authorit ·, Alvaro asks the King for pardon; while Inigo, overjo ·ed, confesse his inability 1 75 ever to be able to repay such kindoess, and depart with Tamara. As soon as the former prisooers ha,•e withdrawn Alfonso reminds_ Alvaro that his marriage to Leonor must tak~ place at o'.1ce, smce the Qucen pn:sentl · leavcs for Burgos, while be lumself retums to Toledo. Lookiog with no more favor than before upon this compulsory union, Alvaro is about to venture a protest, when th King interrupts him, assures him of his affection, an<l leads him away. By chance these last words of his Majesty have been overheard by Don Mendo de Torqu ma<la, the lover of Leonor and are bis first intimation tbat he is to be depriYed of her. Fu~ion , be swears ht: will have re,·enge, but his raving are soon terminated by the abrupt e11trance of the Que n, who in wonderment, demands to know the cause of bis passion. At first he replies ~1e:ely "I have a grievance"; and it is only after p rsistent quest10'.1mg t~at he tells the Queen be is angered because she promtsed lum Leonor and now bestows her on another. \ ith the exp_lanation that it is the will of the King, her Majesty retires, whtl_e Mcndo, accompanied by a servant who has just appeared beanng a number of documents on a salver, advances to meet Alfon o whom be sees approaching. As soon as the King espi s the documents, which recount the favors he bas done Alvaro ~1e asks Mendo tl~e nature of. them, and in the latter's repl; mstantly r ads lus m·y and 1ealousy of the new favorite. To repro,·e him, Alfonso asserts that he is not satisfied with what he has done for Alvaro, and in tends further to reward him; wbereupon Mendo ver ' broadly hints that be bas b en shown too many favors already. At this junctur the Que n appears, atrended by Leonor and Alvaro, and after Leonor bas informed the latter thac sbe will m~rry him in accord~nce whit the royal bidding, her Majesty dedares that the wedd1ng must take place immediatel . The J ing then shows Alvaro the documents presented to him by ~lendo, �GEORGE WILLIAM BACON and upon the new favorite exclaiming at the lavishnes~ o~ the gifts, the Queen declares that they are no more than h1s v1rtue deserves. AcT II. The scene now shifts from Arévalo to Toledo, where Leonor recounts to her servant, Antona, the many good qualities possessed by her husband. While the two are conv~rsing: Alvaro enters with Manzano, and upon the latter showmg h1s master some petitions and asking if he wishes to examine t~em, Alvaro angrily bids him be silent and go away. ln surpnse, Le?n?r demands of her husband what the rnatter is and why he 1s 111 such ill humor to which he replies that the numerous rewards and favors he l1as received, serve only to bring cares and worries and ro separate him from her. Thereupon, Leonor advises him to ask leave of the Kino to retire with her from Court, and so alluring is he~ picture of the peace and happiness they will enjoy, that he decides to follow ber counsel. The King's entry is now announced _by liiigo, and. after Alfonso bas expressed bis regret at havmg corne to d1sturb Alvaro, the latter asserts he has a favor to ask, and would prefer to do so in private. When Leonor and Inigo have with~rawn, Alvaro prostrates himself before the King, bursts forth mt~ a long and extravagant eulogy of him, and concludes by declan~g that be is incapable of attending to his duties and would fam retire to Arjona. Angered, Alfonso replies he never would have believed that one who enjoys such revenues and favors would make such a request, but Alvaro maimains that only the ambitious and the heedless are willing to go through life thus burdened. This statement throws the King into a furious passion, and swearing that Alvaro is disloyal and scorns the many favors be has receivedi orders him to leave the Court at once. Alfonso then retires, wbile lnigo, whose attention bas bcen attracted by the King's angry words, rushes in and asks what the 177 JUAN PEREZ DE MONTALVAN matter is. When he learns what bas occurred, Iiiigo declares tbat ii Alvaro will allow it he will accompany bim to Arjona, but bis friend assures hirn tbat only the King can grant this permission. Their conversation is now interrupted by the entrance of Leonor, who bas scarce time to exchange greetings witb Inigo ,vhen · Mendo appears. The latter informs lnigo that the King wishes to see him immediately, and escorts bim from the apartment, ail the while secretly gloating over Alvaro's downfall. T he instant tbey are alone, Leonor asks ber husband regarding the outcome of his interview with the King, and after be has hinted at what took place, he expresses his desire to leave Toledo with her at once. A few moments later, Juan enters bearing a message to Alvaro from his sovereign, to the efiect that he must quit the city witbin four hours. Alvaro replies that he will do so, and Juan retires, while Leonor withdraws to say farewell to the Queen. Tamara, the faitbful servant of Iüigo, seeing in Alvaro's downfall a chance for his master's advancement with tl1e King, urges him to appropriate the place held by the former favorite. Ifügo, however, declares that he would be untrue to Alvaro were he to do so, and tben announces bis determination of accompanying bim on his journey. To this Tamara abjects, on the ground that he would show more devotion to his friend if be were to remain in Toledo and protect his name from slander, - a suggestion of which lnigo heartily approves. Leonor's interview with the Queen has had a most unpleasant termination, due to a disparaging remark of the latter concerning Alvaro, and in a rage ber Majesty tells the King that she has been insulted. Although vexed at the independent attitude of bath Alvaro and Leonor, Alfonso is balf inclined to pardon them, for at heart he still likes and admires bis subject. However, when be intimates that be feels less vengeful, the Queen affirms that the many favors he has shown Alvaro have served only to make him proud and haughty. This statement at once REVUE HISPANIQ UE . B 12 �GEORGE Wll.. LIAM BACON püts an end to the King's vacillation, and be swears that he wiH force him into submission. Juan now enters with the announcement that all is ready for the departure of Alvaro and Leonor, and that in a momen: they will come to say farewell to their Majesties. Dedari~g he w11l not . receive then1, the King bids his wife accompany h1m, and hastens to leave the apartment before his . unwekome callers shall appear. He has not the opportunity to do so, however, for the next instant the couple confront him, and with an appeal that he be allowed t.o ex:plain himself, Alvaro falls at the King's feet. To his surprise, the soveteign refuses to hear him, makes a gruff reply and withdraws; while the Queen denies Leonor's request to kiss her hand, and turns away. ACT III. Even Alvaro's banishment frorn Court has not sufficed 'to cool the K.ing's resentment against him, and he swears to the Queen that he will have revenge. Her Majesty avers that if Alvaro be deprived of his titles and estates, be will soon return to ask for pardon, and the King decides t? adopt c_his s~ggestio_n.' He dedares that futther to humble h1m he w1ll lav1sh add1t1onal honors and favors upon his friend lfiigo, who owes to him Alvaro - his present position at Court. That these measures will prove effectual the Queen asserts there can be no doubt, and she urges her husband to completè Alvaro's undoing by deprivi.no- him of Leonor. Vv'hen, some time previous to Alvaro's appearâ;ce at Court, Mendo asked the Queen for Leonor's hand, . sbe was compelled to grant his request, and Leonor w.is forced to accept him in payment of his having obtained for het several substantial favors from the Queen. Three witnesses - anendants of the Queen - will testify that Leonor promised Mendo to be his wife, and the Queen herself, haviog been present on that otcasion, will vouch for the trurb of dteir smtements. \.Vith JUAN PÉREZ DE MONTALVAN 1 79 this explanation, her Majesty declares that it is a simple matter to order Mendo to proceed against Alvaro, and the King having stated that be will do so, she retires. As soon as be is alone, Alfonso's resentment towards Alvaro is temporarily dispelled by the thought that he still likes hirn and that his subject shows wisdom in wishing to live free fron~ the burdens and cares of the Court. Pride will not allow him to ask Alvaro to return, but let hrm come of his own accord and he will gladly receive him. From such reflections the King is soon aroused by the entrance of Juan, who bas just returned from Arjona, and who in answer to his inquiries concerning Alvaro, st<ltes that he is a g;ea.t favorite there. After bis Majesty has read a note sent h.im by the latter he expresses the wish to examine another which Juan bears from 'Alvaro, addressed to the Archbishop of Toledo. From thls the King learns that the fallen favorite will return if asked, ~ a statement which infutiates him and causes him to swear that he will compel Alvaro to beg to be received. liiigo and Mendo now appear, whereat the King informs the latter, much to his surprise, that he desiœs to give him a bride· then he bands Inigo a paper, and bidding Mende follow hin/ retires. I_îiigo finds the document to be a decree of the Kin~ transfernng to the former ail of Alvaro's titles, revenues, and estates, and, much affected ac the persecution of bis friend be determines some day to return ail these to bim. ' ~Vhile Alvaro and Leonor are witnessing a May fe'te held by their servants, one of füe latter announces the distant approach of a party on horseback and on foot, where1.1pon Leonor remarks to her husband that she fears it to be a demonstration of the King's resentment. A short time after, Manzano appears with the news that those approaching are Iiiioo Mendo and Juan .d t> ' , ' accom1c~a111e by an escort. Apprehensive, like Leonor, of his master s_ safety, the faithful servant wishes to forma guard of h..is compamons, but Alvaro assures him that this is needless for the �r8o GEORGE WILLIAM BACON leaders of the party are his friends. Amidst cries of '' Make way for the Constable and Duke of Arjona ", liïigo, Mend~, and J~an now appear and Leonor wonders on htaring tbese utles apphed to any ot. ber' . t 11an 11er husband • Alnro boives the newcomets• a cordial welcome, and is, therefore, mnch surprised on bemg treated in the most indifferent manner by Juan and Mendo, coolriess which Inigo avers is due to the incon~tanc~ of ~ortu~e. When Juan shows Alvaro an order from the Kmg directm? hnn 10 be taken to Toledo, Leonor furiously be~ates the ~m1ssary, but her husband r.eproves her, and after handm~ iwer h1s sword"' declares he ,vill obey. Asked if the King bas g1:,en any fur:h_er commands, lîiigo answers Alvaro in the a~ rrn~tlve, and exl:1b1ts the decree transferring to himself ail his fnend s revenu:s, t1tles, and estates. Expressing his pleasure to have I~igo free him. fro~1 such burdens, Alvaro avers that in th.e possess10n of Leo~ot be 1s quite content, whereupon Mendo declar:s tbat the Archb1sh~p orders her to keep the promise of marnage she made to htm Mendo _ before she becamethe bride of Alvaro. Enraged, Leonor denies ever having made such a promise, but Mendo asserts that he has witnesses to prove it, who are no less than the Queen h:erself and ber ladies. Juan then bids Leonor enter a coach standing near by with notari~s, whi.ch order so angers Alvaro that he upbraids b.im and Mendo, and swear~ he will kill anyone who approaches his wife. To bis protestauon_s that be shoul~_be allowed to keep her, since he has been depnved of all else, fo1go strange to say - replies that he is demented, and_ co~mands a guard to take Leonor to the coach. Lamenting their ~.115fortune, the couple are separated, and overjoyed that he 1s at last to have Leonor for a bride, Mendo gives the order to start for Toledo. ln conversation with the Queen, the King avers tbat be has treated Alvaro unjustly and crue!ly, and scarcely has be thus spoken when a servant announces that Leonor, Juan, and Me~do have atrived and are about to enter the apartment. Asserung JUAN . PEREZ DE MONTALVAN 18 I that he will retire, the King does so just intime to avoid meeting the trio, while Leonor advances towards the Queen with the words " Lady, you have here the innocent womân whom you persecute." To this thrust her Majesty tnakes no reply, but turning to Mendo, bids him have his marriage perfonned immediately, whereat Leonor warns them they had best not attempt it. Angered, the Queen abruptly witbdraws, and, a moment after, li'iigo and Alvaro appear. As soon as the latter espies Leonor, he addresses ber as bis wife, and she responds with " My husband ", which so enrages , Mendo that be commands Juan to remove ber at once. Just as this -order is executed, a servant proclaims the entrance of the King, wbo, mistaking Alvaro for Ii'iigo, · calls him " friend ", and bids him corne to his arms. lu an instant, however, Alfonso discovers his error, draws back and declares he will not receive him. Asked the reason for his decision, he answers tbat Alvaro is a traitor - an accusation which so angers the latter that, when Iiiigo corroborates it, be attacks him with " If loyalty consists in being a traitor, no one can be more loyal than you. " lùigo becomes furious, but the King, in place of taking his part, to his surprise seconds the ttuth of Alvaro's statement, hints that something unpleasant is in store for l~im Iiiigo, - and calls for Mendo. When he appears, followed by the Queen, Leonor, and Juan, the King bids the former give him her hand, whereat she exhibits a dagger, and swears that she will rather take her life. Terrified, Alvaro begs her to marry Mendo, but scarcely has she time to reprove him for giving such advice, when the King, to the amazement ot ail, declares that his resentment has vanished, and bids the persecuted couple embrace one anorher. On this, Ifiigo affirms that be will retum to Alvaro ail the revenues and estates that the latter was compelled t0 transfer to him, and adds that his sole reason for accepting them was the conviction that no one else would return them. After Alvaro bas embraced Inigo and the King, his �182 GEORGE WILLIAM BACON Majesty sentences Juan and Mendo to banishment from the realm, but at Alvaro's request finally gra11ts tbem a pardon. El segundo Séneca de Espaiia. (The Second Seneca of Spain.) PART FIRST. AcTL Santoyo, an old man, and counsellor of King Felipe the Second, teads to bis Majesty a letter from the Low Countries, petitioning freedom of thought without oppression by the Inquisition. When Santoyo has concluded, Felipe declares that be will not accede to the demaods of the Dutch, but will dispatch the Duke of Alva to subdue them, since he would rather relinquish ail their country than permit them to be heretics. A woman, Otavia, clad in mourning, now endeavors to corné before the King, whereupon a guard rudely thrusts her back, and speaks to her in a threatening tone. The disturbance having attracted Felipe's attention, he asks one of the courtiers the cause of it, and when he is informed, sternly reprimands the guard for ill treating a woman. He then bids Otavia step for~ ward, and asks her what favor she desires. She replies that she is a widow, and that her son, aged fifteen, has been sentenced to death for having committed a murder. lmploring clemency, she begs tbat be be allowed to turn soldier, and have the opportunity of sacrificing his life in a better cause~ that of fighting for his King. Felipe grants her prayer, but explains that he does so only out of sympathy, and not deliberately to reverse the judicial decision, wbich was just. Dona Leonor, having learned that her lover Don Juan of Austria, half brother of the King, has been ordered by the latter JUAN PEREZ DE MONTALVAN to lead an army against the rebellious Moors in Granada, writes to Juan reproving him for intending to desert her. Just as she has finished the letter be appears, whereupon she greets him very coolly. After a long conversation, however, Leonor shows her• self Jess vexed, and on taking his leave, Juan promises ,to return that night to say farewell. Santoyo reads to Felipe, late one night, a m.1mber of petitions, and after the King has passed upon them, with bis gro1Jnds for granting or refusing each one, his Majesty withdraws to write a letter to the Pope, Pius V. Therein, he gives his reasons for not joining the Holy League, but promises to send orders to his Viceroys to protect tbe city of Venice. When he bas finished the communication he reappears, and, not noticing that Santoyo has fallen asleep during bis absence, bids him read and seal it. The old man of course makes no reply, and as soon as Felipe sees that he is asleep he tries to wake him. Although his efforts are only partly successful, still the King hands him the letter and repeats his request. In a mechanical and listless way, Santoyo then seizes the inkstand, and assuming it to be the sandbox, empties its contents over the sheet. Naturally, Felipe is vexed, but, concealing his anger, merely tells the old man to getwide-awake, while he withdraws to write his letter over agaio. ' AcT li. During tbe time that is supposed to have elapsed since the close of the preceding act Santoyo has <lied, and is mourned by all except the Prince, Don Carlos. That he does not share the general grief results from the fact that Santoyo advised Felipe not to allow him to take part in the coming campaign in Flanders, Carlos is very jealous of the Duke of Alva, whom Felipe has selected as leader of the invasion, for he feels that he holds a position which by right belongs only to himself. Accordingly, �GEORGE WILLIAM BACO. ' when he now meets the Duke, he tries to dissuade him from taking part in the expedition, but the otber declares that he has no choice in the matter, and must obey the King's orders. Carlos then becomes furious, and tries to stab the Duke, who savcs bis life only by seizing his assailant's arm. At this juncture the King appears, and, on Carlos retiring, bids the Duke relate the cause of the quarr 1. When Felipe has learned what bas taken place, be is not a little vexed at his passionate son, and orders the Duke to leave for the etherlands the next day. Carlos vows vengeance upon the Duke, and is more determined than ever that he must die. Deciding to enlist the aid of his uncle Juan, who bas now returned from the Moorish campa1gn, one night asks him to promise to kil! the favorite, but Juan of course refuses. While they are arguing they draw near the house of Leonor, and Carlos asserting that be has heard of her great beauty, expresses the desire to see ber. \ ery narurally, Juan is b • no means pleased, and endeavors to dissuade the Prince from his idea by stating that he will run the risk of m eting Leonor's parents and brother. But Carlo. , true to bis stubborn nature, cannot be so easily swayed, and orders Juan t~ cal! th girl at once, else be will break do, n the door. Juan sees himself forced to acquiesce, and summoning his loved one to the grating, tells ber in anxious tones of his predicament. ot confused in the least, Leonor bid him tell the Prince to approach, and when Juan does so, Carlos is delighted, for be supposes be will be admitted to the bouse. He is doomed to disappointment, however, for his entreaties and arguments are answered only by hanter on the part of Leonor. Finally, he loses his temper, and becomes so impudent that she closes the window in his face. Carlos's rage knows no bounds, and uttering ail sorts of threats, be is escorted by his uncle towards the palace. On the ,; ay, the couple fall into a heated argument over the merits of their respective fathers, and by the time they reach the palace, Carlos is talking so loudly that the King hears him, and hastens to the spot. JUA . PÉREZ DE MONTALVA • 185 Dismissing Juan, Felipe learns from bis son the cause of their dispute, and \\'Ïth a reprimand orders him to bed. ACT III. Having heard that the people are continuall , \'.omplaining of bis son's actions, Felipe becomes vexed, and decides to have an intcrvi w with him. Accordiogly he sends a courtier to seek Carlo , who is di covered playing pelota, in an endeavor to forget an attack of the ague from which be is suffering. When he comes before his father, the latter asserrs that his demeanor greatly displeases him, and that if he docs not reform he will have to sufler the consequences. Hereupon, Carlos d clares that he feels he has b en sli 0 hted, for norwithstanding his desire to serve as general in Flanders, the choice fell upon the Duke of Alva. This showed plainlythat his father considered him unworthy of such an honorable and responsible position. Before the Prince has finished ail he wishes to say, he is again s ized with the ague, which finally becomes so Yiolent that Felipe forgets his anger, and, calling attendants, ordcrs him carried to his apartment. The Cardinal now enters, bearing a document relative to the Kino s approaching marriaoe with his niece Ana of Au~tria daughter of Maximilian Il., Emperor of Germany. By the term; of the document, she is to bring with her as dowry one hundred thousand crowns, and as earnest money a like amount. hould she outlive the King, she will receive forty-six thousand ducats a year, provided she does not remarr '. The agreement also stipulates tbat Isabel, another daughter of Maximilian, shall become the bride of Charles IX. of France, while Margarita, sister of the latter, shaU marry the King of Portugal. After Felipe has arefully read the document, be places his seal rhereon, and orders a hundred thousand ducats to be aiven to the Archduke who brought it to Court. �GEORGE WILLIAM BACON r86 Soon after the Cardinal has withdrawn Juan enters, and to Felipe's inquiry concerning Carlos, replies that he asks permission to ~etire for a short tirne to Alcala, for the benefit of his health. The King states that be may do so, and then informs Juan that the latter has been chosen by the Pope as general of the League against Selim and Mustafa. In response to Fclipe's summons Pompeyo, a sculptor, now appears, and is ordered to complete as soon as possible some unfin~ ished bronze figures for the deçoration of the Escorial. Pompeyo declares the delav to be caused by a scarcity of workmen, whereupon the King bids him obtain them from Italy and Germany. Asserting that bis son is an expert sculptor, the artisan laments his inability to make use of him, since he is irnprisoned at Zara~ aoza for killing an officer while resisting arrest, Whet) Feli.pe hears this, be states that the cul prit shall be set at liberty; while Pompeyo, delighted, resolves to retire with his son to some spot where the King may be unable to find them. Receiving word from the Archbishop of Seville that Ana of Austria is approaching Segovia, Felipe repairs thither and meets her, accompanied by her two brothers, Alberto and Venceslao. After the usual courtesies have been exchanged, the Archbishop bestows the nuptial blessings upon the couple, and prepares to celebrate their rnarriage the following day. El segundo Séneca de Espana. (The Second Seneca of Spain.) PART SECOND. AcT I. Desiring to impre.ss upon his s.o n Fernando that death daims Kinas no less than their subjects, King Felipe, accompanied by b JUAN PEREZ DE MONTALVAN Don Diego de C6rdoba and the Cardinal, leads the young Prince to the burial vault of his ancestors. The first tomb before wbich the party halts is that of Pedro the· Cruel, and as soo11 a~ the appélative " · Cruel " bas caught the King's eye, he bids to be replaced by the word "Justiciero ", on the ground that mortuary inscriptions are intended to make known the virtues of the dead, not their defects. The adjacent sarcophagus con tains the remains of Fernando ,IV. - The Summoned .- , and since the Prince confesses bis ignorance why he should have been so styled, Felipe relates the reason. Passing the tomb of Alonso the Chaste, the party stops before that of Alonso XI., and the -King orders it to be opened. The body of the deceased lies clad in full armor, but has no sword, a deficiency which the Cardinal attributes to the greed of a sacristan, who despoiled the corpse while cleaning the tomb. Felipe declares that the Joss must be made good immediately, whereupon Diego offers lus sword for the purpose. Averring, however, that only a royal blade can be so used, the King places bis in the sarcophagus, and then takes Diego's for himself. Further inspection of the vault is intetrupted by the entrance of a rnessenger from the commander of the Armada, the Duke of Medina Sidonia, who sends word that the fieet has been dis~ abled by a terrible storm, even before meeting the enemy. All present are surprised at the composure with which Felipe receives this news, and his very self-control at once dispels the fear that has been engendered in the messenger through making sU<:h an announcement. When he bas learned a few details of the catastrophe, the King declares his intention of leaving at once for the Escorial. On tbe way thither, a heavy rainstorm cornpels Felipe and bis companion, Diego, to seek shelter in the house of a peasant, Rana, and in the absence of the latter they are entertained by his niece, wh.o is quite unaware of the identity of her visitors. At last Rana appears, and soon the royal coach drives up with �188 GEORGE WILLIAM BACON Queen Ana, the Prince, and attendants. After the confusion incident to tbeir ar1rival bas subsided, the Queen gently cbides her husband for having deserted her. When ail have wühdrawn save Diego, the King hands hïin a petition which he bas received, and bids him read it. Therein, a woman of Toledo complains that a prebendary, Don Rodrigo de Peralta, after having dishonored her has cast ber off, and refuses to aid ber. Ordering Diego to investigate t_he affair, his Majesty avers that should the complainant be found well- born and needy, he will cause one half of her deceiver's incarne to be paid to her for life. This matter disposed o( a communication from Escovedo next daims Felipe's attention, and he declares that so often bas the Secretary written h_im on the same topic - the remuneration of the forrner's brother for his aid in the Holy League - , that he can guess the contents of the present letter even before breaking the seal. A hasty glance at the paper is sufficient to prove the correctness of the King's conjecture, and. no little vexed at Escovedo's importunity, he withdraws to \Vrite a reply. Scarcely has he set foot in the adjoining apartment, when there enters Juan de Alansazo, a notary, who asks leave to see his ruler concerning an important matter. Mindful of Felipe's injunction that he must not disturbed, Diego is about to deny the visitor's request, wben theKing calls to Alansazo to state the nature of his business. When he has clone so, the notary declares that before leaving he must see the King, for, otherwise, how can he be certain that it is to him and not to someone else be has been speaking. This frankness so pleases Felipe that he at once shows himself, and after Alansazo's departure asserts that he will someday reward him. ACT II. _Diego complains to his servant Morata that although be umnistakeably enjoys the royal favor, yet each time he asks the JUAN PÊREZ DE MONTALVAN King for an appointment, he is told that the office which he des~res is already filled. Morata suggests that this set reply is des1gned sole! y to conceal Felipe's aversion to oranting his C • ' t, 1avonte s request, - the reason for this he states he does .not know - ; and adds that a very simple artifice will enable them to solve the mystery. He - Morata - will ask the Kina for an office, in reality occupied, but about which he feels 0sure bis Maiesty will know nothing; if the King makes his usual reply, his deceit will be disclosed. . The a?proach of _Felipe now enables the wily domestic to put !11s plan mto execut10n, and so very evident is the couple's aston1shment on receiving the stereotyped answer, that the King asks the reason. Not in the least embarrassed, Morata blurts out : " lt's strange that the appointment has just been made, for I know that the persan who holds the office is still living. " Aware that he is cornered, Felipe admits · that his real abject in a]w~ys m~ki?g such a reply is to avoid offending the petitioner, ~or if one 1s 11! suited to an office he ·prefers thus to dismis:; him, mstead of openly stating his objection. He concludes by banishing Morata for his impertinence. Saddened by the death of the Queen, and bent down by his old ~e and infirmities, Fdipe retires to an oratory, and after beseech1~g God that he grant him rnercy and an early death, recounts h1s m_any conquests and achievements. While thus engaged be is surpnsed by Prince Felipe, whom, after an exhortation always to trust in God, he dispatches for Diego and the Marquis of Vélez. When th~ latter arrive, the King explains that he req uires their presence 111 the transaction of sorne businrss and wishes the Prince to sign al! the documents, in order th;t be may acquire the necessary familiarity with such matters. The first petition presented to the King is that of one Monsalve, who asks to be given the Magistracy of Malâga. After his persona!. ap?earance bas been described to him, Felipe refuses the apphcauon, on the ground that a man so short in stature �GEORGE WILLIAM BACON would be wholly unfitted to govern a city so turbulent as Malaga. Diego's suggestion that Rodrigo de Peralta - the erring prebendary of Toledo - possesses the qualities requisite for such an office, meets with equal disfavor, his Majesty declaring that the betrayer of a woman would indeed be ill 'suited to rule a city. The Marquis now informs the King that the term of the chiet magistrate of Seville has expired, whereat Felipe announces his intention of temporarily appointing Juan de Alansazo, the notary, to serve till the Count of Puôo de Rostro, the permanent incumbent, may be able to enter upon bis duties. Through Diego's intercession, the King has consented ro pardon tl-ie former's servant Morata, and when oow the tretnbling lackey appears, Felipe fulfills bis promise. Hardly bas be clone so, when the arrivai from Lisbon of bis nephew, Cardinal Alberto, Archduke of Austria and fiancé of the Princess, 1s announced. ACT III. While dozing, Felipe in a vision sees slowly file before him a funeral procession, and if among the priests he dearly distinguishes the face of bis confessor, just as distinctly does he recognize the corpse as that of himself. Startled, the aged monatch infers that bis deatb is not far distant, and calling the Marquis, orders that a coach be at once made ready to convey him to the Escorial. Arrived there, the King orders bis coffin tô be brought to him, explaining that he wishes to ascertain whether the " dwelling" he will occupy for eternity is satisfactory. When this singular request has been complied with, he directs that one foot be added to the coffin, in order to give sufncient space for the subsequent lengthening of the corpse. His belief tbat embalming is an indecency, causes him expressly to forbid it being performed upon him, and after having issued explicit directions regarding his JUAN PÉREZ DE MONTALVAN burial, he bands one of the ·courtiers an ancestral charm, to be delivered to the Princess. At tbis juncture, the Marquis announces the arriva! tif the Prince and bis sister - news wh ich so delights the King, that in spite ot his weakness he insists on going to receive them. After a rnost affectionate meeting with his children, Felipe bids all present seat themselves about him, and tben turn ing to bis son and successor, tbus addresses hirn : "Now that my life of seventy years is nearing an end, I bestow on you my sword and kingdom, ordering you as my son and beseeching you as my friend, that you always obey the Pope and assist him in his wars with the infidels. Keep peace with Italy and France ; guard my dear daughter Isabel; and especially see to it that she become tbe bride of her cousin Alberto. The Pope has already promised bis dispensation therefor, and, moreover, has_authorized that as Archbishop of Toledo Alberto shall enjoy all the benefices of that office. Since it may appear, my son, that wbat I have already bestowed upon you is yours by indisputable right, - a gift in which affection plays no pan, - I presentyou with this crucifix of precious stones, as a token of my love. My father clasped ii in bis dying hands ; I shall do likewise, then it shall be yours ". When he bas thus spoken, Felipe requests the Sacrament to be administered while he is still conscious' and with a blessino0 for his children fondly bids them farewell, and retires. Not long after, Alberto and Diego, who have been among those present at the death scene, Ïi1form the Prince that his father, conscious to the last, has expired. �GEORGE WILLB.M BACON El Se,îor Don Juan de Austria. _ (Don Juan of Austria.) AcT I. On Ascension Day, Alexandrino, the Papal Legate, arrives at Madrid by way of Barcelona and Guadalajara, and is welcomed by King Felipe, Ruy Gômez, and Don Juan. At the gate by which he enters the city a magnificent altar has been erected, and seated beside this, and surrounded by a portion of bis retinue, the Legate reviews the imposing procession that passes before him. When it has drawn to an end, the King alights from his carriage, and, doffing his hat, does hommage to Alexandrino. With bared head the Legate receives his Majesty, and on the conclusion of tbeir courtesies, Felipe places him at bis ri~bt h~nd and Juan at bis left, and withdraws. Desirous of witnessing such an impressive spectacle, Countess Porcia, the inamorata of Juan, accompanied by her maid, endeavored to gain a point of vantage . So great was the crowd, however, that she was unable to see even the elevated altar, and on now meeting Morata, Juan's servant, she gladly accepts his offer to describe what he has just seen. That night, - as often, - Porcia receives a visit from her lover and his nephew, Archduke Alberto, and, after the exchange of some repartee, sbe suggests they make a beginning of the poetry with which they are wont to entertain themselves on such occasions. Asked by Juan to name who is to commence, ·Porcia selects Alberto, an~l when he bas finished bis sonnet, she requests ber lover to follow. Juan is in turn succeeded by Porcia and Morata, and be then states that being midnight he must leave, as Felipe is wont to sum_mon him at that hour. Morata, accordingly, calls the carriage, and with an intercbange of courtesies the little party separates. JUAN PEREZ DE MONTALVAN 1 93 Meantime, at the palace, Felipe informs Don Diego de Côrdoba that he has heard that Juan and Alberto go out nightly - a practice of which he disapproves, and which he proposes bringing to an end. Passing to the door of Juan's apartment, be hands Diego bis master key and commands him to unlock it. The courtier hesitates, whereupon the King seizes the key, opens the door, and· orders- him to enter. He does so, closely followed by his Majesty, and, after the lock bas been .thrown, Felipe remarks they will sit clown and chat white awaiting developments. Diego replies that he would much rather sleep, but the King insists on him taking a seat, and bv bis sicle moteover' , since he wishes to treat him as a friend, not as a mere subject. After having discussed various tapies for a considerable time, they are startled by the noise of someone endeavoring to open the door, and a moment later hear the voice of Juan demanding admittance. Owing to the _King having purposely left his key in the lock, Juan cannot insert bis, and he soon becomes angry. At Felipe's request Diego asks: "Who is there? ", and, no satisfactory reply being received, then demands: " Whom do you want? ". A_saucy answer follows from Morata, whereupon the King bids Diego open the door, and Juan and bis servant enter. Naturally, th_ey are no little surprised to see Felipe, who, after dismissing Diego and Morata, tells Juan that he must warn his nephew Alberto to cease going out so much at night. If he does not heed the admonition, he will be punished. Notwithstanding the King adds: " I had intended to speak to Alberto myself, but prefer you to do it ", Juan feels sure that it is really for him that the warning is intented. AcT II .• Juan relates to Morata that - by night - he has just called upon Porcia, who received him in ber garden. On account of the excessive heat she was clothed in the lightest attire, which circumstance had such an evil influence over him, that be besought REVUE HISPANIQ UE, l3 13 �1 94 JUAN _PEREZ DE MONTALVAN GEORGE WILLIAM BACON her for her favor. She resisted his pleadings, atid when at last be became too importunate, burst into œars. This and -her reproofs caused him to realize his mistake, and ask her pardon. While Morata is endeavoring to convince his master of the folly of having allowed himself to be influenced by Porcia, F~lipe enters, and dismissing all present except Juan, declares be 1shes to speak to bim. After narrating the latter's life, from ~1s first meetino with him as a child, the King expresses the des1re that he go a~ once to Flanders and assume the g~vern?rship. His predecessors have been far from satisfactory, smce if Don Fernando de Toledo rùled too rigorously, the Comendador Mayor, Don Luis de Requesens, went to the opposite extreme. Felipe th~n bands bis brother a paper, which he asks him to read aloud w~ile he himself writes to the Princess Margarita. So soon does the Kmg finish bis letter that Juan bas not the opportunity to read all the communicatio~ he has given him, wbich dea1s with the ~roper appelations of varions members of Church and State. Acc~r~ngl~, Felipe bids him lay it aside for the present, and upon rece1V1ng ~15 assurance tbat he will pass to Flanders, declares he must bear 1D mind the words spoken by Trajan to the Senate on bis coron~tion : - "Take this sword, and should I govern well, fasten 1t to my side. If I should rule as a tyrant, however, run it in my :7 breast. " Porcia is so possessed with a feeling of imp~nding misf?rtune, that after baving passed a restless, sleepless mght, she anses sad and weary. Declaring to ber maid tbat she wishes to en~eavor to bury ber sorrow in slumber tilt the arrival of Juan, she lies down and falls into a troubled sleep. Shortly after, Juan enters, and on hearing his inamorata speaki.ng in her dreams, lame~ts Lhe cr~el fate which forces him to leave her. At the close of h1s long sohloquy, Porcia suddenly awakes, and fr~m the demeanor of her lover assume·s that ail is not well. His sadness, however, she supposes due to Felipe's discovdy of their love, and she is•there fcire inconsolable when Juan tells ber that he has been orMred to 1 95 Flanders. With a long and fond farewell the two separate, firmly convinced they will never meet again. The King receives a letter from the Pope, to the effect that Juan should be give.n the title of Lord of Tunis and · Goleta, as a reward for his bravery in wresting these two strongholds from the Turks. lt is not the first time that the Pope has written on this subject, and Felipe is much provoked bath by the former's imp?rtunity and. by his ?wn jeal9us thought that Juan may poss1bly be cons1dered h1s equal in ability. Therefore, when Diego makes bold to support. the demand of his Holiness, he meets with a curt rebuff, in the shape of: " Who asked you to meddle in this ? Be quiet! " Alberto then ventures to intercede, asserting that it is only natur~l that such a great warrionhould desire some recom pense h1s brav~ry. To tbis thè King _replies: " He who serves only w1th the ob1ect of obtaining a reward acts from no bioh motives for he should strive after virtue solely for its own sake~" ' A fanfa~e is now heard, and upon Felipe demanding its significance, Diego states that Prince Fernando desires to do honor to his uncle Juan, who is about to -take his departure. At this mome?t the newly appointed Governor entei-s, accompanied by the Prmce and attendants, and app.roaches bis brother in order to say farewell. _Although Felipe clasps him in his anns with great apparent affection, he addresses him merely as " Your Excellency " - that which greatly displeases Juan, who deems himself worthy of the ti.tle " Your Highness ". He has the good sense, however, to conceal his chagrin, and turning to the Prince em~races him most fondly. Just as he do_es so, the King passes belund Juan, and struck by the chape of his scabbatd, is scratched and thrown to the 1ioor. Juan is greatly frightened, but his br?ther ~ssures him that his injury is practically nothing, and might eas1ly have been much worse. " Had it been so" replies . th_e other, " I should certainly have thrown myself thro~gh that wmdow into the court below. " fo: �GEORGE WlLLIAM BACON AcT Ill. Three petitioners present them eh-es to Felipe, of whom the first, a soldier, asks for a certain post, only to be told that it bas already bèen assigned. Instead of showing disappointment, be tbanks Felipe so cordially that the latter inquires the reason. Tbe soldier rêplies tbat it is the .King's promptness be appreciates, because had he been obliged to wait a year for his decision, the Little money he had saved before leaving borne would have been spent before the expiration of that pcriod. So pleased is Felipe with this philo ophical answer, tbat he asks the soldicr soon to return, promising to setk anothcr position for bim in the meantime. As soon as the soldier has witbdrawn, a lawyer bands the King a petition soliciting the Governorship of Avila. Even before reading it, or beforc Alberto can give him aoy information regarding the candidate, Felipe declares that he is already suffidently informed, and refuses to grant the application. The petitioner - he states - has just married an extremely beautiful woman, and it is only natural that if he were appointed Goveroor he would n9t attend to his duties, but ,; ould devote ail his energies to pleasing and serving bis bride. Therefore, he bids him return at the end of a year, for by that time married life will have lost its novelty - as happens to alL An old man now approaches and asks the King to grant a pardon to his son, who is under sentence of death for having kiUed his o, n motber. He makes th:is plea not because he condones such a horrible crime, but because the execution of the murderer will nor restore his victim, and will serve only to deprive him - the father - of lùs one remaining solace. Felipe replies tbat for their own safety the accu ed must be bung at once, for he who bas killed his mother would, with equal readiness, take the life of his father or bis King. JUA' PEREZ DE MONTALYAN 1 97 Juan, accompanied . by Morata, has reached Luxembourg, where on behalf of h1s mother, Margarita of Austria be has been recei~ed by Mons. de aves. By him he has d;spatched letters to Margarita, and the emissary now returns bearing messages of welcome both from her and the Deputies. Therein, be rea~s that th~ peopl~ will hai,l his coming with delight, for they ~lieve he w1ll tenmnate those bitter conûicts that have so Jong d1srurbed the peace of the States. In order to assist in the elaborate preparations that are being made to receive Juan, Mons. de aves asks bis permission to returo at once, and shortly after he depai:rs two women approacb. Wearing masks and dressed in Flem1sh costume, tbeir disguises ar so perfect that 11either Juan nor Morata suspect them to be Porcia and ber maid. Mora ta delighted at the prospect of a flirtation, asks his master to go with him to meet the couple, but Juan is still true to Porcia, and refuses. Howe~er, after ~o:ata and the maid have spoken together for a short tlme, Juan 1s mveigled into the conversation, and Porcia discloses her identity. So amazed is he, that at first he believes some stranger to be deceiving him. In answer to his questions Porcia states that his departure caused hcr such sadnes that she ;esolved to_ folio him, and since reaching landers she has been living w1th her m.otber. At thi~ juncture t_heir conversation is interrupted by a clarion, a?nouncmg the arnval of Margarita, her retinue and the Depuues, whereupon Juan takes leave of Porcia and ooes to meet them. In spire of bis remonstrances, Margarita rec:ives ber son on bended knee, and after he has shown ber the same deference she ~eclares t~at she bas heard of his victories only by letters: Takmg the hmt, Juan replies that he will gladly nami.te them should she so desire, and upon receiving an affirmative answe/ recountsat great length his whole life - arecital which brings th; play to a close. �GEORGE WlLLlAM BACON Ser Prudente y ser Sufrido. (To be Prudent and to be Devoted.) AcT T. Alfonso, who has just been crowned King of Le6n, selects Bermudo as his confidential adviser, and in a long interview tells him what he will expect of him. In addition to his other duties, he is to ascertain what the people at large think of their new sovereign, and tben communicate to him their opinions. Before dismissing Bermudo, Alfonso warns him never to mention in his presence the name of Dona Elvira, whom as Prince he loved but as King must forget, since more serions matters than love-making now demand ail his attention. Bermudo, soon after his interview with the King, receives a message from Elvira bidding him corne to her at once. He complies with ber demand, whereupon she, piqued by the King's indifference and neglect, declares that although Alfonso has ceased his attentions he bas not renounced her publicly, and till he does sbe can entertain no other lover. Sbe then requests Bermudo to ask the King formally to release her from any obligation towards him, hoping to win the latterthrough exciting his jealousy. Bermuda replies tbat Alfonso has forbidden him even co mention her name, but Elvira, undaunted, urges him to grant her requesc, adding that if he does, she will further his suit with her sister Fior, of whom he is enamored. This temptation Bermudo cannot withstand, and he capitulates. Elvira, delighted, then asserts that she wishes to hear the King's comment on receiviog her message, and accordingly in tends concealing herself within earshot. Who will be chosen Prime Minister by the new King is now the ail absorbing question, and even Alfonso himself bas not yet JUAN PEREZ DE MONTALVAN 1 99 decided which of the courtiers will best fill the office. Wisbing to learn their true feelings toward bim, he bides in the hall where they are engaged in conversation, and then causes to be unveiled a large portrait of himself, with an eulogistic inscription from his own pen. Many of the remarks and criticisms tbat follow are far from complicnentary to Alfonso, and cause him forcibly to realize wbat a prominent part h 'pocrisy plays in Court life. Among his disparagers is one Mendo, whose slurs happen to be overheard by a loyal courtier, Fernando de Quinones. The latter rebukes Mendo for his perfidy, whereupon the couple fall into a heated dispute, terminating in a challenge to a duel that nigbt at twelve o'clock. ACT II. True to his promise to Elvira, Bermuda is about to communicate ber request to the King when he rudely interrupts him, and rebukes him for speaking of her in defiance to bis prohibition. Bermuda, however, cannot be so easily turned aside from his purpose, and finally, after considerable persuasion, Alfonso allows him to continue. Wben he bas concluded, the King bids him inform Elvira that sbe is released from all obligations toward her royal suitor, and then sternly warns hirn never, at bis peril, to mention her name again. Elvira, who, in accordance with ber intention, has been pla •ing eavesdropper, becomes furious at Alfonso's declaration, and rushes out from ber hiding place, to the utter dismay of Bermudo. She brands the King as a deceiver whose sole abject bas been to gain her honor, whereupon be denies this accusation, and with a promise to be bestman at her wedding, abruptly retires. Fernando reaches the duelling ground at the hour appointed, and while he is waiting for his adversary, the King, accompanied by Bermuda, approaches through the darkness. Having overheard the quarre! between Fernando and Mendo, and the challenge whicb bas passed between them, Alfonso has corne to forestall �200 GEORGE WILLIAM BACON their duel and reward Fernando's loyalty. Fernando naturally assumes the newcomer to be Mendo, and draws bis sword, but after the Kincr has made known his identity, he sheathes it and asks for pardon. Telling Fernando that he bas overheard their dispute, Alfonso, greatly to his surprise, creates him Prime Minister, and adds that he deserves the honor for bis loyalty and devotion. Mendo now appears, wbereupon the King discloses bis identity, informs him of what bas just taken place; and bids him give his hand to Fernando. The latter, after having made an alliance with Bermudo for their mutual advantage, determines to tell Elvira of his appointment. For a long time be has been enamored of her without receiving much encouragement, but now he imagines that she will regard his suit more favorably . When be_ calls on her, she ~~aftily resolves t0 turn bis love into an effective weapon for excitmg the King's jealousy, and according\y devises the following stratagem. Greatly tofernando's delight, she invites him to cal! agai~1 at a specified hour and then dismisses him. Shortly before the time , d ' fixed for his visit, she summons Berr.nudo, and on Fernan os arrival, by means of a very plausible pretext, induces the former to conceal himself. ln this way Bermudo is of course forced to be an eavesdropper. Supposing - as indeed all do - that Bermudo and Fernando are deadly enemies and political rivais, Elvira imagines that out of spite Bermudo will repeat to the King whatever she may now say to Fernando. Thus Alfonso's jealousy will be aroused. Accordingly, after congratulating Fernando on bis recent appoint~ent, Elvira confesses her love and warns him to be discreet, for 1f the King hear of their attachment, he may remove him from office. ACT Ill. Bermudo realizes that since he has been a listener to El vira's declaration of love to Fernando, he is placed in a very delicate JUAN PEREZ DE MONTALVAN 20I position. As the King's adviser, be is bound to tell him what he bas overheard - not from any enmity toward Fernando, but from the point of view of duty. On the other hand, he fears that if Alfonso discover bis Prime Minister to be engaged in an amour, he will remove him from office. After long and serions refl.ection, Bermudo finally decides that loyalty to the King sbould take precedence over devotion to a friend. Accordingly, after first exacting a promise from Alfonso . to pardon Fernando, he discloses what he bas overheard. The ruler declares that if Fernando is paying court to Elvira with an honorable object, - that of marriage, - he has no objection; but notwithstanding this assertion, Alfonso's jealousy is al! aroused, exactly as Elvira expected it would be. Then, too, he is piqued by the thought that the rupture berween Elvira and him may possibly be attributed by the people to ber caprice instead of his. Moreover, it furtber vexes him that be should be made jealous by no other rban his intimate, Fernando. Therefore, when now the Minister appears, he upbraids him soundly, calling him a gallant and a deceiver, - which treatment serves only to make Fernando more determined to have r.lvira even at ' cost of his position. Elvira receives a call from Fernando, but although - to her great joy - she has been informed by Alfonso that he proposes visiting her at this very time, she determines not to reveal the King's intentions. Her object in this is to bring the rivais together, which she hopes will so aggravate Alfonso's jealousy, th~t he will make ber his Queen. Fernando happens to. be in the m1dst of a passionate declaration of love when the King enters, unobserve1 by him, and as soon as Alfonso sees that he is ignora~t of h1s presence, be determines to keep silent. When ber smtor has concluded, Elvira asserts tbat he must first ask the King for her hand, whereupon Alfonso advances and afrer scoring Fernando most sarcastically, declares that he is tempted to remove him from office. However, he will not take sucb an action ' �202 GEORGE WILLIAM BACON if for no other reason than to punish bimself for having chosen him. Nonvithstanding Elvira's strenuous protestations that she loves the King, and that ber attentions ta Fernando were desig~ed solely to excite the former's jealousy, Alfonso now bids ber g1ve ber hand to Fernando, while Flor becomes the wife of Bermudo. Los Templarios. (The Templars.) AcT I. Alban te leader of a band of outlaws, is madly infatuated with Cassandra: one of many pilgrims he has taken captive while on their way from Jaffa to Jerusalem. Cassandra, howe~er, trea~s him with the utmost scorn, and is resolved never to y1eld to h1s solicitations, although she fully realizes that such conduct may result in her death. Finally, Albante determines to make use of strategy, confident th2t he will win his inamorata if he can excite her jealousy by paying court to another. _T herefore, h~ anno_unces to Cassandra that while she need have no fear for her ltfe, st1ll she must remain in his charge till he pleases to free her. Hardly has Albante thus spoken, when the unexpected appearance of Flora, a peasant from a neighboring village, gives him the opportunity of testing the power of jealousy. Praising her beauty in the most extravagant terms, Albante concludes b_Y asking ber to become his wife on the following day. But, to l:1s utter dismay, he fi.nds that is cunning produces a result very ~1fferent from the one he intended ; since Flora, instead of turnmg a favorable ear to bis declarations of love, berates bim for being with another.· While the unlucky bandit is vainly endeavoring to silence Flora, a signal, thrice given by bis companions, a~prises _him :bat bis enemy, the Templars, is close at hand. Declanng tbat not1me JUAN PEREZ DE MONTALVAN 203 must be lost in engaging them, he bids Cassandra accompany him, and hurries away. If in his loveaffairs fortune has been unpropititious to Albante, equally sois it in his battle with the Templars, for be and his men are put to rout, leaving Cassandra in the bands of one Germano. The fair pilgrim, already charmed by the handsomeness of her rescuer, manifests an embarrassment and confusion which be rnistakes for fear, and accordingly he promises to protect her. His words are overheard by bis mistress Flora, the peasant, who, since the termination of the encounter, bas been seeking him, and rushing forth from a thicket, she bitterly accuses him of infi.delity.- Germano, without making any answer to this charge, abruptly retreats, whereupon Flora asks Cassandra to accompany ber home as her guest - an invitation which is gladly accepted. On the way, Cassandra expresses her surprise that she should have twice aroused Flora's jealousy, and adds that how the latter can be in love with both Albante and Germano - - enemies, moreover - is to her quite incomprehensible. After giving an account of the origin of the Templars, Flora tells Cassandra that one night she was visited by Germano, who dishonored her and dese::rted her. For some time previous to this she had reçeived the -attentions of Albante, with the object of securing the immunity of her village from his cruel ravages. Her stratagem was successful, but be soon tired of bis mistress, and is now dete5ted by her as strongly as she loves Germano. It was he, not Albante, that she was seeking when sht: came upon Cassandra and ber captor; and the feigned anger she showed was actuated solely by fear, and the desire to make Albante believe that she still loved him. On the contrary, her jealousy at discovering Alban te with Cassandra was genuine. Iacobo de Mola, rpaster of the Templars, reads to them in conclave a number of new laws, most strict and explicit, that have been added to their code by Saint Bernardo, and confi.rmed by �JUAN PEREZ DE MONTALVAN 204 205 GEORGE WILLIAM BACON the Pope, Eugenio III. When he has concluded, he urges them to maintain the holy reputation they have over all the world, and announces that Albante and his men have offered to join them, on condition that they receive a pardon for their crimes. ACT Il. The proposal of Albante and his fellows bas been accepted by Iacobo, and the wisdom of the latter's action is proved by the substahtial aid the new members have already given their order. In a naval battle with the Moroccan Muley, they killed him and bis men, and took possession of all bis galleys. Besicles, Albante's associate, Germano, attacked Ozman the Turk, wounding him and putting to rout with great slaughter bis army of ten thousand men. Justly proud is Iacobo when the two conquerors corne before him in the city of Rhodes, and relate in detail their exploits achievements that well justify the enormous income of the fraternity, and the many generous gifts it receives. But, on the conclusion of their narrative, Iacobo bas not the opportunity fully to express his gratitude and approbation, for word is brought that forty thousand Turks, of whose approach be bas already been apprised, have at last arrived and are about to attack. With an exhortation from lacobo for every man to do his duty, the council quickly disperses, and after a desperate battle the Turks are repulsed. The victors have just assembled to receive the thanks of their master, when a messenger arrives with the startling announcement that Saladin bas taken Jerusalem. Joy instantly changes into such utter consternation, that for some little time not even Iacobo can collect himself sufficiently to order a departure for the unfortunate city, that very day. Only a small company will rernain behind, to protect Rhodes against future assaults. • To Cassandra and Flora, tired of the roving life tliey - dis- guised - have been leading with tl1ei·r lo vers, t l11s · · 11· as Templars • mte tgence 1s most unwelcome Accordino-ly Flo . · c , ra proposes to Germano that,. m place of setting out with the main body, the four pass t_he mght at a peasant's cottage, and overtake the others . the followrng day. Germano gives his approval, and shortly after the_ party _has reached the cottage, Florà overhears a peasant make a _d1spara~mg remark concerning her relations with her compamon. This so angers her, that she attàcks the offender with a dagger, whereupon, out of reyenge, he hurries to Iacobo and lays before him th~ whole matter. For some time the master bs been aware that lm two captains are far from perfect in their mo- . ral_s, but has delayed punishing them through lack of su:fficient ~v1dence. Now that he has such an excellent opportunity to secure it, Iacobo, masked and accompanied by two hundred of his men repairs to th~ cottage, and takes a stand where he can overhea:. the conversation of those within. No long time is needed to confirm that have reached his ears , and do:ffing 111s . mas k , h t the k reports h e a es t e tem11ed culprits so unawares that they have no cha~ce_ for escape. After listening to a bitter denunciation of thetr mfamy, they are deprived of their mandes and swords shackled ' and - secretly sweanng • ' vengeance on Iacobo ~ced to accompany their subordinates as prisoners. Flora and . ssandra are then cast into prison. AcT III. antft~r a t~onth's incarceration Flora and Cassandra are released, b Sttll fatthful to their lovers, endeavor to learn their wherea oduts. Afte~ uch wandering they at last meet with success an . on findmo. o th ~ t G ermano an d AIbante are· in prison take' ::r:1ce wu_h tl~e w1fe of the jailer. The next steps are to ;ecure dmpresswn m wax of the dungeon key, make a false key and un er cover of night, free the captives. ' ' Natur;illy, three years imprisonment bas not served to cool �206 GEORGE WILLIAM BACON the resentment of Albante and Germano towards Iacobo, and, out of revenge, they decide to pass to France, and reveal to Pope Clemente V. and King Felipe such scandalous misdeeds of the order as will lead to an investigation. lacobo will then be publicly censured, perhaps punished, for not maintaining the high standard of morality and religion which all the Christian world supposes the Templars to observe. When the informers corne before the Pope, and make known to bim the nature of their errand, to their surprise and chagrin he states that he is already cognizai:Jt of what they wish to disclose. Further, the perverted life of the Templars bas so angered him, that he is calling ten grand councils in various countries to condemn them to deatb, and, indeed, many are now languishing in prison . Consequently, Germano and Albante cannot expect to go free at present, though the Pope promises to spare tbeir lives, if they assist him in gathering evidence against their associa tes. Such intelligence dismays the coup~e not a little, yet they feel that even should the Pope break his promise they can rely on King Felipe, who has assured them of bis aid in their conspiracy against Iacobo. In order that their lovers may be kept apprised of developments, Flora and Cassandra enter the household of Ricarte, the Pope's secretary, as pages, and when they visit the prison with him they make known to the captives what they have learned. The feeling of hopefulness tha.t Albante and Germano have so persistently cherished, is rudely shattered on the occasion of one -o f these visits, for tbeir mistresses declare that, - copformably to a decree of the councils passed the day preceding, - every Templar, without a single exception, is to be put to death. Escape alone will save them, and on parting they agree to contrive this the following day. In a long argument, Iacobo endeavors to convince the Pope that only those who have been manifestly proven guilty should JUAN PÉREZ DE MONTALVAN 207 lose their lives, but his Holiness replies that to distinguish the in nocent from the guilty is impossible. The same day, - that of Saint Bernardo, patron of the order, - the Pope authorizes the immediate execution of the councils's decree, and ten thousand Templars are tberefore put to death . Not a single nationality escapes, and in every case their enormous possessions pass to other organizations. Before expi:::ing, Germano and Albante beg Ricarte to protect Flora and Cassandra, and when this request is transmitted to the Pope, the latter presents the women with four thousand ducats, that they can marry if they desire. Flora, however, throws berself _at his feet, declares that she wishes to die a nun, and is given an august pardon . El Valiente mas dichoso. (Don Pedro Guiral). (The Most Happy Braggart.) AcT I. About to be forced by her father to become the bride of Count Alexandra, Dofia Angela Guiral secretly asks the latter to visit ber by night, and, on his arriva!, declares that in spite of her parent's determination she will never marry him, since she bas given her heart to another. Concealing bis anger, the Count resolves to kill his rival as soon as he learns bis identity, and scarcely has he formed such a resolution) when Angela adds "My i11an10rato is my cousin, Don Pedro Guiral. We have grown up together, and although at first I abhorred his pride and haughtiness, later this feeling turned to love. Seeing that my father would not consent to our marriage, Pedro went to Rome for a dispensation, and has not yet returned. Meantime, you seek my hand, and my father is determined that to-night I shall become your wife. Rather than do so I will kill myself, and I implore you, therefore, to cease your attentions ". �208 GEORGE WILLIAM BACON Furious, and secretly vowing Yengcance, the Count decides not to reveal his true feeJinos, and accordingly assures Angela that he will comply with her desire, however difficult it may be for him to do so. He then dep:uts. . orne cime pre,·ious to tlùs, Alexandra, under promise of marriage, dishonored a certain lady, Lisarda, and _al~o~gh he still continues to call upon her, she realizes from lus mdi.fferent, and even scornful manoer that his visits are prompted solely by a ense of dut.. uspecting her maid, Flora, to know the reas?n for his coolness, Lisarda asks her to disclos it -. a req,ues: w1th which after some hesitation, she complies. To L1sarda s d1smay, the do,mestic states tbat very night Al xandro is to become the husband of Doùa Angela Gu irai; and upon beiog asked how she heard this, Flora replies " From Angela herself~ and ~om ber house110 ld . " In despair , Llsarda orders Flora 1mmediatel1·' · to inform the Count that she knows of bis intentions, and rea 1zm_g that bv reason of his rank any legal endeavor to pre':'ent 111s marri;ge would erve only to mak~ pu~lic. her own d1shonor, she decides to have revenge by takmg h1s hfc. . Haviog obtained the dispensation to marry Angel~, Pedro, w1th his lackey Beltran, leaves Rome and reaches Guad1_x, ':'herc she resides. However, in order that the wekome of h1s fnends ~a not detain bim from going dir ctly to her bouse, he detenmnes to remain outside the town till nightfall, when he rnay enter unobserved. As oon as it js dark, Pedro dispatch:s Beltran _to apprise Angela of his arriva!, and experiences no httle surpnsc when very soon he returns, asserting that someo~e m_ust have already informed ber, since the bouse is ablaze w1t~ hgl~ts and crowded with visitors. \ hile Pedro and he arc d1scussrng the mattcr, Lisarda and Flora approach, masked, whereat Beltran declarcs he will ask them if the know the r~ason for such gayet ,. To his question, Lisarda brieAy r:phes that Cou~t Alexandro is about to marry Dona Angela Gmral; and then ~sks to be excused from speaking further as she wishes to se the bnde. JUAN PÉREZ DE MONTALVA 209 As soon as Lisarda and Flora have departed, Pedro, furious, swears he ·will take vengeance on Angela for ber perfidy, and, in spi te of Beltran's rem on trances, masks the latt r and himself, and imme<liately passes to ber bouse. Reaching the door of Angela's apartrnent, he dernands admission, whereat her maid, Estefania, suggests to her that doubtless it is the Count, corne to suggest a stratagem by which she can escape her compulsory marriage. Angela th~n bids Estefania open the door, and after haviog received an affirmative answer to ber question " Is it tbe Cou nt?", she does so. Pedro and Beltran enter co find Angela garbed ready for theceremony, and when, a few moments later, they remove their rnasks, ber surprise and delight are un bounded. Eagerly a<lvancing towar<ls Pedro, shc asks whether he has obtained the di pensation, and is m stified - after being ordered to approach no doser - to receive the reply '' Yes, to my sorrow I have, and since I am aware of what will very soon take place, I want to know where the Count is." Unable to understand her cousin's coolness, Angela is even more puzzled upon being brandcd as fickle and false - accusations which she vchemently denies. Finally Pedro cleclares he will kill Alexandra on sight, and is about to leave the room when Angela places herself against the door, and clasping him in ber arms, cries that be must either hear her or kill her. ubdued by this threat, Pedro listens for some time to his inamorata, who speaks jn an undertone in order to avoid being o,·crbearcl by Beltran and Estefaoia. Just as she avers that she will n ver marry an ' other but him, the voice of the Count is heard without, and, in terror, Angela b gs Pedro to secrete himself behind a hanging. On the ground that such an a tion would be cowardly he refuses to comply, whereupon Angela, realiûng that there is no time for argument, bids Estefaoia open the door. The moment Alexandra espies Pedro he orders him to explain bis presence there, and after the other bas told of bis affection for ngela and of having obta.ined the dispensation for their marriage, Alexandra REVCE HISPAN/QllE. B �210 GEORGE WlLLIAM BACON . . itted to take place. To Angela's dedares that it w1ll n~t be per;feat her father's resolution, the protests that he promise~ t_o 1 whereupon Pedro draws Cou nt replies that now it is_ltloki~ll alt~, ln a raae Alexandra he w1 . 11m. ' o , d his sword an swears l b his adversa-ry's summons unsheathes his blade, and eager y o eyhs'l Angela determines to f the house : w 1 e , h. to follow im rom . h p dro should the encounter terpursue the pair and flee w it e ' minate fatally for Alexandra. AcT tr.' . nt Pedro escapes with Angela to - Having killed the Cou . ' f that country later they set d' ised as natives o ' l France, an d , isgu . . is driven ashore on t 1e ·sail for Algiers. Their slup, howevhe1, . . nts of many honors tl ey are t e rec1p1e I d coast of Englan , w 1ere _1 d t have been aranted by 0 · D" ppomte not O and atte·n nons. isa h d ted Pedro treats ber · . h f · hich he a expec , . h his cousm t e avors w. . . ce and forms a liaison wit :with haughtiness and md1fferenl ' of Serafina. At the l nder t 1e name one Rosa:, w 10 passes u . A la that they will resume end of a mon th he announcesdto nge for sailing she embarks, . d on the ay set their voyage, an . h . l for weiohina anc h or D llow Not nll t e signa b o bh. leaving im to o . 1 anxiety reoarding the a bas been given does Angela fee hany , tl ·s mo~1ent she espies . but w en at 11 . sence of her companion , h ·h· f her former suspic10ns . rnedly on t e v,; ar ' . . h him stan d mg unconce fi d lmmediately leavmg t e b f . hl ss are con rme . that he may e ait e p d f his coolness and arrogance, ·ship -she chides the startled edr~ orh_ ke and asserts tbat , h l uffée ror is sa ' rehearses what s e 1as s , . 11 that very day, upon 1 ld f11is intention to ca . ' she bas b een to o , 1 d 1 . to believe that she p aces . order to ea 11m 1 ·Serafi.na. H-~wever, 111 l d A. gela pretends that s 1e 11 • hat shre has 1ear , • d ·no cre ence m w . l . fi d 1· ty and· then leaves h1m. . . 6.dence m 11s ei , . ki s has impl icit con . p d o's delay in embar ng wa Although the real cause for efir b. oing him 'r10t to forget . f message from Sel'a na ego -. the rece1pt o ~ JUAN PÊREZ DE MONTALVAN 2 II to visit her, be feigned to his irate cousin that important business demanded bis immediate attention before sailing. Quite deceived by her statement concerning his proposed visit to Serafina, Pedro believes he can carry out his intention without danger of detection . Accordingly, be repairs to the spot Serafina designates, accompanied by Beltran, wbo, although formerly in love with Estefania, is now enamored of Serafina's maid, Celinda. In answer to Pedro's question why she summoned him, Serafina asks to be allowed to accompany him on his voyage, adding rhat all the money and jewels she possesses àre at bis service. To her great disappointment, he replies be cannot grant her request, but this does not prevent her from go1ng independeritly to Algiers, where they will be able to see one another without fear of discovery . Meantime, having followed Pedro unobserved, Angela and Estefania arrive and secrete themselves behind some bushes. Even before Serafina has the opportunity to reply to his suggestion, the recreant lover em btaces her in a fond farewell, and at this moment Angela and Estefania appear from their biding-place. Naturally, an embarrassing scene follows, whicb Angela soon terminates by asking her rival to hear her. She then tells at considerable length how she accompanied Pedro from Spain·, omitting the reason for their departure, however, - and what sorrow and jealousy he bas caused ber by bis infîdelity. At the conclusion of her narrative she departs, threatening to take ber life, whereupon Pedro, in utter despair, calls after her to wait till he can explain himself. Angered and jealous, Serafina reproves him for speaking tbus before ber, but, undaunted, he declares he loves Angela alone, and then hastens to overtake her. Furious, Serafina swears sbe will have revenge, and upon Celinda asserting that this is impossible because Pedro will very soon embark, she discloses a plan wbich she has just made. Knowing that three Mootish corsairs, Ali, Mostafa and Ceylan, are spying the coast near by with their fleet, she will endeavôr �JUAN PEREZ DE MONTALVAN 212 213 GEORGE WILLIAM BACON to comî1rnnicate with them, and, if successful, ask them to ~eize Pedro b'efore he sails. That they will grant ber request there can be no doubt, since she herself is one of their fellow-countrymen. When, ·some time since, her husband, Osman Amurates, was defeated by the Spanish in a naval battle and taken prisoner, she decided to leave ber native land. Learning the Englisb language, and assuming the English dress, she changed ber name from Rosa to Serafina, and passed to England, accompanicd by ber faithful maid, Celinda. Her acquaintance with the handsome young Frenchman,' Pedro, proved to be ber undoing, for so enamored did she soon become of him that she granted him her honor. Having thus spoken, Rosa déclares that she will at once start in search ·of the corsairs, and bids Celinda accompany her. Together with Angela and Estefania, Pedro and Beltran set sail, but before they have gone far a terrible storm arises and forcés them to rrturn to land. -By good fortune they chance to find a rude hut, and leaving Angela and Estefania in its partial shelter tilt the stonn shall have abated, depart in quest of more comfortable quarters. They soon fall in with fi.ve men, who also have been driven ashore by the tempest, and the strangers ask them where they are going. Pedro replies that they are searching for a village, whereupon a member of the party assures bim that although one lies not far distant, an intervening stream, swollen by the storrn, will prevent him from reaching it. With thanks for the information Pedro turns away, and , a moment latcr , overhears one of the strani:1:èrs ask Beltran ~ a question which shows him not to be a Catholic. Wheeling around instantly, Pedro approaches the party and declares they must either profess the Catholic faith on the spot or die. In place of acceptil)g this ultimatum, the beretics draw their swords, and a fierce conflict ensues, in wbich Pedro kills two of his antagonists ;nc:l puts the remainder to flight. Mearitime, the corsairs have been informed by R_osa of ber desire;and are scouring the neighbourhood f?r Pedro. A distant clash of ~words ~han~ing to reach their ears, they stealthily approach m the direct10n of the sound, and arrive at the scene offt the· combat• between Pedro and the heretics a few moments a er 1ts termmation. Ordering him and Beltran to surrend "f th? w~uld not d_ie, the Moors seize the~ and .bear them 0: t~ their ship, th~ pnsoners well realizing the futility of resistance. F~r some t1me Angela bas been harrassed by the fear that ber cousm would meet with some misfortune, and when now she hears. the corn man~ given him to surrender, she is fllled with de_spair. Accompamed by Estefania, she hurries after the corsa1rs, and reaches the shore just as they are setting sail ,for 0 !n tears, she begs to be allowed to join them, - a pra.yer w~:;h is not granted~ - and, as the vessel recedes, bursts forth into a long lam~ntat10n over the cruel fate that has befallen ber. AcT III. ~arbed as ~ren~hmen, Angela and Estefania contrive to be carned to Alg1e_rs m the guise of servants by -a Florentine merchant, and are overjoyed there to meet Pedro and Beltra Th the latter are in Algiers is due to the fact that after the d n, at of the corsairs for Oran Rosa set sail thither a d h ~parture h d ' , n avmg pur~ ase the couple from their captors, brought them to ber home m the former city. During the course of their conversation Pedro assures Angela of bis love for her and hatred for th; Moors, where~pon she implores him to treat them with diplomacy, and avo1d committing any rash act. She hopes that they may yet be ~ble to return together to Spain, and he must therefore do ~o_tlung to arouse the resentment of the infidels. . At ~h1s 1unc~ure a servant of Rosa approaches, and states that h1s n:1stress w1shes to interview Pedro's friend the foreigner meanmg Angela. Just as the latter is about to' answer the summons, Rosa herself appears with Celinda, and dismissing all present except Angela, declares " Pedro has spoken of you in such �214 GEORGE WILLIAM BACON praiseworthy terms, that I feel free to ask a favor of you ". She then requests the supposed Frenchman to inform Pedro of her displeasure at bis inditferent treatment, for not only has she saved his life, but is the niece of the Duan of Algiers, and, indeed, is beloved by the King himself. To I<.osa's surprise, the foreigner replies that he would gladly accede to her request were it not for a serious obstacle, the nature of which the Mooress then endeavors· to guess. When ail her surmises have proved incorrect, Rosa begs the supposed Frènchman to satisfy her curiosity, and after he has exacted a solemn promise not to be angered at his revelation, he confesses tbat he loves ber. On the previous day, - he declares, - while searching for Pedro, he discovered ber asleep in her garden, and so beautiful was she that she would have bewitched the heart of Cupid himself. Having cleverly described, at considerable length, her varied charms, the assumed gallant then declares that under the circumstances he cannot consent to further her love for his rival. Delighted at the picture that has been drawn of her, Rosa hints to ber new admirer that if he can lead ber to forget Pedro, she will give to him the latter's place in ber heart. Scarcely has Rosa finished speaking when she hears the voice of ·the Duan, and explaining to the supposed Frenchman that her uncle and several friends have corne to dine, bids him depart, as she does not wish him to be seen by them. Angela immediately retires, but only far enough to gain a safe place of concealment, where, together with Estefania, she can spy upon the diners. The Duan and his party enter, and after he and his niece have exchanged courtesies, she invites them to seat themselves at a table - bountifully supplied - which bas been brought in b3/' Pedro and Beltran. During the meal, a toast given to the King by the Duan leads one of the party to make a comparison between the Moroccan ruler and the King of Spain, decidedly to the disparagement of the latter. Wholly forgetful of his duties as waiter, Pedro JUAN PEREZ DE MONTALVAN 215 abruptly halts with a large platter be is carrying, and remains motionless while several of the guests expatiate on the correctness of the assertion that has just been made. Observing, at last, that his servant is neglecting his work, the Duan asks him what the trouble is; which demand attracts the attention of the others to Pedro's strange conduct, and causes them, in astonishment, to repeat the question. The waiter replies that since they have lost ail respect for his King, it is his duty t0 kill them, and he is debating whom be will first fell with the platter. Before they can recover from their surprise, he has wielded his weapon with such telling effect that one of the party lies dead at bis feet. Furious, the others draw their swords and spring toward him, but Pedro seizes the dead man's cutlass and valiantly defends himself, ail the while retreating from the apartment. When the combattants have disappeared, Rosa's supposed new admirer - Angela - enters, and upon the Mooress larnenting Pedro's rashness, declares " Now you should show your love for him, however mucb this may excite my jealousy ". At this moment a great uproar is heard, and an instant later Pedro, closely pursued by the infidels - among them the King, - dashes in and throws himself for protection at Rosa's feet. Only her command not to harm him saves his life, and she then explains that he is a slave of hers, in exchange for whom she believes the S~anish will testore her captive husband. The King, impelled by his love for his fair subject, declares that Pedro will be spared; and after asserting that he knows the captive will show him the same loyalty he has evinced towards his former King, names him major-domo of Rosa's household. Thanking the ruler for ?is kindness, Rosa suggeststhat be make Pedro his vassal by compelling bim to embrace the Moorish faith - an idea which meets with the King's fullest approbation. While the latter and Rosa are discussing this step, Pedro express.es to Angela bis displeasure in no uncertain terms, but his complaints are brought to a sudden termination when the ruler asks him " What have you to �216 GEORGE WILLIAM BACON say ? " By his reply Pedro makes evident his disapproval of Rosa's suggestion, whereupon the King swears that if he value his life he will submit. To this Pedro answers" If you but knew the events of my life, you would see in what little regard I hold it ". Such a remark excites the King's curiosity, and he asks the captive to tell of his career, which, from report, must indeed be extraordinary. At great length Pedro complies with the royal request, and when he has finished, condemns the Moorish faith, and declares he will never embrace it, even though he be tortured or threatened with death. He then asks the King what answer he has to give, to which the latter replies " This is not my affair but Rosa's ", and withdraws. Furious, Pedro's mistress orders some soldiers to seize him and burn him at the stake, and no pleadings of Angela can induce her to change her resolution. After Rosa has retired, Pedro asks his guards for permission to speak to Angela, but they refuse, and lead him to execution. As the party moves away, Angela makes a frantic attempt to reach ber cousin, only to be seized by the soldiers and thrust back. Not long after, Rosa reappears, and lamenting Pedro's dreadful death, informs Angela that after the fire had been kindled, pity led her to repeal her cruel sentence. So enraged were the soldiers, however, at the prisoner's continued blasphemies of their faith, that they refused to listen to ber pleas, and cast bim into the flames before her very eyes. Angela declares that with Rosa's permission she will return to Spain and apprise Pedro's father of his fate, in order that be may have suitable rites performed for the martyr, and cause bis ashes to be brougbt . back, as relies, to his native land. She will then enter a convent. JUAN PEREZ DE MONTALVAN B. --, 217 COMEDIAS DE CAPA y ESPAD.\. Coma amante y coma honrada. (Like a Lover and Like an Honorable Woman.) AcT I. Don Lope de Guzman has just returned to Madrid from the Flemish wars, in order to marry his cousin Leonor, daughter of Don Pedro. Taking lodgings at an inn, he sends word to Pedro of his arrivai, and then goes out for a walk with bis servant, Martin. The couple have not proceeded far when they bear the clash of swords, and see four men attacking one wbom Lope recognizes as his friend Juan de la Cueva. Hurrying to bis aid, with the assistance of Martin Lope puts the aggressors to flight, and then asks Juan why they attacked him. After baving thanked Lope for his timely help, Juan replies that the quarre) was due to a lady he loves, who, from the death of ber parents - three months previous - till that day had been in a convent. When, only an hour or so before, she made her first appearance in public, she was annoyed by the persistent attentions of a stranger, and because Juan_very naturaHy remonstrated, the gallant attacked him. Juan now asks Lope the cause of his return to Madrid at this time, since when he himself left Flanders he supposed his friend would remain there for a considerable period. Lope replies that he has corne to marry his cousin, - not mentioning her name, - and that the ceremony is to take . place tbat evening at the bouse of ber uncle Don Pedro. Owing to the r~cent death of her p~rents, the wedding party will be small. This news greatly d1sconcerts Juan, since be· is enamored of Leonor's sister Ana , �' 218 GEORGE WILLIAM BACON - also residing with her uncle, - and fears that it may be sbe whom Lope is going to wed. To put an end to his anxiery, he hurries away to interview his mistress, leaving Lope to meet Pedro who is approaching. Ana assures Juan that bis fears are groundless, for Lope is to marry Leonor, and not her. She does not reveal to him, ~10wever that she will become his own wife, in accordance w1th a req:est made that day by Leonor to Pedro. The reason for her concealing the glad news is that Pedro, from his own motives, has pledged both his nieces to do so till after Leonor's marriage to Lope. But Inés, the servant of Ana, has overheard this pledge of secrecy, and now, to ber mistress's utter dismay, reveals the arrangement to Juan. Unluckily for him, his delight is destined to be short, for after telling Juan that he must keep the secret, Ana forbids him to visit her, on the ground tbat to do so would endanger ber honor. The lover is of course surprised and disappointed; but promises to comply with ber request.. . Lope and Pedro now arrive, whereupon, to avo'.d bemg se_en, Juan withdraws. Pedro, however, bas caugbt a ghmpse ?f h1m, and asking Inés who be is, receives the answer : " A sqmre who has just corne with a message". Lope overhears this reply, and being quite unaware, of course, that it was designed to conceal Juan's presence from Pedro, imagines tbat in the sender of the message Lepnor has some other admirer. His jealousy is therefore at once aroused, and grows even greater when be remernbers tbat on entering the house he observed a man standing near the door. The latter was no other than Mendo - Juan's servant, but not knowing him, Lope supposes him to belong to the ?1ysterious squire. So possessed is he with these rash assumpttons, that he gives a start when Leonor tells him_ that afre_r the. death of her parents she lived in a convent ; to avo1d worrymg h1111 she bas refrained from speaking of it before. Wbat Juan confided to him regarding bis inamorata now cornes back to Lope, and unaware that Ana was in the convent with ber sister, he trembles, JUAN PÉREZ DE MONTALVAN 219 and becomes so pale that Leonor fancies he is ill. At tbis instant, be recalls Juan's confusion when be told him of bis intention to marry bis cousin. Alrnost convinced that Leonor bas been unfaitbful to him, and tbat Juan intends to make ber bis wife, Lope determines to take time to investigate her seeming deception, and accordingly declares that he is fatigued and must postpone their marriage till the morrow. Feeling that her lover's excuse is only a subterfuge, and that he has taken offense at something sbe bas clone, Leonor bursts into tears. AcTTI. Two months have passed since Lope's arriva! in Madrid, and although he has neither seen nor heard anything to confirm his suspicions regarding Leonor's fidelity, yet he bas abandoned ber. The sacrifice has caused him great sorrow and anxiety, however, and at times his melancholy so affects him that be acts as though his mind were unbalanced. Juan, among others, has not failed to notice bis friend's look of worriment, and one day, asks him the cause of it. Wishing to conceal the truth, Lope replies that soon after bis arrivai a new beauty diverted his love from Leonor, and therefore he wishes to postpone indefinitely his marriage with her or better still ' ' into despair,' break his engagement. This declaration throws Juan for he realizes that Ana may never become his wife if they respect Pedro's order that their engagement be kept secret till after Lope's marriage with Leonor. Lope now asks Juan how bis suit (meaning, with Leonor) is progressing, whereupon, in the same spirit of reserve, Juan answers " lt " - meaning bis suit with Ana - "is greatly hüi.dered by a certain inconvenience ". In his usual rash way, Lope assumes the " inconvenience" to be none other than he himself, thereby adding to bis suspicions and anxiety. For some time, Martin has imagined that bis master's shame- �220 GEORGE WILLIAM BACON · fui neglect of Leonor is due to his love for her sister, and, moved to pity for the deserted lady, he confides this belief to Ana's servant, Inés. The latter of course communicates it to Leonor, who shows great surprise, and declares that she will take vengeance on Lope for his desertion and infidelity ·. Having heard some suspicious reports regardmg the reason for Lope's postponement of his marriage, Pedro asks him ~o discl~se the motive for his dilatoriness. Lope asserts that he 1s seekmg preferment, and must remain single till he attains it, for if, after retirement from the army, - a sol<lier marry before . oaining his pretension, his past services will be forgotten and ~nrewarded. Pedro remains entirely satisfied with this explanation, and bids Lope console Leonor by telling her the reason for bis apparent indifference. Juan has of course repeate<l to Ana the statement made. to him by Lope that he wished to break his engagement, and, hke her lover, she fears that she and Juan may never become man and wife. In order to allay her anxiety, she sounds Lope regar<ling his marriage, but finds him uncommunicative,_ and therefore learns nothing more than she already knows. Qmte unbeknown to themselves, the couple have been seen conversing by Leonor, wbo, after Lope's departure, cornes forward and speaks to Ana. The latter, in good faith, urges Leonor publicly to break ber engagement to Lope, assuring her that on reliable authority not naming Juan - she has heard that he is enamored of another. She concludes by declaring she will rather break her own engagement than have Leonor overlook . such b~s~ de~eit. Leonor is full of suspicion and jealousy regardmg Lope s 1magmed relations with Ana, and therefore, to the latter's great surprise, furiously berates her for duplicity and conduct ~Il beco~1ing a sister. Asked what the trouble is, Leonor angnly replies she will tell no more at present, whereat Ana, dumbfounded, retires. Lope now appears, and upon his addressing Leonor with all his former affection, she disdainfully tells him what she has JUAN PEREZ DE MONTALVAN 221 heard, not mentioning bis supposed inamorata by name. At great length she then reproves him for bis unfaithfulness, and states that their engagement must be broken publicly, and the reason given, in order to save her honor. Lope endeavors to pacify bis infuriated mistress, and protesting tbat he loves her, makes the same excuse for his actions as he did w Pedro. His efforts are in vain however, and finally, losing patience, he declares that it is she who is unfaithful, that her conduct has been the real cause of his neglect, and that he will never become her husband. AcT III. Unable longer to obey Ana's command that he must not visit her, Juan calls upon his mistress, greatly to her surprise and confusion. He reproaches ber for not even having sent him a message since his last visit, made on the day of their betrothal, to ,vhich she replies " Leonor has prevented me " ; and then relates the quarrel that took place between them. At this juncture Leonor appears, and after Juan has made his engagement to Ana serve as an excuse for being discovered alone with her, the caller bids her retire, since she vishes to confer with Juan in private. After her sister has withdrawn, Leonor declares to Juan that Lope is wronging ail three of them in paying his addresses to Ana, and then tells, at some length, of bis former love for herself, and of his shameful neglect sin ce bis return from Flanders. Naturally, Juan shows much surprise and anger in finding tbat the " beauty" who Lope bimself told him had displaced Leonor in his heart is none other than his ownfiancée, Ana. Accordingly, when, after Leonor's withdrawal, Lope appears and challenges him to a duel, he eagerly accepts, and appoints the place and time. Lope is equally furious that Juan has been alone with Leonor, and thirsts for the revenge which he hopes soon to attain. �22.l GEORGi: WlLLIAM BACON Imagining tint his former mistress intends marryiog Juan, Lope resolves to make good her Joss with Ana, wbo be has now persuaded himself is far superior to L~onor. Accordingly, when Pedro joyfully announces to bim that his much desired preferment bas been given him in the shape of a Marquisate, and that therefore he can now marry Leonor, he declares that Ana and not she will be his bride. Pedro is of course astounded, but Lope offers no explanation for his strange statei:nent, merely remarking that Juan can marry Leonor, which arrangement will be most satisfactory to them both. Wben Pedro communicates ro Leonor what Lope has told him, she is overcome with grief, and bursting into tears, secretly resolves to take her life rather than see her loved one become the husband of another. Martin, who chanced to overhear the challenge given by bis master to Juan, now appears before Leonor in great trepidation, and tells ber what is about to take place. Accompanied by Ana, sbe leaves for the duelling ground, not to prevent the fight, but to beseech Juan to take vengeance on Lope for his heartless treatment of ber. Pedro also bas been apprised by Martîn of the impending duel, and arrives on the scene just in time to forestall the first thrust by throwing himself between the combatants. He begs Lope not to run such a great risk just before bis marriage, since his prospective bride, Ana, would be heart-broken were be to !ose bis life. When Juan hears his fiancée named as Lope's iotended wife, be is amazed, and in no mild terms asserts his right and intention to keep her. Leonor and Ana now make their appearance, and after the former has revealed Lope's supposed infidelity to her, she asks Juan to avenge her injured reputation and his. She then places herself at ber loved one's side, and declares that she wisbes to die with him. Lope is greatly puzzled, and demands of Juan why he should have occasion to avenge Leonor and himself, to which Juan replies " Because you have wronged both of us in JUAN PEREZ DE MONTALVAN 223 courting Ana, when already betrotbed to Leonor ". Lope tben satisfactorily accounts for bis actions by explaining that he always supposed Leonor to be Juan's intended bride, for Juan had told him that his fiancée had been in a con vent - that which he never imagined to be true of Ana as well as of Leonor. In accordance with tbe original arrangemêut, Lope now gives bis band to Leonor, white Juan, at Pedro's bidding, becomes the busband of Ana. Despreciar lo que se quiere (Ta Scorn ,what is liked.) AcT I. The wife of Rodrigo de Mendoza, of Madrid, <lied when barely twenty-five years old, and durîng all the time that bas since elapsed their only daughter, Leonor, bas been her father's sole comfort and consolation. In every way does she so nearly resemble her motber, that more than on::e ber aged father has fancied his long larnented wife to be still alive. It is not strange, therefore, that he has never urged Leonor to marry, and indeed she bas not wished to, since she considers ber one aim in life to be the care of her father. Keenly realizing, however, that on accoum of his increasing years and infi.rrnities death may soon corne upon him, Rodrigo is very anxious to see bis daughter married and settled, and has lately betrothed her to a rich and noble Zaragozan, w!lom sbe bas not yet seen. One day, while Leonor and ber friend Ana are walking together in the suburbs they are pursued by an inforiated bull, and the former, overcome with terror, falls in a swoon. She escapes death ?nly througb the timely appearance of a stranger, whç, on seemg her peril, rushes up and carries her to a place of safcty. After having regained consciousness Leonor ex.presses her grati- �224 GEORGE WILLIAM BACON JUAN PÉREZ DE MONTALVAN tude, whereupon the unknown asks her for her name a~d ~ddress, on the plea that be would fain call occasionally to mq~ire after ber condition. Refusing to reveal ber name, Leonor g1ves Ana's address as ber own, and when the latter, in surprise, is about to correct the mistake, she motions her to be silent. Asked bis name, the stranger replies: " I am Don Juan de Guzman of Seville, corne to the Court on business" ; and after Leonor has decfined his offer of escort homeward, he departs. Leonor is filled with admiration for Juan, and hopes that ber intended may be bis counterpart, while he - betrothed by his relative, Duke Alberto, to a lady whom he has never seen entertains a like thought regarding bis fiancée. A few days later, in company with his friend Diego, Juan repairs to the address given him by Leonor, and _finds ~-na and the former, her visitor, on the balcony. Ana 1s awa1trng ber lover Lisardo and when he arrives, Diego, an acquaintance of bis introduc;s him to Juan. After they ail bave amused themsel~es by reciting verses, at Diego's suggestion Jua~ and_ Lisar<lo engage in a fencing match, and soon the former 1s pncked o_n the band. Leonor stealthily lets fall a bandage, but as Juan 1s about to make use of it Lisardo protests, believing it a love-token thrown him by Ana. An argument ensues, and at last Lisardo departs ·mad with jealousy, while Leonor sends down to Juan by her servant, Inés, an additional bandage. From Inés he le~rns that ber mistress is the lady be rescued, whicb so delights him, that he bestows upon ber a ring in token of bis appreciation. ACT II. Durina the brief time tbat bas elapsed since the previous scene Li;rdo's anger has not cooled, and when be now meets Ana he accuses her of unfaithfulness in giving Juan a love-token. So bitter is he in his censure that Leonor takes her friend's part, with the result that soon the former and he become involved in 225 a dispute. At this juncture Juan appears, unobserved by Leonor, ~nd the moment he s~es ber and Lisardo conversing his jealousy '.s ar?use~. He _keeps ;1lent, _h?wever, and fo~ally Leonor succeeds m d1spellmg Lisardo s susp1c1ons, by declanng that it was she who threw the bandage, which was intented for Juan. The latter takes umbrage at several of Leonor's statements to Lisardo during their conversation, and when she has fi~ished sp_eaking be. makes bis presence known, and angrily charges her ~1th decept10n. Ana declares that he is unjust, for Leonor loves him and will marry him, in spi te of the fact that she is already bet10thed by ber father. Both Lisardo and Juan now feel entirely _reassured, si~ce the misunderstanding over the bandage, wh~ch has occas1oned such anger and jealousy, is explained to the1r perfect satisfaction. At this ju_nctu~e, a message from her father Rodrigo apprises Leonor of h1s desrre that she return home immediatelv, in order to confer _with him upon an important matter. Sh~ imagines that be w1shes to speak to her regarding her coming marriage, a~d, unaware that her betrothed is none other than Juan, expenences great anxiety. S~ortly after Juan bas left Ana's, his servant tells him that he has Just seen Duke Alberto, who is greatly vexed that he has not Y~t called upon bis future father-in-law and fiancée, and orders hun to do . so immediately. This intelliaence throws Juan into ô c~nsternation, and he swears that even if the Duke try to force lum, he will marry no one but Leonor. When the latter reaches home, Ro_drigo states that she will be pr~sented to her betrotbed that day, and must wear her best attire, !n ~rder to make the most favorable impression. Observing her de1ect1on, the fond parent exhorts his dauahter to be i·oyful . l o , an d g1ve 1er lover a wann welcome. ~eonor realizes that the crisis is at band, and if she proposes actmg, she must not delay. Accordingly, she resolves to send word to Juan to meet her immediately at Ana's, where, without REVUE HISPANIQ UE, B 15 �JUA 226 PEREZ DE MONTALVAN 22ï GEORGE WILLIAM BACON fear of detection, they can devise some plan to thwart her father's design. The bearer of the message is about to take her ~eparture, when Leonor is surprised by the entrance of Juan, wbo, m accordance vitb the Duke's orders, bas corne to wait upon his future father-in-law, Rodrigo. Mutual confusion and embarrassment result, for Leonor assumes tbat Juan has heard of her approacbino marriaoe and has corne to forestall it ; wbile be - ignora~t tbat she is the dauohter of Rodrigo, and believing her merely b b' a caller tbere - fears tbat she bas been informed of the o iect of bis visit, and will very naturally endeavor to prevent him from seeing his fiancée's father. Never suspecting, of course, tbat Juan is her fatber's choice, Leonor urges bim to leave instantly, on the ground that bis discovery there by fü:,drigo-will mean ber ruin. Accordingly, after the couple have pledged their mutual fidelity, Juan makes a hasty exit, just in time to avoid encountering Rodrigo. AcT m. Hardly bas the door closed behind Juan when Rodrigo e_nters, and aogrily inforrns Leonor tbat be bas heard of her avers10n to her fiancé and determination not to meet him ~ but sbe :"ill have to marry him on the morrow, notwithstandmg. Ro~ngo . then retires, and Leonor, in tears, writes a note to Juan aski.ng h1m to corne before ber bouse that nigbt at twelve, since sbe bas great need of his ad vice. He replies that she can depend on him corning at the hour appointed. Prornptly at midnight Leonor appears on ber balcony? and not seeino Juan below, concludes that he has been unavo1dably detained.bln the hope of gaining some information from Ana, she determines to visit ber immediately; and fearful tbat Juan may reach her own home before she returns, she proposes asking Lisardo to go there and tell him to wait for her. . Meanwhile, Juan is basteniog towards Ana's hou~e, wb1c~ be reaches just as Lisardo enters. Wben he sees nothmg of bis rnistress on the balcony,Juan assumes tbat sbe is being cohstrained by her father from keeping her appointrnent, and be decides to enter the bouse, kill her intended husband, and elope with her. !bat Leonor bas thus disappointed bim is due not to Rodngo, however, but - indirectly - to herself, for after Juan had rescued ber frorn the bull, she gave him Ana's address as her own. Therefore, he bas very naturally gone to that address instead_ of to Rodrigo's, where, on the occasion of their- previous meeting, he supposed her to be only a calier. When, just as Juan reached Ana's, Lisardo entcred the bouse, be neglected to close the street-door, and accordingly Juan is now pe~fectly free to pass in. He_ does so, and, after ascending the sta1rs, encounters Ana, who 1s en déshabillé. She challenoes hirn "'.he~eup~o, mistaking ber in the darkness for Leonor, h~ reveal; his 1den~1ty, and declares "I have came to effect your rescue ". An~ funously berates him for his intrusion, and as soon as be realizes the 11:istake he has made, Juan excul pat es himself 50 loudly that L1sardo overhears him, and rushes in with drawn ~word.1:he mome_nt he recognizes the intruder, Lisardo's former Jealousy 1s ~11 rekindled, and he is about to attack him wben Leono~ abr~ptly enters the house, and begs that !:iis life be ~pared. To. this Lisardo consents, and now that she is relieved of ber anxie_ty Le~nor turns toward Juan, and accuses bim of deception and mfidehty. He declares that be has corne in answer to her own summons, and bas entered the bouse only to defend her never suspecting that it was not her residence. ' _In_ the interim, Rodrigo has discovered bis daugbter to be m issmg from home, and questions ber servant Inés regarding 1 1er w b erea bouts. w el 1 aware whither Leonor' bas 'gone Inés ~10ws _great ~m barrassment, and makes several absurd excu~es for her miSrress 5 absence. R_odrigo cannot be so easily hoodwinked, Loweve~, and_ after persistent questioning, Inés tells him that d:~or 1s_ seeki~g conso!ation ,vitb Ana on the eve of her marriage. earnmg th1s, Rodrigo at once departs to bring her home, and �228 GEORGE WILLIAM BACON JUAN when be read1es Ana's a scene of confusion ensues. Furious, he demands of Juan what right be bas to be with Leonor in another's house at such an hour, and what he means by such base deceit. In a passionate speech, Juan declares that since he loves Leonor he will never marry Rodrigo's daughter, for altbough Duke Alberto bas planned his marriage, be cannot compel it to take place. Delighted at this unexpected turn in the situation, Rodrigo astounds the lovers by declaring that it is they whose betrothal has already been arranged between him and the Duke ; whereupon the happy pair receive general congratulations that their anxieties - great, even though groundless - are at an end. De 11n DE MONTALVAN 229 ing her character, Juan's relatives have exacted of him that he shall marry the lady who has so suffered from his crime. Such a singular demand fills Leonor with consternation and in her despair she resolves to ask the aid of ber friend and ~ext-door neiah. bor, Dona Violante de Ataide. b Quite unaware that for some time Juan and Violante have loved one another, and that he has written ber of what occurred on _that fateful night, Leonor relates to ber friend the whole affa1r, declares she will never marry Juan, and begs ber tell him that she (Leonor) has a lover. Violante, who, up till now bas remained in ignorance of the proposed arrangement rega;dina Juan and Leonor, trembles and grows pale, but when the latte: _alludes to ber confusion, she ~sserts that it is due to sympathy. Le~nor ~f course suspects nothmg, and, when Violante promises to mterv1ew Juan, is delighted, for shefeels confid·e nt that as soon as he knows the situation he will flatly refuse to oratify the wish of bis relativey. b Castigo dos Venganzas. (For a Punishment a Double Vengeance.) ACT 1. One night, while Dona Leonor Faria was awaiting ber cousin and lover, Don Lope de Almeida, she espied a man at the streetdoor below, and, under the assurnption that he was Lope, hurried down to the gratin_g to speak with him. Hardly had she clone so when ber brother Pedro unexpectedly appeared, having returned home earlier that night than usual, - challenged the gallant, and attacked him. The stranger was more than a match for bis adversary however, and after running him through the booy would have made his escape, hat not a crowd collected and completely surrounded him. On the arrivai of the police the murderer was identified as Don Juan de Silva, and hurried off to priso;, where he is still confined. This unfortunate occurrence is much to be deplored, since beside ·exciting the anger of the victim's father, it bas clone great injury to the reputation of Leonor. With a view, then, to clear- PEREZ • True to her promise, Violante repairs to the prison and is abou,t to ent~r Ju~n's d_ungeon when she sees the Co;regidor, G~rcia, speakmg. w1th_ h1m. The official has been sent by Juan to mtercede for h1m wtth Don Diego, his victirn's father and Vice. r_oy of Portugal. Taking her stand where she may be an unseen l~st~ner to the conversation, Violante is dismaycd to hear Garcia mform Juan, that Diego will repeal the death sentence he bas passed upon him, only on condition that within two days he marry Leonor. Violante realizes that to deliver ber friend's ·message is but to urge Juan to die, for were he aware of Leonor's love for Lope, he would do so rather tban be the cause of their separation . Accordingly, after Garda has withdrawn, she begs ber lover accept the condition imposed, and althouah at first he absolutely refuses to do so, he finally coosents when\he declares that she will take her life if he persists in his determination. �JUAN PEREZ DE MO TALVAN 230 AcT IL ... 231 GEORGE WILLIAM BACON It is now six months since Juan became the husband of Leonor, and, as might ·be expected, their life has been very unhappy . During this time Juan has learned that when he married Leonor she already had a lover in Lope, and consequently he suspects that she is unfaithful toward him. In his uncertainty he decides to consult Violante, and so unexpectedly does he appear before her that she is overwhelmed with embarrassment and confusion. After having confessed that Leonor can never make him forget his old love for Violante, Juan reveals to the latter his jealousy of Lope; whereupon she assures him that his suspicions are quite groundless, since Lope is now her lover. When Leonor was forced to become the wife of Juan, Lope endeavored to find consolation in Violante, and she encouraged his attentions. Her object in doing so was to lead him to discontinue his amour with Leonor, which was exciting Juan's jealousy. As time passed Lope became more and more intimate with his new mistress, and at last, under promise of marriage, dishonored her ; soon he will take her for his wife. Very naturally, Violante has refrained from disclosîng this situation to anyone, and now reveals it to Juan only that in the future he may not harbor any feeling of jealousy toward Lope. However, since he regards the chastity of his wife as depending to such a degree upon her knowledge of Violante's relations with Lope, the former will make her, also, a party to the secret at the first opportunity. Having thus spoken, Violante requests that in return for this favor, Juan never again call upon her, and, greatly dejected, be takes his leave. Not long after this Leonor visits Violante, and upon alluding to her husband's jealousy of Lope, is told tbat he has been disabused on that score. Quite unaware, of course, that her message to Juan in his prison was never delivered, Leonor declares that it was an outrage for him to marry her when he knew she already had a lover. Ignorant, likewise, of Lope's relations with Violante, the unhappy wife concludes by affirming that she still loves him and has granted him her honor ; and then asks Violante to allow them to meet in her house, where they will be less liable to discovery by Juan than in her own. At this moment Ju~n is ~eard _without, ~nd Leonor quickly retires, promising to interview Violante agam upon the subject. Since she really loves Lope and has not suspected him of deceiving her, Violante is furious, and cannot decide wbat course to adopt. She fears that if she tell Juan of Lope's conduct with Leonor he will kil! him, while if she score Lope for bis infidelity to her, he may become angered and desert her. ACT III. Violante receives a cal! from Lope, and - in accordance with he_r promise Juan-:-- decides to seize the opportunity to appr~se Leonor, 1_11 Lope s presence, of their relations. Acco1dingly, wtthout ~evealmg her plan to Lope, she dispatches a servant for Leonor. Meantime, she asks her lover to fulfill bis promise of marriage, to which he replies that he cannot as he must leave the country immediately. The unexpected appearance of Leonor greatly disconcerts Lope, and to avoid being seen by ber he secrets himself, under the pretext that if he be found with Violante the latter's reputation will suifer. But from the servant who summoned her, Leonor bas already learned of Lope's presence in the house, ànd at once asks where he is. Hereupon Violante bids him corne forth from his hiding place, and, overwhelmed with embarrassment, be does so. After Leonor bas greete~ him affectionately, and assured him of the fidelity of ber friend Violante, the latter, to bis utter dismay, reveals bis relations with her ; and adds that as he is to marry ber, Leonor and he must end their amour. t? �232 GEORGE WILLIAM BACON At great length, Leonor maintains that her love for Lope will never die, and that she is jealous of Violante. Still, for the latter's sake, she will bid Lope swear in their presence that be will become Violante's husband, and she herself will promise never to see him again. Lope, however, flatly refuses to acced.e to Leonor's request, explaining that even should he marry Violante he could not relinquish his first love, and would therefore be untrue to his wife . Through her maid, Luisa, Violante learns that Juan is to leave that night for Brazil, to serve as Captain in the war against Holland, and that Lope, who has also enlisted, intends to desert, and keep an assignation that very night with Leonor in the latter's bouse. Furious, Violante resolves to put the adulterers to death, and accordingly writes Juan to come to her at once should he miss Lope in the ranks, since it will be greatly to his interest to do so. Soon after this, Violante is informed by a servant that Lope, in disguise, has been seen to enter Leonor's house. Hurriedly dispatching a messenger for the Corregidor, the aggrieved woman seizes a dagger, enters the house from hers through a door in the party-wall, ·and kills the wretcbed pair in flagrante delicto. Juan, who has just reached Violante's, hears Leonor's screatns of terror, and is about to rush to her aid when the murderess . meets_him, dagger in hand. At great length Violante tells what she has clone, and on what grounds, and adds that she has sent for the Cortegidor. When she has concluded, Juan offers her his hand, declaring that sbe is the avenger of his injured honor. Garcia, the Corregidor, now arrives in response to Violante's message, which was to the effect that Juan should be taken into custody, to forestall a crime he intended to commit. With no imputation of blame to Violante, Juan shows Garcia the bloody dagger he bas taken from her, declares that he is the murderer, and then leads him to view the two corpses. Briefly making known to the official the reasons for his crime, Juan is assured that under the circumstances be will not .be imprisoned, but JUAN PEREZ DE MONTALVAN 2 33 detained at Garda's house till the Viceroy shall grant him a pardon. La. Doncella de Labor. (The Waiting-Maid.) AcT I. Infatuated with Don Diego for some time, and having no friend through whom she can obtain an introduction, Dona Isabel decides to make his acquaintance in a novel - not to say brazen - manner. Rushing into his house, she implores protection from her angry husband, 'Who, she daims, is pursuing her because he caught ber in the company of a gallant. On the point of leaving for the Prado to keep an engagement with his mistress, Elvira, Diego offers Isabel the hospitality of his home, and swears he will defend her. He then bands over bis door key, and with assurances that he will keep a sharp Iookout for her irate husband, takes his departure. After spending some time with Elvira in the Prado, Diego, qui te forgetful of Isabel, asks her to accom pan y him home. A whispered warning, however, from his servant Monz6n refreshes Diego's memory, wbereupon, visibly embarrassed, he withdraws his invitation, declaring "I forgot tlut before returning home I must visita friend who bas just fougbt a duel". Although Elvira accepts this excuse without demur, and makes no reference to her lover's confusion, yet she strongly suspects tbat he is in some predicament wbich be desires to conceal. Accordingly, she decides to follow him home uns;;:en, in the hope of being able to satisfy ber curiosity. Bidding Elvira a h.a sty farewell Diego hurries away, and reaches his house just as Isabel is preparing to depart. At once she begins to hanter him about being in love;but soon is imerrupted by the entrance of bis friend Cesar. To Diego's surprise, �234 GEORGE WILLIAM J3ACON JUAN PEREZ DE MONTALVAN Isabel immediately exclaims "This man is a relative of _my husband ", and then clashes into his sleeping apart~ent. fhe real reason for her hasty exit is, however, not that wh1ch she has given, but the fact that Cesar is ber lover. In spite ~f the abruptness with which Isabel retreats, Cesar catches a ghmpse of ber, and straicrhtway asks Diego : " Who is your caller ? "•. " El vira, just retu;ned with me from the Prado ", answers Diego i ~ut scarcely bas he spoken when El ira ~erse_lf enters, explamrng that she has corne to inquire after h1s fnend who fought the duel. Diego is naturally very ill at ease, and becomes even m~re confused when, a few moments Iater, Elvira expresses the des1r,e to inspect his bed chamber. A short time ~efore, Inés, Isabel_s servant, left the bouse to hire a sedan-chai r, a~d now, at 1s already critical moment, return~, mis~a_kes Elv1:a for ber_ m1stress and states that the chair 1s wamng outs1de. C~nvmced that 'Diego is harboring some lady, Elvira fl_ies int? a funous passion and scores him for bis deception and mfidehty. The embarrass;d lover makes che most vigorous denial to _h_er charge_s, but whatever weight bis protestations might otherw1se have 1s rendered null by the unwelcome appearance of Isabel, who,_ by_ a most untrue statement, brings about the departure of Elvira m tl: high dudgeon. AcTil. Isabel congratulates herself on the suc:ess that has atte_n~ed her first effort to estrange Elvira from Diego, and deternunmg to continue her campaign, devises another stratagem. She ?r~cures Inés, under the name of Juana, a sirnaùon as domesuc_ m a l10use adjoining Diego's, and instructs her, ~hro~gh .mak~ng love to Monzon, to gain from the latter all P?s"1ble mfo:mat10n regarding his master's movements with Elvira. Assum_mg the name Dorotea, J5abel herself enters the service ol Elvira a~ a .. .d , and takes into her confidence an old man, Julio, wa1nng-ma1 who will play the part of her father. 2 35 Sooh after Isabel has begun her duties, Diego cornes to vlSlt his inamorata, and upon attempting to enter the bouse unan~ nounc~d, - in accordance with his usual custom, - is abruptly halted by the new maid and asked bis name. This demand gives rise to a heated dispute between Isabel and Mouz6n, ,-vhich is terminated by the appearance of Elvira, who ex plains that Diego is her lover. It being a fête day, Diego proposes to Elvira that they hold a celebration at his house, and upon her assentrng, they make ready to depart in her coach. Isabel sees that she has a good opportunity to execuce another stratagem, and at once disparches Julio to Inés, witb the order that she disguise herself and enter Diego's house as soon as pdssibie. When the lovers, accompanied by Isabel, reach tbeir destina. tion, Inés bas already arrived, and just as Diego is abor.t to throw open his sleeping apartment for Elvira's inspection, heavily veiled, Inés emerges from it, and passes into the street. Although, on the occasion of ber previous visit, Elvira was much angered to see a strange lady in the house, still she later pardoned Diego. Now, however, she loses ail patience, and after scoring him for his deception and fairhlessness, swears that she will never speak to him again, and angrily departs. Diego is completely undone, and, in his despair, eagerly approves of Isabel's suggestion that she immediately follow the unknown, and endeavor to ascertain her identity. When Isabel returns, she relates to Diego a long, fictitious story how she very soon overtook a beautiful lady ridiog in a coach, surrounded by attendants, and giving evidences of great wealth. Diego listens to her recital with the utmost delight, and when she bas concluded Isabel bids him farewell. Acr III. Exultant over the outcome of her last ruse, Isabel determines further to divert Diego's affection from his inamorata, and there- �JUAN PÉREZ DE ~10, ' TAI.Y.-\.' GEORGE \\'ILI,l.Ht B..\CO~ fore bids Inés tell him that it was she her elf who came out of his bcdroom on his arrivai with Elvira; and that she had been generously bribed to do so by som ri h looking lady in~ coach , with whom she was unacquainted. When Inés makes th1s statement to Diego, far from being vexed, he is so delighted to be~r furtber about the mysterious lady, chat he bestows upon h1s informant a ring a a token of appreciation. . . Isabel call upon Diego, and declaring that her 1~1stress 1s about to become the wife of one Don Pedro, hands h1m a packaoe conrainino ail the lattcr's correspondence with htr, an d as;rts chat Elvi:a wi hes him to destroy it. Altbough qui te dejected, Diego bids I abel tell Eh-ira that he propo. s marrying the rich lady seen in the coach ; whereupon Isab~I pretend_s to ha\·e learncù ber addre s and, designating a cerr:un house 1n a wellknown street, asserrs rhat if he pass by there that night be will be called in. Diego is r joiced at this, white Isabel takes her deparmre in an qually happy fram ~f mind. . The address mentioned by I abel 1s that of a fnend of hers, Dona Inés Gariba ,, to whom he at once di patche Julio in order to acquaint her with the stratagcm she has planned._ he rhen gh·es Elvira an entirely fal. e account of her call upon Diego, and at its conclusion, Elvira declares that she feels sud, a ~oathino toward him that only one interview with his new tnamora~a is needed to cxtinguish her last spark of affection . Isabel repli s • It is very asy to arrange uch a me ting, since und_er the escort of rny father Julio you can call upon the lady, while I remain at home to look after my duties ". Delighted, Elvira eagerly adopts this su~gest~on, and on reaching th bouse specified b · Isabel - wh1ch 1s that of l~er friend Inés Garibay - is received by the former herself, hea_n ly veiled. Just at tbis moment Diego appears, but for obv1~us reasons Isabel immediatel , dismisses him, with the explanat1on that she is entertaining a visitor and cannot receive him till after her dcparture. In a long, extravagant tale she then represents 2 37 hcrself as a nari,·e of the We t Indies, pictures Diego as a seduccr and a ra cal, and solemnly exhorts Elvira to profit by her own bitter cxperience. Full of gratitude, El\'Îra warmly thanks ber ad,·iscr, in whom she fancies she sees a slight resemblance to her maid Dorotea. \Vhatever suspicion such a resemblance may have occasioned, however, is dispelled on her arrivai at home, for be find Dorot a busied with ber customary tasks, and al! those perform d that she had assigned before leaving. The explanation of this stranoe situation is tbat durino Isabel's absen e Inés bas be o bard at work, and bas fioishcd the forrner's duties previous to ber arriva], which takes place just before that of Elvira. Diego calls upon Elvira to extend his conuratulations on her - supposed - approachiog marriage ,vith Pedro, whereat she upbraids hirn for h1s infidelity, and declares tbat his dissolute life has been made known to her through the last lady he seduced. Diego is utterly dumbfounded; but Isabel now cornes forward, and, throwing aside ber disguise, reveals the whole dcception and her object in perpetrating it. Cesar, the former lover of Isabel, who has arrived meanwhile, accepts his disappointment as graccfully as possible, and arrangements are ac once begun for the wedding of Isabel and Diego. La Ga11a11cia por la Mano. (Success in One's Plans.) AcT I. Having committed a murder at Alcali, Li ardo, accompanied by his servarit Guzmân, flecs to Granada, where resides a cousin of his to whom he bears letters of introduction from his father Don Fernando. Just as the fugitive is about to enter the city, loud words near by attract his attention, and be stops to listen . �GEORGE WILLIAM BACON He finds that two men - Fulaencio and Feliciano - are disputino- and when soon they unsl1eathe their swords, he draws bis, and rushing between them, orders them to desist. They obe~, and upon being asked the cause of their quarrel, Fulgencio declares tbat they are bath in love with the same lady, wbo, however, treats them with the utmost indifference. Advising the suitors to continue their attentions till the fair one shall show a preference Lisardo offers to deliver to her any messages they may bav: to send, and upon the acceptance of bis proposai, agrees to meet them next day in the market place. Fulgencio and Feliciano then depart, and scarcely have t~ey clone so when Lisardo is surprised to see two women commg toward him, their faces concealed by their mantles. They are Isbella, the object of the recent quarrel, and her maid Anarda, who, baving heard of the ill-feeling between the lovers and of their agreement to meet in that spot, scented a duel, and came there hoping to be able to preventit. Although they ~ad overhear_d nearly the entire dispute, and had seen the pair draw their swords, fear deterred them from intervening, and Isbella was therefore delighted when Lisardo appeared. Filled with gratitude, and enamored of bis handsome figure, sbe decided to accost him; but now before sbe can do so, Lisardo addresses ber in gallant terms a~d asks her to reveal her features. After some hesitation ' . she acquiesces, and, stru..:k by her beauty and never susp~ctmg ber identity, be asks when tbey will each other a~am, to which she replies " Perhaps some day lil the cathedral . After the exchange of a few courtesies, Isbella decides to with~raw, lest she disclose ber affection, and, on taking leave of ber, L1sardo exclaims in an aside "For vou I'm dying ! ". For some time, Nise, th; sister of Feliciano, bas been beloved by one Gerardo, but while she has secretly regarded his attentions with favor, sbe has treated bim with apparent scorn. Although ber abject in so doing is only to lead him to b:come even more ardent, the wretcbed suitor is filled with despau, and s:e JUAN PEREZ DE MONTALVAN 239 continually implores bis mistress to be more lenient. On the day following Lisardo's entry into the city, Gerardo hands Nise a written declaration of his love, but, to bis dismay, she tears the paper to bits, and then orders her maid, Inés, to escort him to the street-door. Just as this request is complied with, Feliciano enters the apartment, and when · his sister observes him dejected, as usual, shë remarks that she feels sure he is in love. After two guesses she names Isbella as his inamorata, and upon being asked to aid him gain her affection, assures him that she will speak to her the very next day. Their conversation is now interrupted by the appearance of Inés, who announces that some stranger desires to see Feliciano, ~hereat the latter bids her show him in. He finds the caller to be Lisardo, who, after they have recovered from their surprise, bands him the letters of introduction he bears from his father Fernando. When Feliciano and Nise have read them, the former welcomes him affectionately as his cousin, and seeing Nise standing bashfully apart, tells her to approach and embrace him. Having inquired as to the health oÎ his unde Fernando, Feliciano asserts that he will send some of his servants to Lisardo's lodgings to bring his belo~gings thither, for he must make his home with them. The new-comer's remunstrances are of no avail, and Feliciano withdraws to make the necessary arrangements, while Lisardo enters into a gallant conversation with his cousi_n. If, the previous day, he consiJered Isbella beautiful, be regards the charms of Nise as far superior, and sbe sees in his handsome face and figure an effective means of exciting the jealousy of Gerardo. So love-sick is Isbella for Lisardo, that she asks Anarda to console her by relating the part he took in the quarre! between her admirers. But the great pleasure she derives from this narrative is destined soon to be interrupted by the sudden appearance of Fulgencio, who has entered through a door carelessly left �GEORGE WILLIAM BACON JUAN PEREZ DE MONTALVAN unfastened by Anarda. Having declared his love, he tells lsbe]la of the quarre! between Feliciano and him, and of their agreement to cause a certain gentleman to ask her which of the two she wishes to favor. To his surprise, Isbella declines to countenance such a plan, on the grouhd tbat it will make their love too public, and states that she will confer directly with them. When she adds " Tell Feliciano I love a gentleman in Granada who, for my sake, drew his sword ", Fulgencio is delighted, for he wrongly, of course - assumes her to mean either bis rival or bimself. Her refusai, however, to make known which of the two it may be, brings about his immediate departure, whereupon Isb.ella decides to visit Nise, in the hope of div.erting the sadness caused in ber by her love for Lisardo. If Nise realizes that she is enamored qf bath Gerardo and Lisardo, equally conscious is the latter of bis inclination towards Isbella and bis cousin, and Nise and he are busied with these reflections when he chances to came into her presence. Upon addressing ber in flattering terms, sbe bids him reserve tbem for bis iady, and his protest that that is she, leads to a conversation which is terminated only by the entranœ of Isbella. Bath she and Lisardc are no little confused by their unexpected meeting, and so ev.idenf is her embarrassment that Nise remarks upon it. The latter, after having answered her question as to whether the new-comer is not a cousin, resolves to execute the promise she bas made to Feliciano to aid him in his suit with Isbella. But, strange to say, in place of confiding his love directly to ber, Nise transfers the duty to Lisardo, who at once approaches Isbella to deliver the message. Confident that Nise and he are in love, the jealous girl - in an undertone - threatens to end her worry by taking her life, and upon being told of Feliciano's affection, replies that she fully requîtes it. Nettled that the pair should have conversed even for this short a time, Nise now declares them to have said enough, and assures Lisardo that never again will she etnploy him as her messenger. ... ACT II. Although two years have passed since Lisardo reached Granada and he has not yet asked Nise for her hand, still, in the hope that he will, she continues to refuse to accept Gerardo as her h~sband. Although she loves the latter, she will marry him only m the eYent of losing Lisardo, and, to conceal her intrigue, w~ll then pretend that she was forced to qo so by Feliciano. D1scouraged at her long continued indifferen.ce, the unhappy Gerardo now swears that he will leave for parts unknown _ a threat which so alarms Nise that she implores him to remaîn, and then embraces him. When he has expressed his willinoness to accede to ber request, Nise, knowing that Lisar.do is n~t at home,_ detennines to ascertain if be is visiting her rival, and accord1ngly at once repairs thither. She arrives to find her suspi:ions confirmed, and makes her displeasure a~d jealousy so evi~en~ that some sharp repartee ensues between her and Isbella. Qmet 1s restored at last, howe\·er, by Lisardo promising to conclude the story - begun the day before - of his experience at Alca!a. For some time he and one Blanca had loved one another when a rival appeared in the persan of Don Juan who on account of his wealth, was regardcd with favor by her pa:ents. Fearfol lest she might be forced to n1arry him, she and Lisardo agreed to elope, and fixed a certain night for the execution of their plan. On the night appointed, Blanca made her escape from the bouse unobserved, and had already )oined ber lover in the street, when, to their surprise, they espied a masked man st anding near by. As tbey moved away he followed tbem, whereupon Lisardo drew his sword and demanded that he give his n~me. " I am the owner of the lady" came the response, " and I mtend to take ber away from you ". Knowing; then, that the speaker was Juan, Lisardo, blinded with jealousy and passion, REVC:E HlSPAN/'Q(l E. B 16 �GEORGE WILLIAM BACON attacked him and took his life; while Blanca, terrified, declared tbat she "yould become a nun, and retreated into the house. Escaping to Madrid, Lisardo narrated the occurrence to bis father, who gave him money and letters of introduction to his cousin Feliciano, with whom he has since resided. Intere ting as this story is to ise and Isbella, it caonot make tbem forget tbeir mutual jcalousy, and the moment Lisardo has oncluded, tbeir ill-feeling breaks out afresh. In his rôle of peacemaker, Lisardo addresscs the one only to increase the jealousy of the other, wbich so discourages him that he soon desists from his efforts, leaving the disputants to part with very bad grace. At the first opportunity ise chides Lisardo for visiting Isbella, and in lùs defense he asserts that he does not love ber, but merely esteems ber as ber friend. His zeal to convince Nise of the apparent truth of bis statement, is increased by the fear that sbould she discover bis love for lsbella, she would no doubt inform Feliciano. As the latter hopes to become Isbella's busband, such a disclosure rcight be fatal to the success of Lisardo's suit. Shortly after ise has withdrawn, Guzm[m bands his master a letter from ber for him, which he bas received from Inés. Therein sbe confesses ber love, and asks whetber it is requited. While Li ardo is emraged in reading the note, Isbella and Anarda masked - e;ter unobserved, and when he has finished, the former addre es him. Assuming that it is ise and not Isbella who has corne to test lus love, he resolves to deceive her by pretending that without her life is impossible. ery soon Isbella asks to be given a handsome ring which be is wearing, and after he has granted her request, she avers that she_ would lik~ to ~peak to h.im tbat night. Although sbe refu11es to dtsclose her 1dent1ty, and declares that be will be blindfolded to pre ent bim from lmowiog what bouse he enters, Lisardo promises to gratify her de ire. Thereupon, Isbella states that at eleveo o'clock her servan~ will corne to him, and after bandagiog his eyes will conduct hun to JUAN PÉREZ DE MONTALVA her home. Lisardo swears that he will keep his promise, and she departs. At the bour fü:ed Aoarda appears, and havino- blindfolded Lisardo and Guzman leads them to her mistress. O~cc inside the house they are to)d to removc their bandages, and after Isbella _ m::tske~ - bas requested her caller to b scated, she asserts that to a certam gentleman in Gianada sh owes great obligations. This ~am~ g~ntleman loves a certain lady, and complains that Lisardo 1!> 111s nval: To Lisardo's inquiry regarding the name of the lady Isbel~a replies "I thiok it's Isbella"; whereat he feelsthoroughly convmced tbat the speaker is ise, and that the " gentleman " to who~1 she .refers is her brother Feliciano. Acting under this assumpt10n Lisardo admits knowing Isbclla, but denies that be has e,·er cared for her; and wheo bis hostess remarks " hc thi~ks diff~rently ", he adds " Then she is gready mistaken. Bes1des berng less beautiful thao one whom I adore and who rcquites my love, sbe is foolish and rather disagreeable ". To pro"e the seeming truth of hi assertion that bis love is directed tow~rd aoother tban Isbella, he gi\'es the latter the note be has reccn-ed from , ise. Recogoizing the handwriting, Isbella is complctdy undone, and, with rhe declararion '' I am disabu ed en~ugh '.', requests Lisardo to take his departure. If he bas been qmre m1sled as to the idemity of bis interlocuror, equally so has ~e:n Guzman regarding his; - having mistaken Anarda for ne~, he has defamed the former; - and the two start homeward dehghred with the success of their deception. Acrill. ~ise expresses her surprise to Inés that Lisardo bas not yet ;mt:n her, an_d while the?' are discussing the matter he appears. 0 his declarat1on that he 1s hers, she responds that if such were :rue he wou_ld re~ain with her instead of going out at night, nd then ch1dcs h1m for not answering her 1 rter. In his defease �244 GEORGE WILLIAM BACON JUAN he avers that where possible it is always preferable to reply in person, and from the nature of her remarks concludes that she is pretending not to have been with him the preceding night. Forced to confess that he gave the letter to a lady, be receives a sound berating, and notwithstanding bis plea thatit was for her Nise's - advantage, she leaves him in high dudgeon. A moment later Isbelb enters, and although Lisardo greets her affectionately, she exhibits such disdain that he asks if he has displeased her. To his surprise, she replies that be would do well to remember by day what he says by night, and adds " Am I more beautiful in the day-time ? " Greatly puzzled, Lisardo appeals to Guzman for bis view in the matter, but the lackey is having a similar experience witb Anarda, and is therefore too much confused to venture an opinion. When Isbella repeats the remarks Lisardo made concerning ber the previous night, declares that she detests him, and, with Anarda, abruptly retires, he is dism?-yed and cannot imagine how she heard what be told the supposed - Nise. Guzman, however, expresses the belief tbat Nise has betrayed to Isbella his master's confidences, in order to show how great is his love for herself - an idea which finds immediate favor with Lisardo. Scarcely has he declared bis cousin to be the sole cause of ail his unhappiness when she appears, and be .at once accuses ber of havinot, revealed to Isbella what he confided to ber the night before. Amazed, Nise of course denies having spoken to him at that time, and when be asks whether he did not give her a ring, believes that he has taken leave of bis senses. But her denials have no further effect than to convince him that sbe is endeavoring to cover ber deceit, and the dispute very soon turns into mutual recriminations. Meanwhile, a similar scene is being enacted between Inés and Guzmfo, which is brought to a close only by their su periors parting - with very bad grace, moreover - and bidding them follow. Gerardo leads Feliciano outside the city, and wben the latter, PEREZ DE MONTALVAN 245 somewhat suspicious as to his motives, refuses to go farther, he assures him that it is " Cupid, and not Mars" who influences him. Having thus reassured his companion, Gerardo confesses that be is in love, but does not name bis inamorata. Fearful that she may be lsbella, Feliciano exhibits such uneasiness that the other observes it, and immediately bas misgivings regarding the outcome of bis interview. Their mutual anxiety is however finally dispelled when Gerardo states that it is Nise to whom be refers; whereupon Feliciano, overjoyed, avers that he will escort him to ber. Returning to the city, they reach her home short!y after lsbella has arriYed there, and by their appearance unwittingly put an end to a quarre! in which the two women have become engaged. Feliciano's declaration to Nise that Gerardo will communicate to her the subject of their recent conYersation, fills her with dismay, but Inés whispers to her to dissimulate. White Ger_ardo is engaged in telling bis love, Feliciano seizes the opportun_1ty to speak to Isbella, and although she treats him coolly, be denves pleasure from her statement that she does not intend to marry Fulgencio. Her conversation with ·Feliciano does not engross Isbella's attention sufliciently to prevent her from overhearing the dialogue between Nise and Gerardo, and when she finds that the latter is meeting with no encouraoement she deter• b , , mmes to aid him. Therefore, she remarks to Nise that ber Nise's - infatuation for Lisardo leads her to treat Gerardo cruelly - an observation which Nise believes designed to induce ber to relinquish Lisardo, whom Isbella, triumphant over her success, would tben marry. At this juncture Lisardo enters,' and Feliciano, accompanied by Gerardo, immediately withdraws, under the pretext that important business demands bis attention. Assuming that the betrothals of Isbella and Feliciano and Nise and Gerardo have already been arranged, lisardo is about to retreat when he is halted by Nise. After having made a contemptuous allusion to his affection for Isbella, she, too, retires, whereupon Isbella �JUA. PEREZ DE MO 1TA.LVA, GEORGE WLLLlAM BACON declares to Lisardo that although sbe ber elf does not love Feliciano, she would do so if thereby she could forger him. When she bas chus expressed herself sbe scarts to leave the room, but is prevented from doing so by ber admirer. In bitter toues she asks why he should wi h her co remain, since he abhors h r, and having repeated the remarks be made to the supposed ise, bursts into tears. Deeply affecced, Lisardo implores Isbella to cease weeping, exttavagantly praises her beauty, and affi.rms that whatever attentions he has shown ise were intenJed solely to divert her. When, one night, the latter visited his in disguise, he spoke ill of bis true mistress through the fear that if he praised her ise would become even more persistent. \ bat he said regarding I bella she communicaœd to her solely out of jealousy. These explanations Lisardo follows with a declaration of affection, and when he has concluded, his i11a111orata confesses chat love coun els her to believe him. Feliciano, Gerardo, and Fulgencio now arrive at the house, and as soon as ise enters the apartment in , hich they arc, her brother asks her where is lsbella. ise replies chat she has just left ber and Lisardo in another room, whereupon F liciano bids her bave chem summooe<l at once, ince h wishe lsb lia to be bis wife, and Lisardo a witness to bis happiness. ise dispatches Inés co fetch the couple, and when Isbella enters, leaning on the arm of Lisardo, so great is Feliciano's amazemeot tbat be can scarcely believe his o·w n e ·es. Even before Lisardo assur him that she is his, he is com inced of his defeat, ,vhile isc, disappointed ac losing her cousin, hastens to recom pense herself as far as possible by giving her hand to the long rejected Gerardo. ln spire of the decidcdl · uncomplimeotary remarks made by Guzmàn co Aoarda regarding herself, under the supposition that sbe was Inés, she cakes him for ber husband, and Inés becornes the wife of Estacio, the servant of Gerardo. Gravedad en Villaverde . (Vanity in Villaverde.) AcT I. . Don Diego, of Madrid, while attending a festival held at Araniuez, has fallen violently in love with ilvia, a beautiful peasant and the belle of illaYerde. Convinced that her favor can be more easily gained if he represent himself as one of her own class, Diego contrives a stracagem. Some twelve years previous to this time, one of the villagers (Lorenzo, son of Albano) mysteriously disappeared, and has never been heard from. Knowing tbat he can rely upon Albano, who was once a servant of his older brother Fernando, Diego lays before him the_ plan which be bas formed : disguised as a so_ldier, and impersooating Lorenzo, be will take up his residence wnh Albano, who, to make the deception more complete will assert that his long lost son bas just rerurned from the \1,ars in ltaly. The unexpected return of the supposed Lorenzo creates conside~able excitement, and so handsome is he that tl1e village gos~1ps are not slow in predicting that he will soon incur the J~al~usy of m~re than one ill-favored suitor of the haughty S1!v1a. No one 1s better aware of this than Albano, and he urges ~1ego to give up bis plan, piccuring the great risk he will run m executing it. But Diego is tao much infatuated to be swayed by_ reason, and hasteniog to the village square, where a dan e is bemg held, in a neatly turned speech asks the party for tbeir congratulations on his safe retum. Many accede to his request but not ilvia ; and as soon as Diego observes chis he approache; her, and asks why she does not biJ him welcome. Disdainful, as usual, she flings at him a curt reply, but Diego, undismayed, �GEORGE WILLIAM BACON meets ber rebuff with such artful flattery that Silvia at last pro- . mises to be bis true and faithful friend. During their conversation, the girl bas not failed to note the jealous ~1anner in which her most persistent suitor, Riselo, bas been eyemg thern, and accordingly when Diego makes bold to declare bis love, she warns him tbat he must ·beware of bis many rivais. AcT II. Diego takes part in a festival held at Manzanares in honor of Santiago, and Silvia, who is also present, so falls under the spell of bis graceful dancing and fencing, that she finds herself more infatuated with him than before. Upon ber return to Villaverde, Riselo begs Silvia to be more oracious to him but she treats him with ber usual disdain. At b ' . . this, the peasant flies into a rage, and after assertmg tbat her indifference is due to her love for Lorenzo :- i. e. Diego, swears tbat be will take vengeance upon them both, by surprising him in one of bis nocturnal visits an~ putting him _to death. Silvia is overcome witb tcrror, and, actmg on the adv1ce of her servant, determines to avert Diego's danger by asking permission of ber father to m:my bim at ?nce._ N_o~· as Diego bas never had the faintest intention of be:commg S1lv1a s husband, he is of course thrown into consternation when she communicates to him ber design, and makes a number of rèmonstrances and excuses. But the girl cannot be shaken in her determination, and steadfastly maintains tbat tbeir clandestine meetings are ruining her reputation, and to avoid suspicion she must become bis wife. Repairing to ber father Fenilo, Silvia confides ber love for Dieoo and desire to marry him, but; to ber dismay, ber parent decl:res chat be does not approve of the match. No amount of urging, he avers, will induce him to reveal bis reason for taking such a stand, and it is only wben Silvia, Josing patience, vows JUAN PÉREZ DE MONTALVAN chat she will execute ber resolve in spite of bi_m, that Fenilo consents to state his objections. Having first ·exacted a solemn promise from bis daughter ne ·, er to disclose whar she is about to hear, be rnakes the following confession. Years before, while returning home one night from Madrid, his attention was attracted by the cries of a woman, which proceeded from a field bordering the high road. Hastening in that direction be came upon a young girl, who, although she was about to bury ber newly-born child, seemed delighted ,vhen be granted her request that he would rear it. After an exchange of names and addrcsses, the young motber presented him with two very valuable jewels, and he turned homewards. A week la_ter, he was surprised w receive a call from a young nobleman, who, after confessing that he was the father of the infant by a lady of high rank, gave him a thousand crowns to defray the ex penses of her rearing and education. Thischild was'Silvia, whose real name is Juana. When Fenilo bas concluded his narrative, he asserts i:hat it is on the difference in station between Diego and Sil via tbat be bases bis objection to ber becoming bis wife, whereat sbe declares that bis reason is a just one. That Fenilo is bitterly opposed to the match is, of course, the only explanation offered by Silvia to her lover, and she adds that acc~rdingly be must forever cease bis attentions. Diego shows h1mself much disappointed, not to say piqued, and determines to try what he can accomplish throuoh arousino the . 1 b b 1ea ousy of bis mistress. With this end in view, be pays marked attention to Celia, a friend of Silvia, and so well does be play his part, that very soon be regains ail the former love of the real objtct of his affections. ACT III. Armed with slings and stones, Riselo and several friends attack Diego as he is speaking to Silvia from beneath her balcony. �GEORGE WILLIAM JUAN PEREZ DE MONTALVAN BACON Finally a well directed missile strikes him senseless, arid t?e aggressors retreat, while Silvia, convinced that ber lover lies dead, throws open the street-door, and showers tears and kisses upon his prostrate body. When F~nilo learn~ ':'l;a: h~s occur~ed he is no little vexed, and, determmed that S1lv1a s 1nt1macy w1th Diego shall cease, at once sends her to her uncle Alvaro in Madrid. Meantime Dieao's escapade has reached the ears of bis br9ther Fernando who ~omina to Villaverde, scathes him for his infatuation ;ith a ~easant,\rges him to retum ho~~ immedia:~ly if he would save his honor, and bids him 10111 the 1mhtary order of Santiago. After many remonstrances, Diego finaliy consents to accede to Femando's wishes, and together they leave for Madrid. Saon after their arrival, Diego, quite unaware that Silvia also has Ieft Villaverde, is struck by the close resemblance between her and a finely dressed lady he meets on the street. Although the fair one is really none other ihan Silvia, ber attendant who:11 Diego accosts and questions, dec\ares his mistress. to be ~o~a Juana Pacheco - which is indeed the tru~h, seeing that Silvia has n.ow assumed her baptismal name. This statement greatly puzzles Diego, and when, through further questionin~, he learns ~hat Juana is, the following day, to become the bnde of her cousin Don Luis Pacheco y Silva, - son of Alvaro, - a strange presentiment of evil takes possession of him. . Meantime, the physiognomy of the courtly stranger has calleü to Silvia's mind her peasant lover, the supposed Lorenzo, and by dint of inquiry she finds that he is Don Diego Ossorio, a membc:r of the House of the Marquises of Astorga. . That night Silvia's fiancé, Luis, falls into a dispute •before father's house with three soldiers, who are about to attack hun when Diego happens to pass by, and rushes to his aid. Aft:r he has wounded one of the aggressors the others tak~ to fügh.t, whereupon Luis, -w ith profuse thanks, insists that Diego remain ?1s in the house till all possible danger of arrest is past. To lessen the chance of pursuit, they extinguish the lights about the entrance, and as the interior is already shrouded in darkness Diego very soon becomes separated from Luis. Groping blindly about, he happens to enter the apartment occupied by Silvia, whom he overhears confess to her maid her love for Lorenzo, and regret that their difference in station alone preclucled their marriage. That she has to become the bride of Luis fills her with repulsion. Great is the joy of Diegô on learning that he is in the very same house with bis mistress, and that she still loves him, but this joy is just as quickly transformed int◊ terror by the sudden . appearance of Alvaro with a light. Surprised to find a stranger in his niece's room, Alvaro challenges bim with drawn sword, and the entrance of Luis only adds to the confusion. Diego hastens to reveal his identity, and, after confessing the deception practised by him upon Silvia, asks for her hand in marriage. Deligh~ed, the bride-ta-be of Lu1s makes known Fenilo's disclosure to her regarding her parentage, and swears that she will become the wife of Diego, and no other - a declaration which ber jealous and angry cousin hears with very bad grace. Un Gusto trae mil Disgustos. (One Pleasure brings a Thousand Pains.) ACT 1. Don Pedro, who has just graduateâ from an University, starts homeward with his servant Fig6n, and by nigbt reaches Hostalric, his native town. As be draws near the bouse of his father Don Jaime, the sound of guitars is head., whereat he, assuming that a serenading party is close by, and ashamed that poverty has forced him to return home on foot, suggests to Figon that they �JUAN PEREZ DE MONTALVAN 2 53 GEORGE WILLIAM BACON hide to avoid being seen. Scarcely have tbey clone so when Don Juan, Don Luis, ·Lucindo, and Gerardo appear, accompanied by a musician, and, having stationed themselves before the dwelling of Jaime, sing the love of one of their number for the former's daughter Rosaura. Fu:-ious that such a liberty should be taken with. his sister's name, Pedro is restrained from rushing forward only by Fig6n, and a moment later Rosaura cornes out ?n the balcony. To her question " Who sings-? ", Juan replies " The son of the Governor " ; whereupon sbe declares that although she is poor and he rich, she prefers her father to him, and bids him depart never to return. Having thus spoken Rosaura closes the window, while Pedro, unable longer to control bis anger, advances and swears that be is the p~otector of the bouse. Juan's answer that if he does not seek h1s death he had best begone, leads first to a heated dispute, and then to a desperate encounter with s,vords, wherein the gallant is soon worsted and forced to retreat. .. Florinda, the sister of Juan, shows such melancholy that her maid Petronila observes it and asks ber the cause. Notwithstanding Florinda's assertion that she can in no way account for ber dejection, the domestic avers that it is due to ber lov~ for _Pedro, whom she saw pass by the evening before. So well smted 1s he to ber that she should communicate to his father her desire to bec~me bis wife. Before Petronila can say more, Florinda impetuously interrupts ber, and afterconfessing her _affection for Pedro, declares that she will follow ber ad vice. Jaime gives his son some excellent counsel. as to how be should deport himself, and Pedro expresses lus gratefulness therefor and desire to profit by it. The old man then withdraws, and a few moments later Pedro and Fig6n are surprised to see two women enter, masked. Fig6n states that he believes the pair to be Florinda and Petronila, aud when bis master, no little confused, asks what course he should adopt, advises him to approach and address them. After some hesitation Pedro determines to adopt this suggestion, and drawing near the one whom he assumes - quite correctly -- to be Florinda, makes known to ber his love, and is about to offer himself as her husband when she bands him a paper and bids him read it. She then retires and has Petronila follows h~r from the room the former manaa;s to reveal to Fig6n her infatuation for him, and makes him p;omise that he will accompany his master on his visits to Florinda. The moment the pair have disappeared, Pedro eagerly reads the paper given him by Florinda, and finds it to be a request to · call upon her that night at twelve, as she wishes to talk to him in secret. He declares to Fig6n that be will obey the summons. Smarting from bis rebuff by Rosaura, Juan decides to endeavor to speak with her again, and that night repairs to ber house accompanied by his •three friends, Lucindo, Luis, and Gerardo'. The latter avers that, in his belief, the surest way to cause ber appearance at the window is for the four to engage in a mock duel beneath, for as soon as she hears the clash of swords she will be unable to ~estrain ber curiosity. This suapestion finds immediate. favor with Juan, a~d the quartette diviâ'~s into pairs, the respective members of wh1ch attack and berate one another with great ardor. AcTll. . The ~overnor informs Florinda that he proposes giving ber m marnage, and when she asks to whom, and states that she would rather not marry at all than against ber will, he replies tha~ her future husband will be perfectly satisfactory to ber, for he 1s both rièh and noble. Although she contends that she should be allowed to decide whether he is suitable) l1er father declares that he will give him a favorable answer the following day; whereupon Florinda avers that that night she will see what pleases her. Promptly at midnight Pedro reaches Florinda's house, and after waiting a while for ber to appear, bids Fig6n throw something at �254 GEORGE WILLIAM BACON the window in order to attract her attention. Just as the servant is about to comply, Florinda cornes out on the balcony, and after convincing herself that it is Pedro who is below, lets down a ladder and tells him to ascend. Assured by Fig6n that he will keep a close watch at the door, the lover climbs up ~nd enters the house, while the lackey, disappointed at not seemg Petronila, soon falls asleep. Meantime, theGovernor, accompanied by Juan, Luis, Lucindo · and Gerardo bas been reconnoitring the town, and, satisfied that ' . all is quiet, now returns home for the night. After havi~g thanked his escort for accompanying him to his door, the official is about to enter when he stumbles over the body of the sleeping Fig6n. Greatly startled, he bids his companions awaken him, but the lackey is such a sound sleeper that thei~ vigorou: ~fforts_ a;e only partially successfu\. In bis semi-consc10us cond1t1on, F1gon believes that he is speaking to Pedro, and accordingly makes several remarks wbich sho,v, beyond a doubt, that he is a spy. The Governor then commands him to be taken to prison, in order that later, when he is fully awake, they may learn ,,,hy and by whom he was posted at the door. By this rime Fig6n has _come to bis senses, but their endeavors to learn bis name are frmtle~s, for be answers their inquiries in jest. Vexed, the Governor utters a threat which causes bim to realize his danger, and he begs the party not to bind him like a criminal. The official grants his request, and in a moment the wily servant breaks away fro_m his captors, and flees with such speed that very soon be outd1stances them and disappears. The disturbance has not failed to attract the attention of Pedro, and, imagining that Fig6n has been made a prisoner, he deems it safest for him to depart at once . Florinda, however, implores him to remain, and declares that if he does not wish to treat her with disdain be will do so. -Pedro - to whom she has yielded her honor - assures ber that she bas no reason for making such a statement, for how can he scorn ber when he JUAN PEREZ DE MONTALVAN 2 55 has already gîven his oath to become her husband. He then takes his departure, and reaches home safely. Having learned from Fig6n of Pedro's escapade, the following day Jaime gives his son a sound berating, and tells him that the blame for his indiscreti_o n will fall not upon him, but upon bis parent. The latter's reputation is ruined, for everyone will say that he encouraged his child in his misconduct. Thereupon, Pedro hands Jaime Florinda's letter, and affirms that it alone is to blame for what he has dooe. After Jaime has read the note, Pedro narrates his interview with Florinda, and craving pardon for having promised to rnarry her without permission, requests hîm to ask the Governor for her hand. Let him make no mention, however, of their clandestine meeting, since to do so would excite her father's anger. Although Jaime is by no means confident of the success of his mission, he promises to accede to Pedro's request, and leaves at' once to seek the Governor. The latter orders Florinda to disclose who visited her the preceding night, and is inforrned that it was ber husband, and that if she does not receive a pardon for her hardihood she will enter a convent. With this declaration she retires, while the Governor, in a furious passion, calls for Lucindo, Juan, and Gerardo. When they appear, Juan begs his father to quiet hirnself, as Jaime îs waiting at the door to speak to him. " Let him come in then "snaps the official, and, quite unaware that his call could not be more inopportune, Jaime advances and makes his request. Before he has concluded ail he desires to say, the Governor brusquely interrupts him by remarking "I am very sorry you should be so impertinent"; to which Jaime proudly replies " I am noble if I am poor, and you wîll be more honored by the match than I ". In a few moments the lie is passed, and Jaime rinds himself prostrate on the floor, 1elled by a blow in the face. Wild with rage, the old man regains bis feet, crying " Who will avenge this injustice ? " and withdraws. Startled by h·is fury, and alarmed for the safety of the Governor, Gerardo advises the �GEORGE WILLIAM BACON latter that he had best make peace with Jaime, for he may go to Barcelona and relate the occurrence to the Viceroy. The Governor replies that he wishes to arrest him, whereu_pon Lucindo declares tbat, under the circumstances, such an action _would be very imprudent. At this juncture, Luis offers a soluuo~ of the difficulty by stating that Jaime owes him a debt, and s1~ce. he will not pay it be can imprison him. The Govern~r at first_ ms~sts that as he has nothing to fear, he can carry out h1s detennmatton without recourse to this stratagem, but finally agrees to adopt it. d On Jaimè's return home Pedro discovers hirn m tears, ~n , amazed, asks what the trouble is, and what answer he rece1ved from the Governor. Not for some time is the old man able to control his emotions sufficiently to relate their interview, and when Pedro at last learns of the Govcrnor's insult, he declares that his father should have killed him on the spot. Ho,·vever, since he did not, he himself will - with changed name - ~well in the mountains as-a bandit, and will not return home t1ll be shall have taken official's life. _ Gerardo brings Rosaura a gift from Juan, and ~eg~ her to treat him ,vith favor, for so discouraged is he at her md1fference tbat he may kill himself. To the messenge~'s d!sm~y,_ Rosaura replies th;t if such is his purpose she will :-u_d lum m 1ts ex_ecution, and then hands Gerardo a knife and b1ds h1m convey 1t to Juan. . Two peasants, Toribio and Bartolo, are lunchmg and fearfully discussino the various dreadful crimes which an outlaw bas btely i:, · · terror, 11e su ddenly committed among them, ,vhen, to t l1eir appears. The bandit, who is none other than Pedro, sternly d:· mands to be oiven the bread which is his due, and upon tbeir confessino th,~ tbey did not bring it \Yith them, beats the b l . unlucky rustics and orders them to fetc 1 1t at once. JUAN PÉREZ. DE MONTALVAN Acr Ill.' Tvïo months have passed · since Pedro enkred ùpon his Ja'.-wless career, and n'ot. yet bas he had the opportunity to avengê hirnself. One day, he secs approaching 011 the highroad a.solitary borseman, and stopping him asks whither he_is bound. Realizîng that his questioner is the -outlaw, the frightened rider answei·s that he is going to the next village on business of the Vicerôy. -Asked what he carries, he replies " A letter ", and makes 011ly à w'eak protest when Pedro bids him surre-nder it. The bandit finds it to be an order from the Viceroy to the Governor of Hostalric irnmediately to release Jaime from his imprisonment for debt, as the obligation he is unable to pay will be liq-uidated out of the revenues of the writer. Further, the Governor must endcavor to capture Pedro, for whose changcd life Jaime is not to be held responsible; and should he lack the necessary courage, he must then inform bis superior. Surprised to learn . of his father's imprisomnent, Pedro returns the letter to the messenger, telling him to depart at oi1cè and ride at full speed· - an admonition which is quite needless, so eager is he to put as many miles between the ou_tlaw and himself as-possible. · · After the messenger has departed, Pedro swears tbat âlthough thus far the Governor has managed to elude him, yet, in the end, he will have his revenge; and, forious; is about to move àway when he is stopped by an ange! in the guise of a young shepherd. The latter, explaining that his mother baked the.. day before, give~ Pedro some bread, an'd adds that bis fatbét întended bringing it but was pre\·ented ·by illnëss, and therefore àsked him to doit. The resolve wbich the outlaw bas made to kill everyone he ·encounters ·till he finds the Governor, causes him rather to regret meeting the youth, but, tru·e to his determination, be d~clares he must die. ·W ith an appeal for mercy, the ange! demands of Pedro ,vhat will beçotne of him on the, judgment REVCE HISPA.NIQCE . B �GEORGE WILLIAM BACON day, to which he replies that he is too wicked to be saved, a?d that his interlocutor must hang. Immediately, be suspends h1m from a projecting rock on a bill close by, but the angel, uninjur:d, exhorts the bandit- to allow bimself to be saved, for greater smners than he have heen pardoned. Pedro insists that in bis case this were as impossible to acbieve as to expect the bill to move, whereupon the mass begins• to revolve, while th~ angel states that in the disguise of a shepherd he bas counselled b1m, and then disappears. Senseless, Pedro falls to the ground, w~ere, soo~ after, he is discovercd by Fig6n, who arrives laden w1th p~o~1sions. Assuming his master to be dead, Fig6n laments b1~ 111 fortune and after be bas satisfied himself that Pedro has rece1ved no wo~nds decides to bury him. Scarcely bas be formed this resolution ~hen the unconscious man revives, and upon Fig6n, in wonderment, asking bim what has occurred, he relates tbat an angel led him to the infernal religions, where he beheld many dreadful sights. Such a deep impression have they made upon him, that he adroits his wickedness, and expresses the hope that be may yet be saved. Lamenting his sad lot, and worried over th~ fate of Pedro, Jaime, in his prison, anxiously awaits the arnval of Rosa~ra, whose visits are bis one consolation. When she appears, beanng a small basket of eatables, be asks ber to sit down and share them with him, and just as she complies, the Governor enters, atte?ded by Juan, Lucindo, Luis, and Gerardo. The former appn_ses Jaime of the Viceroy's generosity in paying the debt for wh1c~ h,e bas suffered imprisonment, and the Governor adds that he is free. With expressions of gratitude for such a wholly unexpected kindness, the old man is making ready to leave the cell, when the door opens and Florinda enters, her face concealed. by b~r mande. Begging the Governor to hear her, she _relates m d_eta1l how she was deceived by ber lover under promise of marnage, and afterwards deserted ; a~d then asks that since Jaime is t_he father of the culprit, he be kept imprisoned till he induces h1m JUAN PÉREZ DE MONTALVAN 259 to return. She concludes her appeal with the words " This your own daughter asks ", and imrnediately departs. Angered .at the boldness of Florinda in revealing his own dishonor, the ·c overno: swears th~t he will grant Jaime six days in which to produce lus son, and 1f by the end of that period he bas not done so he will be put to death. The party then withdraws, followed, a'few minutes later, by Rosaura. As she emerges from the cell she is met by Juan, who asks leave to speak to her, and upon ber consenting, he declares that although he is dying for her she still scorns him. To his bitter disappointment, Rosaura answers that she ~n never become his wife, for besicles being poor she is now d1sgraced by the insult which her father suffered from the Governor. Five days later, in a fervent prayer Pedro beseeches God to pardon his sins, and just as he has concluded the devil appears, dressed as a hermit and carrying a long white beard in his hand. Fastening on the beard, the evil one accosts the surprised bandit with " Where goest thou, sinner ? ", and then proceeds to relate the scene in Jaime's cell on the occasion of Florinda's disclosure of her betrayal. The intelligence that his father is to be executed the t~llowing day horri~es Pedro, and the devil, taking advantage of tlus, asks why he dctes not bestir himself to prevent it. The outla~ replies that he fears to add to the crimes he has already comm1tted, whereupon the other assures him that just as God has pardoned him in the past, so will he in the future. When, after some further conversation, Pedro realizes that he is being counselled not by a bermit but by the evil one in disguise, a great confüct arises within him as to what course he ought to adopt. H~wever, the fear that he may be called ungrateful should h~ not kil~ the Governor and release bis parent, at Iast induces him to follow the devil's advice, and he departs at once for . Hostalric. Masking himself, Pedro seeks his father's oppressor, and before he can offer any resistance, draws a pistol and fires. Crying �260 GEORGE WILLIAM BACON •" A woman bas done this ", the Governor expires inst::mtly, while Florinda and Petronila, who have heard the shot, rush m and demand to know what is the matter. Infon:1ed by Gerardo that a traiter has just killed her father, Flori~~a berates thos,e present for not avenging his murdel'~ and se1zmg the corpse s sword advances toward Pedro. Throwing· hims~lf at_ her feet, he declares that she can take bis life as soon as Jaime 1s freed, ~nd then bids the latter's fetters be removed and placed upon htm. This done, Pedro lays down his sword before he~, assert~ that he is a friend of Jaime's son, recounts the old mans su~enngs, ~ as he has heard tbem from the devil, - and .finally d1scloses lus identity. Furious, Juan swears that he must d1e, .w.hereupon Florinda places herself at Pedro's side and avers that as her betrotl~e~ she will defend him. Rosaura now appears, and when, at Flonn da's suggestion, Juan offers ber his hand, she expresses ~er readiness to accept it, provided Jaime approves of the _matLh. The . d con sent 1·s i·eadily given , and after Petronila require , . . has , been granted leave by her mistress to bec01:1e the wife of F1gon, _Juan asks all to honor the internment of h1s father. La Monja A lférez.. (The Nun Ensign.) ACTL Dona Ana, of Linia, is infonned by ber lover; A_lonso de _Guz· man that he bas entered the military service and w1ll be stat10n_ed at c'allao, two leagues distant. This intelligenc~ greatl~ dis·n order to console her, Guzman ptom1ses to tresses An a, and l d continue bis nocturnal visits as often as he may be able, an to reveal their amour to no one, except his faithful and trustworthy servant. . . h ome. from tl11·s 1carewell call Guzman meets While returnmg ; JUAN PÉREZ DE MONTALVAN • his friend Diego, who, when he hears of his intended departure, as a pledge of friendship presents him with a plume for his hat. In return, Guzmân gives Diego a beautifully embroidered pair of gloves, and after t:he latter has expressed his regret on losing such an old companion, the friends separate. Shortly ·after Guzman's arrival at Callao, Miguel de Erauso, a soldier stationed there, receives a letter from his father in San Sebastiâo, Spain, to the effect that he is dying, heart-broken by the waywardness of h~s daughter Catalina. Altbough thirteen years have passed since she ran away from home - be continues, - yet the fear of worrying Miguel has deterred him frorn informing him of it. Now, however, he has learned tliat, dressed like a man, Catalina is in Peru, and hoping that his son may be able to locate her, encloses her portrait as an aid to her identification. When he has finisbed reading the letter Miguel, furious, tears it to pieces, and swears tbat he believes all attempts to l,ocate his sister will be futile. At the barracks, one day, i\.!iguel becomes i~volved in a noisy argument with the new Cid - a blustering ensign - over a card game, and Guzman's attention having been thus attracted to the pair, he recognizes Miguel as his brother. The dispute becomes beated, and at last the Cid, with an air of bravado, makes a disparaging remark about Miguel, whereupon Guzmân gives him the lie and tries to stab him. Ail the bystanders unsheath their swords, and a general fight is prevented only by the timely appearance of the Castellan. After learning the nature of the disagreement, the official bids the Cid give his hand to Miguel and Guzmân, and the bully reluctantly complies, all the white inwardly vowing vengeance on his assailant. Miguel, who has previously been struck by Guzmân's resemblance to the portrait of Catalina, now feels certain that the soldier is bis sister, for he reasons that only a relative ,,muid have so quickly avenged the insult offered bim by the Cid. Mindful of his promise to ,Ana, Guzmân seizes the first oppor- �GEORGE WILLIAM BACON tunity of going to Lima, but as by night he is about to enter her house, hesitates tor fear of being detected by her father. His courage failing him completely he withdraws, quite unaware that he has already been seen by his mistress, who hastens downstairs and unfastens the door. Meanwhile, Diego, who also is in love with Ana, hàs been loitering near by, and as soon as he sees the open door, approaches and enters, while Ana, vd10lly unconscious of the deception, locks it after him. , .fo the interim, an occurrence at Callao ha:s further confirmed Miguel's suspicions regarding the identity of Guzman, and on the latter's return · from Lima he determines to penetrate his disguise. By means of a plausible excuse he lures the suspect to afl is,olated,sp6t, .and then asks him to relate his life. This Guzrnan.·refuses to do, whereupon Miguel expresses his conviction that :hè is ,his sister in disguise, and declares that he will punish hèr fdr such an escapade with ·death or confinement in a con vent. Miguel then draws his sword, and Guzman, realizing that he must defend himself, unsheathes his, and with the exclamation "You insu.It ine by calling me a woman l ", attacks him. After a few parries Miguel lies wounded on the ground - which so fills Guzmân with temorse that he places him on his sboulders, and carries him to a hermitage near by. ACT Il. Three years have elapsed since Guzmân's thwarte~ call on his misrress, arid be now pàsses from Chile to Lima in the hope of being able to see her again. When he reaches her bouse be -finds that' her father has died in the meantime, and that therefore h.e can vis.it her without fear of 'opposition. After he bas told Ana l~ow.hè wounJed Miguel, and how he was forced to take refuge in Arauco till the recovery. of his victim, she relates what occurred the last night Guzman was in Lima. When she opened the street•door, she did noi for a moment suspect _that the . one.who JUAN PEREZ DE MONTALVAN entered was not he, and on the discovery of her mistake deemed it imprudent to make an outcry. Had she done so, not only would her aged father have discovered her indiscretion, but would have run the risk of losing his life, for without doubt the gallant wou1d have attacked him. Therefore she decided to remain quiet, and the visîtor, taking advantage of her helplessness, violated her. In the darkness his features were quite indistinguishable, but, as a possible due, she managed to get possession of his gloves, which she now shows to Guzman. The latter instantly recognizes them as those he gave to Diego just before his departure for Callao, and, refusing to disclose her assailant's identity, swears that she will be avenged. When Guzmân next meets Diego, be asks him whether he has kept the token of friendship he gave him on the occasion of his departure from Lima. Very reluctantly Diego adroits that he lost it, and exhibits great embarrassment on Guzmân producing the gloves, and declaring that as Ana's lover he knows the circumstances under which they were lost. After a long conversation, Guzmân suggests that Diego marry Ana in order to repair the wrong he has clone her, whereupon he replies that she cannot be trusted, since she granted him her honor when she already had a lover in Guzmân. Should he become her husband, how could he be sure that sbe would not commit the same indiscretion with Guzmân as she did with him. Guzmân admits the fairness of this objection, and then asks Diego "V/ill you promise to marry Ana if you receive the positive assurance that she will not commit the indiscretion to which you have referred ? You must promise also that you will never reveal what I am about to tell you ". " On my word of honor I promise", replies Diego, whereupon Guzmân asserts "I am a woman 1 ". Astounded, Diego declares that this is impossible, but in support of the truth of . her assertion Guzmân relates ' at length, her adventurous life, and how she has visited Ana in the guise of a lover. As Diego is really enamored of Ana, he �GEORGE WILLIM,:{ BACQN. manifests great delight at this confession, for now that ait suspicions regarding her honor ara dispçlled, he can marry her without hesitation. After admonishing him never to break his promise tQ keep the secret he has heard, Guzman departs. A lapse of three .years has not caused the Cid to forget bis desire for revenge on Guzman, and when, ·one _night, be meets her soon after she has returned to Lima, he furiously attaçks her. She is ~ore than ? inatch for her assailant~ however, and quickly l:f_ispatches him; Arrested ai;id brought before the Viceroy, Gqzman ts · conden:rned to die. without trial, and as soon as Qiego, learns of this, he determines to reveal ber sex to the official, confident that then he will pardon her •. -When he hears Piego's ;istonishing disclpsure, the Viceroy - .; in spite of Guzu~an""s, protestations tl:.iat il: is a lie - ·defers 'the execution of the ~e1:1tenc~ he has passed upon ber till he shall have made an ~nvestigation., .. 'Acr III. ·, ,Aftei: a ,searchi.ng inquiry into · 'the, quarre! betweèn the ~id ~-nd Guz~ün, the Viceroy _fin~_s that the Cid was the aggressor, and ~_ècordingly revokes thé death -~penalty he bas passed _upon Guzman , Forced. to don woman's attire, the latter is then. con, fü,1ed in a nunnery; but her conduct soon warrants her expulsion, and, in ber old garb, she departs for Spain .. At Cadiz she isi~prisori~d . for a short tiq.1è, owing to her odd attire, . and on being released passi:;s ·to, Madrid. . ._ Through _his disclosure of .Guzmfm's sexto the Viceroy, Diego believed th 4t -every possible slur upon the character of Ana was l'.tJnove,<l, and ~hen he visited Guzman in .her prison the arrangements for bis marriage were alrèady , completef Angered at Diego for having broken his promis<;\ . thirst for revenge caused G,uzmio îQ. assert. that her prev_ious .admissio'n of being , .Ana's ldve.r W.as. {a'!s.e, and due .solely to the 'instigation of the. latter. /).:S pi~go·· had saved her_life, s.li e_c_9ùtinued,.,gratitudè_dema._nded JUAN PEREZ DE MONTALVAN that she reveal the trnth,' and apprise him that Ana had a paramour. Naturally, such a statement infuriated Diego, and had bis informant been a _m an, he would have killed him on the spot. Having heard that Guzman is in Spain, Diego decides to journey thither and endeavor to locate her, with the object of obtaining a confirmation or denial of the statement she made regarding Ana. When he reaches Spain he finds that the adven turess has been seen in Madrid, and be hastens there and takes up his residence with his friend the Viscounr of Zolina. Scon after bis arrivai he is surprised to meet Ana, who, disheartened at being deserted, has followed bim, and tea1fully insists that she bas never entertained any other than Guzman. This declaration strengthens Diego's resolve to locate the latter, and, through the. aid of the Viscount, be at last ascertains that she is living with .a friend, Sebastian de Ilumbe. Sebastian befog an acquaintance of the Viscount, it is easy for the trio to devise a stratagem by which Guzmàn may be brought · to the _ Viscount's house, . without suspecting the motive. ln accordance with this stratage·m, Sebastian tells Guzman that the Royal Counsellor bas taken such an interest in her strange life, that be wishes to receive a call from her at once. Handing her a woman's outfit be requests her to don it, on pretence that she cannot be presented to the Counsellor in ber present masculine attire, : and after considerable remonstrance she acquiesces. Sebastian then ave'.s that a carriage will call to take ber to the Counsellor's. Guzman bands Sebastian a ~ui1; ber of documents from various prominent·pèrsons, certifying .to he'r ·long and è:ourageous niilitary service. in South America; and asks him to present them to the Secretary of State in support of her daim for recognition. Asked what. kind. of remuneration she desires, Guzman replies t!1at she·.woûld like to be sent to Flanders, and have the chance of fighting for the King. If she ca11not be gi-anted this privilege, she would ,ask le~ve to dress herself in the garb of a man. Sebas- �266 GEORGE WILLIAM llACON tian declares that he will do his utmost in her behalf, and leaves for the Viscount's. Scarcely bas be withdrawn when Ana appears, who, for some time, has imagined that Guzman's statement to Dieg_o concerning her was made at the latter's suggestion, in order that he might have a plausible pretext to avoid marrying her. The object of her presenc cal!, then, is to interview Guzman about the matter, but after Ana has scored her as a deceiver and a traitor, the adventuress merely repeats the statement she made to Diego in Lima. At tliis juncture the latter enters, and, addressing him, Guztnan states that the misery she endured through his betrayal ~f the secret confided to him, induced her to take revenge by declaring that she was not Ana's lover. Furious, s~e deals Diego a blow ·with ber staff, and both then unsheath the1r swords, only to be sepàrared before they can use them. Sebastian and the Viscount now arrive, and after the latter has reproved Diego for attempting to draw his sword against a woman, Guzman throws herself at Diego's feet, declares that he can 1,narry Ana without hesitation, and asks for pardon, which is willingly granted. Remedio, Jndustria y Valor. (Remedy, Industry and Valor.) AcT I. As Don Rodrigo de Mendoza and his servant, Tristan, are walking along a street in Zamora about midnight, they are stopped by three masked foot-pads, and ordered to hand over their purses, swords and cloaks. When they refuse to do so, one of the highwaymen attacks Rodrigo and wounds him, only to be run throuoh the body by his adversary. The two others theh fl.ee while 0 the murderer and his servant, hearing the cry ' .... JUAN PEREZ DE MONTALYAN of the approaching police, take refuge in a house near-by. Fearful of pursuit, they hurriedly ascend the stairs leading from the dark hall through which they entered, and are passingthrough one of the apartments when they encounter Dona Marcela. Thoroughly frightened, she calls for ber servants, but luckily for the fugitives her cries are unheard, and Rodrigo hastens to assure her that she is in no danger. ln reply to Marcela's inquiries, he relates what has taken place; and, on the conclusion of his narrative, she notices a wound in his arm, which she declares to be serious. Procuring a bandage, she bids him put it on, and then realizing that it is impossible to do so with only one hand, offers to assist him. Of course Rodrigo gladly consents, and this act of kindness so arouses his chivalric spirit, that very soon he is expressing his admiration in no uncertain terms. Although Marcela is, on her part, equally infatuatèd with him, still his forwardness affrights her, and, suspecting his intentions, she calls for her maid Leonor. Not for several minutes does the latter Fespond, and upon being asked the cause of her delay, replies that she was on the balcony, beneath which she saw a man kill one of three who had attacked him. Marcela bids Leonor show Rodrigo to the street, but his pleadings for mercy, coupled to Tristan's remark that to go forth may mean his death, influence ber to relent. Explaining that Leonor's confirmation of his story has reassured her, Matcèla asks 'Rodrigo to remain till all danger is past, and then sends Leonor for a doctor. Very soon after leaving the apartment the maid returns, and, to the consternation of al!, announces that she was unable to reach the street owing to the door being surrounded by police, wbo declared the mur-. derer was in the house. Their insistent demands for admittance are now heard, and, realizing that no tirne is to be lost, Marcela bi'ds Leonor conduct the fugitives to a· door opening into the garden. Frorn there tbey can make their escape in safety, by scaling the high partywall and descending to the roof of a summer-house, and thence to the ground. Marcela expresses her �268 GEORGE WILLIAM BACo.· JUAN PEREZ DE MONTALVA , regret that Rodrigo must lcaœ her, while he declares his lo\'e, promises soon to rcturn, and, ac her request, gives his name. Almost simultaneous with their exit appear Sânch z, the door-keeper of the house, the chief of police and his subordinates. To the chief's declaration that they are searching for a murderer said to have entered the bouse, Marcela replies in no mild terms, censuring him for his irreYerence in so rudely invading a dwelli ng that is sacred. Thesc objections are \'ehemently sustained by Sanchez, and when Marcela swears that she will inform her brocher Diego, the Viscount, of the intrusion, the chief asks pardon and departs. Meanwhile, a Yery different scene is being enacted in the house adjoiniog- the home of an orphan, Leonida. Sometime before this the unfortunate girl, under promise of marriage, had been disbonored by one Don Diego, who later <leserted her. Anxious to cake revenge on her betrayer, her brothers Don Juan and Don Fernando have tried to induce ber to disclose bis name, but so great is her love for him that she refuses to do so. Losing patience, at last, with ber obstinacy, the pair decide that if they cannot kill the seducer, the only remaining way to savc the honor of their farnily is to kill Leonida. Accordingly, having absented her servants under various pretexts, and having dug a grave in the garden to receÏ\·e her body, they hew clown the door of her bouse, and pass to her apartment. In terror, Leonida bas already guessed the meanfog- of the sound of the axes, and called to her brothers to have mercy on her and her babe. lt is, therefore, no surprise to her when the would-be assassins declare that she must die ; and she begs them only to grant her a short cime in whicb to confess her sins to heaven . After a parley they consent, and depart, lo king the ·door of the room behind them. By this rime Rodrigo and Tristan - pursuant to Marcela's directions - have scaled the high wall separating ber garden from that of Leonida, and having attaioed the summer-hous roof, are descending therefrom by means of a trellis. Rodrigo reaches the ground safdy, but Tristan mi&;e his footing and falls inro rhê grave prepared for Leonida. Luckily, the tumble does him no harrn,• and ,Yhile the startled couple an: bmving vent to their astomshment, they are horrified to hcar the voice of a woman Leonida - in distress. Listening attentively to her lamentations, they learn that she, and probably ber infant, are to be put co death, whereupoo Rodrigo announces his determination co saœ hcr. Ordering Tristan to follow him he enters the house, seize a small lamp, and ascends the stairway to the traw loft. It is the work_ of but an instant to toucb the flame ro the straw, and R_ dngo then rushes to the door of Leonida's apartmeot, and \\'1th one blow of his foot seods it to the floor. The prisoner of course supposes that her brothers have returned, and on beholding an utter stranger, her terrer is traosform d ioto amazement. " Who ar you ?_", she faintly demands ; but Rodrigo declaring th~t there 1s no tt~e for explanatioos, bids her giye him the ch1ld and follow h1m. She does so, and so rapid is the spread of the flames that the house is soon entirely consumed. 7 AcT Il. l~odrig~ sends a message to Marcela by Tristan, and having deltvered 1t to Leonor, the lackey is about to return home when Marcela espies him. Eagerly acquainting herself \\'Ïth the abject o~ his_v_isit, she is delighted to hear th.at Rodrigo loves her and w11l v1s1t her the followiog day; and, as a reward for bringing such good news, she bestows a jewel upon the messenger. Sanchez, the door-keeper, now appears, and, to their dismay, announces that the Vi count and some gentleman are aligbtina fr_om a carriage before the bouse. The ,vords art scarccly out of his mourh before footfalls are heard at the bottom of the stairca.~e, and, fearful of the rcsulcs hou Id a strange lackey be found there, both women beg Tristan to bide. Marcela goes to receive the visitors, and soon enters, followed by them ac a few paces. It �270 GEORGE WILLIAM BACON is lucky for Tristan that she precedes them by even this short interval, for instead of concealing himself during her absence he has been prating with Leonor. When Marcela sees that be bas not withdrawn, she makes frantic signs for him to bide, and Leonor painting to a small room adjoining, be takes refuge therein just in time to escape being observed. As soon as she addresses Diego, his sister is struck by his abstracted and peculiar manner, and inferring that he bas some trouble on his mind, asks him what .it is. His equivocal reply reveals nothing, and when Marcela repeats tbe question, in order to divert her, be bids ber speak to the stranger, ber cousin Fadrique. Determined to solve the mystery regarding Diego, Marcela first apologizes to Fadrique for not knowing hirn, - it is their first meeting, - and then asks him whether he is aware of the cause of ber brother's strange demeanor. He answers in the rregative, for, like bis questioner, be knowr, nothing of Diego's escapade with Leonida; and at this juncture Diego suggests that Fadrique is no doubt fatigued from his long journey, and sbould be sbown to his room. When Fadrique has withdrawn, Diego informs Marcela that her cousin has just returned from the Indies enormously rich, and that he bas brought him there with the purpose of making him ber husband. Naturally Marcela is in despair, but, constrained to feîgn acquiescence, answers that she will accede to his wish, and with heavy heart retires. Not a word of the foregoing scene has escaped the ears of Tristan, who decides to return at once to his master and inform him of Marcela's plight. As he emerges from his hiding-place Diego accosts him, and asks what he wants. Never at a Joss, the lackey concocts a story which, though absolu tel y false~ is so plausible that it quite deceives his listener, and be then abruptly disappears. . . . Since her rescue by Rodrigo, Leonida has res1ded wnb h1m, and at his request now relates in extenso the story of her life, and how ber brothers attempted to kill her. On the conclusion of JUAN PEREZ DE MONTALVAN 27r her narrati\-e Tristan enters, breathless, and desiring immediately to inform his master that Marcela is on ber way tbither, asks leave to speak to him. To his consternation, bowever, Rodrigo bids him wait outside, believing that he wishes, at this most inopportune time, to tell of his call upon Marcela. Hearing the latter's footsteps in the corridor, Tristan is driven to desperation, and in order to warn bis master without enlightening Leonida, exdaims : " Don Marèela in waiting is the hall ! " Rodrigo instantly takes the hint, and, excusing himself, request his guest to pass into a small room adjoining. A moment later Marcela appears. Seeing that she is weeping Rodrigo asks what the trouble is, and after she has told him of her distress , a servant enters with the announcement that a gentleman of title wishes to see him. Rodrigo orders him to be told that he is not at home. but the servant replies that this assertion will be unavailing, for the stranger knows that such is not the case, and insists on seeing him. Accepting the inevitable, Rodrigo then bids Marcela retire into the small room already occupied by Leonida, while he goes to receive the visitor. The moment the two women meet Marcela's jealousy is aroused, and she feels convinced that her lover is unfaithful. Never suspecting the purpose of Marcela's pointe<l questions about the favors shown by Rodrigo to bis guest, Leonida inno-, cently answers them with the utmost frankness; and when finally she excuses herself and withdraws, she leav·es Marcela in a fury of jealousy. Swearing vengeance on her supposedly false lover~ and determined to leave the house, the aggrieved woman emerges from the cabinet, and is about to pass through the large apartment when she espies Rodrigo's caller, Diego. By quickly t~r_owing her cloak about her head she escapes the latter's recogmuon, but yet is enabled, very briefly of course, to acquaint Rodrigo with her displeasure. She then departs, leaving the unlucky suitor at a Joss to account for such a sudden change in her demeanor. �272 GEORGE WILLIAM BACON Tristan now appears, and deeming it most important that his master should know the relationship between Marcela and Diego, attempts to attract lus attention. Rodrigo, howeyer, bids him be quiet, and, all eagerness to hear the " tragedy of love " which Diego is about to relate, turns a deaf ear to his insistencies. Very soon after Diego has begun bis narrative Leooida enters, and ber joy on seeing him is matched only by bis confusion. With the abject of drowning his true feelings he 'draws bis sword, but Rodrigo declares that Leonida, while sheltered by his roof, has given no cause for suspecting her fidelity. In confirmation of this assertion, and to the utter dismay of Tristan, he proceeds to tell of his encounter with the foot-pads, and al! çhat happened subsequently - a story which Leonida swears to be true. Diego, in doubt what course to adopt, asks leave of Rodrigo to speak with him outside, and he asseots, quite unconscious that through defending Leonida be has laid bare to the brotber of Marcela bis relations with the latter. Acr III. ..., Plunged in despair, Leonida broods over ber unhappy lot Diego full of suspicion, Rodrigo querulous, and Juan and Fernando eager to take ber life. At the opposite sicle of the aparttnent Rodrigo laments the loss of Marcela, and ,vhen be chances to mention bis feeling towards the latter's brother, Leonida ioterrupts him and demands an explanation. In extenso Rodrigo then relates how, to convince Diego of the truth of bis story regarding ber, he led him to the ruins of her home, whereupon Diego asked : " Through wliich bouse did you pass to Leonida's ? " . _ On being informed, Diego replied : " Thar is mine, and I am Marcela's brother. " Thunderstruck for the im,tant, Rodrigo soon collected himselt sufficiently to answer his companion's question concerning JUAN PEREZ DE MONTALVAN 2 73 Marcela's virtu~,. and Diego then declared : " I cannot give you her band, for 1t 1s already bestowed upon Don Fadrique, whom I have brought from Seville. As we three leave immediately for Villaverde, all possible chances of exciting your jealousy will be removed ". Having thus spoken Diego ordered a coach, and, after a short interval, be, his sister and Fadrique started on their 1ourney. The news of her lover's departure aggravates Leonida's sorrow, and, overcome with emotion, she abruptly leayes Rodrioo ro bis own retlections. From these he is soon aroused by the ~ntrance of Tristan, who bands him a letter. Never suspectina it to be from his inamorala, the lover, in his utter desperation: tears the ~aper to pieces, whereat the astonished lackey tells him to join lt together, as the writer is Marcela. Rodrigo at first gives no credence whatever to tbis assertion, and is convinced of the truth of it only when Tristan tells him, that as be stood beside the ~e_p~rting coach Leonor covertly dropped the letter. Hastily 10111111g the scattered pieces, Rodrigo eagerly reads of Marcela's sadness, and desire tbat he follow ber to Villaverde, where she will make him happy in spire of Fadrique. Delighted, be declares they \Yi!l start at once, and, if po;sible, bring Marcela back with them. A change of residence cannot make Diego forget Leonida, and accordingly when, one day, Fadrique asks hirn why he does not marry, he confesse:; tbat he already bas an inamorata. For some time she has been living in Zamora with one Don Rodrigo de Mendoza, of whom he once wrongly showed himself jealous. Desiring to ask pardon of Rodrigo for such an unjust suspicion, and at the same time to haœ Leonida brought to Villaverde, Diego reguests Fadrique to execute the commission. He replies that he will leave immediately, and Diego announces that upon lus return a double wedding will take place. As soon as they have withdrawn, Leonor enters and informs RE V CE HIS PA N IQ CE. B 18 �274 GEORGE WILLIAM BACON her mistress that Rodrigo has arrived, and, masked, is waiting at the street-door. Scarce believing such good news, Marcela would fain know the details, but Leonor states that there is no _time for explanations - later, when she meets her lover, she ":'111 know al!. It is already past the supper hour, and Diego awaits_ ber at table ; after the meal the household will retire, and Rodrigo can then corne to her room in safety. Thus counseled, Marcela hurries to Diego, while Leonor goes to acquaint Rodrigo with what has transpired . When the supper is finished and Marcela again in her apartment, Leonor conducts Rodrigo thitber, and he is received with great joy. In a mo~e.nt, however, the pangs of conscience attack Marcela, and, reah~mg ber unfaithfulness to Fadrique, she rails furiou:sly at Rodng~, and bids him leave ber. Fortunately, Rodrigo does not lose lus self-control, and on the conclusion of ber long tirade, by c_lever argument soon convinces his mistress of the error of -~er v1ews. This done he tells her tbat two swift herses are awa1ung them, and they should depart immediately- a suggestion which M~rcela .is only too eager to adopt. . Meantime, Fadrique has reached Zamora, a?d havu:g m~de known ta Leonida the desire of her betrothed, 1s returnmg w1th ber to Villaverde. As they are approaching Madrid, the mules attached to the coach run away, the vehicle is overturned, and they are thrown out. Their cries are h~a:d_by Juan and Fernando, who happen to be hunting in the v1cm1ty, and ~hey hasten t_o · a1'd . However , when the would-be rescuers d1scover t h e1r . wbod1s in distress, their sympathy vanishe~, and drawing the1r swor s, they cry ·: " Both must die l " . At this juncture Rodrigo, Marcela, Tnstan and Leonor chance to pass by on their way to Zamora, and the first rushes to. the assistance of Fadrique. His aid comes none too so~n, for ~be brotbers are closing in on Leonida's protector, not:"ithstand~ng bis bravt, resistance. Placing himself at Fadrique's s1de, Ro.dngo declares they will kill both the aggressors, but hardly has he JUAN PtREz DE MONTALVAN 2 75 spoken, when Marcela and he are terrified by the appearance of Diego. Furious that he has been so tricked, be has pursued the runaway couple, and is prevented from wreaking speedy vengeance on them only by the prompt response of Fadrique and the brothers to Rodrigo's cries for help. Having assured the safety of the fugitives, Juan anµ Fernando are about to carry out their determination regarding Leonida, when Tristan intervenes and announces that al! are going to Court, where the weddings of Leonida and Diego, and Marcela and Rodrigo will take place. El Sufrimiento premiado. (Suffering rewarded.) ACT I. After an eight months' absence in Italy, where he has been visiting his brother, Tancredo returns to Madrid, and on ·meeting bis friend Leonato thanks him for having kept watch over the house of his ina11UJrata, Marcela. Determined not to mar Tancredo's happiness by betraying the love meetings he has seen between Marcela and her new suitor Torcato, Leonato limits himself to remarking that as women are fickle, be may suffer a disappointment. Neither this warning nor the co~lness which the letters of his mistress have shown of late, can lessen Tancredo's eagerness to see her again, and, accompanied by Leonato, he hurries to her house. Scarcely have they reached there when Marcela, her attention attracted by their conversation, appears on the balcony, and Tancredo addresses her in affectionate terms. Great is his surprise on receiving an indifferent reply, and the suspicion tl1ereby excited that a rival has gained ber love, is confirmed when later she makes sport of his sorrow and chagrin. To his declaration that be will continue to love ber if only to annoy ber, Mar- �JUA GEORGE WILLIAM BACON cela retorts : " That you certainly shall not do ", and then dissappears into the house. Tancredo is amazed, and disinclined to believe that tbe fair one was his mistress, but Leonato assures him that it was sbe, and that her cruel treatment of him is due to ber having another lover, a former soldier is Flanders. Declaring that no one but himself is to blame for his sad plight, Tancredo expresses the resolve to await the approach of his rival, and, no little amused at these assertions, Leonato then takes leave of him. Almost simultaneous with the departure of Leonato, Torcato appears, followed by three men, servants of Count Hipolito. One of the trio accosts him, with the request that his rnaster wishes him to surrender a handkerchief thrown to him by one Feliciana from ber balcony, and, moreover, in the very presence of the Count. Torcato's refusai to comply with the demand leads the three to attack him, and only the tirnely assistance rendered by Tancredo enables him to put them to rout. After thanking him for lùs aid, be satisfies Tancredo's curiosity to know the cause of the di pute oy relating that, seven montbs before, h returned to Spain from the war in Flanders, and fell in love ·with a certain Feliciaoa. All went well till Count Hipolito began to play the rival, which so aroused his jealousy that be abandoned Feliciana and turned his attentions to another lady, Marcela. \Vhen a short time had passed, he realized tbat be was unable te reciprocate ber love, and deserted ber and went back to bis former mistress. Feliciana threw him a handkerchief containing a letter, and because be refused to surrender the token to the servants sent by Hi polito to get possession of it, they attacked him. After an exchange of names, Tancr do !>tates that be has just returned from ltaly, and is acquainted with Torcato's former inamorata, - M:.rcela, - whereat Torcato asserts that be has heard of bis love for ber, and will gladly help him regain her favor. But, to his astonishment, Tancredo replies : " So great PÉREZ DE MO.TALVA~ 2 77 is my desire for her happiness, that it pains me to know you do not lo\'e her. " Torcato then inYites him to his bouse, and after the invitation has been declined, insists on escorting Tancredo homeward. .Hipolito calls on Feliciana - the daughter of Ginebra, a poor w1dow of very low station, - and because the !rirl does not respond to his advances as ber mother thinks she sh~uld, she bids h~r be less haughty, and urges him to treat them bath as menials. H1polito then bestows upon Ginebra two rings, which she is • about to han~ over to. l~er daughter when he requests her to keep them, and g1,·es Feltciana two others. After the trio ha,·e conve~sed for some time, the Count asks Ginebra to bring him a dnnk of water, and scarcely has she left the room when Tancredo appears. In order that Torcato may interview Feliciana without the presence of his rival, Hipolito, he has devised a ruse, which he has asked Tancredo to execute. Agreeably to it Tancredo tells Hipolito that one of his servants has wounded a s~ldier (meaniog, of cour:e, Torcato),. a declaration which immediatel , produces th~ ~es1red effect, smce the Count takes a hurried departure. His exit 1s followed by the appearaoce of Torcato, whose conversati~n with Feliciana is before long interrupted by the return of G,_nebra, bearing the water. The moment she espies her daughter's suttor, to wbom without any cause she bears the greatest aversion she be:ates him, whereat he swears be is engaged to Felidana: and w11l cause the police autborities to remove her from her mother's cust0dy. Wicb this threat Torcato, accompanied bv Taocredo, retires, and Ginebra, furious, upbraids and beats th~ unlucky girl for permittiog Hipolito to depart. So sincere was Tancredo's assertion to Torcato concernina the grief caused in him by the latter's treatment of Marcela, tha~ ~1e communicates to her bis feelings, and promises to aid ber m regaining her recreant lover. To effect this he will frustrate T orcato's marriage with Feliciaoa, by representing ' her as already �GEORGE WILLIAM BACON JUAN PÉREZ DE MONTALVAN betrothed to himself before his departure for Italy. Marcela and Leonato will further the deception through swearing, as witnesses, that the compact was legally made, and that therefore Feliciana èannot become the wife of Torcato. Marcela •is delighted with this scheme, and expresses her gratefulness and appreciation. True to his thrèat, Torcato, accompanieJ by an officer of the law, repairs to Ginebra's in order to remove his inamorata, but the former creates such a disturbance that Hipolito, her neighbour, is attracted to the scene. Although the Count has absolutely no intention of ever marrying Feliciana, still the present discovery of her betrothal to Torcato fills him with disrnay. At this juncture Tancredo appears, together with.Marcela and Leonato, and, agreeably to his ruse, dec1ares that since Feliciana promised to become bis wife before his departure for Italy, be intends opposing her marriage with T orcato. This announcement gives rise to great confusion, for Feliciana avers that it is only a stratagem concocted by Torcato and Tancredo in order dut the former ma.y avoid marrying her. Tancredo then brings forward Marcela and Leonato as witnesses to the truth of his assertion, which Hipolito also confirms - purely from self interest, however, since be expresses the desire to be custodian of Feliciana for Tancredo. In this way, he will not so soon be deprived of her company, and is therefore pleased wben bis offer of guardianship is accepted. sions of gratitude, in the hope of further ingratiating herself with him. Tancredo confesses to Hipolito that he loves Marcela, and that it was this alone which led him to represent himself as betrothed to Feliciana, in the hope that T orcato would then return to his former mistress. Delighted to know that Tancredo cherishes no love for Feliciana, H1poliro proposes that he merely trifle with her till Marcela shall have regained Torcato's affection, and to this be agrees. The Count then withdraws~ and, shortly after, a servant enters with a letter for Tancredo from Marcela, asking him to bring Torcato to ber immediately, for she longs to see him. While Tancredo is wondering wbere to find him Torcato appears, and asserts that it is not Feliciana's love for the former tbat vexes him, but the fact that she induced Tancredo to thwart ber marriage, in order that she may still continue to receive gifts from Hipolito. When Tancredo chides him for deserting Marcela, the real abject of his stratagem is made clear to Torcato, who declares that as be will not marry Marcela but Feliciana, he will be only too glad to intercede for him with the former. At Tancredo's suggestion, the two start at once for her house, and scarcely have they departed when Hipolito returns and espies Fabio, the servant of Tancredo, who has lingered behind. The Count inquires whether be is willing to execute a ruse for him, and on receiving an affirmative answer, asks bim to hide in Feliciana's room, where he will be discovered - presumably by accident, of course - by him and his attendants. As soon as tbis scandai reaches the ears of Torcato, he will become so disgusted with his mistress that he will refuse to keep the promise of marriage he has made, and she will then be more gracious to Hipolito. Fabio agrees to carry out this plan, hopîng thereby to aid bis master regain Marcela, for he believes that when he hears of Feliciana's laxity, he will ab;mdon her and devote all his energies to winning back his old mistress . ACT II. Under the assumption that Tancredo's declaration of his betrothal to Feliciana was a ruse devised by Hipolito, in order to preclude Torcato-dttested equally by Ginebra and the Countfrom becoming her son-in-law, Ginebra thanks the supposed strateoist for his assistance. The Count tries to convince her tbat b he had no complicity in the scheme, but Ginebra, who is most desirous of his marrying Feliciana, overwheln1s him with expres- .., 2 79 �280 GEORGE WILLIAM BACON As soon as Tancredo and Torcato reach Marcela's, the latter apologizes to her for having paid her court when he was really in love with Feliciana, and then asks her to transfer her affection from him to Tancredo. Should sbe do so, bis friend will relinquish Feliciana, whom he himself will then be able to marry, as be desires. To this request Marcela flatly refuses to accede, which so anoers Torcato that be swears he will never call on her again. b Thereupon she threatens to take her life, and Tancredo, alarmed, begs Torcato not to abandon her - a plea which causes .Torcato i:o accuse his friend of wishing to deprive him of Feliciana. Sucb a charge Tancredo vehemently denies, and after some further conversation, Marcela curtly- bids him depart. When he bas clone so, she confirms Torcato's assumption as to the selfish motive of Tancredo in desiring him to continue paying ber court, and declares that she will never leave bim. Ginebra, who has been searching for Tancredo, finally discovers him at Hipolito's, - whither he bas gone after leaving Marcela, - and tells him that Feliciana is very unbappy under the Count's guardianship, for she longs to see Torcato. In order that her desire may be gratified, she continues, Hipolito wishes Tancredo to marry her secretly - an announcement which fills him with dismay. The Count now appears, and after Ginebra bas stated that she has just made known his desire to Tancredo, he declares that the latter must acquiesce, since before witnesses he swore that Feliciana had promised to marry him. The ceremony must take place that very day, and he will give the bride a dowry of six thousand ducats. Ginebra corroborates his statement concerning Tancredo's betrothal to ber daughter, whereupon the prospective son-in-law, in desperation, swears that rat ber tban submit he will flee the country. True to her declaration that she will never leave him, Marcela follows Torcato to Hipolito's, and when he announces he bas corne to see his fiancée Feliciana, she asserts tbat she herself alone meri'ts that appelation. This Torcato denies, and when Hipolito JUAN PEREZ DE MONTALVAN 281 informs him of Tancredo's imminent marriage with Feliciana, he excitedly avers that it cannot take place, since he can prove Tancredo previously betrothed to Marcela. Overjoyed at this possible chance of escape from bis predicament, Tancredo exhorts Torcato to press his objection, but their conversation is soon interrupted by the entrance of one of Hipolito's servants, who exclaims that behind closed doors Feliciana is entertaining a man in her room. The effect upon Torcato of such a startling announcement far exceeds even that presupposed by Hipolito, for in a rage he swears be will kill Feliciana, and is prevented from doing so only by the Count. Feigning great surprise at what he bas heard, the latter withdraws, supposedly to make an investigation, and a moment later Fabio dashes in. Under the pretext that Hipolito and his serYants are seeking bis life because he was discovered with Feliciana} he implores Tancredo's protection, but scarcely has. he spoken when Torcato stabs him to death with a dagger. The murderer tben makes bis escape, - not soon enough, however, to miss hearing Tancredo's threat to kill him, - and Hipolito and his servants appear. Pretending that he is pursuing Fabio, be asks whither be has fled, whereupon Marcela points to his corpse, and deciares Tancredo to be the murderer. Amazed, the latter of course denies the accusation, but as Marcela insists upon it, finally states that if such be her desire he will submit. An officer of justice now enters, with the explanation that he has corne to remove Feliciana from the Count's keeping, and place ber elsewhere. Fearful for the safety of Tancredo, Hipolito urges him to fl.ee, which warning being overheard by the officer, he asks what occasions it. Hipolito tben tells of the murder, and after Marcela has substantiated Tancredo's admission of guilt, the officer arrests bim and conducts him to prison. �282 GEORGE WILLIAM BACON Acr III. On condition that he pay a fine of five hundred ducats and marry Feliciana, Tancredo bas been pardoned for his supposed crime, and the money having already been delivered, only the second part of the agreement remains to be executed. Naturally, Torcato is uot pleased with the almost certain prospect of losing his mistress, and in the hope of preventing it, devises a stratagem. Meeting Leonato at Ginebra's, he asks him tO declare that Tancredo married while in Italy, and he promises should he make such a statement to second it. Leonato heartily approves of the scheme, and not long after he has departed, Tancredo appears in the custody of an officer, who announces that he has orders to perform the marriage ceremony at once. Feliciana, who was judicially transferred to her mother's upon the murder of Fa~io, has been lamenting het impending marriage, and when now she realizes that it is about to take place, she is filled with dismay. Her feelings are shared by the prospective bridegroom, Ginebra alone being pleased that someone other than the hated Torcato, " that vile soldier ", is to become her son-in-la". For some minutes feliciana's betrothed anxiously awaits the arrivai of Leonato, but be resigns himself to the inevitable wben the officer finally interrupts the conversation, by declaring the ceremony must take place without further delay. At this moment Leonato rushes in, crying : " I object ta this marriage, because Tancredo is the husband of my sister in Turin!" Astonished, Taocredo of course utrers a vigorous denial, but wben Leonato reiterates bis assertion more in detail, be begins to suspect that it is a ruse designed to extricate him from his predicament. In an aside be communicates his belief to Torcato, and when the latter finds tbat no suspicion falls upon him, be furthers the deception by averring chat he well ren:iembers the JUAN PEREZ DE MONTALVAN marriage. To Hipolito's question as ro whether Torcato is telling the truth, Tancredo, now reassured, answers in the affirmative, and stares that it was solely fear of the law that led him to promise ro marry Feliciana. Although Hipolito declares be should be imprisoned on the charge of attempted bigamy, Tani:redo abruptly withdraws, leaving Ginebra as vexed that Torcato may yet become her son-in-law, as the latter is delighted at the outcome of hïs·stratagem. Asked by ?inebra how Tancredo's marriage can be proved, Leonato replies that he has abundant evidence, ~oth in Torcato's statement and a letter from bis sister berself. When he - Leonato, - togetber with Marcela, confirmed Tancrcdo's daim or betrot?al to Feliciana, he was unaware that at rhat very time be was lus brother-in-law. Feliciana, continues Leonato, can easily make good ber loss by marrying Hipolito, a match which everyone believes to be equally to the interest of her and her mother. Fearful that he may yet be comoelled to make Feliciana bis bride, Hipolito then urges Ginebr; to bestow· her on Torcato who, in the most sycophantic manner, begs that his daim b; granted. Neither bis entreaties nor the urgings of Hipolito, however, can gain anything more delinite from Ginebra than a promise to weigh the matter, and ro give her decision in a couple of days. After leaving Ginebra's, Tancredo visits Marcela, and when he bas told ber of Leonato's stratagem, sbe expresses the conviction that it was he and not Leonato who devised it. This Tancredo of course denies, and then tells of his love for ber and the s_ufferings it has occasioned - a confession which is abruptly term_mated ~~ tbe sound of Torcato's voice without. In response to h1s despamng app·eal as to what he shall do Marcela bids her .. ' V1S1tor secrete himself, and he does so just in time to escape encoumering Torcato. That the latter h.as corne to ask her to be his wife Marcela scan.:ely doubts, and so ill can she curb her �GEORGE WILLIAM BACON impatience, that she boldly inquires if such is not the case. To her surprise and anger Torcato answers in the negative, and asks for a written statement releasing him from bis obligations to ber, in order that, the same day, he may marry Feliciana. In a fury Marcela denies bis request, whereupon he threatens to take her life, and she calls to Tancredo for protection. Springing forth from his hiding-place, he declares he will kill Torcato as soon as they leave ber presence, but Marcela implores him not to do so, since she loves him more than before. On bis knees, Tancredo then asks Torcato's pardon, and after he has practkally refused to grant it, the latter expresses surprise that Marcela should . not repay such affection. With this declaration be departs, only to be called back by Tancredo, in conformity to the infatuated girl's order. Moved by bis own love for her and her distress, Taricredo beos Torcato to make Marcela bis wife, but neither his entreaties t'> nor a promise to pay him three thousand ducats should he do so, can influence him to change bis determination. Tancredo is not discouraged, however, and accordingly when Torcato departs a second time he follows him, still urging his request. After their departure, Marcela, resolved that Tancredo is far more deserving of her love than Torcato, sets out to ;;eek the former, with the obje,ct of cornmunicating to him ber changed feelings. She finds him, at last, at Ginebra's - whither he has followed Torcato, - but lacking the courage to confess ber love, asks Leonato to do so in her stead. Amazed at such an unexpected declaration, Tancredo approaches her, whcreupo~ she throws herself at his feet and asks a pardon. The moment 1t is granted, Torcato and Feliciana, in delight, realize th~t the last impediment to their marriage is removed, and after Gmebra bas given them ber blessing, Hipolito promises to be patron of both weddings. JUAN PEREZ DE MO. TALVAN • La Toquera vizcafna. (The Cap Seller of Biscay .) AcT I. Doiia Elena, of Valladolid, for a considerable time has been rnost persistently annoyed by a gallant) Don Dieào. Carina nothing for him, and wearied of bis importunities, Elena at la;~ deterrnines to màke an effort ta rid herself of him once for all. Accordingly, she meets him by apointment in a lonely section of the suburbs, and declares that he must cease his attentions since th~y not only, ~lace her in a_ conspicuous position, bu~ al~o excite her lover s iealousy. Funous, Diego swears that he w1ll wreak vengeance on his rival as soon as he learns his identit~, an~ th:n ~eparts ; while Juan, the o.bject of such ill feeling, arnves Just m ?me to hear Diego's threat and see him disappear. ln a rage, he 1s deterred from following the gallant only by Elena~ wh~, afte: she l.1as re~eived a sound berating for keeping an ass1gnat10n with Diego, 1s told that he will surely be put to death. The scene changes to Madrid, whither Lisardo has came from his home in Zamora. Although for a year be has been e~amored of a beauty, Flora, bis affection remains unrequited, and be now asks her the reason. She replies that, profiting from the unpleasant experiences of some of her friends) she has resolved never to love any man ; but, notwithstanding this, as a r~wa:~ for his great devotion she will permit him to continue lus v1s1ts, on cond'ition that he never mention love in ber prese?ce. ?nly ~ith the utmost difficulty is Lisardo able ta comply with tins prov1so, and when, one day, his passion masters him a~d he reveals bis infatuation, Flora, true to her warning, forbids h1m to enter her house again. �286 GEORGE WILLIAM BACON Meanwhile, at Valladolid, Elena has been apprised that a duel is about to take place between her two ri vals, and she hastens to the spot to prevent it. Her intercession cornes too late, however, for she finds Diego a corpse and Juan, in great agitation, about to fl.ee for his life. Imputing· to her all the blame for the tragedy, the murderer mounts a horse and makes his way to Madrid, where he seeks refuge with Lisardo . . AcT II. Aëcused by the uncle with whom she lives of having directly occasioned the duel which tern1inated so fatally, Elena receives such cruel treatrnent at his bands, that, after three months, she decides to visit Madrid in search of Juan. Tbat no one may suspect the real cause of her absence from home, she asserts that she is about to become a nun, and then contrives that Estefanla - her maid's sister - shall enter a convent at Valladolid under ber name. Naturally, the success of such a stratagem depends upon preventing Elena's uncle from meeting her substitute ; and to remove ail possibility of this, whenever he calls at the con vent, Estefania is to plead illness as an excuse for not receiving bim. Tbese arrangement~ perfected, accompanied by ber servant Beatriz and an old man, Feliciano, Elena departs for Madrid, and there secures lodging in the house of Magdalena, a cap seller. Wishing to continue her correspondence with Juan, and at the same time to prevent him from knowing she has left home, Elena devises a clever ruse. She writes her letters as if she were in the con vent, and after placing tbem in double envelopes sends them to a friend in Valladolid, who removes the outer envelopes and forwards the contents to Madrid. Juan's letters to her came through Estefanla at Valladolid. After having diligently scoured the city for a month, without finding any trace of her lover, Elena concludes that he is being JUAN PEREZ DE MONTALVAN sheltered by some fair sympathizer; and she determines to turn cap seller and accompany Magdalena, whose trade gives her access to the private apartments of ladies. Meanwhile, accompanied by Juan, Lisardo has made several calls upon Flora, who, strange to say, has exhibited no displeasure. However, this marked change in her demeanor is due to no transformation into love of her former coolness towards Lisardo, but to a great infatuation for Juan. Lisardo would feel far from fl.attered if he knew that Flora regards him only as Juan's inseparable - and to her, most unwelcome - companion. One day, wbile they are visiting her, Flora - who is aware of Juan's love for Elena - makes several remarks which cause Lisardo to suspect that she is enamored of his friend; and bis suspicion is confirmed when, soon after, she exhibits great discomfiture on the receipt of a letter by Juan from Elena. While Lisardo is slyly ?bserving her embarrassment, the cry of the cap seller Magdalena 1s heard, and, a moment later, Elena enters in disguise, and gives her name as Luisa. At once recognizing Juan, it arouses her jealousy to find him in the cornpany of a lady, for of course she assumes that be is paying his addresses to her. On bis part, Juan is so struck by the hawker's resemblance to Elena, that when she departs he follows her, and after she has entered Maadalena's 0 house, he shouts loudly several rimes. At this Feliciano appears, and Juan asks to see the cap seller Luisa. The old man asserts that not she but a rnarried lady, Antonia de la Cercla - another name assumed by Elena, - resides there, whereupon Juan declares that he lies, and a heated argument ensues. In the midst of it, Elena, garbed as a lady, cornes out up~n the balct.,ny and asks what the trouble is. Juan replies" I wish to see the cap seller Luisa~, and this old man says sbe doesn't live here. " " That's quite true ", declares Elena, whereat Juan apologizes for th~ disturbance he has caused, explaining that it was due to a m1staken identity. Greatly puzzled by the resemblance between Elena, Luisa, and Antonia, he decides to profit by a remark the �288 GEORGE WILLIAM BACO,N latter bas made, and, for a tirne, to play the gàllant, in the hope that sometbing more definite will soon develop. AcT III. The brief time she spent with Flora in displaying her wares was however quite sufficient to convince Elena that the former ' ' was enamored of Juan, and in order to ascertain whetber he reciprocates her affection, or still remains true to his old mistre~s, she adopts the following stratagern. Through Magdalena, she w1ll send Juan a letter ostensibly from Luisa, telling of ber love and desire to see bim that very day; in her own name she will forward a request that he visit ber at Valladolid as soon as possible; and, lastly, as Antonia, she will inform bim that owing to the absence of her husband from the city, she will meet him next day in the Prado. From Juan's course of action on receivina these three letters, she can judge of bis fidelity to ber. Elena decides tbat the next step is to put an end to Flora's infatuation for Juan; and witb this aim, dressed as a. lady and accompanied by a maid, she calls at ber residence, gives the name Leonor de Peralta, and request to see her on importan-t personal business. Altbough rather astonisbed at this strange demand, Flora grants it, and as Juan and Lisardo happen to be present she bids them retire. Juan has caugbt a glimpse of the visitor, however, and is so impressed by ber resemblance to Elena, that he resolves to hide in order to overhear the. conversation. After relating to Flora a long and entirely fictitious account of Juan's life,_ Elena brands him as a heartless rogue, and counsels her to have nothing whatever to do with him. Flora is so completely deceived, that when Juan appears and attempts to protest against such a wild tale, she commands him to leave the bouse and never return. Juan now feels sure that Flora:'s calier is no other than Elena, but when on his return to Lisardo's he finds awaiting him the JUAN PEREZ DE MONTALVAN former's decoy letter - which purports to be written at Valladolid, - be believes that be has been mistaken. In this letter Elena states_ that her uncle is arranging a marriage between her and a relative from Panama, and if Juan would forestall the pl~n, he must corne immediately to Valladolid and make her bis \\:1fe. A not~ fr~m his brother confirms tbis news, and informs h11n that Diego s father is now satisfied that his son was the aggressor in the quarre[ with Juan, and therefore bas withdrawn the charge of rnurder against the latter. Realizing that there is no time for de1ay, Juan bids bis servant ha_ve_ horses ready for their departure the next morning, and at tlus iunctur~ Elen_a enters disguised as Luisa the cap seller. She excuses her mtrus10n on the ground that she w 1'she t · . , s o mspect L1sardo s bouse, which bas been cited by Magdalena as a model of neatness ; but the real abject of ber call is to discover whètber some lady is living with Juan, as she suspected from a remark he ma~e at Flora'~- However, a tour of the whole bouse, under the gmdance of L1sardo, proves that her suspicions are baseless, a1_1d a servant now enters and announces to Juan that he bas hi:ed the ho:ses for the journey to Valladolid tbe next day. Ar tlus,. ~lena unpl~res Juan not to desert J1is "1oving little cap s~llet , and _on h1s refusai to remain longer in Madrid, accuses lrnn o~ _unfaithfulness. She is soon interrupted by the appearance of Feliciano, who tells Juan that ·Antonia desires to see him the following day in the Prado. Hardly bas Juan replied " I shall be unable to meet her" when Flora enters, and repea.ting rhe grotesque story_ narrated to her by " Leonor de Peralta ", declares tbat Juan w1ll not have the cha1Ke to deceive her as he bas done so many others, for she loves Lisardo. . Greatly to the astonishment of all, Elena now reveals her iden- tt~y, and after_ telling Juan of the deception she has practised upon him, offers h1m her hand, which he joyfully accepts. REVCE HISPA NIQCE. B �GEORGE WILLIAM BACON c. _ CoMEDIAS DE SANTOS. JAN PEREZ DE MONTALVAN to appear and declare that Ulloa was his murderer. The Viceroy th en states that he is satisfied, and releases the priso11er, while Antonio returns to Padua. · El divino Portugués, San Antonio de Padua. AcT III. (The Divine Portuguese, Saint Anthony of Padua.) Soon after reaching there, the saint receives a letter from Guiomar, to the effect tbat although ber father was arrested after the release of bis, he ,vas finally acquitted . Charging her with having been the cause of his misfortune, Pablo refused to allow ber to return home, whence she haù fled on the night of the murder. In despair and almost penniless, she accompanied a young nobleman to France as bis mistress, and tben passed to Italy. A sermon of Antonio, whicb shc heard, caused ber to becorn~ filled with remorse at ber dissolute life, and sbe resolved to write him of ber sins and ask bis verdict. Shonly aftcr the receipt of ber letter Antonio is visited by Guiomar, who begs to know whether or not she is guili:y. Drawing aside a curtain, the saint discloses a bust of Christ crucified, which hands bim a papcr. He passes the same to Guiomar, who on unfolding it finds it blank, \\'hereupon Antonio declares that by the Lord she is p;irdoned . AcT I. San Antonio who has just landed on the coast of Si_cily, discovers a party 'of shepherds engaged in a religious fest1val. On beholdino- the saint, one of their number, Angelo, becomes _so b · d'1sc1p · 1e, an d ' t ogether with filled with ecstasy that he turns h1s him, is ex.posed to several temptations. ACT Il. After havin~ rendered assistance to the affiicte~ on several occa. Antonio while at Padua, hears of a m1sfortune that bas s1011s, , d · hb befallen bis father, whoresides in Lisbon. A next_- oor ne1g . _or, Pablo Ulloa, was opposed to his daughter Gmomar re~e1vmg .. from one l::>, ugero , and surprising the .levers m . her attentions apartment, one night, stabbed him to death. Feanng _d;tect10n, he threw the corpse into the adjoining garden of Antomo s father, and when it was discovered, the latter ~vas arrested as the murderer. In spi te of his protestations of mnocence, be ~as . ~ondemned by tbe Viceroy to be beheaded, without bemg g1ven the opportunity to prove an alibi. . . , . Detcrmined to aid his parent, Antomo mvokes God s assistance whereupon the child Jesus descend_s i~ a clou,d and b~ars him ~way to Lisbon. He arrives just before h1s fat bers e~ecut10n, and asks the Viceroy if there were no witnesses to t_h~ cnmc. crOn receiving a negative answer, Antonio c_auses the spmt of Ruoero La Gitana de Menfis , Santa Maria Egypciaca. (The Gypsy of Memphis, St. Mary the Egyptian.) ACTI. Left an orphan by the rccent death of ber fatber, Maria is informed by Zocirnas that in his will the deceased has named him ber guar<lian, and has charged him that immediately sb~ either take a noble husband, or become a mm. In this way she will be prevented from entering upon a dissolute life. Contin- �GEORGE W1LL1AM BACON uino Zocimas declares that the indifference she has shown over b' her father's death has killed all his love for ber, and he will not marry ber as he bas intended. Furious, Maria defies him to execute the prov1s1ons of the testament, and knowing that be will go to any extreme to do so, makes a secret resolve to flee her native city, Memphis, and take refuge at Antioch. Money she has none, but so depraved is her nature that she determines to rel y on _her personal charms to procure it. With ber maid ' Teodora, Maria sets out, and when near Tyre meets one Anselmo, to whom she confides the purpose of her journey. So enamored is be of lus new acquaintance that he gallantly offers to serve her, and bestowing upon her a gold chain, is told that she is bis. Accompanied by his servant Ventura, Anselmo repairs to the city to seek lodgings for the party, and in bis absence a shepherd appear.s to Marîa and warns her to abandon ber dissolute life. Far from promising to obey his adinonitions, Marîa makes advances ro him, whereupon he seizes a musical instrument, and, in song, exhorting ber to reform, slowly ascends to heaven and disappears. Owino to a misinterpretation of what the shepherd bas said to ber tl1e courtesan resolves to desert Anselmo, and accordingly boards' a near-by ship, which she finds is about to leave for Alexandria. Anselmo and - odd to relate - Zocimas reach the shore just in tirne to see the· vesse! sail away, and although in despair at losing Maria, resolve to pursue ber. AcT II. Soon becomino with the shocking immorality of b disousted t, Maria and. Teodora, and attributing several disasters to their evil influence , the sailors throw them overboard. Luckily, their cries are heard by some shepherds, one of whom - Gerardo rescues them, and asks Marîa to relate the story of ber life. JUAN PÉREZ DE MONTAL"VAN 2 93 Pleading fatigue she begs tO be excused, ·w hereupon Teodora complies with the request, and gives an account, n?ostly fictitious, of their wanderings sioce the death of Maria's father. When Teodora has finished her narrative, Fileno, one of Gerardo's companions, asks her to share his home with him, wbile Gerardo extends a like courtesy to Maria. Two years have elapsed since Anselmo's meeting with Maria near Tyre, and although during ail that time he bas sought ber unceasingly , his efforts have been unrewarded. In the faint hope of finding her at a religious festival soon to take place at Jerusalem, he determines to go there, and on the way stops at a farm house to ask for food. It chancing to be the home of Gerardo, bis knocks are answered by Maria and Teodora, and delighted at this uoexpected meeting, he and Ventura beseech the women to join them. For fear of pursuit Maria hesitates, but Anselmo finally convinces ber that tbey can escape without detection, if she follow hb orders. In accordance with them, she imprisons Fileno by locking the door from the outside, and then applies the torch. Seeing the flames Gerardo runs thither, but so absorbed is be in his endeavor to extinguish them, that - as Anselmo bas anticipated - he does not notice the absence of Maria and ber companion. Fileno saves his life by jumping from a window. At Anselmo's suggestion the four v1s1t Jerusalem, and after he has shown Maria many objects of interest, they happen to find themselves before the Temple. Anselmo declares be would like to hear the sermon of the Patriarch, whereupon Maria asserts that she will wait for him outside. He enters, and $00n the courtesan, disappointed at not having been approached, decides to follow, in the hope that within the building she will attract more attention. To ber amazement, she finds that she cannot raise her feet from the gr_ound, and realizing rhat this is a manifestation of God's power, prays to an image of the Virgin that she allow ber to enter. Her prayer is granted, and at the conclu- �2 94 GEORGE WJLLIAM BACON sion of the sermon Maria decides to reform, and fervently im-plore_s the image for forgiveness. Anselmo vigorously remonstrates against his mistress's repentance, but his objections are brought to a sudden end by the appearance of an ange], with a glowing sword. Seizing Maria, the ange! carries her away, while Anselmo is borne in the opposite direction. Awed by this spectacle, Teodora swears that she, likewise, will reform, and Ventura decides to follow her exarn ple. AcT III. Carried by the angel to Tyre, Anselmo there commfrs a murder, and is compelled to flee the city. Shortly after, four highwaymen fall upon him, and in spite of his brave resistance are gaining the upper hand, when suddenly they desist from their attack and ask who he is. In answer to their question, Anselmo relates the story of his life, a narrative :Vhich so pleases them that they elect him their captain. Meantime Maria has also left Jerusalem, and, clothed as a · penitent in ivy and palm leaœs, is wandering through the desert. One day, after being visited by the shepherd who appeared to ber near Tyre, she sees an old man approaching, and out of modesty calls to him to throw ber bis mamie. He does so, and after Maria bas wrapped it about her, she walks toward him and recognizes him as Zocimas. Stating that be is a mon_k in a convent near by, be asks why she came to such a lonely spot, whereat Maria throws herself on ber knees, and relates the checkered life she bas led for twenty years. On the conclusion of her narrative, she requests Zocimas to bring her the Blessed Sacrament from the con vent, and, delighted that she is a penitent, the old man avers that he is more to blame than she for her dissolute life. He then departs on his errand, and duriog bis absence Maria restores to life the brother of a woman who once sheltered her. . JUAN PEREZ DE MONTALVAN 2 95 Wh-ile returning from the convent with the wafer box, Zocimas encounters An:;elmo and his companions, who, undet the supposition that the box contains treasure, command bim to place it at the foot of a tree. He obeys, anJ as Anselmo stoops to pick it up the tree opens, and, effulgent, Christ appears and reprû\·es the robber for his intended sacrilege. On his knees, Anselmo begs for mercy and forgiveness, and then accompanies Zocimas to Maria. They find ber kneeling, cro:;s in band, and hardly has Zocimas administered to ber the Communion when sbe expires. Anselmo declares that he will abandon . his evil.life, and Zocimas arranges to have Maria's b_ody removed to the convent. El Hijo del Serafin, San Pedro de Alcantara. (The Son of the Seraphirn, St. Peter of Alcântara.) AcT I. Since meeting San Pedro on a feast day 111 her native village of Alcantara, Dorotea, a working-girl, has been madly enamored of him. Totwitbstanding her advances, howe~'er, be treats her with the same coolness as be does other women, and :;be is therefore in despair. Togerher with ber friend Gila, Dorotea meets Pedro and bis companion Espeso while the latter are out walking, and at the same time studying. Sucb is Pedro's interèst in bis work tliat he does not notice the girls, but Espeso, who is using the same book, does not prove to be so engrossed, and attempts to draw his friend's attention to them. Exhorting Espeso to attend to bis lesson, Pedro does not raise bis eyes, and when Dorotea accosts him, he - only with a great effort, however - successfully resists the temptation of looking at he.r. Espeso, on the contrary, eoters into rather a piquant conversation with Gila, which is �GEORGE WILLIAM BACON JUAN PÉREZ DE MONTALVAN interrupted by his fellow-student reproving him and leading him away. While crossing a near-by lake on the ice Pedro breaks through, and although he appeals to Dorotea for aid she refuses to assist him, crying that death would be a just punishment for his cruel indifference to her. Gila is not so bard hearted, however, and running to the spot aids Espeso in the rescue. To their amazernent, they find that Pedro's garments are not even damp - a miracle which be assures tbem is dùe not to bim, but to God. Despairing of ever being able to win the abject of her passion, Dorotea calls upon the evil one to aid ber, and be appears, dressed as a gallant. After relating his many exploits the devil offers his assistance, assuring Dorotea that he will conquer Pedro, since it is to the interest of them both for him to do so. The only condition attached to this promise is, tbat in payment for his services Dorotea shall belong to him, to which she readily consents. Pedro asks God what be desires him to be, and receiving the answer : " A Franciscan ", beholds an angel descending from heaven bearing the garb of that order. To his great delight, the messenger announces that God, who bas sent the costume, has made him bis guardian ; and after advising Pedro to inform bis parents of his intention, the angel promises to meet him next day in the Province of the Franciscans of Estremadura. The devil informs Dorotea of this divine visitation, and causes a hea,·y rain to fall, with the expectation that Pedro will thereby be forced to seek shelter in a cabin where sbe is awaiting him. Dorotea is delighted at the stratagem, but, greatly to her disappointment, Pedro firmly resists ber seduction and the influence of the devil, and continues on his way. A two hours's downpour bas not even moistened his garments, and Espeso is more mystified than before. On reaching a river, the couple find that the boa·t in whicb they expected to cross has been destroyed by thedevil, whereupon the Christ Cbild immediately appears with another, and they embark with the Guardian Angel as steersman. 2 97 AcT II. Pedro is now the guardian of a couvent, after having passed through the successive steps of novitiate, porter, and nurse. Meantime Dorotea's unbridled desire has caused her to become violently insane, and, held by three workin~-men, sbe cornes bcfore Pedro, and in a rambling discourse accuses him of having seduced her in the cabin. By his power he is able to restrain ber from doing him violence, but Espeso has not the same control over ber, and when, maddened by his mockery, she breaks away from ber keepers and rushes at him, in terror he calls to Pedro for help. Approaching the maniac Pedro partially calms ber, slips over her head the garb of the Franciscans, and asks God that she be made a Minor of the Third Order, of which the Mother Superior is Teresa. In her ravings Dorotea declares_she will ~o to hell, but suddenly falls senseless, while a squib exp Iodes close by. When, after a short interval, she regains botb consciousness and sanity, Pedro . states that be bas asked God to permit ber to become a nun - which she expresses ber perfect willingness to do. A coach now arrives bearing Sebastian, K.i~g of Portugal, who is about t'a depart for Africa to wage war against Muley, and cornes to ask Pedro's blessing. The ecclesiastic, forewarned by divine revelation of the young monarch's tragic end, implores him to abandon the campaign, explaining that through God he already knows of its fatal outcome. But neither his entreaties, n?r his arguments as to the unfairness of the proposed war can turn the fiery and stubborn ruler from bis purpose. Filled with emotion, Pedro then bestows upon 11im bis benediction, and, promising to say for bim a daily mass, takes a fond leave of one whom he well knows he will never see again. �I ' GEORGE WILLIAM BACON JUAN PEREZ DE MONTALVAN While Teresa and rvw nuns are engaged in conversation a great crash is heard, and she dispatches one of them to learn what has happened. The sister soon returos and states that while Teresa's nephew was eoteriog the church, a portion of the wall fell upon him and crushed him to deatb . Throwing herself on ber knees, Teresa utters a fervent prayer for his restoration to life, and ,vhen she bas concluded, there is disclosed an altar with the Christ Child, and Pedro saying mass. The Child declares that ber prayer will be granted, and, ,vith an embrace, adds that Pedro will in the mass make thern man and wife. averring that he will die on the morrow - St. Lucas's day, carries him to the infirmary. On the day named death overtakes Pedro, and although the devil tries te flee to hell to avoid beholding God's triumph, he is restrained by an ange!, and forced to see a vision of Pedro on a throne, accomparued by the Cnild Jesus. To the strains of music, the Father embraces the monks and laies around him; trumpets then sound, and ascending to heavcn he disappears. AcT III. (St. Dominic in Soriano.) Taking advantage of Pedro's great age and incident physical weakness, the devil cruelly maltreats him for two hours, and then propounds a number of questions. The case with which Pedro answers them so vexes the demon, that he devises another means of tormenting his enemy. Wishing to convince him of the futility of bis daily prayers for King Sebastian, the devil creates a vision of the ruler's present wretched plight. Mortally wounded, be is seen bent on bis knees in prayer to God, and surrounded by the corpses of his men. The defeat of the Christians has taken place ! With jeers the evil one asks of what aid Pedro bas been to the King, and attacks him more viciously than before. Soon becoming exhausted in the struggle, Pedro is thwwn roughly to the ground, and the devil places his foot upon bis prostrate body. At this juncture Espeso and two other monks appear, and the devil, after swearing he will kill Pedro the next day, makes his escape, whi.le the brothers assist their fellow to rise. The feeling which for some time Pedro has entertainc:d, that his death is not far distant, has lately been strengthened by a letter from Teresa, and he now asks God that be be allowed to join bim. At the conclusion of his prayer an ange! descends, and ACT 1. 2 99 Santo Domingo en Soriano. The Baron of Lisola, a rival of Don Domingo de Duzi for the band of Porcia, attacks him by night beforc the monastery of Santo Domingo, in the town of Soriano, and is killed in the encounter. Fearing arrest Domingo takes refuge in the monastery, and confesses to the Father Sacristan, Vicente, the crime he has just committed ; whereupon Vicente offers him the hospitality of the sacred bouse for as long a tirne as he may desire to remain. Haviug made an appointment to rneet Porcia that night at twelve o'clock, Domingo becomes restless as the hour approaches, and finally telling Vicente of bis assignation, dcclares that if suspicion sbould mark him as the murderer, his presence in the monastery would serve only to strengthen it. With thanks to the Father for his welcome, Domingo is therefore about to depart, when he is startled to hear the voice the Baron, accompanied by raps at the door. A moment after, torch in hand, the spirit of the murdered man appears, and warns him that if be keeps bis appointment with Porcia be will be exposed to great danger. Upon Domingo replying that he has no fear, the spectre declares of �300 GEORGE WILLIAM BACON that if be is not to be dissuaded, he must, in the name of Santo Domingo, nrst follow him before going !o the trysting place. Not without misgivings the lover consents, and having been led to a lonely spot outside the town, is ordered to Jay aside bis clotbes and put on those of bis guide. When he does so, the spectre dons his and disappears. Some time previous to this Domingo had shown great attention to Gerarda, the cousin of Porcia, but the latter, full of jealousy, at last succeeded in winning him, away f.rom her. Out of revenge Gerarda then revealed to Porcia's father, Aurelio, her rival's love for Domingo, for she knew that Aurelio was opposed to his suit and wisbed Porcia to marry the Baron of Lisola. Furious, Aurelio declared he would kill Domingo at the first opportunity, and having learned from a letter of his to Porcia that he intends visiting her the present night, orders her to ber room, and is even now awaiting the arriva! ofhisintended victim. Aware 0f Aurelio's purpose, it is to save Domingo's life, then, that God bas caused him to receive a visitation from the spirit of the murdered Baron. When Domingo reaches Porcia's be again beholds the spectre, wbich Aî.lrelio, quite deceived, transfixes with his sword and causes to be hurriedly interred; while the supposed victim, amazed at what he has seen, makes good his escape. AcT II. Domingo again takes refuge with Vicente and his Brethern, and remains till he hears that a proclama.tion has been made granting pardon to ail criminals, on condition that they c;apture, dead or alive, th,e leader of a certain band of outhws. The mur· derer resolves to take advantage of this, and, after visiting Porcia, to repair to the mountain strongh~ld of the freebooters. As Aurelio bas not discovered the mistake he made in stabbing the spectre, ail suppose Domingo to be dead, and Gerarda, )- JUAN PEREZ DE MONTALVAN 3or having very rightly deemed herself as mainly to blame, has lost ber reason. Therefore when Domingo cornes before Porcia and her servant, at first they are terrified and believe hirn to be a ghost. The discovery that he is not fi.Ils Porcia with joy, and she listens eagerly to his narrative, from the murder of the Baron to the declaration of his intention to proceed against the outlaws. When ber lover bas departed, Porcia causes the unfortunate Gerarda ·to be taken to Santo Domingo, where by Vicente she is exorcised and restored to ber senses. Domingo finds the bandit chief and three companions m a cave, and witb them a woman prisoner. To his surprise, he discovers that the captive is none other than Gerarda, who, after her exorcision by Vicente, again becarne possessed of the devil, and fled to the mountains. After he has killed the leader and freed Gerarda, Domingo leaps upoB a horsc and clashes away, closely pursued by the robbers. Seeing that they are rapidly o~ertaking him, in his despair be calls on Santo Domingo for a1d, whereat the latter appears seated upon a dog, and bearing in his right band a bunch of white lilies, in his mouth a torch. The Saint declares that Domingo has nothing to fear under bis protection, and bears him away to Soriano. AcT III. Domingo visits the monastery, thanks Vicente for his prayers to Santo Domingo, which alone made possible bis victory over the _bandits, and asks permission to remain till the Consistory of S0~1ano sball pardon him. Vicente gladly offers him the hospitality of the sacred bouse, and Domingo tells of Gerarda's second attack ot insanity and adventure with the robbers. On the conclusion of bis narrative, three men lead in Ge.rarda, who, after being again exorcised by Vicente, declares that henceforth she will be a child of God. A little la ter, Vicente receives a call from the Gove,rnor, and �GEORGE WILLIAM BACON JUAN PEREZ DE MONTALVAN at his request narrates, in extenso, the story of tbe founding of the monastery and wbat occasioned it. He then asks the official to grant a pardon to Domingo for his murder of the Baron, explaining that since be killed the leader of the robbers, he has fulfilled the condition of obtaining it. Vicente's request is willingly acceded to, and having summoned Domingo, be informs him tbat he need no longer have any fear of justice. Aurelio and Porcia now appear, whereupon the Governoï tells Domingo that he knows of his love for Porcia, and will persuade her father to give him her hand. At this Aurelio steps forward, and with the declaration that through the influence of Santo Domingo all bis former hatred for Domingo has turned to love, bids Porcia take him for her husband. Sorne time previous to this, Vicente caused a portrait of the Saint to be removed from one altar in the chapel to another, for fear that it might be damaged by water oozing through the -''all from a spring in the rock. One of the Brothers now announces that he beheld the Virgin restore the picture to its original place, and all repairing to the chape!, they find the altar surrounded by the Virgin, the Magdalen, and Santa Catalina. The Virgin declares that heaven will protect the portrait from hann, and to the accornpaniment of music, th<: altar and holy ladies disappear rrom view. former resting in a valley near the river Orantes, tbey binù bim and place him on a cart. The prisoner soon breaks bis bonds however, and tearing off the jaw-bone of an animal, kills with it almost ail the soldiers, to the nurnber of a thousand. Furious, Lisarco informs Sanson through the latter's father, Emanuel, that he will punish him as a traitor, seize his property, and marry bis wife Dalida. While asleep, Sans6n receives a visit from an angel, who declares that he has nothing to fear from his enemies, provided he abstains from drinking " profane liquor ", and keeps his hair unshorn. The angel tben dissappears, and Sans6n, on awaking, kills a lion that he sees near by. Eager to effect his capture, Lisarco again sends troops against Sans6n, but he pursues them and forces thern to B.ee for their lives toward the city. Inflamed by his passion for Dalida - his own cousin, moreover, - the King obtains her bouse key, and, in disguise, enters ber apartment by night. She resists his advanccs, and when ber servants appear in response to her erres, only a disclosure of bis identity saves bis life. Although somewhat awed by ber royal visitor, Dalida begs him to depart, and, with an apology for not having immeùiately recognized him, declares that she will be faithful to Sanson. Pigued at this, and disregarding ber warning that he is close by, Lisarco seizes ber, and bids his men carry ber to the palace. Dalida cries for help, and upon the appearance of Sanson, the would-be ravisher and his men take a hasty Jeparture. With the abject of confining Sanson in the city wbile the royal army is being assembled, Lisarco orders the gates closed, but this stratagem avails nothing, for by merely thro,ving his weigbt against the gates Sanson breaks them clown, and then passes out, accompanied by Dalida. All the wonderful feats of strength Sanson bas performed, he considers have been made possible only tbrough divine assistance, and he tbanks God for bis favor. 302 D. - CoMEDIAS DEVOTAS. El valiente Naz.areno, Sans6n. (The valorous Nazarene, Samson.) ACT to I. Tbe Philistine Lisarco, King of Syria, bas ordered his soldiers bring Sanson to bim, and accordingly when they surprise the �GEORGE WILLIAM BACON AcT IL Lisarco confides to his sister Diana, that be bas taken vengeance upon Sanson by capturing all his relatives and friends throughout Palestine, two thousand in number. Diana, who is enamored of Sanson, urges Lisarco to have him, also, taken prisoner; ·and knowing her brother's passion for Dalida, she craftily adds that since the latter will of course accompany Sanson, in this way he will easily be able to gain possession of her. Pretending that he wishes to make peace with him, Lisarco sends for Sanson, and when he appears, Diana addresses bim in such affectionate terms that she excites the jealousy of Dalida. The King asserts tbat be desires to be bis friend, and then directs his visitor's gaze to a huge rock, on the summit of which stands Emanuel, . bound and guarded by soldiers. To Sanson's utrer dismay, the traitor swears that if he will not observe the sacred rites of the Philistines, his father will be hurled to the ground. ln accordance with the latrer's advice, Sanson refuses to accept this condition, whereupon Lisarco declares that if the prospect of death gives Emanuel such pleasure, he will not take bis life but subdqe bim in some other way. Only when the King informs Sanson tbat bis relatives have been ca.pt~red, and, .if he remain obdurate, will be putto deatb, does be succeed in mastering him . Lisarco then promises that he will free ail the captives except Emanuel. Having called Sanson before ber, Diana asserts that she will secure the release of bis father, and in 4 suggestive speech confesses ber love. To ber declarations of affection be replies in words as befitting as they are insincere, but unluckily for him Dalida, ,vho has been eavesdropping, is likewise deceived . . Angered at his apparent infidelity she determines to avenge herself, and accordingly, after persistent questioning, learns from bim w herein the secret of his strength lies. With the abject of ascertain- JUAN PÉREZ DE MONTALVAN 305 ing whether be has told the truth, the jealous woman cuts off a little of his bair while lie is asleep, and just as she lays down the shears Lisarco and his soldiers enter. Accusing Dalida of treachery the helpless man is scized and imprisoned, on the ground that he has freed Emanuel. Dalida, likewise, is made a captive, and Lisarco, overjoyed, declares that at last be will have her for bis wife. Acr III. Emanuel relates to Diana and Dalida that as soon as be heard of the capture of his son, he told Lisarco that Sanson was unjustly accused of baving released him from prison, and then asked that he might be freed. The King refused to grant Emanuel's request however, and, a month later, ordered that Sanson's eyes be put out. When the wounds had partially healed, the wretched man was thrown into a bake-house, where be remained till the recovery of his strength enabled him to break his fetters and escape. Horrified at tbis narrative the two women call upon Lisarco and are in the act of beseeching him to spare Sanson's life whe,: be himself appears. Grasping the King's mande he ask; to be heard, and after baving recounted in ex/enso his lite and marvellous deeds, reproaches Lisarco for his cruelty, and begs him to free Dalid~ and permit tbem to return to bis native country. The ruler replies that although he will spare his life, he will not grant his desire, for hein tends marrying Dalida tliat very day a d1ay on wbich the Philistines hold a festival in honor of their goddess, Astarot. 1:5corted by his attendants Lisarco then repairs to the Temple, whither Sanson asks his servant to lead him. At bis son's request to know what is taking place, Emanuel pictures the immense as~emblage on its knees before the altar, the joy of Lisarco, and gnef of Dalida. When Emanuel has concluded, Sanson asks him to guide him to the two main columns supporting the roof, and, REVCE HI PA NIQ CE B . 20 �GEORGE WILLIAM BACON JUAN with the request that he immediately depart, grasps them, and is about to pull them down when the curtain falls. Los dos T11eces de Israel. (fhe Two Judges of Israel.) AcT I. To the sound of darions, an ange! bearing Iael asleep at his feet descends in a cloud, places her upon the ground, and reas. " Wl1ere anl I ;i• " . ,• cends. Awakening with a start, she exc1a1ms and then recalls a drea,m she has had in which her brothers, m ·d to get possession of ber par.entai inheritanœ, planned to 01 er h · d · 1 kill ber. They were prevented from executing t e1r es1gn on Y by a youth, who swiftly bore her away in a cloud,_ and placed ber in the strange and lonely wood where s~e bas JUSt awakened. Fearful that she m_ay perish in such a solitude, Iael asks Go~ whether he intends allowing her to die before he bas kept bis promise to arant ber posterity. Scarcely has she spoken when a · cnes · '~Do not !ose hope , wait" ,· whereupon Iael, although v01ce . . " y half inclined to believe the voice an 1llus10n, calls ~ut ou have brouaht me where I am. Do you wish me to live here outcast ? ,,t:>Back cornes the answer " Yes, but be not ca_st d~wn , and a few moments later Iael sees a stranger approachmg m the distance. H.e is Abercineo, lord of the surroundin_g co~ntry, who, while hunting, bas wounded a wild ani'.11al w1th 111~ bow ~n! arrow, and is 1,couring the neighborhood 111 quest of 1t. Hopmr, to avoid being seen Iael retires into a secluded s?ot, but so thorough is the huntsman's search tbat be soon esp1es ber, an~ asks her narne and how she came there. She repli~s th~t she w1ll ~ell him if be will make known the same concernmg lumself, whi~~ · to do ml1en she shall have answered h.1.S Abercineo promises n ~? question. PEREZ DE MONTALVAN Iael narrates that, one of the tribe of Benjamin, she was born of wealthy parents, upon whose death ber brothers endeavored to deprive ber of ber inheritance. According to them, her great beauty was sufE.cient wealth to win a husband, while they themselves would have almost notbing were they forced to sbare the estate with her. She refused to be convinced by this argument, however, and after narrowly escaping death at their bands, left home and finally reached the spot where she now is. When Iael has finished her story, Abercineo makes known his name, declares that be is noble, a descendant of Esau, and is received by King Iabin at Court. He then gives a minute description of the territory be possesses, praises Iael's beauty, and concludes by asking her to be his wife and accompany him home. Iael thanks him for his offer, and after baving exacted a promise that be will respect ber honor, affirms tbat she is his. Impressed bow well suited to her questions were the words of Abercineo before their meeting, sbe asks him to whom he was speaking, and he replies to a laborer who had fallen into a ravine and was calling for help. During tbeir conversation the couple have been walking toward Abercineo's bouse, and have almost reached it when they hear the sound of drums, and meet Sisara, the general of King Iabin, on horseback. Sisara at once dismounts, approaches, and, stumbling, falls at Iaers feet. Although rather alarmed by such an evil amen, the general praises her beauty, and asks Abercineo who she is. He replies that she is his sister_, and bids her kiss Sisara's band, which she does reluctantly, being scarcely able to conceal her hatred for him. At this juncture Bato, a peasant, arrives in great confusion, and announces that Iabin is at Abercineo's and is searching for Sisara. Scarcely bas he spoken when the King himself appears, escorted by soldiers, and,\ ith a fond greeting for Sisara and praise for bis loyalty, asks him in what state he left the Hebrews. Sisara replies" I have conquered them "; and after Jael has been �•• ..,. GEORGE WILLIAM BACON conducted by Bato to Abercineo's house, be tells in detail of his campaign. At the conclusion of his narrative the King, overjoyed, embraces him and Abercineo, and having declined the latter's invitation to spend the day with him, states that he must return imrnediately to Court. Determined to see Iael again before his departure, Sisara asks leave of the King to remain behind, and since he obtains permission to do so, Abercineo is forced to conceal his displeasure, and escort him home,vard with as good a grace as possible. Informed by Ruben and Isaac that Delbora, a prophetess, wishes to speak to him, Barach, an old man, repairs with them to the mouth of ber cave, and finds that a large number of the Hebrews have collected there to listen. As soon as Ruben announces the arriva! of Barach, Delbora emerges from the cavern, and, leaning against a palm tree, declares that the God of Abraham will speak to bis people through her. After exhorting them no longer to worship false deities and idols, but to return to the God of Jacob, Delbora foretells that they will be victorious in battle against King Iabin. God has already chosen Barach as their general, and the victory will be made possible through a certain virgin whose offspring will be the longed-for Messiah. When the seeress has concluded, Barach assures her that in spite of his advanced age he will undertake the leadership, provided she accompany him; whereupon, amidst the din of clarions and drums and shouts of "Viva ", the pair are crowned ,-..-ith laurel. Just at this moment Sisara appears, and declaring, in a rage, that he alone merits reverence and laure!, tears off tbeir crowns and swears he will crush the Hebrew people. AcT II. Having gathered together ten thousand soldiers, Barach leads them before Delbora on Mount Tabor, and while she is assuring JUAN PEREZ DE MONTALVAN him that their victory will be certain, Ruben appears. The latter was sent to spy upon the city of Arroser by night, but he affirms chat before he finished his reconnoissance dawn broke, and he was forced to flee. Passing to the river Zifon, be beheld its banks covered with the horses and troops of the enemy, who have nine hundred chariots of war, besicles an abondant supply of arms and proYisions. Delbora declares that even this report need occasion no fear, and then informs Barach of her intention to call upon Abercineo and ask him to con tri bute provisions for their troops. She hopes to be successful in her errand, for although he has made peace with King Iabin, she believes she can induce him to break it. Barach's protestations against Delbora leaving him for even a short tirne being in vain, he secretly determines to take advantage of her absence by reconnoitring the enemy - quite unaware that she proposes to do likewise before visiting Abercineo. Harrassed by anxiety and fear, Sisara moves his tent to a lonely spot, where in a vision he sees approaching a female fig.ure - tl~~t of Iael- bearing a nail and hammer. Terrified by tins appant10n, and conscious that it foretells the fate which awaits him, he asks "Woman, what do you wish of me? "; whereupon the spectre replies "Cease persecuting the people of God, for he threatens you through me", and vanishes. Un~ble to move or utter a sound, Sisara decides to bury his cares 111 sleep, and at tbis juncture Delbora and Barach appear, each from a different direction and without seeing the other. The t~om:nt they espy the general, simultaneously they resolve to kill h1m, but when they make the attempt clarions sound, and they find themselves constrained by some hidden power. An instant later tv. o angels descend, and proclaim that the time is not yet ripe for Sisara's punishment, since God reserves it for a Y.oung woman. With an injunction that the_pair return to the ci_ty, the angels disappear, - to the notes of clarions, - while S1sara cries out 111 his slcep " Stop, woman ; do you kill me �310 1. JUAN PEREZ DE MONTAI.VAN GEORGE WILLIAM BACON because I love you ? " A moment after, the general suddenly awakes, and on beholding Delbora and Barach (who are standing motionless with wonder,) brands them as traitors, and would kill them were he not restrained by some unseen hand. Concealing his surprise at his helplessness, Sisara states that although it was divine power alon e that saved him from their treacherous designs, yet he will not retaliate, and bids them return to their people. In answer to their declarations that God has protected them and will continue to do so, he swears he will yet have his revenge ; and this bandying of words is terminated only by their deparrure. Accompanied by his servant Dario, Sisara repairs to Abercineo's, and finding Iael alone in the house, decides to adopt Dario's suggestion that he ask her to gratify his amorous desircs. Such a strange fear does her presence infuse in the oeneral 0 ' however, that he requires some encouragement from Daria before he can rnake bold to carry out his intention. Although frightened, Iael firmly refuses to sacrifice her honor and a wranole ' 0 ensues, in the midst of which Abercineo enters unobserved. Angered by her steadfastness, Sisara at last declares he will enjoy Iael by force, and is about to lay hold of her, when Abercineo advances and commands him to desist. Sisara exclaims cc This hanghty peasant girl is the cause of my anger, for she does not respect my sovereign greatness ", which statement leads to a long dispute between hirn and Abercineo. At its conclusion Sisara furious, swears he will have vengeance, and departs, while Iael,' a little fearful lest Abercineo's jealousy may bave been excited, protests that she is blarneless and loves him alone. He hastens to assure her of the needlessness of her anxiety, and, soon after, Del bora appears, who from a place of concealment has been oazing 0 spellbound on Iael's beauty. Telling Abercineo that the ten thousand soldiers gathered together by their people are unable to move against the enemy o'n account of a lack of provisions, the seeress asks him to aid in 311 furnishing them, and also to break peace \\"Ïth King Iabin. If he do this, their yictory will be certain. To her joy, Abercineo not only offers ail his property, but affirms that be will accompany her to battle, and bidJing farewell to Iael the two depart for Mount Tabor. AcT III. Escorted by Barach, Ruben and Abercineo, Delbora leads the soldiers of the Israelites from the summit of Mount Tabor into the vallcy, where Iabin's forces await them. Awed by the great number of the enemy, Abercineo asserts that be believes victory impossible, but Delbora declares God to be propititious, and the storm whicb is beginning to break over the hostile forces, to be an evidence of his favor. Soon the tempest rises to such fury that the King's troops are thrown into great confusion, whereupon Barach cries cc Now's the timè to attack them" ; and with Delbora as leader the Israelites march to battle. A furious confüct ensues, in the midst of which Sisara, thrown fç-0m bis chariot and knowing rout to be inevitable, decides to flee for his life. Scarcely ·has be formed this resolutioo when he encounters Delbora, and in terrer affirms that he does not know whether it is some spell of hers or thé storm that bas hrought about his defeat. To his abject plea that she allow him to pass unharmed, the prophetess replies that be may do so, for although she could easily kill hlm, he is destined to die at the bands of aoother. Exclaiming " What tonnent is this ! " Sisara continues on bis way, and, not long after, sees close-by a bouse which be never suspects to be Iael's. Plunged inrnournful reflections he approaches it, but his sadness turns to joy when, on asking tor shelter, he finJs who is the occupant. In answer to Iael's question as to why he has corne, Sisara tells her that he bas been forced to flee on account of the rout oflüs army , ·and· is glad to have found a place of refuge. �312 GEORGE WILLIAM BACON Convinced that the divine power bas led him there in order that she may kill him, Iael determines to play the rôle of a friend, and await a favorable opportunity for carrying out her design. Accordingly, when Sisara complains of being thirsty, she at once brings him a glass of milk, and when he asks whether he can remain with her, replies " My bouse, life and property are yours ". Meantime, Abercineo, bas approached unobserved, and quite deceived by Iael's apparent friendliness to his enemy, resolves to put them both to death on the spot should there be occasion. Led by his hostess into the house, under the influence of the drink Sisara soon falls into a deep sleep, and lael, refl.ecting that he will never awake,• beseeches God to give her strength to slay him. The suspicions of Abercineo, who has stealthily followed the couple, are now dispelled, and, repentant, be chides himself for having believed tbat lael could be untaithful. To his astonishment she seizes a nail and a hammer, and quietly approaching the sleeping Sisara, drives the nail into his brain. With a cry of " I am dead, o treacherous woman, " he expires, while Iael places her foot upon his head. Coming forward, Abercineo asks pardon for having suspected her fidelity, and at this moment there appear Delbora, Barach and Ruben, accompanied by soldiers. Delbora declares that she imagines Sisara to be somewhere in the bouse, whereupon lael bids the party approach and view his corpse. After the seeress has affinned that her prediction is fulfilled, Abercineo takes Iael for his wife, and Barach bids the troops return tô Arroset. Escanderbecb . (Scanderbeg.) The heathen Escanderbech, about to lead an attack on a city, is met at the ramparts by a veiled woman. After boasting to hcr, JUAN PEREZ DE MONTALVAN 3 IJ at length, of his many victories, be confesses that be is enam- ored of ber graceful figure, and bids her remove her veil and give her name. She complies, stating that she is Cristerna Marîa, a Christian, and a member of the Castriota family. Such love hàs his handsomeness inspired in her, sbe continues, that she will gladly make peace with him; bowever, if he desires var, she will fight him to the death. Escanderbech replies that be will leave her in peace, whereupon she declares if be will desert Amurates, bis lord, she will aid him in ail his exploits and becorne bis wife. This he refuses to do, and casting longingglances at one another, tbey separate - she tore-enter the city, and he to return with bis army to Constantinople. For some time the Sultan Amurates bas suspected the loyalty of Escanderbech, and when now he does not return from his expedition at the appointed time, be is filled with anxiety. Having communicated his fears to bis wife Rosa, he gladly accepts ber offer that she sing to di vert him, and requests ber to make Escanderbech the subject of her strain. Accordingly, she sings of bis adoption by Amurates, his victories, the great honors bestowed upon bim, and the possibility that some day, when he learns of bis noble blood, he may turn traitor. Meantime Escanderbech returns, but decides to defer coming before the Sultan till Rosa shall have finished her song. Just as she does so, a roll of the drum proclaims his entrance, and after greeting her and Amurates, he recounts the victories won bn his late campaign, and declares that while en route homeward he was vanquished by a most beautiful woman, Cristerna Maria. The Sultan, knowing ber to be a Christian, flies into a fury, calls Escanderbecb a traitor, and swears that as a punishment the latter, under bis escort, must return to Albania and take Maria prisoner. Such treatment thoroughly arouses Escanderbech, and upon the withdrawal of Amurates he invokes Cristerna to aid him. Great is his astonishrnent when she instantly responds, averring �GEORGE WILLIAM BACON that she has followed him, confident that be would need her. After telling of the Sultan's abuse, he relates that on his way home he sa w, nailed to a cross and surrounded by a brilliant light, the bleeding body of a young man, which his touch éonverted into the whitest bread. Cristerna explains that this was Christ, and having made known, at great length, the nature of God, exhorts him to be a slave of Amurates no longer, but to turn Christian, kill the infidel, and release all bis captives. By winning over to his side the janizaries, the victory will be an easy one, and he will be able to regain his own kingdom, of which be has been so basely deprived. Following this advice, Escanderbech attacks Amurates, routs his troops, sets fire to his pavilion, and burns both him and Rosa to death. A volley of squibs marks the destruction of the tent; and, to the accompaniment of music and cries of " Long live Cristerna ", Alberto, a follo,ver of Escanderbech, appears on horseback witb a seven-headed, fire-exhaling qragon at his feet. El Polifemo. (Polyphemus.) Surrounded by bis Cyclops on an island, Polifemo relates that bis pride led God to cast him from heaven into hell, a distance of some fifty-four million leagues. Filled with the desire of vci1geance, whicb. he resolved to wreak not upon God but upon man, he assumed various forms, that he might the better deceive. For the first woman he was a serpent; for Cain, envy; and for Babylon, a confusion of tangues. After he had spent about four thousand years in such machinations, one day he saw approaching Christ and his companions, who, as messengers from God, came to relieve· the uncertainty in which the world stood for its past offenses. Opening wide his cave · (the world), Polifemo imprisoned the party in it, and when Christ declared that the JUAN PEREZ DE MONTALVAN object of his visit was to rescue the oppressed, and deprive him of his diadem, he laughed at him. ln order to show Christ his power, he then stoned Stephen to death, and ate him and over one hundred and forty thousand children desides. Disconcerted, Christ retired with his corn panions to a corner of the cave, and promised to make of his blood wine. When he had clone so, the odor of the liquor put Polifemo to sleep, whereupon, taking advantage of bis helplessness, Christ bored out one of his eyes with a stick. In pain, Polifemo cried for his Cyclops, and when they came and asked why they were called, he replied that it was he who was the offender. Thinking that their chief had been dreaming, they left him. Lest Christ - "The divine Ulysses " should escape, Polifemo placed a rock against the door, but this precaurion availed nothing, for when the door was opened to admit the flock, his prisoner, as a 1am b, slipped out. Angered at having been so tricked, it did not lessen his vexation to bear that Christ had repaired to Jerusalem, and \vas \VOoing Galatea, the soul. When he has concluded his narrative, Polifemo declares that he is king of the vices and enemy of Christ, and asks the Cyclops to aid him in killing the latter. In response to bis appeal, Judaism, Dis<lain of God, Deception, and Natural Sentiment, respectively, step forward and offer their assistance. Having gladly accepted it, Polifemo decides to pass to Jerusalem, and, amidst a discharge of rockets, the islan<l sinks into the sea. After Galatea has been unsuccessfully tempted by Appetite to desert the Shepherd, there appear Polifemo and the Cyclops, all playing the guitar, while a woman, « Mirth ", <lances and sings to the music. Polifemo makes advances to Galatea~ and on being repelled, in a long and elaborate speech expounds to her the benefits that she will derive from a marriage with him. Galatea refuses to accept bim, however, and when Christ appears, Polifemo strikes him furiously with a cutlass. Instantly, Polifemo is felled to the ground by the divine power, and the shepherd's �JUAN GEORGE WJLLIAM BACON crook becomes a cross. To bis demands that he be recompensed for his outlay upon Galatea, Christ tells Polifemo that be will repay him in his own blood, and disappears. Polifemo, Galatea, and Judaism now enter into a long and tedious ar2Ument as .to whether Chri~t is a Gad, at the terminb . ation of which a flight of steps cornes into view. By them Galatea ascends to an altar, and is informed by the crucified Christ thereon that, since he has paid her debt to Polifemo, she is free. To the sound of clarions the cross then revolves, disclosing at the foot a chalice and Host with the Christ Child. Clasping the hand of the latter, Galatea declares that sbe is bis, greatly to the chagrin and disappointment of Polifemo. Las santisimas Formas de A/cala. (The Most Sacred Host of Alcala.) li Immediately after emerging from hell, the devil discovers in a cave Andrés Corbino, a bandit, asleep beside an altar supported by a rock. On the altar, and brilliant with two lights, rests a silver box enclosing a reliquary with the Host - the gift to Andrés of a freebooter on his deathbed, twenty years before. The latter had gained possession of it through theft. Reflecting, at length, upon the power ot Christ, the devil concludes that only bis presence in the Host saves its substance from diminution during the performance of the rites. The thought that a highwayman should possess such a precious relie and should be so devout, so angers the evil one that he detcrmines to kil! Andrés, and he ascends to where be lies. Just as he is about to choke his victim, however, an angel descends in a cloud, and placing himself before the devil commands him to desist. The wicked one replies "Leave us alone for we both are sinners; " ·whereupon the ange! declares that although Andrés provokes the anger of God through his crimes, yet his devoutness PEREZ DE MONTALVAN 317 is in bis favor. A long discussion then ensues, in the course of which the devil threatens to harm or kill Andrés in various ways, and concludes by swearing he will betray to the freebooter's captain bis adoration of the Host. The captain, being a Hebrew, will kil! Andrés, seize the Host and destroy it. The angel declares that he will protect the highwayman ; and, to the sound of cl arions, tben ascends to heaven, while the devil passes into the mouth of hell amidst the din of drums, strident trumpets, gunshots, and fireworks. Scarcely have the two disappeared when Andrés, speaking in a dream, risesto his feetand draws his sword -greatly to the wonder of his servant Moron, who bas just entered the cav~. Asked whatthe trouble is Andrés tells Moron that in a dream he saw his captain discover 'he was concealing the Host, which so angered the heretic that be attempted to seize it and destroy it. To prevent this he drew his sword, and was surprised to find tbat he had been dreaming, so lifelike was the scene. Such apprehension has the vision inspired in Andrés, that be declares his intention of immediately removing the Host to Alcala, wbere it will be safe from all ruolestation. Followed by Moron, he ascends to the altar, and is about to lay hold of the box, when they are startled to hear singing and the accompaniment of musical instruments. While tbey are intently listening, the captain enters with two companions and the devil - attired as a bandit, - closely followed by the angel in the same garb. As soon as Moron becomes a ware of their presence he informs his master, who, terrified, bids him extinguish the lio-bts about the box, and then descends to meet the b • • party. Explaining that h.e has heard that Andrés is commtttmg treachery in concealing from him a quantity of silver, the captain declares that he has come to satisfy himself regarding this. Thoroughly alarmed, but encouraged by the ange! ,at bis sicle, Andrés replies that bis sole riches consist of a sil ver box, which be will surrender on condition that he be allowed to keep a small �GEORGE WILLIAM BACON reliquary it contains. He would rather die than meet with a refusal. The captain agrees to grant the request, and having given two reasons why the reliquary is valueless sin..::e Christ is not in the Host, be bids bis two companions ascend and brinot:, it to him. However, bis promise to Andrés is designed solely to deceive him, for he intends to burn the reliquary, just as he has clone in the case of others. Suspecting, doubtless, that the captain does not intend to kcep bis word, Andrés asks if he may accompany him to the rock, and receives the answer " Stay where you are, or I will kilt you ! " Undaunted by this threat, the bandit follows him, and while the two who have been ordered to seize the chest ascend the rock, the captain, Andrés, and the devil remain below. In pursuance to bis leader's command, one of the freebooters opens the box, and finds that the statement of Andrés regarding its contents is correct. When this information is communicated to the captain, he declares that it is manifestly impossible for Christ to be contained in such a small receptacle - an assertion with which the devil agrees. A few moments later, singing and the sound of musical instruments is heard, and aglow with lights the child Jesus emerges from the box. Dazed, the bandits falt prostrate on the ground, while the angel throws himself on his knees and sounds a small bell. Moron, greatly excited, hastens to seek his master, and finds that although be is standing not far distant, his back has been turned toward the altar, and be is quite unaware of what bas bappened . On being told of the miracle, Andrés avers that be does not have to see it to believe it, whereupon Moron, mystified by his master's apparent indifference, declares that he is going to look at it while he can. At this instant music is again heard, and the child Jesus re-enters the box, \Yhile the bandits gradually, and with great trepidation, rise to their feet. Enraged at the effect that has been produced upon the freebooters by the miracle, the devil bids the captain kill Andrés, a JUAN PÉREZ DE MONTALVAN suggestion he eagerly adopts. When be atternpts to draw his · dagger, however, the leader is sta1 tled to find that something unseen restrains him, and · be exclaims " This it doubtless an intervention of the divine power ! " More infuriated than before, the evil one advises the captain to station himself and bis men at tl1e mouth of the cave, and when Andrés cornes forth, to shoot him down on the spot. Again the devil's counsel is welcomed by the captain, but the ange!, who has overheard it, plans to protect Andrés, and accordingly tells him that the safety of his life depends upon bis bearing the Host to its destination, while he - the angel - accompanies the bandits. The ange! then disappears, and Andrés ascends to the altar, removes the reliquary , and, with Moron, passes to the opening of the cave. As the two make their exit, the brigands fire point-blank at Andrés, who falls crying '' I am dead, heaven help me! " Moron, however, observes that bis master is unscathed, and plucking off the balls which are adhering to bis jacket, bids him rise. Gradually Andrés does so, and when be finds that he bas not received the slightest wound, is astonished, and declares that the reliquary has saved bis life. Convinced that his enemy is dead, the captain and bis companions have already retreated, while Andrés and Moron set out for Alcala. As soon as the latter have departed the devil appears, and after having bemoaned, at considerable length, bis defeat and the fact that soon the Host will be safely deposited at Alcala, be swears that he will take vengeance on Andrés and Christ, bis protector. Andrés and Moron reach Alcala, and present the Host to the Company of Jesus, whither cornes the faculty of the University to doit honor. The Child Jesus (typifying the Company of like name) declares that a lapse of many years bas unimpaired the Host, and asks the varions faculties, in turn, wbether this is in accordance with the laws of nature. Philosophy is the first to respond, and avers that only a miracle could make possible the �320 GEORGE WILLIAM BACON JUAN PÉREZ DE MONTALVAN" preservation of the Host for such a long period. To this declaration Medecine, Theology - represented by the angel - _and Canonical Law agree, whereupon the Child Jesus, clanons having sounded, asserts thaL the spirit of. God alo~e must have led them to such an unanimous opinion. The dev1l declares that no miracle is resp·onsible for the unimpaired condition of the Host, and having given his reason for such a belief, advances other objections. All of them, however, are so fully answered by the angel that at last the evil one admits bis defeat. The angel then bids ;he Company place the Host on an altar for veneration, and acquaint the Governor with their action, in order that he may stamp it with bis approval. 321 SECTION III NOTES A. - CoMEDIAs HEROICAS. A lo hecho no hay Remedio, y Principe de los Montes Schaeffer 1 remarks that this co!lledia bas a bad style and is unnatural. The trutb of the first part of this criticism I grant, but I think that the second is a little severe. The garden scene in Act II. is clever, and the cbaracter of Segismundo shows that nôble blood will assert itself, no matter what be the environment. A lo hecho 110 hay Remedio, y Principe de los Montes was printe<l in the first volume of Montalvan's Comedias, and dedicated to " El Excelentisimo Senor Don Manuel Alfonso de Guzman el Bueno, Duque de Medina Sidonia, Conde de Niebla, Marques de Caçaça, Capitan General del Mar Occeano, y costas de Andaluzia, del Consejo de Estado de su Magestad, y Cavallero de la insigne Orden del Tuson de Oro. " It was performed by the company of Bartolon1é Romero in the salon at Madrid, January I, r 634 and was printed in part twenty-eight of CoJ11edias de varias Autores, Huesca, the same yearJ. lt was also performed before the King a.nd Queen, 2 1. 2. ; Vol. L p. 449. Reuncrt, Cbro11ology, p. 332. 3· La Barrera, p. 684. REVCE HlSPANJQq,. B 2 [ � https://hemerotecadigital.uanl.mx/files/original/448/20451/Revue_Hispanique_1912_Tomo_26_No_69-70_segunda_parte.pdf 59b4c6948030922d3fc3e9464ef763b1 PDF Text Text 320 GEORGE WILLIAM BACON JUAN PÉREZ DE MONTALVAN" preservation of the Host for such a long period. To this declaration Medecine, Theology - represented by the angel - _and Canonical Law agree, whereupon the Child Jesus, clanons having sounded, asserts thaL the spirit of. God alo~e must have led them to such an unanimous opinion. The dev1l declares that no miracle is resp·onsible for the unimpaired condition of the Host, and having given his reason for such a belief, advances other objections. All of them, however, are so fully answered by the angel that at last the evil one admits bis defeat. The angel then bids ;he Company place the Host on an altar for veneration, and acquaint the Governor with their action, in order that he may stamp it with bis approval. 321 SECTION III NOTES A. - CoMEDIAs HEROICAS. A lo hecho no hay Remedio, y Principe de los Montes Schaeffer 1 remarks that this co!lledia bas a bad style and is unnatural. The trutb of the first part of this criticism I grant, but I think that the second is a little severe. The garden scene in Act II. is clever, and the cbaracter of Segismundo shows that nôble blood will assert itself, no matter what be the environment. A lo hecho 110 hay Remedio, y Principe de los Montes was printe<l in the first volume of Montalvan's Comedias, and dedicated to " El Excelentisimo Senor Don Manuel Alfonso de Guzman el Bueno, Duque de Medina Sidonia, Conde de Niebla, Marques de Caçaça, Capitan General del Mar Occeano, y costas de Andaluzia, del Consejo de Estado de su Magestad, y Cavallero de la insigne Orden del Tuson de Oro. " It was performed by the company of Bartolon1é Romero in the salon at Madrid, January I, r 634 and was printed in part twenty-eight of CoJ11edias de varias Autores, Huesca, the same yearJ. lt was also performed before the King a.nd Queen, 2 1. 2. ; Vol. L p. 449. Reuncrt, Cbro11ology, p. 332. 3· La Barrera, p. 684. REVCE HlSPANJQq,. B 2 [ �'. 322 GEORGE WILLIAM BACON JUAN PEREZ DE MONTALVAN November, 1635 ' . Entitled Principe de los Monte:, as_a suelta, it / has been wrongly ascribed to Calderon 2 • Mon::to s Fmgir y amar much resembles it. Scene : Albania. Los Amantes de Teruel. 1 / Whetber or not the events here pictured have their foundation in fact, has long been a matter of dispute. . . The first to attempt to prove their falsity was Isidoro Anu116n who in his Noticias hist6ricas - Madrid, 1806 - , declared the 'principal document supporting the tr~dition, to b~ apocryphal. This document was discovered by h1m at 1 erue~ m r 806 in the archives of the Cburch of San Pedro - the bunal place of the Amantes -, and purports to be copied in r 6I 9 from an old manuscript in the city's archives 3 • It contains a prose narrative of the so-called tradition, and is written, to a great extent, in imitation of archaic language 4 • However, the modern character of the chirography, coupled to -the facts tbat there are intercalated, literally, many verses from th~ poe~n of Juan Yagüe de Salas - Los Amantes de Teruel, pubhshed m 1616 - , 1 . This item was taken from a m,mus~ript note made by La Barrl!ra in tl'.e c:opy of lüs Catcilogo, now in the Bib~oteca Naci?n:)· He States that he derivcd the information from " el Arcluvo de Palaz10 • 2. La Barrera, p. 525• p 1 z. / · 3. Neither can this manuscript now be found, nor the ape es s~ue o, amautes mentioned in a modem index of documents of the Ayuntarniento of Teruel. (See Emilio Cotarelo y Mori's Sobre el Origen y ?esttrrollo ~ lu Le)'end,i de /~s A 111 antes de Teruel, reprinted from the Re·1;1.!ta d~ Arohwos, Bibliotecas y Museos, Madrid, 19c3, p. 7, pote 2.) ~rom _this article_ 1ha:: adapted practically all the present account of the d1scuss1ons regardmg t 1 A11umtes tradition. · p·,iragrap\1 of tbis document is reprinted by Cotardo Y 4. ·ri1e openmg Mori, ut supra, p. 7- and that Juan Yagüe, himself, appears as one of the witnesses to the copy, led Antillén to believe that is was a forgery of the former 1 • In I 806, Antillén also d:iscovered in the archives of the Churcb of San Pedro a document relative to the ,mummies of the An'.antes, and the various changes of pl:ace they had suffered. This paper was drawn up by the notaries Juan Heruandez and Juan Yagüe de Salas, and certified to by witnesses. Like the his~ori~al narrati':'e, the document is in modern handwriting, but It g1ves no hmt of the location of the one from which it is copied. It avers that up to r 555 the bodies of the Arnantès rested in _an_old chap~l, but that in said year repaüs to the chapel neœss1tated the1r removal, and they were placed in two caskets and transferred to the Chapel of San Cosme y Damifo. In April r6r9, - continues the document, - the prebendaries Mosén Juan Ortiz and Mosén Miguel Sanz, assisted by the sacristan, ~:ide an excavation at the foot of the altar in the chape! and discovered two caskets. Each contained a mummified body, and one '.' un pergam~no 6 papel" which read " Este es Diego Juan Martmez de Marcilla que murié de enamorado 2 " . 1 - Cotarclo y Mori states - p. 8 that be believes the forgcry to be of ?mch later date, and tbat Juan Yagüe's name and verses we.r e inserted to give li a color of truth. Later, the supposed A111a11tes were placed together in a standing position a ~ooden closet in the wall of the adjoiui11g cloister, where Antill6n saw them '. 11 the year already mentioned. In 1854, they suffcred another chan<>c regard111g which Fcrnandez-Guerm y Orbe says - Auto>es Dramâïicas vot r' . . de ' tcm-' , Pj 4-? 1 ·. " ·· · se 1es 1a br6 d1gno y honroso monumento a. manera P Cte, en un salon que da al claustra y cuya antigua b6vcda bizantiua krc~lza. Ocupa d centro del monumento muy rica. urna de cristal, y continüan alli. de pic _coma antes, los dos esqueletos, 1;:J de Isabel i mano derl:'cha cubicrtos con cldicados cendaks desde la cintura à la rodilla. '' ' . In 1905, when I visi_tecl Teruel, each of the nmmmies Lay in a glass-topped wood~n case upon winch 1217 w~s inscribed as the date of their death. They w_ere 111 a :emarkable state of preservation, even some of the fin&er nails Still rèma1 nmg mtact. · A stnp · of da.rk red vdyet lay ucross the.ir 0middlcs. • 111 2· �324 GEORGE WILLIAM BACON But Antill6n's theory was not to remain unchallenged. In 1838, Isidoro Villarroya in the prologue of his novel, Marcilla y Segura 6 los Amantes de I eruel, declared that a person - unnamed by him - had discovered certain " Original Notes" of Juan Yagüe, in which the story of the Ama11tes was told very briefiy and " toda en fabla antigua ". These "Original Notes" are nothing more, however, than Villarroya's rifaci111ento of the document discovered by Antill6n, and indeed reproduce its first or archaic part verbatim. By means of such expressions as " a leaf is lacking" and " this is illegible ", Villarroya contrived to omit whatever tended to weaken the apparent authenticity of the original. He claimed this version to be of 1619, and was so satisfied with it as to assert that had Antill6n seen it, be would have come to very different conclusions. When, in 1842, .t:steban Gabarda, a lawyer of Teruel, published his Historia de los Amantès de Teruel, con los documentas justificativos y observaciones criticas del Autor, he reproduced Villarroya's version, but not without making therein certain additions - nov,,, the insertion of a word; 110,1-:, of new details. Next in order cornes Juan Eugenio ·Hartzenbusch, who, in 1843, in the review El Laberinto, and, in 1861, in bis prologue to Renato de Castel-Le6n's novel, Los Amantes de Teruel, accepts the documents reproduced by Gabarda together with bis " Observaciones Criticas 1 ". The tone of the distinguished littérateur, however, is not one of perfect conviction, and it is for this reason that there was sent to him from Teruel another copy of Villarroya's narrative, distinct from the well-known one and from that of Ga barda. 1. Cotarelo y Mori remarks - p. 28 that uot only does Gabarda exhibit great ignorance in his work, but he is quite devoid of the critical factùty. In view of the importance attached by the latter to his " Observaciones Criticas ", this statement is most amusing. That Cotarelo y Mori's charges are justitied, is proven by the two absurd misstatements of Ga barda whicll he cites. JUAN PEREZ DE MONTALVAN 'iA 325 In 185 5, Aureliano fernandez-Guerra y Orbe had written an article for the periodical La Espana in defense of the tradition, and later he reproduced this, with some additions, in his Hart,enbusch, Est11dio biografico y critico. The latter ·was reprinted in the Colecci6n de escritores castella11os, Madrid, 1887. In his Introduction to Hartzenbusch's drama Los Amantes de Teruel - reprinted in Au/ores Dra111!tticos, vol. I, p. 429 ff. -, Fernandez-Guerra declares 1 that Antillon's work " falto de documemos 11tiles, no apreci6 atinadamente la verdad ", and that the tradition cannot be disputed. In support of this statemem, he avers that the story of the Amantes was not doubted till 1618, when Dr. Vincencio Blasco de L-lnuza, in his Historias eclesi!zsticas )' seculares de Arngôn, " ·rote " flo J creo certisi mamente ser fabuloso ". Seeing that the belief in the tradition of the Amantes was growing ,,·eaker, in 1895 the Ateneo of Teruel organized a disputation in order to determine what daim the storv had to authenticity. The verdict pu blished is that of Federico· Andrés, who, in his Breue res11111en de la His/aria de los A111antes de Teruel, made noble and praiseworthy efforts to uphold the tradition 2 • As far as I am aware, the most recel)t literature on this much discussed subject is the article of Cotarelo y Mori, the title of which I have cited on p. 322, note. He maintaios that the story of the Amantes is nothing more than a Spanish adaptation of Boccaccio's Florentine tale Girolarno and Salves/ra, found ln the rfourth day of hi1, Deca111eron. His principal reasons for such a belief and for regarding the tradition as apocryphal, I shall give as briefly as possible. They are as follows : ---+ The theory of Hartzenbusch and Fernandez-Guerra, that Boccaccio based bis story upon an actual occurrence at Teruel, pre- t. P. 2. Cotarelo y Mori, p. 4. 421. �326 GEORGE WILLIAM supposes a Spanish influence in ltaly which did not exist either in the fourteenth, fifteenth, or the first half of the sixteenth century. A century had passed since Boccaècio had written Gi-rolamo and Salvestra, when - after the conquest of Naples by Alfonso V. of Arag6n - the Spanish poets began to have intercourse with the Italians 1 • Since Boccaccio's staries were current in Spanish by the end of the fifteenth cel1tury, is it not remarkable, if he had taken the subject of his Girôlamo and Salvestra from the Amantes, that some of the Valencians who exploited him to such a degree would not have mentioned it ? 2 " If the event were true, it is very strange that, in the fourteenth, fifteenth, or first half of the sixteenth century, no reference should !rave been made to it; and that it should have failed to inspire any popular song, refrain, or proverb. Other happenings, long since forgotten, still exist under this paremiological forrn '· On the other band, many so-called traditions are only incomplete popular recollections of literary works. Varions pseudo-traditions concerning King Don Pedro are derived from the comedias of Lope, Vélez de Guevara, or Claramonte 4 . Up to the publication of the poem of Juan Yagüe de Salas in 16 r q, the tradition of the Amantes was neither very popular nor very widely disseminated. This is proven by the fact that of Alventosa's Historia only one copy remains, while Villalba's narrative was not printed till our day. Rey de Artieda considered the seat of the tragedy as of such little importance that he did i;iot add it in his title, styling his piece merely Los .Amantes. In the poem of Jer6nimo de Huerta, the story is a brief episode of fifty-seven octave stanzas, intercalated in about eight · thousand verses. Ali this indicates that the Spanish legend had its origin 1. Il Cotarela y Mari, p. 3I. Op. cit., p. 32. ;. Op cit., p. 5. 4. Op. cit., p. 6. 2. JUAN PÉREZ DE MONTALVAN BACON in the middle of the sixteentb century ; and during its period of crystalization in the last years of that century and the first of the following, passes through the varions forms which we have of it '. There is great différence between these versions. In Villalba, the temporal setting is the end of the thirteenth century; in Artieda, Huerta and the poetas c6micos of the seventeenth century, it is placed in the sixteenth z ; and in Yagüe, about the year I 2 30. Only in the apocryphal narrative, and in the eightèenth century inscription on the case containing the mummies, is the date given as r217 3 • Then, too, there is an equal variance in some matters of âetail, by no means unimportant. For example : - In Villalba, the hero passes to Italy, and returns only many months after the expiration of the seven years granted him. In Artieda, he remains during this time in Tunis, and reaches Teruel only an hour or so too late -1. Were the tradition authentic, the early narrators, Villalba, Artieda, Huerta, and the anonymous author of the Jomada de 511 Majestad Felipe III., would hOt have failed to give the names of the parents of the Amantes and of lsabel's husband, or at least to make some mention of their families s. Not till the poem of Yagüe is this deficiency supplied 6 • He names the lover of Isabel, Martin Garcé~ de Marcilla, and makes hirn a descendant of the Garceses and Gardas, Kings of Aragon. In a Genealogical Memoir 011 the Fnmily Garcés de Marcilla, printed in 1780, Joseph Tomas Garcés de Marcilla attempts to prove this descent, but his gencalogy is a fa bric of falsehoods 1. 1. 1 Op. cit., pp. q & 32. By an evident error of the printer, Catarela y Mari is made ta say " en el siglo xv ". 3. Op. cil., p. 33. 4. Op. cit., p. 32. 5. Op. cil., p. p. 6. Op. cit., p. 17. 7. Op. cit., pp. 16 & 17. 2. �GEORGE WILLIAM BACON Regarding the mummies : - According to the apocryphal document found by Antill6n in the Church of San Pedro, the bodies were discovered for a second time in 1619, through the information given by some persans who remembered where they had Iain since 1555. As this proves that tbeir place of burial was unmarked, how was King Felipe able to visit their tomb in 1599, when passing through Teruel on the way to Valencia to marry Dona Margarita of Austria' ? And how could Villalba, in 1577, state in his poem that the bodies " juntos prevalecen en dia Il sanos, incorruptibles y olorosos, Il enteras en la iglesia de San Pedro? " And, on the contrary, if in I 577 the bodies were known to be munimified, and were considered to be those of the Amantes, how cornes it that in 16 r 8 Dr. Blasco de Lanuza denies the existence of a tomb with an inscription ; since he says tbat none appeared in the reconstruction of the church ? And why were neither the mummies nor their grave seen in I 61 r by Juan Bautista Labana, who - in travelling through Arag6n to make a map of the kingdom - described in his Itinerario the churches, etc. of Teruel ; and mentioned tombs far Jess important 2 ? Cotarelo y Mori declares that he knows of but one explanation for this confusion, which is the following: - " The mummies were actually discovered about the middle of the sixteenth century, and then Pedro de Alventosa composed his poem. But his countrymen being unconvinced, the bodies were reinterred, and the spot was left unmarked. For this reason Villalba remembered the occurrence in 1577, while the others, in 1611 and 1618, knew nothing of it. In the meantime the legend had become better known, and sometime during the seventeenth century the bodies were again found and given the name which they bear to-day 3 " . JUAN PEREZ DE MONTALVAN 329 The mummies cannot be said to be authentic; they are merely nrn bodies exhumed after the legend began to gain currency. Perhaps they ,vere buried together through being tbose of husbanJ and wife 1 • Returning to the tradition : - Is it nqt indeed remarkable that love could simultaneously cause the death of two persons ? And is it likely that Marcilla would have chosen the bridai chamber as a place in which to make his• corn plaints to his former mistress ? He is represented as doing so in the \·ersions of Villalba, Artieda, Huerta, and Yagüe; but if the tragedy of the Amantes had occurred in Spain, it would have been enacted as pictured by Montalvan, José Garcés, or Hartzenbusch 2 • Cotarelo y Mori thus ends his argument, which appears convincing enough to shake the faith of the fondest adherents of the tradition. Up to the time of Hartzenbusch, the best known dramatic adaptation of the Amantes story was that of Montalvan, who alters to a considerable degree the ordinary form of the legend ,. A comparison of bis piece with Tirso de Molina's drama Los / A111anles de Teruel shows that our author bas followed Tirso / closely in the second act, some of the verses being identical. His other two acts are widely different from those of Tirso. Montalvàn's comedia owed its popularity to the excellent treatment of the theme, the skillful delineation of character, and the pathetic language employed. It bas been performed with success even in our o,vn day 4. The defects are an obtrusive gracioso, and an occasional tendency to lapse into verbosity. Like \ bis predecessors - Artieda, Huerta, and Tirso - Montalvan r. Op. cit., 1. c. Op. cit., p. 33. 3. Our amhor nof only omits the unbecoming sccne whcrcin Diego, a 2. I. That he did so is asserted in the Joninda de Su Mnjeslad Felipe Ill., already referred to. 2. Cotarelo y Mori, pp. 2 5 & 26. 3. Op. cil., p. 26. corpse, is borne to his housc by the husband of Isabel; but causes the latter to die at home instcad of in the church. 4. Rivadcncyra, ,·ol. 45 , p. xxxr, �GEORGE WILLlA:M BACON JUAN PEREZ DE MONTALVAN chooses the reign of Charles V. for the temporal setting of bis p1ece. Los Amantes de Teruel was printed in the first volume of Montalvan's Comedias, and dedicated ta " El Maestro Ioseph de Valdivielso, Capellan del Serenisimo Infante Cardenal, y varon insigne de nuestros tiempos." It was performed by the compa1:y of Manuel Vallejo r, and printed in part forty-four of Corneduts de diferentes Atttores, Zaragoza, I 6 52 •. Scene : Terud and Tunis. Amor, Lealtad î' A111istad 33 1 Scottish King Filiberto, which is, of course, not historical. The Peace alluded to in Act I. between France and Scotland 1 was made in 1295, and lasted for over three hundred years. les permanence was due ta the fact that it v,as a league between nations more than a league between Kings. Arnor, Leal/ad y Amistad was printed in the second volume of Montalvan's Comedias, and also in part twenty-five of Comedias recopiladas de diferentes a1ttores e illustres Poetas de Espaiia, Zaragoza, 1632 '. Scene : Scotland. 3• La Centinela del Honor. ., 1 1 ~ , ~'•-~: ~~I ... .,., "! • .. 'li ' . ~ \1 This is a pleasing piece, in which jealousy figures promi~en~ly. The centre about which al! else revolves is Laura, the pnnc1pal female character, who is besought for her lov~ by no less than four suitors at the same time. Lisardo is a striking example ot Joyalty, the ever popular theme in that day, for h~ ':vill_ die rather than be thé King's rival. The plot in Ac_t II. 1s mtncate \ but is skillfully developed, and offers a go0d spec1111en of Montai- 1 va;i's adroitncss in bandling complicated situations. The King Felipe of France, mentioned ~erein, can almo_st certainly be identined with Philip IV., the Fair, who was barn m 1268 and ascended the throne in r 28 5. He had a daughter Isabel, who became the wife of that Edward later crowned Edward II. of England. Montalvan represents Clorinarda as marrying the Although this comedia - which evidently derives its title from the lines spoken by the Duke at the close of Act II. 2 - in some respects resembles Coma se guarda el Honor, yet the similarity is not sufficient to detract from its interest as a distinct composition. La Centinela del Honor might well be regarded as a conscious effort on the author's part to illustrate the abuse of the divine right of Kings. However, it is scarcely possible tbat Montalvan had any such intention, in view of the close of the piece, where evi<lences of loyalty and devotion to the King take the place of a well merited assassination ,. More than once does bis Majesty La Barrera, p. 684. Pues honor viva, Il para que el vulgo infame li la centinela del honor me !lame". 3. Such undeserved loyalty also finds expression in a portion of the Dnke's speech which immcdiately precedes his entrance of Teosinda's house, after his conflict with the Count and Marquis - Act III : " y si a la hazafia que cmprendo se oponen puertas, mil puertas derribaré por cl suclo. I. Cf. Montalvan's Comedias, vol. I, edition of 1638, fol. 237. A play of like title was performed by Manuel Vi1llejo, November 27, 1633, - see Rennert, C/Jronology, p. 332 -, but whether it was Montalvan's or not cannot be 1. detennined. 2. La Barrera, p. 687. . . , • 3. There are several comedias bearing_ titles, )ike, or s1milar to th1s. Lope de Vega wrote an Amor, Leal taa y A1111s ta d ; r irso, A 111or y el Amistad ; and Luis Vélez de Guevara, Riesgos, Amor y Amistad. 2. " �332 JUAN PEREZ DE MONTALVAN GEORGE WILLIAM BII.CON brand Marco Antonio traitor - an epithet far more suited ta Enrique himself, would usage a]low of its application. Tbat the King desires Teosind·a for bis wife and not his mistress is in bis favor, and one regrets tbat Prince Ladislao in Coma se· guarda el Honor has not an equally honorable intention towards Leonor. The plot is skiltully developed, and the gracioso does not offend . The rarity of the drama must be rernarked ; a$ far as I am / aware, it exists only in the British Museum. Scene: Ireland. . Como Padre y como Rey. An interesting play, which in plan and style - as indeed Schaeffer I remarks - much resembles any one of Lope de Vega's middle class productions. · The main theme, the rearin.g of a noble child in secret, is found again in Palmerfn de Oli-va. The nobility of Carlos's descent is strikingly emphasized in the scene - Act II. - in which be receives the petitioners. Ail his decisions are just, and the reasons upon which they are based show no mean mental ability. The evident purpose of the wbole passage is to delineate \ his character, and similar scenes . are to be found in other plays \ of our autbor. Y si hallo al Rey con tu esposa, pedire, aunque en ta! aprieto, pi1ra cobrar nucstrn fama, a mi lealtad el consejo ; que hasta en tales ocasiones es, hi jo, accrtado acuerdo, que no se pierda a los Reyes de ningun modo cl respeto ". r. Vol. I, p. 447. ' 333 The third act testifies ta Montalvàn's clevernes~ in contriving amusing situations which can arise from mistaken identities. Co1110 Padre y como Rey was performed by the company of Antonio de Prado, January I, and June r2, r63-5 '. A manuscript of the piece - partly autograph, in the opinion of Sr. Paz y Mélia - in the Biblioteca Nacional beats the date 1629 2 • Another manuscript of the comedia in the same library bas this marginal note : " Hizose esta comedia en Rioseco, estu rn seco el corral, coma en todas 1. " Como Padre y como Rey was remodeled by R. de Valladares y Saavedra, and publisbed at Madrid in 1848. Calderon wrote a play of the same title i • Scene : Italy (?). y Como se guarda el Honor. La Barrera s states that this play is probably identical with Como Padre y como Rey, but such is not the case. lndeed the only point in which Como Padre y coma }ley resembles the present piece is that scene in the former -- Act 1. - wberein the Prince enters the apartment of Violante, and tries to force his attentions upon ber. For this a parallel is found in Conw se guarda el Honor, wbere, in Act Il., the Princ_e is ad rnitted ta Estela's room by Camila 6 • ln al! other respects the plays are qui te different. 2. Rcnnert, Cbrouology, p. 336. Paz y Milia, art. 64 5. 3. 4- Op. cit., 1. C. Op. cit., art. 646. l. 5. P . 268. 6. These two scenes recall still another of the sanie type in La mas cous/ante. Mujer, - Act II - , in which the Duke's designs upon Isabel are frustrated by her lover Carlos. �GEORGE WILLIAM BACON JUAN PEREZ DE MONTALVAN The scene between the King and Ladislao at the opening of Act II., brings to mind the interview of Felipe with bis son in the third act of El segundo Sérzeca de Espana (Part 1.) In disposition the two Princes have much in common, for both are obstinate and conceitcd . The character of Rosaura is by no means a faithful picture of childhood, for what child of her years could speak thus : - should marry ber parents's persecutor and a rake, is doubly so. On the whole, the play is interesting, even though the same theme has been used more than once by our author. The title is particularly appropriate, and the rarity of the piece deserves notice 1 • Scene : A city in Hungary, and the district adjacent. 334 ·" l'\o vé aquel cdificio, que parece del cielo precipicio, que ostentando en el mar pardo plumage se nos miente celage ; pues alli vive Estela, madre mia, y oy a tierra venia [yo], codiciosa de ver sus desengafios ; sicndo la primer vez que en mis diez a1ios sus esmeraldas piso. " , Even Carlos cannot refrain from expressing bis surprise, when, - same act - , on asking her where she notices ber mother's sorrow, she replies : - " En que? en mirarla a los ojos, Il que son lenguas del discreto. " W·hereupon her father remarks : - "Dies te haga suya: que gracra ! " It is not easy to conceive how one, after having suffered such persecutions as does Carlos, could, without hypocrisy, address bis King in these words : - " Monarca excelso del Orbe, Il a tus pies hurnilde rindo Il mis !abies por tantas honras 2 . " Nor can we imagine how Estela, so well acquainted with the dissolute character of Ladislao, could allow ber daughter · to become his wife. In view of the tender years of Rosaura, wedlock ,vould be absurd in any case, but that, above all, shc r. Her reply to Ladislao's question as to where is the home of her parents (Act III). 2. Said by Carlos on the occasion of the King naming rus daughter Queen, and him Govcrnor. 335 Cttmplir con su Obligaci6n. Written in pure, energetic language, this is an enterta1111ng piece, in spite of the fact that it is rather unskillfully constructed. Jealousy plays quite an important rôle, since it impels Camila to disclose to Clenardo Juan's supposed infatuation for Celia, and influences Clenardo to banish Juan. The self-sacrificing character of the latter is strikingly illustrated by his resolve to return to Florence at tl1e risk of bis own life, in order to avenge the wrong clone bis sister Estela by Arnesto. The meeting of Camila and Juan at the close of Act I. recalls a very similar scene between Isabel and Carlos, in the first act of La mas constanle Mujer. Cumplir con su Obligaci6n, as a who1e, resembles one of the better plays of Lope de Vega's, and was the second that Montalvan wrote, as we learn from the dedication 2 • , It was printed in the first volume of our author's comedias, and dedicated to " El Ex.::elentisimo Seiior Don Gaspar Alfonso de Guzman el Bueno, Conde de Niebla, Marques de Caçaça, Capitan General del Mar Occeano, y Costas de la Andaluzia, y Gentilhombre de la Carnara de su Magestad. "It was performed by the company of Tomas Fernandez before July 3 r, r 625 ,. Scene : Florence. 1. As far as I am aware, Co1110 se guarda el Honor is found only in the British Museum and Bibliothéque Nationale. 2. " .... es la segunda que escrivi en mis primeras afios, .... " 3. fü:nnert, Chro11clogy, p. 33 7. ... �GEORGE WILLIAM BACON JUAN PÉREZ DE MONTALVAN 337 have the same abject - La Desdicha venturosa Besicles being greatly marred by culteranismo, this co111edia' suffers from verbosity ; some parts are almost unbearably tedious. The scene, characters, and plot are radically different from the supposititious Los Contrarias parecidos, Desdicha vent11rosa y confttsa Ingalatt!rra existing in the Biblioteca Nacional, and attributed by Paz y Mélia to Montalvan 1 • A Carlos Esforcia figures also in La 111!ts constanie Mujer. Scene : Mantua and its environs. La Deshonra honrosa. The subject of this drama is good, but loses force and convincingness through being treated too diffusely. A liberal application of the pruning-knife would be of great.benefit. A careless oversight is noticeable in Act 1., in tbat ,vhile Leonardo receives orders from the King to bring Flora to the palace, and he actually visits her house with this intention, be / evidently does not carry it out. That such is the case is proven by two subsequent remarks of Ordono, which show conclusively that Flora has not left ber bouse. Montalvan gi,·es no reason why / the King's command is not obeyed, and more than once shows neglect regarding such matters. The exchange of the letters is skillfully contrived. Alonso's order tbat Flora make her home at the palace, recalls a like behest of the King to Carlos in Como Padre y coma Rey ; and both that of putting an end to a love affa.ir. La Desbonra honrosa was printcd in the second volume of the comedias of Montalvan, and a manuscript copy in the Biblioteca Nacional, dated r 622 ' , proves that he could not have been over twenty years of age when he wrote it. The play shows ail the defects of an early effort. The large number of characters therein - sixteen - is noticeable. Scene : Leon. - Los Desprecios en quicn a111a. Jealousy is the màinspring of this co111edia. The diffèrent situations are wtll devised and amusing - even if hardi y possible - , and tbe individual characters interesting. Schaeffer 2 regards the play as " recbt schwach ", but I think it is one of our author's best. The title is peculiarly appropriate. In his El Desdén con el Desdén Moreto treats a similar tbeme. His mode!, however, was not Montalvan's piece, but Lope de Vegals La Vengadora de las Mujeres. Los Desprecios en q11ien ama was performed by the company of Andrés de la Vega, October 22, I 62 5 3. A Loa for the piece exists in the Biblioteca Nacional 4 . Scene : The environs of Florence. t. See Paz y Mélia, art. 88 1. Vol. I. p. 450. 3. Rennert, Chro11ology, p. 338. 4. Paz y Mélia, art. 1856. 2. J. See bclow. REVCE HISPA N/Ql'E. B �338 GEORGE WILLI.-\M BACOJ:< El Fin mas desgraciado y Fortunas de Seyano, J Anwr, Privanz.a y Castigo ', The fall of Sejanus, the once all-powerful favorite ofTiberius, for01s the subject of this drama. For the historical frame-work Montai van bas probably availed himself of a Vida de Elio Seyano, published at Barcelona in 1621 2 • Here, as in sorne of his other plays treating historical themt::s, he modifies facts in confo~mity to the dramatic exigencies. For example, the downfall of Seianus is represented as occasioned directly by the jealousy of his wife Laura her real name was Apicata - , who reveals his disloyalty to the Emperor. This does not ;iccord with history, for Tiberius, hit'nself, was too crafty and sqspicious to neeè a delator against his former favorite 3 • Although the subject of the play is entertaining, our author has treated it in a rnedîocre manner, the action dragging so much as to be tedious. It is one of the few productions of the old SpanJ ish theatre that bear the designation "- Tragedia " after their ti.tles. Amor, Pri·vanza y Castigo was printed in the first volume of Montalvâo's Comedias, and dedicated to " Don Gonçalo Davila y Coello, Sen.or de los Estados de Navalmorqueode ". lt was performed by the cornpany of A11drés de la Vega 4 , and apl1eared I. Mesonero Romanos - in Rivadeneyra, vol. 45, p. LIV - , misled by this double title, catalogues this as two distinct plays. 2. Scb,teffer, vol, I, p. 444 . The ultimate source of our information rega_rding Sejanus's conspiracy is Tacitus, Suetonius, Velleius Paterculus and Dion Cassius. 3. A similar change for drnmatic dfect is made in El i •,1lienft Nazareno, S1t11s611. 4. Edition of J63$, vol. l, fol. r53. A. L. Stiefel p. 220 - in Zeitscbrijt, vol._ XV, points out that the words" Representola (e. g.] R6que de Figue- JUAN PEREZ DE MQNTALVAN _339 in part forty,five of Comcdias mreva_s, esc()gida~ de las 11~iom Iugenios de Espaiza, Madrid, r 679 I . Th!! same tberne is tr~Îlted by Ben Jooson iQ S~jam1s bis Fall. Scene ; Ro111e imd CApua. Los Hijos de la Fortu11a 1 Teagenes y Clariq11ea. The Aethiopica of Heliodorus futnishel? the rnbject rn;i.tter for this piece, and also for that of Calderon of like title 2 • The comedia is interesting, and, barring the extravagant incident of the Lotofagos, not so extrernely imprnbable. Moiitalv{m treats bis theme ro-.i" which foll.Qw t!w qç(füatgry of e,11:h dram:l in YÇ1)ume I. u[th~ Co1wdiar, signify not " hizo l'!l principal papt:l[ '' a_s H;irtzerJ.busd1 as~ert~, ~ iq Il.iv,JgJ}neyra, vol. 5, p . xxxva, col. 2 - , but that his company performed the piecc. In support of this statement, Stiefel refers to the Para Todos, _where Momalvan remarks, just before the opening oi La nuis constante Mujer cdition of r645, fol. 235 h : := " csti! ,igtJardando la gran coni.pai'iia de Vallejo, p,1ra representar l.t comedia prometida de la Muger rn~~ Con~taute. " However, tht! words " RcpresentoJa (e. g,] Roqul!" do not ahvays have the signification whkh Stiefèl attaches to th~m, as is sbown by M_onralvân's n:fcrence to "la Belera ", Parq Torlos, ut supr.i, fol. 179 b. (See note on Esctm- derberh. La Barrera, p. 703. Scbaeffer1 vol. I, p . .45 r. The sanJc source wa;5 utili7,eg by .-\.Lex;iiid<::r Hardy În bis Les cb_astes et loJ,al4s A111ou.rs t/è Tbeatètw et Charic/ée, performt!cl. ln the year r60J ; and by Gç11eta:y ip his L'Etbiopique qu /Bs clm~les A·11101Jrs de Theagh,e et Chariclée, 1609. Ôther versions are those of Dorat, r762, and Joh. Scholvin, r6o8 - the latter in. Latin. The oJd 1;:ngli_sh play Th~ Strn11ge Disç011ery is :ùso based upon the samÇ! r.om~nc~. The ]:lest k)lQWn Spa11ish imitation is that of Ce.rvantçs in his Persil_es y Sigis1111mda (Cf. Schmidt, p. 290; and Sludies in Ce1·fü11tes by R.udol( Sd1e-vill, ÎI) Modem Pbilo]~g)', vol. IV, !9()6-1.907, - pp. 1- 24 and pp. p7j-704). The Aetbiopica itself was clone into l:rench by Amiot, Paris, I 549 ; and from this carne the Spanish vtc:r5i911 i;i Fern,1ndo de Mena, Alcalà de Henares, 1587, Madrid, 16q. (Sch,ick, 1, 2. vol. IV, p. 427). Probably both Mont,ilvân an,.d C~ld.e r6n macle use wrsion.) · of )\,1.ena's �JUAN PEREZ DE MONTALVAN 340 GEORGE WILLIAM BACON qui te differently from Calderon ', but. hoth coinc!de in writing in the worst Gongoristic style of the tune. Schaeffer states tbat fat this reasorï. •botb the dramas are tedious; he should have added that Calder6n's is far more so than our author's. In the former's version culteranismo abounds, and in more than one passage the sole aim seems to be obscurity i. . Los Hijos de la Fortuna, Tt!ltgenes and Clanquea was printed in the second volume of Montalvan's Comedias. Scene : (Chiefly), Memphis and Cyprus. 2 Lo que son ]uicios del Cielo. in spite of Scbaeffer's statement 4 tbat this co111edia is ,,•ritte? wholl y in the manner of Lope de Vega, and has for a model lus El Marqués de las Navas,, it cannot be dassed as one of Mon- 1 . Thè action in Calderon runs as follows : ldaspes, King of ~thiopia, finds the abandoned babe Cariclea, and after rearing her in secret brmgs hcr to Delphi, to save ber from being sacrificed. She_ beco 1es _Pri~st:ss of ~poil~, and at a sacr-ifice offered by the Thessalians falls 111 love wnh feagenes. They clope, and alter an encounter with pirates land in Egypt, and are captured by the rebel Tiamis. When the latter is vanquished by Admeta, Qi.1een of ~em· phis_. they become her prisoners. Admet,1, however, soo~ suffers defeat m a battle wiù1 Idaspes and Persina, and the two !avers pass mto the ham],s o_f the latter. Subsequently, Teàgenes is found to be the long-lest son. ot Candes, and Cariclea the daugbter of Idaspes and P ersina. 2.Vol.I.p.45r. . 1 3. That this charge of obscurity is justifiable can be proven b~ recalhng t ie various .appelations given by the m.other of Teagenes to tbe obJ~ct placed by ber about bis neck. It bears ail the following names : " Là111::1a ,de scda, nomina, làmina, medalla do.: oro ", and (poss1bly) " cend~l • fhat ~he reader can form no very definitc conception of its nature 1s not surpns- ing ! 4. Vol. I. p. 450 . 5• The transaction runs in Lope as follows : . , The Marquis kills one Leonardo in a strect braw 1 at mg11 t • fi 1 e murdered 34 1 talvan's best. The play suffers from weakness, and is so long drawn out that even the interèst of the subject does not save it from becoming ,,vearisome. To me, the effect of the conclusion seems marred by the appearance of the murdered Duke. A didactic purpose might easily be attributed to the play, since it is a solemn warning of the risk attending a forced marriage. De un Castigo dos Vengnn:::_as inculcates the same lesson 1 • The passage in Act I. in which Fabio urges bis mastet, Roberto, to imagine imperfections in Leonor, the more easily to forget ber, much resembles a scene betv,een Estela and Fernando in No hay Vida como la Honra, Act II. ; and also recalls a scene between Juan and Carnila in Act L of Cumplir con su Obligacùin. Lo que sou ]11icios del Cielo was printed in the first volume ot · Montalvan's Comedias, and dedicated to " Don Ioseph Strata y Espinola ". It was performed before the King and Queen, November, 16 35 z ; and printed in part thirty of Comedias fanwsas de ·varios Alltores, Zaragoza; 1636 3, a·nd in Comedù1s de los mejores y mas insignes lngenios de Espana, Lisboa, I 652 4 • In the former collection it ,·vas artributed to an anonymous author '· man leaves a fiancée, and also an unenviable record of crime . Accordingly, his spirit appears before the Marquis, and requests that hc have a care for this lnved one and for the expjation of his misdeeds, in orde.r that his soul may be ransomed from purgat◊ry. The Marquis complies with this rèquest, but only after having recei\•ed two \'Îsit~tions from the spectre. (Schaeffer, vol. r, p. 144.) 1. La 111as.consta11/e Mujer likewise pictures the opposition of parents and ri\·al families to the marriage of two lovers. 2. This item was taken from a manuscript nore made by La Barrera in the copy of his Catfrlogo, now in the Biblioteca Nacional. He States that he dcrived the information from " el Archive de Palazi.o ". A play entitlcd Los ]uicios del Cielo - probably identical wi.th ours - was performcd by Bartolomé Romero in the salon at Madrid, Dccember, 1633. (Renncrt, Chronology, p. 44). 3. La Barrera, p. 685.. 4. Op. cil., p. 708. 5. Op. cil., p. 685 . �GEORGE \YILLIAM BACON 34 2 D. Alonso de Anaya y Espinosa ,vrote a zarzuela bearing the same title and that of La Vida es Sueno '. Scene : ltàly. El Marùcal de Vir6n. This cornedia is largely based upon Juan Pablo Martyr Rizo's Historia Tragica de la Vida del D11q11e de Biron, which was first published in I 629 lt was one of Montalvân's most popular plays, and bas been performed with success even in our own 2 • day 3• The King Enrique of the drama is Henry the Founh of France. His character as depicted by Montalvan agrees perfectly with historical accounts of him, for he was bath kind and just, and somewhat ot a gallant. The Marsbal 4 - Charles de Gontaut - is thoroughl y French, and the ·btending of his real bravery with hollow boasting merits no little praise. He is a very tragic hero, whose pride, amounting almost to arrogance, will not bend to ask of Enrique the pardqn that he promises to grant 5 • Paz y Mélia, art. 1782. Ticknor, Lit., vol. II. p. 319, note 37. The latter adds that the exccution of the Marshal prcceded the first appearancc of Rizo's work by seven years - therefore, he met his death in 1622. This is not in record with the statement of other authorities, who give 1602 as the year of the traitor's execution. 3. Schaeffer, vol. r, p. 443 ; La Barrera, p. 692; Rivadeneyra, vol. 45, p. XXX1. 4. A vivid account of his trial and cxecuti.on, as well as an estimate of his character, is given by Pierre de !'Estoile in his Mimofres Journaux included in Petitot's Collection complète des Mémoires relatifs à l'H istoire de France , Paris, 1825, vol. 47, pp. 333-345. 5. That the Marshal was a favorite of the King is attested by the scveral promotions he received. In 1592, he becam.e Admira] of France ; in 1594, Marshal ; the following year, Governor of Burgundy ; in I 598, Duke and 1. 2. 1 ~" I 1 1 1' 1 JUAN PEREZ DE MONTALVAN 343 The character of Blanca has no ,Yarrnnt in history '. Undoubtedly, the play has g;1.ined much of its popularity from several higbly ernotional passages, which contain, however, nrnch that deserves the name of Tirade 2 • To a gt'eat extent, these scenes would be well-nigh intolerable to a mo<lerb àudiente ; while the theme of the piece scarcely i:;uffices for a dràma of such length. At the conclusion, a grevious lack of taste is shown in causing Blanca to relate, in extenso and with rnuch thetoric, the execution of her lover. El Mariscal de Vi16n was printed in the first volume of Montalvan's Comedias, and dedicated to "Don Geronirrlo de Villanueva, Comendador de Villafranca en la Onkn de Calatravai del Consejo de su Magestad, su Secretario de Estado, y Protonotario de los Reynos de la Corona de Aragbn " . It was performed by the company of Roque de Figueroa ,, and was printed in parts twenty-five and forty-four of Comediasrecopiladas de diferentes A11tores é illustres poetas de Espaiia, Zaragozi, 1632, 1652 ,1_ It also appeared in a volume of comedias of various authors, without title-page, which was discovered in Portugal by Gay:mgos i . Peer. Montalvan represents him as commmmg treasori but oncè, whilè, in truth, on two occasions his disloyal intrigues were discovered by tbe King. The leniency of the latter, however, dtused bjm ta pardon the first often,c, and he would have treated the second in like mar111cr had th e Mnrshal bccn wiUing to confess his crime. r. Ticknor, Lit., vol. Il, p. 320, note. 2. In discussing Peyron y Queralt's tragedy Las'Fort1111as tni,1;icas del D1,que de Memoransi, which dcals with a si1111lar theme, Schaeffer - vol. I, p, 460 - writcs as foUows : "Was <lem Stücke die gerühmte Popularit:it Yerschafft haben mag, ist wohl det ewig dankbare Stôff des Falles mcnscblich1:r Grosse, der glt:iche Umstand, welcher Montalvan's 'El Mariscal de Biron' so popuiar gemacht hat. " 3· Edition ol l638, vol. I. fol. II r. A play èntitkd ElMariscal Cin·erin was pcrformcd by Francisco Lapez, June 8, 1632. lt is probably identirnl with ours. (Rennert, Chronology, p. 45). 4• L-i Barrera, pp. 684, 687. 5. Op. cit., p. 708. �344 GEORGE WILLIAM BACON JUAN PÉREZ DE MONTALVAN Maria de Cordoba, wife of Andrés de la Vega, a11tor de comedias, included this piece iu a repertoire of eight dramas, aud by a license dated November 23, ·1632, obtained the privilege of performing in any two of them in the village of Daganzo, on Candlemas Day, 1633 1 • El Mariscal de Vù/m has been attributed without foundation to Mira de Amescua 2, and was parodied by Juan Maldonado in his Comedia B11rlesca del Mai·iscal de Viron, printed 'in part twelve of Comedias 1111cuas escogidas de los mejores Ingenios de Espaiin, Madrid, 1658 l, The English dramatist George Chapman wrote à play on the saine subject, which was performcd at the Black Friars Theatre in 1608 4, Scene : Paris, Amiens, and a country-seat near the former. closed the tbeatres. He also declares it to be considered his best \ :work; and we know that it was performed simulraneously at the two principal playhouses of Madrid, and has been a favorite in Spain even in modern times '. The action is well sustained throughout, and the firm yet tender character of the heroine merits praise. The great defect is the too general employment of rhetorical adornment. It seems wortby of remark that in a passage - Act II. wherein Ser6n speaks of Rosaura's promise to the Duke to keep "·atch over Isabel, these words are found : " Ella (i. e. Rosaura) serîa guarda cuidadosa (s. c. de Isabel) ". The phrase '' guarda cuidadosa " happens to be the title of a comedia of Miguel Sànchez 2, in which Florencio, disguised as a mountaineer, acts as the guarda of Nisea, annoyed by the attentions of the Prince. The coïncidence is striking, and perh:1ps Montalvan was acquainted with this play of Sanchez. The Esforcia family to which our author represents Carlos as belonging, is better knm\'n by the denomination Sforza. The wife of one Luchino of the Sforzas bore the name Isabel, but is identical with the Isabel of our play in name only 3 • The Count of Puzol appears to be one of the Pczzuoli family. La mas constante Mujer forms part of the seventh· day's entertainment in the Para T()dos 4, and was printed in parts twentyfive and forty-four of Co111edias recopiladas de diferentes Autores é illustres poetas de Espaî,a, Zaragoza, 1632, r652 ;_ lt ,vas performed before the King and Queen, July, r 63I 6 ; and also performed La 111âs constante Mujer. Montalvan tells us in the Para Todos , that tbis comedin was written in four weeks, prepared by the a,ctors in eight days, and represented again and agam, till the festival of Corpus Christi Pérez Pastor, Datos, p. 226. Paz y Mélia, art. 2020. 3. La -!3arrera, p. 691. 4. See The Tragedies of Cbapman, by Ezra Lehman, Publications of the University of Pennsylvania, Series in Philology and Literature, Vol. X. Philadclphia, 1906. 5. Edition of 1645 ·_ which is the earliest I have been able to consult - , fol. 259 : " Todos quantos assistieron a la Comcdia, la avian \'.ÎSto representar en el Teatro <lesta Corte, donde sin diligencias, ni favores, porque su dueiio, ni las hizo, ni los tuvo, salio con credito de la mejor que avian visto suya. Escriviola en quatro Semaoas, estudiose en ocho dias, y reprcsentosc muchos, hasta que la corto el hiJo la forçosa fiesta del Corpus, porque a no atravesarse este inconveniente, a pesar del calor, y de la embidia, passar:1 otros quinze dias. " 1. 2. 345 r. Ri,·adeneyra, vol. 45, p. XX XI. Ccrvantes wrote an eutumls o{ the sam e titlc. 3. See Gi\'io, p. 142 ff. 4- Edition of 1645, fols. 236-258, b. 5. La Barrera, pp. 684, 687. 6. This item was taken from a manuscript note made by La Barrera in the copy-of bis Catâlogo, now in the Biblioteca Nacional. He statcs that he dcri\'<!d the information fro111 " cl Archivo de Pa}azio. " \ 2. �347 GEORGE WILLIAM BACON JUAN PEREZ DE MONTALVAN by"the company of Manuel de Vallejo, April 3, 1633 '. It was burlesqued by a piece of like title written conjoiotly by Juan Maldonado, Diego La-Dueii.a, ,111d Jerénimo de Cifuentes, and .printed in part eleven of Comedias 1mevas escogidas de los mejores Ingenios de Espaiia, Madrid, 1659 2 • Under the title L'Isabella, La mâs constante Mujer was translated into Italian by Vitale Mascardi,_ and pu blished at Rome in 1638 by Tommaso Calo 3. 1t was also translated into Dutch by L. D. Fuyter, and published at Amsterdam, 1651 4, Scene : Milan and its environs. 1 know of but one copy of Morir y disùnul.a.r - that in the Konigliche Bibliothek, Berlin - , and the text of this is so corrupt that some verses are quite unintelligible . Scene : England. Morir y disimular. ln the third act of this play Montalvan states that_ it is the first be has written, and that therefore be fears he may commit mistakes. The verses run as follows: - No hay Vida como la Honra. Although Montalvan asserts in the Para Todos' that this cornedia met with success partly through the novelty of the situations, yet his statement regarding the originality of invention can hardly be accepted, seeing that he used either Tirso's El honroso Atnvimiento 2 or Lope's El pia.doso Veneciano, as a mode! •1. That the popularity of the play was great, however, even if the ideas were not original with Montalvan, is attested by contemporary evidence s_ It was perforrned many times, simultaneously, at botb the principal tbeatres of Madrid, a distinction \ Jua11elo . Tus males puedes juntar con cl poeta. afligido desta Comedia, que ha sido. la pttmera, y el errar lo teme par ser primera. Although the piece is interesting, it is inferior to our author's second effort, Cumplir con su Obligacion, the first act, especially, being weak and tedious. With the exception of a very tiresome scene between Féliz and Juanelo in the second act~ it } and the tbird sbow such a marked imprnvement as to justify the conjecture that Lope had a band in them. 1. Reanert, Cbronology, p. 46. 2. La Barrera, p. 691. 1 ', 1, 1 1 ' 1 ·Il ,,,1 3. Allacci, Drammaturgia, Venice, 1755, col. 472. 4. Catalogue of the British Museum, su/, lit. " Moatalvân. '' 1. Edition of 1645, fol. 49 b : " General fue el gusto que dib a todos la Comedia, par teaer èl solo piedad, y honra, par ser los lances tan apretados, coma nuevos, ... " 2. The plot in brief is as follows : Lisauro, a noble Vcnetian, has killed a son of the Doge, because he accosted his wife Fulgencia. His property is confiscared, and a premium o~ a tho~sand ducats put upon his head. ln order that this sum may be pa1d to l11S wifc, who hasfallcn into extrcme poverty, he surreaders hitnsclf to the Doge. The latter gcnerously constrains his paternal keJiog, and pardons Lisauro, who has done no more than avenge his honor. (Schaeffer, vol. r, p. 369). 3. This comedia. relates of a Venetian, who in a duel has killed the dishonorcr of bis wif.: · is banished · retums · and surrend\'!TS himself to justice, in order ta save his' fami ly from ;tarvation'. The Doge then pardons him . (Hennigs, p. 85). 4. Schaeffer, vol. I, p. 447 . 5. See, for example, Montalvâo's own words in the Para Todos - edition cited, fol. 22 b : - " [aqui] pongo la Comedia de No ay vida coma la Honra, \ por ser de las mias la que tuvo m,tyor aplauso, . ... " �GEORGE WILLIAM BACON JUAN PÉREZ DE MONTALVAN J W~1ich no other play had attained in Spain up to that rime 1 • Such a flattering reception was long maintained, and bas been repeated even at the present day 2 • The drama is one of our author's best, and was written to defend his literary reputation,. No hay Vida como la Honra. <lerives its success chiefly from the final lines of Carlos, and is remarkably free from the comic element - so much out of place in more than one of Montalvân's productions. The unselfish, noble charactcr of the hero is well drawn, even though at times he seems rather too rbetorical and bombastic; and Leonor is a mode[ of love and devotion. Astolfo represents the typical stage villain, of wbom t here are several other exarnples in Mont,ilvân. We bave an incident similar to Leonor admittinO'b Astolfo in . m1stake for her lover Carlos - Act II. - in the first act of La Monja Afférez, where as Alonso is about to Yisit Ana ' DieO'o ::, enters under like circumstances. No hay Vida coma la Ho11ra forms part of the first day's entertainment in the Para Todos 4, and was printed in part twentyfive of Comedias recopiladas de diferentes Autores é illustres poetas de Espaîia, Zaragoza, r 632 5• It was performed by Roque de Figueroa, before March 28, I 628 ; and also represented in _Ciudad de los Reyes, Peru, two years later, in honor of the birth of Prince Don Carlos, son of Felipe IV 6 • A drama of D . Fernando de Vera y Mendoza has a yerv similar title, No bay G11s/o coma la Honra 7 ; and Paz y Méli/8 I. Cf. La Pœsia defe11did,1 y difi11ida, Mo11talban alabado - in Lâ1;ri111a.s Pa11cgirims - by Doctor Don Gutierre, Marqués de Carea.ga, fol. 17 b. 2. Rivadene:vra, vol. 45, p. xxx1. ' 3. Schack, vol. Ill, p. 386. 4- Edition of 1645, fols. 30-49 b. 5. La Barrera, p. 684. 6. R1~vist11 de Arrhivos, 1901 , p. 705. 7. La Barrera, p. 698. 8, Art. 2 352. 349 cites a comedia, loa, and entremis, all in one, entitled No /Jay Vida coma la. Honra, 6 No hay Vida coma la Olla. Scene: Valencia and a lonely spot in the mountains near by. Olimpa y Vireno. Ariosto's Orlando Furioso, cantos IX.-XI., here furnishes the subject matter ', which Montalvfo has freely modified, however, in conformity to his requirements. Distance is totally disregarded, for armies march back and forth from Thrace to Bolland with as much celerity as if the countries were contiguous. I. Schaeffer, vol. r. p. 446. Of these cantos the portions utîlizcd are as follows : Olimpa, Countcss of Holland, fell in love with Vireno, Duke of Zealand, whilc he was stopping at the Court en route ta Biscay, and he promised to marry her on his return. Saon after, the King al Friesland sent c11voys to Olimpa's fatber, asking ber in marriage for bis son Arbantes. When she declined to become the latter's wife, ber father did not oppose ber; and in the war occasioned by ber refusai she lost both him and her relatives. Together with the countrv the Dutch surrendered her to the King of Friesland, and sbe ,vas married to Arbantes . Meantime, Vireno had leamed frorn Olimpa of hcr plight, and organizing a fleet, set sail from Biscay to aid her. He was attacked and taken prisoner by the King of Friesland, while Olimpa, who - in Bolland - lmew notbing of his misfo11une, killed ber husband and made good ber escape. Furious, the King granted Vireno one year i:i which to effect her capture, and if at the end of that tinte he was unsuccessful, he ,vould be ex..:cuted. Through the united efforts of Olimpa, Orlando, and a cousin of Vireno, the latter was rescued, and a terrible defeat inflicted on the Frieslanders. Olimpa, after creating Vireno ruler of the subjected country, set sait with him for Zealaod, whither hc was conducting the daughter of Friesland's King for betrothal to bis Vireno's - brotber. In spite of Olimpa's great love and fidelity, Vireno tin.:d of her on the voyage, and became enamored of his fourteen year old charge. Olimpa was abandoned by bim on a barre □ and unpeopled island near Scotland, and after being carried by pirates to the islc of Ebude, was about to be devoured by a horrible sea-monster, when she was rescued by Orlando, and became the wife of Oberto, King of Ireland. �350 JUAN PEREZ DE MONTALVAN GEORGE WILLIAM BACON The language of the piece is excellent, except for an occasional blemish of culteranismo, of which some of the specimens ;.1re absurd, and, moreover, wholly oi1t of place. For exarnple, in Act Il., Olimpa, addressing Eduardo, styles herself " La Venus de Olanda" and "De Palas la imagen. "What could be more unnatural than this ! As in El Mariscal de Vir6n and Los Amantes de Teruel, so ben: the heroine, in utter defiance to all the canons of good taste, tells of ber lover's death in a long- discourse, devoid of real sentiment and wholly .artifiçial in style. The gracioso rôle ot Clarin, Vireno's servant, is in the first act singularly out of place, and his nonsense drives even his master to exclaim " Basra ! " lndeed both he and Olimpa's maid, Fenisa, are so much in evidence toward the close of this same act, that their presence can most easily be explained as a drarnatic stop-gap. . The charaeterization of the fickle Duke and his faithful mistress merits great praise; in them we have the extremes of infidelity and devotion. Vireno's temperament is well shown by bis declaration, immediately bef'ore abandoning Oli111pa, Act III. : " No ay amor, gozado el gusto." . No /;ay Vida corna la Honra ~ Act I. - contains a possible allusion to this play in the following lines : " De su querido Viren,p la bell.i Olimpa se queja, mas porque le Jleva el alma que perque el honor k lleva. '' Act III. exhibits a curious and amusing inconsistency. When Roldan informs Olimpa that Vireno has deserted ber, he says that in a boat " [VireuoJ pass6 por el golfo de Calés. " A few pages later, Olimpa, after killing Vireno, relates to Eduardo that she was ,1bandoned by him on an island "que la boca cierra al Ponta y ma:r Egeo." The same spot must then have been situate in both Greece and France sirnultaneously ! 35 1 Olimpn y Vireno was printed in the first volume of Montalvan's Comedias and dedicated to " El Licenciado don Diego de Tovar y Valderrama, Regente por la Universidad de Alcala, de la Catedra de Visperas de Canones. " Ir was performed by the company of Roque de Figueroa, Septembcr n, 1633, and by that of Juan Martinez, May 2, 16 35 1 ; and was printed in pait twenty-nine of Corne,dias de diferentes autores, Valencia, 1636 Ina manuscript in the Biblioteca Nacional this play a.ppears as El Imposible vencido. Olimpia y Vireno 1. Wîth the first title La Barrera 4 attributcs it - as distinct from Olimpa y Vireno to an anonymous author, and states that it is cited by Lope de Vega in his Loa sacramental de los titulos de las Comedias. Scene : Thrace, Bolland, and an island in the A.egean Sea. 2 • Palrnerîn de Oliva. Montalvnn here avails himself of the well known Romance or Chivalry of the same title ,, in which, at pleasure, he bas made various changes. Alrhough the comedia is poetical and enjoyable, it is marred by culteranismo, and gains nothing in general effect through the introduction of the supematural. The devotion shown Palmerin by bis foster-parents is noteworthy, and Lucelinda offers a striking picture of a woman fairly crazed with love. The scabrous scene between ber and Palmerin in Act II. might well have been omitted. r. Rennert, Chnmolog-y, p. 48 . La Barrera, p. 685. 3. Paz y Mélia, art. r 578. 4. P. 556. 5- Schaeffer, vol. r, p. 45 r. For a sketch of the contents of tllis Romance Set! Rivadçneyra, vol. 40, Discurso Preliminr,r 1 pp. xun & XLIV. 2. �35 2 GEORGE WILLIAM BACON JUAN PÉREZ DE MONTALVAN The gracioso is here much out of place, and his feeble attempts at wit are exceedingly wearisome. The magic ring given by Lucelinda to Palmerin brings to f mind the one possessed by Angelica in the Orlando Furioso Canto XI. - , by means of which she escapes from Rogero. The come(/.ia as a whole may be· styled " spectacular ", in view of the important part played by the stage machinery. Palmerln de Oliva was printed in part forty-three of Comedias de diferentes Autores, Zaragoza, r650; and Valencia, 1660 - according to Fajardo '. Scene : Greece. Old French poems - e. g. that in Octavian, Il. 5739 ff. Florisel's victory over the giants is an absurd invention, for they are described as being capable of covering a mile with each step, and of such height that their heads are quite invisible from the ground. Inconsistencies are apparent. For example, in Act I. Trebacio announces to Briana that he has had created a magic garden ; while considerably later a great storm arises, in the rnidst of which a lackey appears before Trebacio, and declares that an enchanted garden has just been formed. The devotion of Clorinda and Florisel is worthy of remark, as is also the scene, after their arrest, between them and Briana and Trebacio -- - Act I. Pqra con Todos Herma11os y Awanles para 110sotros was printed in the second volume of Montalvan's Comedias, and also in part three of Doze Comedias las mas famosas que hasta aora han salido de lus 111eiores y mas insignes Poe/as, Lisboa, l 649 It was performed by the company of Cristobal de Avendaiïo, June ro, 1634 2 • In a manuscript in the Biblioteca Nacional it appears with the title Las À'uenturas de Grecia, Comedia Bui)esca 3 ; and La Barrera~, misled by this double title, cites Las A1:ent11ras de Grecia among the comedias sueltas of our author as a distinct work. There was printed in part forty of Co111edids escofidas a play possibly concerned with Florise1, and enritled Amadis y Niq11ea. lt was written by Francisco de Leyva Ramirez de Arellano 1 • Scene : Greece. Para cou Todos Hermanos )' Amantes para 110s0/ros (Don Florisel de Niquea). The groundwork of this comedia is found in the weli-known Romance of Chivalry of the same title 2 • Although Montalvân's geography is rather confused, the Nicaea mentioned is probably that in Bithynia. The exaggeration and unnatnralness of the theme are matched by the mannerism of the style, \vhich, practically through-out, suffers from wlteranismo. Since the }ubject offt-rs insufficient material out of which to construct a tbree act drama, " padding" is everywhere resorted to, and indeed it is verbosity which mainly attracts our attention. The supernatural element introduced here combines yery badly with those actions having their root in the human passions, and converts into artificiality even what little naturalness there might otberwise be. The magic garden recalls those of the 353 1• 1. La Barrera, p. 708. Rcnnert, Chro11olrgy, p. 339. 3. Paz y Melia, art. 297. 2. 4. P. 268. 1. 2. La Barrera, p. 686. Schaeffer, vol. r, p. 45 r. An outline of the contents of this Romance is given in Rivadeaeyra, vol. ,io, Discui-so Preliminar, pp. XXXIV & xxxv. 5. La Rarrera , p. 701. REVCE HISPANJQCE. B 23 �354 GEORGE WILLIAM BACON La Puerta macarena. The source of this drama is very likely the Chronicle of Pedro Lopez de Ayala, a contemporary of Pedro el Cruel ; but that here, as usnal, Montai van bas borrowed only such features as rnight best serve his purpose, is very evident. He makes no pretext at writing a dramatized chronicle of Pedro's reign, and does not semple to omit what to a historian would be of prime importance: e. g. the revoit led by Albuquerque, and Pedro's alliance with the Black Prince 1 • The subject matter is interesting, and the delineation of character excellent. In Pedro and Blanca extremes of disposition meet; it is not easy to imagine ·how, after ber several imprisonments and long continued harsh treatment, she can remain true to him and believe tbat finally he will become her husband. The characterization of the royal monster is perh_aps the finest piece of work that Montalvan bas done. If his trickery and astnteness almost fascina tes the reader, equally does his cruelty horrify bim 2 • , . Schaeffer - vol. I, p. 443 - writes of La Puer/a macarena as follows: « [ Es] behandelt die Geschichte des Konigs Don Pedro des G.rausamen von Castilien, von seiner Vermahlung mit Doiïa Blanca de Bourbon an, bis zu seinero gewaltsamen Tode ..... " Is not the word " Geschichte " here rather misleading, since it might justify the assumption that the play offers a complete account of Pedro's reign, in place of mentioning certain incidents only? 2. Luis Vélez de Guevara's cornedia El Diablv esta, en Ca11tilla11a also represents Pedro as irritable and despotic - Cf. Schaeffer, vol. I, p. 294 - ; and a like character is given him in El Romance del Rey Don Pedro, beginning "Encima del dura suelo Il tendido de largo a largo". (Cf. Anales for r900-1904, pp. 3841). A list of comedias referring to Pedro and an exposition of his treatment therein, is given by José R. Lomba y Pedr,aja in his El Rey D. Pedro en el Teatro, published in Home11aje a Menéndez. y Pelayo, tom. II, pp. 257-338; Madrid, 1899. \ F:'.:_dinand was probably the first to order that Pedro shou]d be denomin- JUAN PEREZ DE MONTAl,VJ\N 355 Fadrique is also well drawn - unsuspecting, jtist, and dcvoted to bis rreacherous brother. One of the most effective scenes is that at the opening of Act III., Part IL, ,vhere Pedro is about to affix his signature to Blanca's death warrant. In the monarch's soliloquy, our author rises to a 1height that does him no little credit. The Dona Leonor de Guzman mentioned 111 this play was ;!.:._d "eljus'.iciero" in place 9f "elCrueL" - Burke, v_ol. I, p. 338 - ; a command which was re eatc9 by Philip Il. (Cf. Zufiiga, Ana.les de Sevilla, ano 1'f69, - quoted by Burke, ib. p. 338, note 1; and Cabrera, Bk. IX, chap. r2. Seealso notes to Elsegu.ndoSénecade Espa.iia, -Part TI. - p. 301). Ticknor, Lit., vol. II, p. 380, in speaking of Calder6q's El Mrdico de 11i 1fo11ra, states that there Pedro " has an ele,iation given to bis character not warranted by history" ; and in a foot-note hc adds : " About this time, there was a strong disposition shown by the overweening sensibiliry of Spanish loyalty to relieve the memory of Peter the Cruel from the heavy imptitations left resting on it by Pedro de Ayala ..... " A brief account of the conflicting judgments that have been passed by the Spanish upon Ayala's estimate of his sovereign may be found in Ticknor, Lit., vol. I, p. 165, note 18. In an editor's foot-note to Burke - vol. I, p. 326 -, Hume writes as follows " Peter the Cruel bas nmch cause to complain of the verdict that has been handed down to posterity upon him. L6pez de Ayala, who wrote in the , days when Peter's name was anathema, was conspicuously unjust to him, and he bas beea followed by ail subsequent historians. The King, who was not sixteen when he succeeded, dit not assume the reins of government until 1354 when he was nineteen, and most of the principal acts which hàve gained . for him his rnurderous reputation were committed before then, when A!bu. querque "''as practieally regent ". However true it may be that the majority of the "principal acts" above mentioned were committed during the practical regency of Albuquerque, the fact remains that during the subsequent fifteen years of his life the Royal Assassin - as Burke styles him - perpetrated more than enough crime~ to win for him his unenviable appellation. Twenty-one persans - the most of them prominent - afe enum.erated by Burke as having been put to death f'.om 1354 to 1369, and to these must be ad9ed the large numbers who penshed in the dreadful massacres of Tole.c!o, Toro and Burgos. '. So frequemly does Pedro el Crud figure in poetry and the dra111.a, that a Just estimate of his character is of no littl<;: co11sequence. �GEORGE WILLIAM BACON JUAN PÉREZ DE MONTALVAN the mistress of Alfonso XI., by whom he had one daughter and seven sons. Her appearance here is an anachronism, since she was executed in 1351, two years before Pedro's marriage to Blanca One of ber cbildren was the Enrique of our piece, who on Pedro's death became King of Castile. La P11erta 11wcarena derives its title from the name of the gate in Seville through which Fadrique entered on the day of his murder by Pedro - Act III., Part I. The gate is still in \ acti\·e use~ but one would judge from its rather modern appearance that 1t bas undergone a considerable modification . A manuscript of La Puerta rnacarena in the Biblioteca .Nacional, dated 1677, and once belonging to Félix Pascual, autor de comedias, bears a note to the effect that the piece was brought to Valladolid, July 20, 1675 Another manuscript in the same library, entitled Las Macarenas, contains at the end this observation : - " En Perpifüm a 10 de Mayo de 16 3 r la traslad6 P. de Valdés, autor de comedias por Su Magestad i. " Scene : Paris, Valladolid, Toledo, Sidonia, Seville, and other points in Spain. much of the development of the subject that the remaining two are rather weak. Obscure passages and inconsistencies abound; of the latter the following will serve as an exam pie : If Lisandro was heir to the throne of Greece, wby \\'as it given to Aristomenes before the former's arrivai ? The scene in Act II. in ,vhich Aristomenes receives the petitioners, much resembles a scene in Como Padre y como Rey, Act Il., where Carlos is pictured as doing likewise. The object of bc,th these passages is to show the justice of the two rulers. Scene Athens. 1• 357 El Rigor en la I11oreucia 6 pn"varse de pri·var. 2• El Reynar para morir. · • A very inferior production, which deserves notice chiefly from its extreme rarity 4 • lt Jacks action, is so filled with moralization as to be unbearably tedious, and in ail respects is the most careless of our author's dramatic works. The first act contains so 1. See notes to El Rigor e,i la Inocencia, p. 357. 2. Paz y Mélia, art. 2773. 1- Op. cit., p. 303. 4. As far as I am aware, this play exists only in the Biblioteca Palatina, Parma; in the Bibliotheca Nacional ; and in the library of Dr. H. A. Rennert, 1 Philadelphia. The two copies in the Biblioteca Nacional were fonnerly owned by Gayangos. I learn from Sr. Menéndez Pidal, through Dr. Rennert, that Gallardo - vol. III, col. 12 I 3 fin - is evicjcntly wrong in stating that th(\fe This is one of the rare plays of our author, being found, as far as I am aware, only in the British Museum and Biblioteca Nacional. lt treats a theme similar to that of Tirso's Privar contra su Gusto 6 el Privado par Fuerz.a 6 Los Acasos 1 , but has a different plot. Like several other dramas of Montalvan, El R1gor en la I11oceucia is very tedious owing to the plot being too weak for a play of such length. 1t would seem that a slight anachronism has been committed in Act 1. in causing Manza no to speak of the reign of Alfonso as " esta nueva Monarquia ", since Alfonso ascended· the throne when only fourteen 1, and he must haœ been considerably aider is in the Biblioteca Real, Madrid, a volume entitled Co111edias dt Moreto, ) tomo UI, which cont~ins among other plays six comcdias sueltas of MomalYan, , El Rey11<1r parn monr mcluded . No such book now exists th~re, and if Gallardo ,' actually saw the volume, it must have since mysteriously disappeared. I. Schaeffer, vol. 1, p. 364, gives an outline of the argument of this play. 2 • Born in 1310, Alfonso Xl. succeeded his father two years later, but did not assume the reins of government till 1324. His character was harsh and brutal. He soon abandoned his first wife, Constanza Manuel - a child of some tweh·e years at the time of hcr m:irriage in 13 2 5 - , and then married �GEORGE WILLIAM BACON tban that in this drama. There is no statement, direct or indirect, "'ihich may enable one to determine in what year the action is supposed to take place. The Queen who figures herein is Maria of Portugal, whom Alfonso married in 1328. In El segundo Séneca de Espana, Part II., Act I., it is the Alfonso of the present piece and his father, Fernando IV., whose tombs are mentioned. Scene : Arévalo, Toledo, and Arjona. El segtmdo Sénecn de Espaiia. PART FIRST. Ticknor I states that Cahrera de C6rdoba's Filîpe Seg'tmdo, Rey de Espaiia ~ has probably furnished to Montalvan the material for this piece ; and Schaeffer 3 remarks that Montalvan bas here reproduced some of the most effective scenes of Enciso's El Principe Don Carlos. The first of rhese assertions is correct, but exception must be taken to the second, for it is not known whether Enciso's play preceded Montalvan's or not. The earliest edition of El Principe Don Carlos with which y;re are acquainted. Maria of Portugal. The latter bore lùm two sons, Fernando and Pedro, the latter of whom was known as Et Crnel. Alfonso's liaison with the beautiful .and noble Sevillian, Leonor de Guzmân, extended over a period of twentv years, and was terminated only by hrs death. She bore him seven sons and one daughter, and exercised no little influence over him in State affairs. Alfonso died of the plague in 13-50 while besieging Gibraltar, and his mistress was murdered, at the instigation of Maria the following year. Leonor appears in La Puerta macarena. r. Vol. II, p. 319, note 3~. 2. Madrid, 1619. 3. Vol. I, p. 442. JUAN PEREZ DE MONTALVAN . 359 is that of 16 34, while El segtlndo 5éneca de Espaiia was first printed in the Para. Todos, two years previous. I believe, however, that Enciso has the better daim to priority owing to his reputation for originality 1, since our author's genius was distinctly adaptive. In any event, the two plays have a number of scenes in common, which is a strong indication, I think, that one has served as a model for the other. Mention will be made of ail these like scenes in the following exposition of Montalvan's indebtedness to Cabrera. A comparison of El segundo Séneca with the latter's work shows that ten of its scenes, without a doubt, have had their ultimate 2 origin therein. These sceoes and the corresponding passages in Cabrera are as follows : ( r ).- Act 1. The revoh of the Flemish. (Cabrera, Bk. VU. chap. 4). (2). Act I. Don Juan is sent to quell the uprising of the Moors in Granada. (Cabrera, Bk. IX. cbap. 1). (3 ). Act I. Felipe effaces the word " Don " in the petition of Diego Oviedo y Vargas read to him by Santoyo. (Cabrera, Bk. XII. chap. 3). (4). Act I. Santoyo mistakes the inkstand for the sand-box. (Cabrera, Bk. XI. chap. 3). (5 ). Act II. Carlos 'attempts to kill the Duke of Alva. ( Cabrera, Bk. VII.chap. 13.) (6). Act II. Felipe prepares to dispatch the Duke of Alva to Flanders. (Cabrera, Bk. VII. chap. 13). 1. Cf. Schaeffer, vol. I, p. 405 : "Enciso war ..... ein durchaus ernstes und selbstiindiges Genie von origineller Erfindungskraft. " Hurtado de Mendoza speaks tlms of Enciso's Jûpiter vengildo: - " Junto con ser tan ingeniosa y grave ..... " (La Barrera, p. 133). 2. 1 say " ultimate ", because if El Prit1cipe Don Carlos nappened to precedc El stgundo Sé11em, then those scencs which the latter contains in common with the former may have been taken by Montalvân not direct from Cabrera, but from Enciso, who had already derived them from Cabrera. �360 GEORGE WILLIAM .BACON (7). Act III. Carlos asks Felipe to send him to Flanders. (Cabrera, Bk. VII. chap. 2.) (8). Act III. Don Juan is chosen general of the League against Selim and Mustafa. (Cabrera. Bk. IX. chap. 20.) (9 ). Act III. Ana of Austria's betrothal to Felipe, and its conditions. (Cabrera, Bk. VIII. chap. 26 ; Bk. IX. chap. I 5.) (10), Act III. Felipe meets Ana of Austria at Segovia. (Cabrera, Bk. IX. chap. r9.) Ali the above are close imitations of the original, a few of them, indeed, being a]most verbal transcriptions 1 .. 11, ~ ' ., 1 ~I :~;· I• ., '/,- 1. Compare, for example, no. 3 with the words of Cabrera. In Montai- van: - JUAN PÉREZ DE MONTALVAN Five - nos. I, 4, 5, 6, 7 - are found also iù Enciso's production 1 • In addition to these scenes, there are others which shO\v unmistakahle indebtedness to Cabrera, but of which the treatment is more original. The dramatist has merely borrowed the fact from the historian 2 , in order to place it in settings of bis own. I have therefore given these scenes a separate classification. They are the following : - ( 1). Act I. The King pardons the son of Octavia, condemned to de.1th as a murderer. (Cf. Cabrera, Bk. I. chap. I 3, where Felipe is yet but Prince, and ruling in the absence of bis father.) (2). Act I. Felipeworks far intothe night 4 • (3). Act I. The King interchanges the petitions of Pedro de Haro and Antonio Pimente! for the Bishoprics of [Lee Santoyo]. Este dice que Don Diego de Oviedo i Vargas, que foe hijo de Alfonso de Oviedo, pide un gobierno que tuvo su padre en lndias. Rey ... ... reparad en que cl hijo se llama don. No el padre . Pues escribid, que el gobierno le doi, COD ta! condicion, que no tenga don, supuesto que no le tuvo Sll padre ; Yo mismo borrarle quiero de mi mano; . . . . conozca el necio que nadie llego a su padre. In Cabrera : - "En el traspaso de un oficio de uno de Toledo en su hijo borr6 [Filipe) el don, i escrivio, No le tenga pues no le tiene su padre. " The same sentiment is found again (in Montah·àn) at th e close of Act II. Rey . Carlos, ningun bijo iguala a su padre. . . r. No. 3 I do not include among tbe scenes of El Principe Don Carlos, although at first sight this might be charged as an omission. lt is true that in that play - Act III. - the King likewise causes the erasure of the word "Don ", but in a matter of sale - a document very different from the petit ion of Oviedo y Vargas. Cabrera, Bk. XII, chap. 3, narrates the two incidents as separate and distinct. 2. If Enciso's drama is prior to ours, then - exactl y as before - the scenes of this class common to both plays may have corne to our author from Cabrera through the medium of Enciso. 3. "Saliendo el Principe de Palacio le pidio con lagrimas una 1nuger, tenplase la sentencia de muerte, que dio a un hijo suyo la sala del crimen, por aYer muerto a otro. Don Filipe sin mudar el cavallo, se inform6 del Alcalde de Cone que iva en el aconpafiamiento, i dixo: La sentencia està bien, i porque no ai parte, i le aproveche averme detenido i rogado, denle luego el prcso, i salgan de la Corte. " 4. Rey. Que hora serà ? Santvyo. Son las onze. Cf. Cabrera, Bk. VII, chap. 22. " Recogiase tarde al reposo. " Also Bk. XII, chap. 3. " Fue en el despachar nunca cansado con reparticion del tiernpo, i ;rnn usurpaba al descanso algunas oras ..... " �JUAN GEORGE WILLIAM BACON Seville and Le6n respecti vely '. (Cf. Cabrera, Bk. XI. chap. II 2 . ) (4). Act II. Prince Carlos asks Don Juan to aid him in killing the Duke of Alva . (In Cabrera, Bk. VII. chap. 22, the Prince requests Don Juan to assists him in escaping to Germany, where he wishes to marry his cousin, Ana of Austria. Enciso - Act III. - represents him as doing likewise.) (5). Act III. Carlos plays pelota in order to forget the ague. (In Cabrera, Bk. IV, chap. 2, this game is included among the sports suitable to the Prince i.) Rey. Pues Santoyo, si el gobierno ha de venir ajustado con la profession del duei'io, la consulta viene errada ; mas trocando los sugetos estarà bien ; esperad, i vereis como lo acierto. Don Antonio Pimente! es para Sevilla bueno, pues es tan gran Canonista, i en essa Ciudad sabemos que por la gente i los tratos hai inquietudes i pleitos. El Religioso [i. e. Don Pedro de Haro] es mejor para Leon, que los Pueblos de la Montana i Galicia mas han menester Maestros de costumbres que de leyes, i un Teologo, en efecto, tiene mas obligacion al Pulpito que à los textos : trocadlos por cuenta mia. 2. "Conforme a la capacidad de los subditos les daba [ el Rey] los Obispados. A los de las Montafias, Asturias, Galicia i Castilla menesterosos de dotrina, Teologos ; a los de Estremadura i Andaluzia mas litigiosos, las mas vezes Canonistas i de valor, para conservar la paz de que tanto cuidaba ..... " 3. " Fuese exercitado en caçar, andar a cavallo, justar, tornear, manejar las armas, jugar a la pelota. " PEREZ DE MONTALVAN ' ( 6). Act III. Carlos suffers an attack of the ague. (Cf. Cabrera, ' Bk. VIII. chap. 5 1 . ) (7). Act III. Carlos is wont to drink very cold \Vater, and to stay out late at night (8). Act III. Carlos retires from Court to Alcalâ for the benefit of bis bealth. (In Cabrera, Bk. VI. chap. 5, the Prince is sent to Alcali by his father to learn " Latin, aracias i <gentileza. " In Enciso - Act I. - he goes b there to visit Violante.) (9). Act III. The King orders the sculptor Pompeyo to finish several bronze statues for the Escorial. (Cf. Cabrera, Bk. XI. chap. 17 3 .) 2 .) I. 1 'Il '11 It.will be observed that more freedom bas been used in the treatment of these scenes than in those of the former class. Four -nos. 2, 5, 6, 7,(thelastpartofthe latteronly) - are found also in Enciso. There remains still another class - those scenes which Montalvan and Enciso have in common, but for which I can find no authority in Cabrera. They are three in number : ( 1). Act. II. Carlos calls upon Leonor. Here, the Prince, refused admission to her house, speaks from beneath ber balcony. ln Enciso - Act I. - he enters the r. " ..... enferm6 gravemente de tercianas dobles malignas, .. . " Rey . ... decidle [al Principe] que vaya [a Alcala), con que reforme el beber con tanta nieve, i el salir tanto de noche. Cf. Cabrera, Bk. VIH, chap. 5. " Con la indignacion i corage el fogoso Principe abrasado, i del calor del Estio bevia con .:cesô ag~a de u_na_ gran fuente de nieve, ..... " Also, op. cit., Bk. VII, chap. 22. " Saha el Pnnc1pe de noche por la Corte con indecencia i facilidad, ..... " 3. "Ponpeo Leoni Milanes, i Iuan Baptista Monegro T~ledano [fueron] estirnados porque hazian estatuas que enbiaban al que las rmraba muda voz, ciega vista, sangre fria, aquel de bronze, de marmor este. " 2. �GEORGE WILLIAM BACON JUAN PÉREZ DE MONTALVAN apartmenc ·of bis inamorata, Violante, and attempts to Iock the door behind him. (Violante is the niece of the Duke of Alrn ; Leonor, the daughter of one Meneses). Act III. The Ring, on his birthday, is vexed that Carlos does not corne before him ' . (Cf. Enciso, Act r.) 2 • (3). Act III. Carlos complains of his father's severity. (Cf. Enciso, Act I.). f:-- corn p~rison of the dramatis perso11ae of the tvm pieces may be mteresung. Enciso's production has thirteen named cbaracters while Montalvan's bas sixteen. Of the latter, five are found i~ Enciso. They are : - Felipe, Carlos, the Duke of Alva, Cardinal Espinosa, and Don Juan of Austria i . The Duke of Alva, however, plays a far Jess important part in Montalvan than in Enciso, appearing once in the former and eleven times in the latter, · ' 1. Rey . I decid, cl dia que cumplo aiios fuera razon que me viesse ? 2. Rev. En el dia que se haze fiesta a mis aûos no 111 e assiste ? 3, Schaeffer, vol. I, p. 442, states that the rôle of Don Juan of Austria is a valnable addition of Montalvan to the characters of Enciso's drama. This error is no doubt due to bis having inadvertently confused the genuiue \'ersion of El Principe Don Carlos with the re.vision of Cafüzares, since iu the latter there is no Don Juan. That he \,·as avare of the existence of this second \'ersion _ although uncertain as to its author - is proved by his words on p. 4oo (Op. cil). The confusion which long prevailed regarding the two versions of El Principe Dau Carlos has only lately been dispellcd by the researches of Dr. J. p. W. Crawford of the University of Pennsylvania. (See Modem Lm1g11age Noies for December 1907, pp. 238-241; El Pri11cipe Da11 Carlos of Xi111c'11ez de Euciso). In the Biblioteca Nacional he discovered an autograph manuscript of Caûizares corresponding closely to the later version, which ,vas first published as far as is known - at Valencia in 1773, as a suel/a. while the reverse is true of Don Juan. In Montalvàn he appears seven times, in Enciso but once'. Monteni is an important personage, peculiar to Enciso ; while his Don Diego de C6rdoba, another important character, really stands for the Santoyo of Montalvan. In like manner, Violante takes the place of tlk latter's Leonor•. El Segtmdo Séneca - Part I. - opens with the sending of Don Juan of Austria against the Moors in Granada in the year I 569, and closes with Felipe's rnarriage to Ana of Austria in I 570. Unlike Part II., we have bere but fe,v anachronisms, of whicb the most conspicuous are these : Prince Don Carlos is represented as still alive as late as the opening of Act III., - 1570 - , while, in reality, he <lied two years previous. It was in 1567, not in 1570 (?) as. here given, that be attacked the Duke of Alva. Again : - Don Juari's appointment as general of the League is made almost coïncident with the marriage of Felipe, while, historicall y, it did not take place till the following year, 15 7 r. The death of Isabel offrance, Felipe's thir<l wife, is correctly given as occurring in 1568 ;. Sincc Montalvan has treated his subject more like a chronicler than a dramatist, it is notas a drama but as an example of character delineation that the play possesses interest. In this respect it is one of our author's best, and is well \VOrthy of commendation even if inferior to Enciso'.s production. Felipe is, with someexceptions, faithfully portrayed- haughty, austere, shrewd, pedantic," disliking persona! confl.ict, fond of keeping late hours, In the love scenes in Enciso his place is taken by Fadrique. It is only on account of the difference in n:irnc, that I have not includ~d Don Diego ami Santoyo, Violante and Leonor, among those charactcrs com111011 to both plays. 3. This date can be deduced from the words of the Cardinal, Act III: ~ "Dos aiios ha que la Reyna li•• ··•• li passô dcsta a mejor vida." The year in which he is speaking is 1570. I. 2. �366 GEORGE WILLIAM BACON a stickler for the observance of trifles ', and a f,tnatic adorer of his Church 2 • Prince Carlos is drawn w ith equal skill - a sickly youth, diametrically opposed to bis father in ail things, stubborn, conceited, intensely ambitious, and possessed of an ungovernable temper. Cardinal Espinosa, the Duke of Alva, and Don Juan of Austria likewise appear as in life. The long scene at the close of Act I., wherein Felipe passes upon a number of petitions read to him by Santoyo, is most entertaining, and is inserted with the evident in tent of exhibiting the ruler's charaçter. In discussing Montalvân's indebtedness to Cabrera, I have already spoken i of the petitions of Don Diego de Oviedo y Vargas, Pedro de Haro, and Antonio Pimente!, which are presented to the King in this scene. Similar scenes are found in El .Reynar para rtuJrir and Coma Padre î' coma Rey. Felipe's definition of perfect nobility, as given in the scene above mentioned 4, recalls the words of Juvenal on the same r. It is this trait in tlie King that Enciso represents - Act III. - as being so distasteful to Carlos. When Felipe orders him to have a letter rccopied on account ofits faulty orthography, the Prince remarks in an aside: " i Que menudencia ! " And again, because his father draws his attention to a trifling error of the Secretary in the applieation of a title, he mutters : « · 1 PuntualiJ.ad afectada ! " No wonder that such exactitude sbould have been so repugnant to Carlos's eccentric nature. 2. On the King's character, see· Cabrera, Bk. I. chap. I; Bk. V. chap. 17; Bk. X. chap. 5; Bk. XI. chap. 3 ; and Bk. XII. chap. 3. 3. See p. 361. 4. The lines run as follows : " Y la perfeta nobleza es aquella, que sirviendo merece un hombre de bien, por su virtud, y su esfuerzo. Que ser noble par herencia, es suerte, no entendimiento, pues antes de aver nacido ninguno merece serlo, que no ay merito sin alma . " 1 JUAN PEREZ DE MONTALVAN subject - Satire VIII. The latter demonstrates that distinction is mercly persona!, and, even though we may derive rank and titles from our ancestors, we cannot be considered truly noble if we degenerate from the virtues by whicb tbey obtained them. The incident of the King granting a pardon to the son of Pompeyo, the sculptor, - Act III. - brings to mind the story told by Fitzmaurice-Kell y' of Felipe the Fourth and tbe pain ter Herrera, for both Kings would stay the course of justice to protect an artist El segundo Séneca de Espaiîa forms part of the Para Todos, - edition of 1645, fols. 6-216 - and, erroneously attributed to Gaspar de Avila, was also printed in part twenty-five of Comedias recopiladas de diferentes A ut ores é illustres Poetas de Espana; ZaragozaJ 1632 •. It was performed by the company ot Tomas Fernândez 4 • ln his Perinola, Quevedo visits upon it the harshest censure î. Scene: Madrid and Segovia. 2 • P. 288. A most striking contrast to such clemency is afford.ed by the Emperor Tiberius. When a workman presented him with some samples of malleable glass of his own invention, in place of rewarding him he caused him to be executed, lest the v~ùue ol gold be depreciated through his discovery. (See Petronius, Satires, chap. 51 ; Dion Cassius, LVII. 2 r ; and Pliny, Na turnl Ilistory, XXXVI. 26). 3. La Barrera, p. 684. 4. Para Todos, edition of 164 5, fol. 5h. 5. As an example of his criticism, take the passage - Act I. - wherein Don Juan's servant speaks of Leonor as follows : " No la 11es paner la neroa à un papel, que en el color el pape! y el resplandor de la mano en un nive! se mi ran ? pues ella y èl parecen vistos de piano, èl, pape! de aquella man.o, y èlla mano de pape!. " 1. 2. �368 GEORGE WILLIAM BACON El seg1111dv Séneca de Espana. PART SECOND. The action here covers a period of ten years, i. e. from the disablement of the Armada in I 588 till the death of Felipe in 1598. Chronology is handled much more freely than in Part I., and, in my opinion, the glaring anachronisms are wholly unjustified. Although Queen Ana of Austria died in I 580, she must be regarded as still alive up to the close of Act I. at least, ber death beino- füst referred to at the opeaing of the second act '. That she shottld appear at ail seems needless, since only eight lines are assigned to her, and these have no special import. Of these lines Quevedo causes one ofhis intcrlocutors to say: - " Visto de ..... , es casa de cie.gos, coma cristia11a, rnanada y Jafacia. i Pues bien considerado, una mana que parece mana de papel sera muy notable, compuesta de plicgos en lugar de dedos ! Ese poetilla liasta en los concetos gasta de su ~ienda. " . · Anotbcr replies: " ..... y no es cl primera que hizo csos rcvoltillos; qut! yo me acuerdo de haber leido en una comedia del Sastre dt: Toleè!o, esta copia al Jil,1110 , pc.:lo de una dama : Si de aquese pelo apelo Pelimuo, vendré a ser La piel del diablo, Riselo ; Y pues tercio en tu querer, Quiero ser tu terciopelo. Inf6rmcse vucsamerced si la mano de papel erc1 de las de costera, que asi las ha vendido su padre. " (Text of Rivadeneyra, vol. 48, pp. 470-471). r. Rey. Quando falta la R<.:y na, y la mucrte està gozando prenda tan alta, solo la muerte podrà çonsolarme de su Ialta. JUAN PÉREZ DE MONTALVAN Again : Prince Fernando is one of the dramatis personae, while, in reality, he died in 1578. He abruptly drops from sight about the middle ot Act I., without any allusion being made to bis death. As if it were not enough to ha\·c committed such an anachronism concerning Fernando, Montalvàn represents him as ten years old, whereas, in trurh, he lived only six years and ten months. His father remarks to him whilè standing b~fore the tomb of Fernando IV., Act 1. " ....... ............ y pienso que de vucstra misma cdad qued6 govemando el Reyno. " Now this monarch came to the throne at the age of ten, - born 1285,crowned 1295 -therefore the Prince must necessarily be of the same age. It is not clear what advantage is derived froœ the introduction of Fernando. Why could not Prince Felipe haYe been substituted for him in the beginning of the piece, instead of withholding bis appearance till the middle of Act II ? lt is surely not for the sake of contrast i.n the characteristics and temperament of the tw·o children that we have such a violation or chronology, for they are not pictured as being so opposed. Just as abruptly as Fernando vanishes does bis brother Felipe appear, and from a line assigned to the King it is possible to deduce the approximate age of the former at tbis time. ln the second act, shonly before the entrance of the Prince, Felipe declares : " qua renta an.os y mas he governado ". As he came to the throne in 155 6, the year in which be is speaking cannot be earlier than 1596. Prince Felipe was bom in 1578, and would therefore be at least eighreen years old '. Outside of this, the onl y 1. The statement made by the King - Act II : " (La muerte) solo me ba d_cxado Il a Isa tel y a Felipe por despojos ", is quite in accord with history, smce Dona Catalina Micaeb died in 1597, REVCE lllSPANlÎ2,CE. B 24 �370 GEORGE WILLIAM BACON allusion iu the play to which we eau assign a date is the disablement of the Armada. The first· part of El se![ttndo Sineca is so far superior to the second, that 011e cannot but regret that the success attained by it induced our author to put forth a sequel. Although both parts are written in a style more cbronical than dramatic, yet in general effect the second suffers greatly, owing to its loose construction and the inclusion of several scenes extremely weak an,d uninteresting. Only · a dearth of subject matter would seem to be responsiblë for the insertion of such a scene - Act 1. as that between the King, Rana, and Banola ; and the same criticism might be applied to the tèdious and puerile dialogue sarne act - be>tween Diego and Morata regarding the portrait of the fonner's mistress, Blanca. The ease with which the latter name !ends itself to punning, has offered too great a temptation for Montalv:m to resist, as is shown by the following passage : The following table of Fe:lipe's childre11 is derived from data fumishcd by Cabrera and Florez, (Reinas Catoli,as) . 1. Prince Carlos. Born at Valladoli_ d, July 8, 1544. Died at Madrid, July 24, 156"8. Son of Maria of Portugal. 2. Princess Isabel of Austria. Born at Segovia, August I 2, r 566. Died at Bn\ssels, Oeeen1ber, 163 3. (I carrnot leam the day). J, Princess Catalina MicaeJa. Born at Madrid, October 10, 15 67. Died at Turin_, November 6, 1597. (She and Princess lsabel were daughters of Isabel of France). 4. Prince Fema11do. Bom at Madrid, December 4, 1571. Died a.t Madrid, Octobèr 18, 1578. 5. Prince Carlos Lorenzo. Born at Galapagar, August 12, r 573. Died at Madrid, July 9, 1 574, 6. Pri11ce Diego. Born at Madrid, July ro, 1574" Died at Madrid, Novcmbcr 21, 15,82 . 7. Prince Felipe. Bornat Madrid, April 14, 1578. Died at Madrid, March 3 I, 162 L 8. Priucess Maria. Born at Madrid, March 21, 1580. Died at Madrid, AugLtst 4, 1583. (Nos . 4, 5, 6, 7 & 8 were children of Ana of AJ.1stria). JUAN PEREZ DE MONTALVAN Dieg0 : Mi amor a Blanca dcsea, sin mas dote que esta blanca ; mi blanco es Blanca mas blanca que el sol, <y razon no es que darme en bfanco, despues de amar seis afios a Blanca ? What would Quevedo sa y of this l As in Part I., so here we have a most faithful delineation of certain traits in Felipe's character. If his traditional saug-Ji'oid is clearly rnanifested on hearing the news of the disablement of the Armada, just as plainly appears his devotion to the Church in his approval of the judicial decree condemning a heretic to be bumt alive at the stake 1 • A rnost n~teworthy quality of the King was his power of penetrati_o n, the mind and characte.r of everyone being like an open book to him. To use the words of Cabrera.\ " conocia a los hombres ", and indeed no one knew better than lm the type of man best suited to every office. This acuteness is illustrated by our author in Felipe's rejëction of the petition of Monsalve for the Magistracy of Malaga - Act Il. U pon learning that Monsah·e is of small stature, the King declares tbat he is not suitable to govern a city so turbulent as Malaga, for his person would occasion laughter in place of inspiring respect. How true to life would be the Felipe of our drarna, if Montalvan had been sufficiently impartial to picture with equal fidelity certain other traits, which would not have redounded to the King's credit ! It is to be regretted that lines such as the following detract from the accu.racy of a characterization whicb, in so man y respects, is strictly in harmony with history 1. Cf. his declarntion - Act I.: "Primero es la Religion Il que la salud "; and also, in Part I. Act I., his sentence to death of a subjcct for haviug stmck a priest in the face. 2. Bk. XI. chap. 3. �37 2 GEORGE WILLIAM BACO~ Rey: Yo imagino el ser Rey es aunque deidad Diviua, como tenei- un oficio que m~ pagan que les sirm mis vassallos con su h:izicnda, s.1ngre, vohmtad y vida. Si no les sirvo y acudo de conciencia y de justicia, les devo restituir qua11to me ofrcccn y aplican, (Act I.) And again - Act II. : " En quanto al pueblo, siempre hc procurado fo paz comuo y gcncral aumento. " Thesc words have a most untrue ring in the mouth of Felipe. Secretary Escovedo, who has incurred the King's displea.surc through sending him many iroportuoate letters, - Act I. -, is mentioned in Cabrera, Bk. XII. chap. 3, as vexing the King with bis dernands. Cabrera's words are as follows : - " Estaba el Rey enfadado i ofendido de Escobedo, anbicioso i libre en pedir i advenir fuera de lo gue le tocaba, entrerî1etido, prcsumido, i de si demasiadamente satisfecbo. " Since Cabrera docs not specify tbe nature of these demands, it is of course impossible to determine whether or not Escovedo's intervention for bis brother, which ,ve haœ in the drama, is an original conception of Montalv[m 1 • The scene in the royal burial \"aulr at the opening of Act I., was doubtless inspired by a passage in Cabrera, Bk. IX. chap. 12. 1. lu Bk. XI. chap. ,, year 1575, the historian speaks thus of the Secrct;try's insisteoce that Don Juan be sent to take charge of the army in Flaoders: " No desistia punto de inportunar al Rey por el desp::.c.ho de don Iuan, ..... , de manera que le era molesto, porque le cobiaba papcles libremcnte escri10s. " JUAN PEREZ DE MONTAL VAN 173 The words of the histori:111 are as follows : - " Paso [el Rey J la Semana anta en San Geronimo, i la Pascua oyô Misa en la Catedral [de C6rdoba]. Mirando su antigueJad i manera de edificio Arabigo, quiso ver el sepulcro del sen or Rey don Alonso que murio en el cerco de Algezira ... , i el del Rey don Hernando. Turn la gorra quirada en ranto gue estuvieron las caxas abiertas, no solo con acato, sino con reverencia 1 • Reparô en que don Hernando tenia estoque, i don Alonso no. Preguntando la causa, dixo el Dean, le sacô un sacristan, i le quebrô en una ocasion. Mandè tener mas cuidado, i que se le pusiese su estoque, diziendo, No era razon ponerle al Rey su senor el que no fuera de Rey i ... En sus Alcaçares de Segobia vio que los bultos que ai _en la sala ... tenian sus estoques como en solio, i el Rey don Pedro sobre escrito El cnrel, la puma en la peaiia ; 1. Cf. the lines of the drama : - Rey. Principe, quitaos la gorra, y hazcdlos acatamicnto, como vo. 2. Again: - CarJe11t1l [ni Re)']. Sei'ior, un sacristan dcste T em plo, a cuyo cuydado cstava su limpieza, poco cuerèo, se la li.c espada] quità y la perdir'J. Rq. Pues ponelde otra al momcnto, y buscad de aqui adclante para cuidar de su assco un Sacristan sin codida. Dirgo. Esta le pondrè. Rey. Tencos, que lo he mirado mejor, y no parcce bien hccho que tenga un Hey ran ilustre, y tan a!t:ntado, azero que no sea de otro Rey. La misma que trnigo quiero ponerlc; . . . �374 · GEORGE WILLIAM BACON JUAN PÉREZ DE MONTALVAN ins.:ribiole El justtctero, i pusole su estoque en alto. • " The story of Fernando the Fourth's singular death, which is related in the vault by Felipe, is found in the Cr6nica of the former, cbap. XVIIT ; in the Cronica of Alfonso the Eleventh, cbap. III; in the Valerio de las Historias escolétslicas of the Archpriest of Santibai'iez, Diego Rodrlguez de Almela, lib. VI. tit. III. cap. V; and in the Cr6nica abrtviada of Diego de Valera. Subsequently, it appears in Zurita, Argote, and Mariana In the drama, it is utilized by Lope de Vega in bis La inocente Sangre dedicated to a descendant of the family of the two brothers, Carvajales, the victims of Fernando's persecution, and published in part 19 of his Comedias 3 - ; and by Antoine-Joseph, Count of Barrnel-Bauvert, in bis Ferdinand IV., roi de Castille, dit l'Ajourné, which is dedicated to the Duke of San Carlos and dated 18134. The second part of El segundo Séneca de Espaiia was printed in the second volume of the comedias of Montalvan. Scene : C6rdoba (?), the Escorial, and a spot near the latter. 2 • I. Card. Este seîior es don Pedro, Rey. A los pies tiene un letrero. Card. Dize cl Cruel. Rey. Pues borralde, y poned el Iusticiero, que este atributo es indigno de un Rey Christiano, a lo menos. It will be noticcd that Montalvân places this last scene also in the royal tomb, quite at variance with Cabrera. The latter gives the year of the occurrence as I 570, while Montalvân makes it coïncident with disablement of the Armada, or 1588. 2. See Obras de Lope de Vera, publicadas por La Real Academù1 Espa,ïola, Tomo IX, Madrid, 1899, p. LXXVII. ff., where are quoted in full some of the passages alluded to. 3. Ibid. 4- Paz y Mélia, art. 1257. 375 El Seitor Don Juan de A11stria. Schaeffer ' remarks that this piece is connected historically with both •parts of El seg11ndo Séneca de Espdiia; and, to be more explicit, be might have added : " It is a chronological sequel of the first part, sin ce it opens in 1571, the year after the close of the latter. " The action extends over a period of five years, i. e. from the visit of Alexandrino, the Papal Legate, in 1571, to the sending of Don Juan to Flanders in I 576. The author shows, on the whole, considerable respect for historical fact as well as cbronology. Of the latter tbere is but one gross violation. Margarita of Austria is pictured as being in Flanders on Jùan's arrivai in 1576, while, in truth, she retired to ltaly in 1568 and remained there till I 58 r. In that year ·after Juan's failure to restore Spanish authority in the Low Countries - she returned to Flanders at Felipe's request, and assumcd charge of the general government, whi]e her son, Alexander Farnese, took com mand of the army 3• A Jess obvious anachronism is perpetrated in the characterization of Prince Fernando, who cornes forth at the close of Act II. to say farewell to Juan on bis departure for Flanders. As Fernando was born in 1571 4, he was acrually only five years old 2, Vol. 1, p. 447<. See Cabrera, Bk. Vill. chap. I (1568). "Madama Margarita pidio licencia al Rey su hermano para ir a descansar a su ciudad del Aguila, i diosela i grande ayuda de costa. A treinta de Dizienbre partio de Bruseles con su hijo i nuera, i baxo a Italia." 3. Cf. oji. cit., Bk. XIII, chap. 4 (1581). "Despues que llego a Flandes Madama de Parma, fue visitada en Namur de su hijo i de los principales de los Paises ..... Margarita que avia dexado con poco gusto a Italia, i la quietud que gozaba en el Aguila solo por la grandeza de su hijo unico, se cntretcnia con destrer.a en tomar el peso de tan grave i molesto govierno, espernndo ocasion para transmontar a ltalia. " 4- Sec Table, p. 370. 1. 2. �GEORGE WILLIAM BACON JUAN PÉREZ DE MONTALVAN at this time; yet the lines assigned to him presuppose him to be of an age much more mature. For example, what child of five could speak thus : - thereof ', I can find no reference whatever to such a demand of the Pope, and rherefore believe it to be a pure invention of Montai van. As in El segundo Séneca., so here the dramatist bas devoted his main efforts to the delineation of character, and with admirable success. Any unfavorable impression that might be produced by the disconnected and chronical treatment of the piece, is quickly dispelled by the excellence of the individual characterizations. Those qua:lities ot Felipe that we have already met \vith in El segundo Séneca are here again manifested, and, in addition, his extreme jealousy of Juan. To what smallness this feeling leads the King is illustrated by bis addressing lus brother, upoli the latter's departure for Flanders, - Act II., - merely as "Vuecelencia ". Juan expected" Vuestra Alteza ", and is justly vexed at the slight, for ,vhatever honor Felipe could have shown hirn, was indeed ricbly deserved by one who had fougbt so valiantly for hîs ruler. In the document enumerating the various appellations to be employed for the different members of Church and State, -Act II. -, Juan has just read : " A la Infanta Margarita, Il en publico y en secreto, Il Serenissima y Alteza [ha de llamarse]"; and tbis would only add to his chagrin. Cabrera gives the title "Alteza" to Juan, and t!1at Felipe should deny it seems strangely at variance with bis professed affection " Esta, don Iuan, no es merced, sino fineza de amot, )' esta a vos os la deveis, porque la aveis grangeado con ser quien soys, y con-ser del Rey, mi seiior, hermano. " Montalvfo evidently had in mind a Fernando much older than the true one. · Passing to violations of historical fact, ,ve find a conspicuous example in the representatiorr of Margarita of Austria as the mother, instead of half-sister of Juan. Montalvan certainly made tbis curious change for dramatic effect, bei.ng influenced, I believe, by the considerable difference in their ages. Since Margarita was born in r 522 and Juan not till twenty-five years la ter it would require no great effort of imagination to tramform her into his mother. The dramatic effect of their meetino-0 on bis arrivai in Flanders is heightened not a little by such a change. What appears to be another violation of history, is the Pope's request 0f Felipe that Juan be given the title of Lord of Tunis and Goleta - Act II. Although Cabrera alludes to Juan's designs upon Tunis, and his desire to make himself King 1, Margarita was the illegitimate daughter of Charles V. and Jeanne Van der Gheynst, wbose father was a tapestry wea.ver of Audenarde. Juan was the natural son of Charles V. by a woman of middle station, Barbara Blomberg, of Ratisbonne. That the Emperor had at least one other natural child - a daughter, Tadea de la Peiia- is certain, and some authorities attribute to him two more illegitimate offspring - a son, Piramo Conrad of Austria, and a daughter, Juana. His legitimate children were Felipe II. ; Maria, Queen of Bohemia ; and Juana, the wifè of Juan of Portugal (son of King Juan III., 1502-1557), who died in 1554 aged seventeen, bcfore rcaching the throne. 1. 377 2 I. SL'C Bk. X. chap. 11 " ... fue (don Iuan] a disponer los presidios de la Morea i Arcipielago para ir a invernar a Constantinopla, cou dcseo de salir en el aiio siguiente a espugnar la Goleta, para asegurar su Reyno de Tunez. " And again, ib.: - " Olvidando el buèn acuerdo del Rey, conveniendo dcsmantelarla [TuaezJ ..... quitando gasto i cuidado ...... por consejo de lisongeros determin6 [don IuanJ de conservltr la ciudad . Parecia a Iuan de Soto, Provcedor ya de la Armada, i a Juan de Escobedo, que en su lugar servia de Secretario a don Iuan, ..... , que su A.lteza.podia scr Rey de Tuncz , i que convenia disponerlo. I no le dcspreci::tba porque es grande el H.~yno, ..... " 2. See pp. 366 and 371. �GEORGE WILLIAM BACON JUAN PÉREZ DE MONTALVAN at this time; yet the lines assigned to him presuppose him to be of an age much more mature. For example, what child of five could speak thus : - thereof ', I can find no reference whatever to such a demand of the Pope, and rherefore believe it to be a pure invention of Montai van. As in El segundo Séneca., so here the dramatist bas devoted his main efforts to the delineation of character, and with admirable success. Any unfavorable impression that might be produced by the disconnected and chronical treatment of the piece, is quickly dispelled by the excellence of the individual characterizations. Those qua:lities ot Felipe that we have already met \vith in El segundo Séneca are here again manifested, and, in addition, his extreme jealousy of Juan. To what smallness this feeling leads the King is illustrated by bis addressing lus brother, upoli the latter's departure for Flanders, - Act II., - merely as "Vuecelencia ". Juan expected" Vuestra Alteza ", and is justly vexed at the slight, for ,vhatever honor Felipe could have shown hirn, was indeed ricbly deserved by one who had fougbt so valiantly for hîs ruler. In the document enumerating the various appellations to be employed for the different members of Church and State, -Act II. -, Juan has just read : " A la Infanta Margarita, Il en publico y en secreto, Il Serenissima y Alteza [ha de llamarse]"; and tbis would only add to his chagrin. Cabrera gives the title "Alteza" to Juan, and t!1at Felipe should deny it seems strangely at variance with bis professed affection " Esta, don Iuan, no es merced, sino fineza de amot, )' esta a vos os la deveis, porque la aveis grangeado con ser quien soys, y con-ser del Rey, mi seiior, hermano. " Montalvfo evidently had in mind a Fernando much older than the true one. · Passing to violations of historical fact, ,ve find a conspicuous example in the representatiorr of Margarita of Austria as the mother, instead of half-sister of Juan. Montalvan certainly made tbis curious change for dramatic effect, bei.ng influenced, I believe, by the considerable difference in their ages. Since Margarita was born in r 522 and Juan not till twenty-five years la ter it would require no great effort of imagination to tramform her into his mother. The dramatic effect of their meetino-0 on bis arrivai in Flanders is heightened not a little by such a change. What appears to be another violation of history, is the Pope's request 0f Felipe that Juan be given the title of Lord of Tunis and Goleta - Act II. Although Cabrera alludes to Juan's designs upon Tunis, and his desire to make himself King 1, Margarita was the illegitimate daughter of Charles V. and Jeanne Van der Gheynst, wbose father was a tapestry wea.ver of Audenarde. Juan was the natural son of Charles V. by a woman of middle station, Barbara Blomberg, of Ratisbonne. That the Emperor had at least one other natural child - a daughter, Tadea de la Peiia- is certain, and some authorities attribute to him two more illegitimate offspring - a son, Piramo Conrad of Austria, and a daughter, Juana. His legitimate children were Felipe II. ; Maria, Queen of Bohemia ; and Juana, the wifè of Juan of Portugal (son of King Juan III., 1502-1557), who died in 1554 aged seventeen, bcfore rcaching the throne. 1. 377 2 I. SL'C Bk. X. chap. 11 " ... fue (don Iuan] a disponer los presidios de la Morea i Arcipielago para ir a invernar a Constantinopla, cou dcseo de salir en el aiio siguiente a espugnar la Goleta, para asegurar su Reyno de Tunez. " And again, ib.: - " Olvidando el buèn acuerdo del Rey, conveniendo dcsmantelarla [TuaezJ ..... quitando gasto i cuidado ...... por consejo de lisongeros determin6 [don IuanJ de conservltr la ciudad . Parecia a Iuan de Soto, Provcedor ya de la Armada, i a Juan de Escobedo, que en su lugar servia de Secretario a don Iuan, ..... , que su A.lteza.podia scr Rey de Tuncz , i que convenia disponerlo. I no le dcspreci::tba porque es grande el H.~yno, ..... " 2. See pp. 366 and 371. �GEORGE WILLIAM BACON for his brother, which appears more than once in the play. Felipe's declaration to Alberto : - AcdI. - : cc No quiero que sea mi hennano Il mas de lo que yo quisiere ", bas undoubtedly been suggested by the following passage in the historian 1 : cc El Rey no queria tuviese [ don Juan] mas voluntad que la suya, ni mas bonor i bien que el le diese ... " Equally true to life is Juan drawn, - proud 2 , discreet 3, chivalrous 4, reverentl, and devoted to the Church 6 • Don Diego de Cordoba appears as we have already seen him in El segnndo Sr!neca, Part II., and Enciso's Principe Don Carlos. In ail three plays his brusqueness towards the King is a prominent trait in his character, but notwithstanding this, he is the royal favorite. The scene at the close of Act II., where the King is scratched Bk. Xl, chap. 3. 2. See Act II. Momta. No eres amante moderno. don Juan. Que importa si soy don luan. 3. See Act III., where, in speaking of the shrewdness with which we must sometimes treat our enemies. hesays: " Ay, Morata, algunos casos, en que ha menester un hombre, huyendo de mayor dafio, favorecer al rebelde, y hagasajar al ingrato; que quando puede al intenta danar qualquiera contrario, el mentir para obligar es alta razon de Estado. " Cf. this with Cabrera, Bk. XII, chap. rr." [tuvo) fiJelidad en el servicio, con discrecion ..... " . 4. Cf. Cabrera, Bk. X, chap. r r. '' Lleg6 a Palermo, i de alli a Napoles a invernar; porque la gentileza de la tierra i de las damas en su conversacion agradaba a su gallarda edad. " 5. See bis treatment of the Legate, Act I, and cf. Cabrèra, Bk. XII. chap. r 1. " [tuvo] reverencia a las casas i personas sagradas .•... " 6. "Dios es Il el Rey que sabe premiar, Il y yo sirvo al Rey por el. " Cf. Cabrera, ibid. " (tuvo] zelo de la Religion Catolica ..... " 1. JUAN PEREZ DE MONTALVAN 379 by the chape of Juan's scabbard, is taken from Cabrera, Bk. XI. chap. 3, year 1575. The historian relates that Felipe was wounded in the forehead, a part which, under the circumstances, it seems scarcely possible the sword could have reached. Montalva □, on the contrary, tails to specify where the King was injured. Seeing the fidelity with which our author bas followed his mode!, this omission appears strange, and I am inclined to believe that it is due solely to bis aversion to countenancing a statement so extremely improbable. vVith the exception of this difference, the two versions are very similar, the latter part of Montalvan's being almost a verbal transcription of the original'. Cabrera is ~gain reflected m the account of the journey of the r. Cabrera's relation is as follo,...-s : " Recibio (el Rey] a don Iuan alegremente, levantbse de la silla, i pidiendole [al Rey] la mano le abraço [don luan], i Uegando a la Reyna le hizo mesura, i al bolver [don luan] a besar la mano al Principe don Hernando, se atravesô [el Rey] por detras, i cou la contera le (al Rey] hirio (don luan] entre ceja i ceja, de manera que cayô en tierra, i tocô i le hirio el cerebro. Don Juan con el susto comencb a dolerse i sentir el suceso con lamento ; i el Rey le dixo, viendo no avia r~cibido dafio considerable, Basta, dad gracias a Dios de que no fue mas. Don Iuan replicô, Mas avia de ser? ventanas avia aqui por donde arrojarme. El Rey con suma gravedad le dixo: Pues corno, eso avcis de dczir ? pudiera ya ser mas que una desgracia ? " (The [ ] in the above quotation arc mine, having been inserted to render it more clear.) The esscntial parts of the incident as it appears in the drama are given below: dou Juan [al Principe ] dadme los braços. Prin. Tomad, y de mi aficion creed que siento vuestra partida, tio, con aquella fee que si fuerais una dama a quien yo quisiera bien. �GEORGE WILLIAM BACON Papal Legate, - Act I. -, which owes its ongm to Bk. IX. chap. 22 (year 157r) of the historian, some of the Jines being taken over bodily. Felipe's declaration to Juan, - Act II., that Don Hernando de Toledo goYerned Flanders with too much severity, is an echo of Bk. X. chape;. 3 and 7 1 ; while the King's complaint - I. c. - of the excessive leniency of Hernando's successor, the Cornendador Mayor, Don Luis de Requesens 2, Alm:·iesase el Rey para irse, :)' 1<1pa co11 la roulera ri~ la espad,1de d~n lua11 y c,re en el suelo. Rev. [No es] Nada, no os a lboroteis. Con la punta de la espada al baxaros me topé sin querer, Rey. Dicha fuc que mas no fuc. r/011 lua11. Clara està, porque a ser mas ya por aq uestc cancel me [?] huviera arrojado al patio. Rey. Esso dezis, pues porque? JUAN PEREZ DE MONTALVAN finds justification in chap. 28 ofthe same book'. The reception of Juan (the successor of the Comendador Mayor, ·who <lied in r575) by Mons. de Naves - Act III. - is mentioned in Bk. XI. chap. 8, year I 576. ln addition to these evident obligations to · Cabrera, I feel almost .:ertain that our author has been influenced by bim less manifestly in another instance. I allude to the anecdote concerning the Emperor Trajan related by Felipe - Act II. - to Juan upon his acceptance of the Governorship of Flanders. On two occasioos· Felipe's biographer likens him to the Emperor 2, and since Montalvan shows familiarity with so many portions of the work, it is more thao probable that he read these passages. Felipe and Trajan being thus connected in bis mimi, after the anecdote regarding the latter had occurred to him, he could easily apply it to Felipe. Dio Cassius in his Hislory of Rome, Bk. LXVTII., says of Trajan, : - "Indeed, when he fi~st handed to him 4 who was to be prefect of the Pretorians the sword wbich the latter was required to wear by bis· side, be bared the blade, and holding it up said : 'Take this sword, to the end that if l rule well you may use it for me, but if ill, against me' ". This is witbout doubt the ultimate source of the story told Ye11dose el Rey. don Juan. Por aver sidô instrumenta, :rnnque fuesse sin querer, - Rey. Essa fuera la desgracia, porque de los dos no sè quai hiziera mayor falta. (ln the eighth line from the last the text rcads " que ", which gives no rneaning. I have therefore substituted " me "). r. Bk. X, chap. 3. " ... desanpararon [don Hernando de Toledo y sus cien arcabuzeros i mosqueteros] la aldea, i degollaron mas de ochocientos en el akance que se siguio dos leguas, sin muchas que ubo heridos. " Op. cil., Bk. X, chap. 7. "lulian Romero i don Hern;mdo de Toledo con sus tercios li.: [el foerte] acometieron, ..... , i degollarou todos los trezientos que hallaron en el.. ... " 2 . He figures in Ercilla's Araucaua, Part II., Canto XXIV. 1. " La blandura del Comendador mayor dexo los Estados de mala i atrcvida condicion, ..... en vano procuro satisfazerles el Comendador mayor en quamo imaginaba les seria de gusto, para que mostr,11,dosele agrndecidos no diesen asistencia con las armas i consejo a los creges. " 2. The first of thesc rcfcrences occurs in Bk. I. chap. L " ... sabiendo lo que tocava a su oficio de Rey, pues bastan pocos preccptos para sabcrlo, i ser 111as YÎ~ilaote, quai Trajano Enperador, que estudioso. " The second is found in Bk. V, chap. 17. " Fue como el Enperador Trajano, duke en el pueblo, respetado en el Senado, venerado de todos, i terrible cou sus enemigos, de reverenciado temido, no de temor sino de admiracion." 3. Translation ofH. B. Foster, vol. V, p. I9i - Troy, N. Y., 1906. 4. To whom this word refers is uncertain; Foster suggests Saburanus. �GEORGE WILLIAM BACON JUAN PÉREZ DE MONTALVAN by Felipe 1 , but it is impossible t0 determinc whether the variation introduced by Montalvan in connecting the anecdote with Trajan's coronation, is intentional or duc to a mistaken tradition. The hearing of the petitioners by the King - Act III. - recalls similar scenes in El seg1mdo Séneca. The wondetful memory displa yed by Felipe in tbese instances is justified by the words of bis biographer (Bk . I. chap. 1.) : " Hizo maravillosas pruevas de gran memoria. " Felipe's answer to Diego and Alberto, upon their upholding the Pope's demand that Juan be made Lord of Tunis and Goleta in reward for bis victories, - Act II. - , brings to mind a like passage in the play cited above, (El segundo Séneca,) Part I. Act I. There, two petitioners ask to be made mem bers of the Order of Santiago, but the King declares to Santoyo that not they, but one Julian Romero 2 will be given the dignity. The latter - he continues - is a soldier wbo well merits reward for his hernie deeds, and, moreover, has not asked for it. Sucb is the type of man that most deserves recognition i. The sonnet recited by Porcia in Act I., appears also at the close of the fifth day's entertainment it the ITl6 edition of the Para Tvdos, p. 354. As it is wanting - together with the paragraph preceding - in the edirion of I 64 5, it must have been inserted in the later edition by some unscrupulous editor. The brevity of Porcia's expl,mation to Juan, - upon meeting him in Flanders, Act III., - . why she left Spain, is most cornmendable. Considering the usual excessive length of ail such nar- r. For this information I am indebted to Prof. J. C. Raite, of the Departmcnt of Classics, University of Pennsylvania. 2. A □ account of bis life and varied adventurcs is givc □ by Martin A. S. Hume in The Year a/ter tbe Armada, and olher Historical Studies, New York, 1906, pp. 75-121. Romero figures in Ercilla's Araucana. - Part II., Canto XVIII. - as a conspicuous character at the storming of St. Quentin (r 557). 3. So dose is the rescmblance between the two passages, that I quote them bclow. Sant. Julian Ro1111;;ro, sei'\or, no le pide. Rei. I aun por esso [dcseo darsele). Santoyo, en mi Monarclüa à quien mereciere d prernio, el premio le ha de buscar quaudo k 1;;sperare menas : porque los hombres que tienen tan altos merecimientos, aunque nunc:;1 pidan nada, harto pidcn con tenerlos. Para mi no haî memorial tan fuerte, i tan verdadero, como callar, i servir : que no es scguro argumento, pido, luego merecià ; que suele el encogimiento acompa iiar la virmd ; i assl muchas veces vemos, que los que merecen mas son los que procuran menas. El seg1111do Sémca, Pt. I. Act I. Rey. No digo que no se inteRte el premio : pero tarnbien <ligo, que un hombre de bien sir\'e muy grosserameute quando sirve aconscjado solamente con la paga, porque al merito le estraga entonces lo interessado ; y el premio de la virtud es cl llt:garla a alcançar sin atcnder, ni apelar i humana solicitud; que quien la sigue ambLci-oso solaml!nte par valer, esse ta! mas viene à ser mercader que virtuoso. Don Jucm de Austria, Act II. �GEORGE WILLIAM BACON rative passages, the remark Morata makes ' at the beginning of Porcia's story is fully justified, and one would wish that our author had taken it to heart. It is one of the very few sensible statements of a gracioso ,vhose wearisome loquacity almost provokes the reader to exclaim - as does Vireno to the t,vaddle of his lackey Clarin 2 - : " Basta ! " El Sen01· Don Juan de Austria was printed in the first volume of Montalvan's Comedias, and dedicated to '' Doctor Juan de Montoya ". It was performed before the King and Queen, March, 1628 ,. Scene : Madrid and Flanders. Ser prudente y ser s11/rido Although quite in Lope's manner, this is not one of Montalvan's most interesting plays, for the story is poor and the treatment mediocre. The character of Fernando is a good example of loyalty, a theme so popular on the stage at that tirne. Elvira represents the intriguing, scheming woman, common in the drama; and, as such, commands our interest, though not our admiration . The King shows firmness, not only in bis relations with his courtiers, but in his ability to withstand the temptations and advances of Elvira. The latter receives a fitting rew_ard for her deceit, in being forced by the King to become the bride of her stool-pigeon, Fernando. Scene : Leon. r. " Silencio, que ay romançon Il de trei11ta varas de largo ''. Oli111pa y Vire110, Act I. 3. This item was taken from a manuscript note made by La Barrera in the copy of his Catalogo, now in the Biblioteca Nacional. He states that he derived the information from " el Arcliivo de Palazio ". JUAN PEREZ DE MONTALVAN Los Templarios. As its title I implies, this piece deals with that celebrated religious and military order which ,vas founded at Jerusalem, in II 18, by Hugues de Payns and eight other French knigbts, who had accompanied Godefroy de Bouillon on the füst crusade (1096-ro99). As in the majority of his historical dramas, Montalvan bas hcre treated chronology and history freely. For example: If we recall that Iacobo de Mola did not enter the order till about 126 5, we see that the action of the piece cannot properly begin befo,e that time. Yet in Act II. the capture of Jerusalem by Saladin, which occurred in I I 87, is spoken of as havilig just taken place. With historical fact considerable freedom is taken in that passage - Act III. - where, in speaking of the exccution of the Templars in France, the Pope says: " Pues esto misrno que passa o_v, Felipe, en nuestrn Corte, esta sucediendo en Flandes, i::n Italia, Espaiia y Londres. Y sin que hombre ninguno se escape de bs prisiones, de la manera que ves oy han muerto <liez mil hombres " . Now, the truth is that France was the only country tbat inflicted severe torture and death upon the Templars. In England, for example, they suffered imprisonment, mild forms of torture, and confiscation of property. 2. J. Raynouard also wrote a tragedy with this title, which was first represented May 14, 1805, with gre::it success. lt i$ now entirely forgotten. REVCE HJSPANIQCE. B a; �GEORGE WILLIAM BACON The downfall of the order is correctly represented as being primarily due to the treachery of two apostate mem?ers '. On April 3, I3 12, the council of Vienne - alluded to m Act III. - decreed the suppression of the Templars, and also the transference of ail their property to the Knigbts of St. John. Schaeffer 2 characterizes the treatment of Montalvan's production as "flüchtig ", and no word could be more appropria te. He adds: - "Die Darstellung der Prosperitat und des Untergangs eines ganzen Ritterordens geht über den Rahmen des Dramas hinaus, wabrend die Figur des Grossmeisters Jacob de Molay nicht genügend heraustritt, um diesen als Helden und die_ Schicksale des Ordens als historischen Hintergrund erschemen zu lassen ". Montah·an himself seemed to realize the unfi.tness of bis subject, and as if endeavoring to make amends for it, has in~erted a numbcr of irrelevant scenes, which are extremely dull, unmteresting, and trivial. And, moreover, these scenes destroy tbat spirit of solemnity and convincingness which should pervade a drama, like the present. The reader is not in the slightest degree moved to pity for the ten thousand victims of the massacre, nor can he believe that the author bas experienced the faintest feeling of sympathy or horror in writing his narrative. · It seems rather remarkable that the pen of the cerrsor should have failed to strike out the following lines, spoken by Albante in Act III." Pero porque pucde ser que el Papa nos engaûasse, y que dcspues, aunque agora nos haze promessas grandes, como à todos los dcmas 1 . These werc Squin de Florian, a knight, and Nosso de Florentin, a squire. (See Addison, p. 453, and Shallow, p. 19). 2. Vol. I, p. 443. JUAN PEREZ DE MONTALVAN nos prendiesse y castigasse, à Flora y Cassandra hizimos que, en habito de estudiantes, con Ricarte el Secretario por paxes se acomodassen : " Cnlteranismo is greatly in evidence, and detracts much from the effect of the piece. The number of characters, nineteen, is worthy of remark. Los Templarios was printed in the first volume of Montalvan's Comedias, and dedicated to " Don Melchor de Guzman y Zuiîiga, Marques de Villamanrique, y Comendador del Moral en la Orden de Calatrava". It was performed before the King and Queen, December, 1630 1 • Scene : A spot in the mountains berween Jerusalem and Jaffa, Rhodes, and a town in France. El Valiente mâs dichoso. (Don Pedro Gniral). This comed.ia, interesting and full of movement, must have attained great success from the loyalty of its hero to his King and Church - themes ever popular with the audiences of old Spain. The delineation of Pedro is excellent, and if we cannot but be somewhat disgusted with his rashness and hot temper, his courage compels our admiration. Like Silvia in Gravcdad en Villaverde, Angela deserves praise as one of ~he very few of qur author's heroines who do not yield to the solicitations of their admirers. The action in Act I. is too much retarded by the excessive length of Lisarda's monologue after the departureof Flora to seek 1. This item was taken from a manuscript note made by La Barrera in the copy of his Catalogo, now in the Biblioteca Nacional. He states that he derived the infonnation from " el Archiva de Palazio ". �JUAN .PEREZ DE MONTALVAN GEORGE WILLIAM BACON the Count. Egually tedious is the ensuing conversation between Pedro and Beltran; and one ,vill readily agree with the former, when, at its terminàtion, he exclaims " .... dexando a parte filosofias, que ya no sirven de nada ". That money was a powerful factor even in the life of those times, is shown by the words of Lisarda, - Act I., - " nunca justicia falta Il a quien el dinero sobra ". The many asides in the scene between Angela and the Count, in the early part of Act I., should be remarked. El Valiente mas d-ichoso was performed by the company of Manuel <le Vallejo, April 10, 1633· 1 ; and was printed in the second volume of the Comedias of Montalvan. Scene : Guadix, Great Britain, and Algiers. B. - CoMEDIAS DE CAPA Y EsPADA. Como amante y como honrada. One of the very best of Montalvan's efforts in this class, the above named comedia is such a close second to his La Donce!la de Labor that the reader cannot easily choose between them. The enredo is here more complicated than in the other play, but our autbor has worked it out so skillfully tbat nothing could be more easy to follow. The point upon which the plot really turns - the concealment of Ana's engagement till after Leonor's marriage to Lope - is an odd one, and doubtless more justified by dramatic exigency than etbics. It is not made clear ,vhy Leonor's marriage would become " sospechoso " through the pre,ious announcement of the engagement of ber sister. In Moreto's La Gala del Nadar we have a striking parallelism to the idea of Lope courting Ana in order to avenge himself upon Leonor for her supposed infidelity. Como amante y como honrada was printed in the second volume of the Comedias of Montalv[m. Scene : Madrid. Despreciar la que se q11iere. A wittily devised and cleverly executed piece, both in the drawing of character and sequeoce of events. The episode of the bandage, however, is too much emphasized, especially in the early part of the second acr, where it greatly retards the movement. The latter portion of the· play is the most brilliant, but the conception of the whole is unique. It merits remark ho\v cb·erly Montalvào defers the solution of the enredo till the immediate close of the third act, by preventing Juan and Rodrigo from meeting. Despreciar lo que se quiere ·was printed in the second volume of the Comedias of Mootaldn, and in part twenty-nine of Comedias de diferentes autores, Valencia, 1631 '. Ir was performed by the company of Roque de Figueroa, October 9, 1633 2 • The title is peculiarly appropriate. It is also found as Abon-ecer lo que se quiere and Despreciarse par q11ererse. Scene : Madrid. r. La Barrera, p. 68 5. Rennert, Cbro11ology, p. 338. 2. r. Rennert, Chronology, p. 339· �39° GEORGE WILLIAM BACON JUAN PEREZ DE MONTALVAN De un Castigo dos Venganz.as. skilfully dra,vn, and the awful closing scene forms a fitting and eflectiYe climax to the prophetic gloom which lies 0\'er the entire piece. It is one of Montalvàn's best produ.::tions. Quevedo, . in his Perinola, strongly censures its immoral Montalvan himself tells us that this tragic play is based on a series of events which happened [in Lisbon, Portugal] less than a year before he wrote it 1 • From this statement we can deduce very closely the date of composition, for the expedition of the Portuguese to Brazil mentioned in Act III. took place about the year r 624 2 • Accordingly, r 62 5 or r 626 can oe given as the date of the dramatic adaptation. The story is truly a chapter of the most repulsive horrors, and shocks our sense of morality, however great are the dramatic possibilities offered i. One cannot enjoy the recital of such events, and only the admirable way in which they are here put upon the stage at ail saves them from what would otherwise be a well merited oblivion. The pure, energetic language and well developed plot do our author great credit, and we are gratified at the almost total absence of culteranisnw and the usually obtru~ive gracioso. The blind and fatal devotion of Leonor and Lope is See the close of Act III., where Violante says : " Y aqui esta Comedia acaba, historia tan verdadera, que no ha cinquenta semanas que sucedio .... ". 2. The object of this great Spanish-Portuguese expedition was to recapture Bahia, then the capital of Brazil, from the Hollanders, who had taken it in war with Spain. 3. Regarding the immorality of the piece, we read in the 1736 edition of the Para Todos, p. 200, the following ; - " . .. . no falto quien culpo la liviandad de las dos damas, a quien respondio el Poeta, que supuesto no tenia parentesco con ninguna, no se le <liesse nada de que fuessen nlines ". As this - together with the subsequent Epigrarua - is wanting in the edition of 1645, it must have been inserted in the later edition by some unscrupulous editor. 1. • 'I tone '. A drama of Calderon bears a title very much like ours, - Un Casligo en tres Venganz.as, - but in content bas nothing in corn mon 2 • ~ <A... t ·1'• ~ De un Castigo dos Venganz.as was printed in part twenty-five of Comedias recopiladas de difcrentes A11tores é Illustres Poe/as de Es pana, Zaragoza, I 6 32; and also in part forty-four of the same series, Zaragoza, 1652 3 • It forms a portion of the third day's entertainment in the Para Todos 1, and Montalvan there states 5 · that it was " [ unaJde las mas aplaudidas que jam as ha avido en ella [i. e. esta Corte]". Scene : Lisbon. ,L La Doncella de Labor. In the dedication oftbis comedia Montalvan says : " [esJ la mas ingeniosa y alineada de cuantas habla escrito ". His verdict is indeed just, for the invention is excellent, - notwithstanding it is much opposed to likelihood, - and the dialogue brilliant and almost entirely free from culteranismo. The 1." .... la (comcdia] De un castigo dos i•wganzas, bien se sabe que no fué suya otra cosa sino aquella disoluta y desvergonzada accion de aquella mujer infernal". (Text of Rivadeneyra, vol. 48, p. 470). 2. Schmidt, p. 174. 3. La Barrera, pp. 684 & 687. 4. Edition of 1645, fols. 85-100 b. 5. Edition cited, fol. 84. �GEORGE WILLIAM BACON JUAN PEREZ DE MONTALVAN action never drags, and holds our Înterest closely from beginning to end. The long, fictitious tale related to Elvira by Isabel in ,-\et lII. recalls chat of Flora in the same act of La Toquera viz.caina. La Doncella de Labor ,vas printed in the first volume of Montalvan's Comedias, and is there dedicated to "Don Alvaro de Atayde, Hijo del Conde de Ocastro, Maestro en Teologia, Can6nigo Magistral de Lisboa, Comissario de la santa Inquisicion de Cairn bra, y Sumiller de Cortina de su Magestad ". It ·was performed by the company of Manuel Vallejo and (amibuted to an anonymous author) printed in part thirty of Comedias faniosas de varios Autores, Zaragoza, 1636 Under the title Marica la del Pucher(J, it was remodelled, and, in the Index of Huerta, attributed to Montalvin 3 • Lope de Vega bas also been named as author of the latter version 4 • The modern version of La Doncella de Labor by Enciso y Castrillon bears the title aforementioned 5. Scene : Madrid. the same act in El S1ifri111ie11to premiado, in that in both plays a character lends assistance to one who later proves to be his rival in love. As far as I am awate, this comedia is the only one of Montalvim in which be speaks of any of the v;orks of his mentor, Lope de Vega. In Act I., where Anarda is endeavoring to console the melancholy occasioned in Isbella by her infatuation for Lisardo, she suggests that she read to her mistress either from Lope's Arcadia or dramatic ,vorks. Isbella, however, request5,, her not to do so, explaining tbat situations therein similar to hers would tend only to increase her dejection. Montalvan's B.ing at physicians - Act IL - cannot fail to provoke a srnile. He causes Isbella to remark to Lisardo : 39 2 1, 2• 393 " Soy Médico a lo seguro, solo mis enfermas euro ". La Ganancia por la Mano was printed in the second volume of the Comedias of Montalvân. Scene : Granada. La Ganancia par la Mmw. Gra-uedad en Villnverde. Verbosity and cultera11is1110 impede the action of this piece, which could be made more readable by judicious excision and condensation. Lisardo's story of his ad venture at AlcaUt - Act II. - is a good ex.ample of the diffuseness in which our author usually revels in such passages. The situation at the opening of Act 1. recalls the early part of Edition of 1638, YOI. I, fol. 89. La Barrera, p. 685. 3. Op. cil., p. 267. 4. Op. cil., 1. C. 5. Op. cit., 1. c. 1. 2. The authorsbip of this interesting piece might easily be attributed to Lope, so closely does it resembJe in style one of his less important productions. Silvia forms a very rare exception to the stage heroines of the cime, in chat she will grant her favor to Diego only on condition that he at once become her husband. Such propriety is indeed refreshing 1 In Act III., Montalvan cloes not specify the whereabouts of Luis after be bas entered his bouse cogether with Diego. That he gets separated from the latter in the darkness is evident, but what should so long prevent bim from discovering Diego in his �GEORGE WILLIAM BACON JUAN PEREZ DE MONTALVAN loved one's apartment is not so clear. Diego hirnself expresses surprise what can have become of his host. No doubt ail such exarnples of our author's carelessness are due to his efforts to rival the fecundity of Lope. The large nurnber in the dramatis personae - seventeen rnerits remark. Gravedad en Villaverde was printed in the ninth part of Comedias escogidas, Madrid, 1657 r . Scene : Villaverde and Madrid. ever, explains that such was the usual course among the Catalonians - a statement for which I cannot vouch '~ \"' l The dramatis personae, twenty characters, is unusually long. Un Gusto trae mil Disgustos wa~ printed in part twenty-nine of Doce Comedias de Lapé de Vega Carpio (y otros Autores), Huesca, 16H 2 , and in part twenty-nine of Comedias de difereutes auto-res, Valencia, 1636 1 • Scene : Hostalric, and the district adjacent. 394 395 La Monja Alfénz.. Un Gusto trae mil Disgustos. Scbaeffer z states that this comedia is rnost noteworthy, _ since, with exception of the old Farsa of Juan de Paris, it is the almost sole exarnple in the old Spanisb theatre of the triurnph of the devil over the Divine Power. One cannot understand - as Schaeffer pertinent! y remarks - how Montai van, himself a priest and notary of the Inquisition, could bave broughr the play to such a close; and further, why its performance was not forbidden by the censor. The introduction of the religious element lends singular interest to a plot already refreshing from its novelty. The style is excellent, and almost free from culteranismo. The novel terrnination of Act I. should be noted. lt leaves one in• ignorance of the outcome of the stratagem, - the mock duel, - designed to bring Rosaura upon ber balcony, and no allusion is made to this later. That Pedro should at once turn bandit on learning of the Governor's insult to his father seems strange. Schaeffer 1, how- 1 -1 1. La Barrera, p. 690. 2. Vol. I, p. 450. 3. Op. cit., p. 451. This comedia finds its inspiration in the roving life of one ·Dona Catalina de Erauso, about whose existence no doubts can be entertained, notwithstanding the many fabulous details that have bcen interpolated in ber so-calle<l Historia. According to this work, Catalina de Erauso was born at San Sebastian in 1585, the daughter of the Captain Miguel de Erauso and Doùa Maria Pérez de Galarraga y Arce. Placed in a con vent at four years of age, she remained there till fifteen, when she escaped 1600 and visited Vitoria, Valladolid, Bilbao, Estella de Navarre and Seville. At Valladolid, she was page to the secretary of the King for seven months, and at Estella de Navarre she served a gentleman in a like capacity for two years. ln 1603, she sailed for Panama as cabin boy, and although the captain of the vessel was her uncle, he did not recognize her. From Panama she passed to Peru, and from there to Cbile, where, at Concepci6n, she lived with her brother Miguel for three years without his suspecting ber identity. Later, for bravery I. In Dou Q1tixote (Part II. chap. desire !or revenge. 2. La Barrera, p. 683. 3. Op. cit., p. 685. l,.i-,) l, ~!.,,.,l •. ✓~~ L X..) Roque also turns bandit out of a f'\w1. .. 1~. e.;t.t.w_.. ~I J:,:t. 1§13,1~ .. . �GEORGE WILLIAM BACOK JUAN in battle against the Indians on the plains of Valdivia she was made alfére~, which post she held for five years. Returning to Concepcion, she killed two men in a di spute over a card t,oame '· and one night, some six months after, slew ber own brother, whom on account of the darkness she did not recognize. ln the convent wherein she immediately took refuge, she witnessed bis internment, and after an eight months' stay resumed ber ,vanderings. Tucaman and Potosi were next visited, and after fi ncrhtinab the lndians, being putto the rack, killing two men, and narrowly escaping being hanged therefor, she finally reached La Paz. Here she committed another murder, fied to Cuzco, was unjustly imprisoned for fü·e months, and passed to Lima. After taking part in the campaign against the Dutch, she revisited Cuzco, killed a man, was herself gravely wounded, and confessed ber sexto the Father who attended her. Thence she went to Guamanga, where, after twice narwwly escaping arrest, she made known her sex to the Bishop, and continued on to Lima. Here she spent two years and a half in a con vent, and then went North to Cartagena, and embarked for Spain - 1624. Landing at Cadiz, she met two of her brothers - to ,vhom she did not reveal ber identiLy," - and after visiting Seville, Madrid, Pamplona, Barcelona, Genoa and Rome, arri ved at Naples - 1626. qne <lay, while walking on the mole, she became involve<l in a quarre[ ,,,ith two young girls and tbeir escorts, but how the matter ended we do not know, for the narrative is here brouoht "' to an abrupt close. Before considering the question of the authenticity of this narrative, a few words may be said regarding the circumstances of its publication '. A manuscript of the Historia appears to have been in the possession of the poet and dramatist Candido Maria Trigneros prior to May ~4, 1784, since on that date a copy of this r. This p3ragraph is taken from Fitzmaurice-Kelly, Mo11 . Alj., p. XX\' ff. PEREZ DE MONTALVAN 397 manuscript was collated with the original at Seville. The collation was made by copyists employed by Juan Bautista Muiioz, the future author of a fragmentary but valnable Historia del Nuevo Mundo. This transcript later came into the possession of Francisco Bauza, director of the Hydrographical Museum at Madrid, who · lent it to his friend Joaquin Maria de Ferrer. Although Ferrer was a Basque, be had evidently never heard of Catalina de Erauso, for be states that be took the HisLoria to be " a novel written under the name of an irnaginary person wbo had never existed in the world. " When he learned that the historian Gonz[1lez Davila had held a long conversation with Catalina de Erauso in his bouse at Madrid in or about December, 1624, Ferrer saw bis mistake, and, during bis exile at Paris, he again borrowed the copy ' from Bauû, then a political refugee in London. He caused investigations to be made at San Sebastian and in the Archives of the Indies at Seville, unearthed important documents concerning Catalina de Erauso, and published ber supposed narrative at Paris in 1829 2 • Sorne have believed the Historia to be a genuine autobiography, which theory, however, is untenable, in view of the great discrepancy existing between several of its statements and the documentary evidence concerning Catalina de Erauso. For . example : ln chapter I. of the Historia, the date of her birtb is given as 1585, while ber baptismal certificate in the parrish of San Vicente, San Sebastian, proves it to have been 1592 3• r. This copy is now in the library of the Real Academia de la Historia, .Madrid. Another manuscript of the work was in the possession of Sr. Sancho Rayon a few years ago. (Fitzm aurice-Kelly, Mon. Alf.. , p. 295 ). 2. The title reads H istoria de ln mo11j11 alfùez, Doîia Catalina de E m11So, escrita par ella niisma é ilustrada co11 110/a s y 1locu111w tos por D. Joaqnin Maria de Ferrer. It is now almost iu troumble. (Cf. Salva, tom. II, art. 3443). The library of the University of P ennsylvania contains a copy. 3. The certificate - printed by Ferrer in his ed ition, p. 1:9 - shows that Catalina de Erauso "vas baptized February 10, 1592. In the greater part of �399 GEORGE WILLIAM BACON JUAN PEREZ DE MONTALYAN Again : In the same chapter, she enters the convent in I 589, three years before her birth ! - , quarrels with the professed nun Catalina de Aliri in 1600, - or earlier - , and makes her escape in March of the latter year. These staternents are incompatible with the facts that Catalina de Aliri was not professed till 1605 ', and that Catalina de Erauso entered the convent in 1603, - or earlier 2 · - , and was still there in March, 1607 ,. Finally : In the Historia, over tbree years elapse between Catalina's escape from the convent and ber embarkation for the Indies 4 ; which would, of necessity, place the latter event in 16m, - or after - since she did not leave the convent before (March) 1 607, at the earliest. This reckoning, however, is at variance with the statement that before taking part in the battle of Purén - I 608 - , she had served for three years un der ber brother Miguel at Concepci6n, and - apparently- for another three years at Paicabi ,. 1t seems incredible that any one aware of such discrepancies could consider the Historia to be a true autobiography. And yet Fem:r not only held this belief, but made endeavors to reconcile the inconsistencies, of which he was keenly conscious. So ingenious are his efforts, that - as Serrano y Sanz 6 aptly remarks - at times they become amusing through an e:x:cess of ingenuity. Even if Ferrer was wrong in his belief, credit must be given him for bis intimate knowledge of the Historia and of the documentary data pertaining to the life of the heroine. Not so much can be said for De· uincey, from whom most English readers derive tbeir in~mation· concerning Catalina and her adventures 1 • Although there can be no doubt that be had never even handled Ferrer's book - on which his essay z daims to be based - , he declares that" the reader is to remember that this is no romance, or at least no fiction, that he is reading 3 ". His article abounds with extravagances and gratuitous inventions 4, which, however, are not even the product of bis own imagination, but plagiarized from one Valon, a Frencbman. Although he follows Valon's arricle s so closely as to reproduce some obvious misprints, yet he makes no acknowledgmcnt whatever 9f bis indebtedness. Under these circumstances no great weight need be given to De Quincey's confident views concerning the authenticity of the text 6• One far more qualifie<l to pass judgment in the matter is José Maria de Heredia, who, half a century later, published a French translation of Ferrer's work 7, However, like bis predecessors, Heredia did not suspecr the Historia to be apocryphal, and Spain, and more particularly in the Basque J::rovinces, baptisn1 takes place as ~oon as possible after birth : it was - and even still is - frequently adrui111stered on the day of birth. (Fitzmaurice-KeUy, Mo11. Alf., p. 290). I. Fitzmaurice-Kelly, Mon. Aif., p. xxx. Op. cit., p. XVII. 3. Op. cil., p. xvm. 2. 4. fo chap. 1, the date of her sailing is given as 1603 l 5. Fitzmaurice-Kclly, Mon. Alf, p. XXXI. 6. Vol. I, p. 39r. r. Fitzmaurice-Kelly, Mon. Alf., p. xxx11. 2. This essay appeared in Tait's Edinburgh Maga.zùie, vol. XIV, 1847, pp. 324-333, 369-376, 431-440. It was entitled The Na11tico-Milita1y N11n vf Spain. (Op. cit., pp. xxvm, 296). 3· Op. cit., p. XXXII. 4. Som!! of these are exceedingly arnusing. Catalina, herself, De Quincey dcscribes as " blooming as a rose-bush in June " ; white the hal[-caste's daughter in cbap. VII - " very black and as ugly as the devil ", - is pictured as a "lovely antelope "un.iting " the stately tread of Andalusian women with the innocent voluptuousness of Peruvian eyes ". (Fitzmaurice-Kelly, Mon. Alf., p. xxxm). 5. This article appearcd in tbe Re-vue d,1s Deux-Mo11des, 5e série, Paris, 1847, pp. 589-637. (Op. cit., p. 296). Serrano y Sanz - ,·ol. I, p. 390, note characterizes it as '' una disparatada novela ". 6. Fitzmaurice-Kelly, Mon. Alf., pp. xxxv-xxxvr. 7. For the title, seebelow, List of works quoted. '/ �GEORGE WILLIAM BACON believed that it ,vas written by Catalina de Erauso in order to lighten the burden resting upon ber conscience 1 • He states .positively that she commenced " her confession, bold, perhaps sincere ", on the r 3t1, of September, 1624, while returning to Spain on the galleon St. Joseph,. A view radically different from these is expressed by Serrano y Sanzina scholarlywork which appearedin 1903-1905 3 • Very properly realizing the full significance of the discrepancies bet,veen historical facts aud the Historia, Serrano y Sanz 4 declares it to be a forgery of the early nineteenth century, based upon various staries concerning Catalina published two centuries earlier, and \ upon the present comedia of Montalvàn. He suggests the author to have been Cmdido Maria Trigueros. Asto this theory, it may be said that we haYe no proof ofTrigueros's authorship ; while the date of the forgery must be placed earlier than the beginning of the nineteenth century, since Mun.oz collated his copy ofTrigueros's manuscript with the original in 1784. If Trigueros were proved to bave written the H_istoria, one would be forced to admit that " langue nette, concise et male" -in the words of Heredia s -forms a strange contrast to the style of his other works 6, wbich it far ~ surpasses in interest ï. Fitzmaurice-Kelly believes - ·with Ser- ,· '1 1 1. Heredia, pp. V-VI. " Ecoutez l'histoire de sa vie qu'elle va vous narrer elle-même ... Peut-être sentit-elle l'impérieux besoin de décharger sa conscience, son cœur trop lourds ". 2. Op. cit., 1. c. 3. For the title, see below, List of u:orks quoted. 4. Vol. I, p. 391. 5. P. VI. 6. Among these may be mentioned the practically inaccessible plays El Precipitado, Egilo11a, and the oratorio La 111uer/e de Abel. Trigueros shows to most advantage in bis recasts of Lope de Vega. (Fitzmaurice-Kelly, Mou. Alf., p. xxxni). Twelve of bis plays exist in manuscript form in the Biblioteca Nacional (cf. Paz y Mélia, p. 708 ; Ticknor, Lit., vol. III, p. 343, note). 7. Fitzmaurice-Kclly, Mon. Alj., p. xxxvm. JUAN PEREZ DE MONTALVA}:l' 401 rano y Sanz - that " the work was mainly pieced together by some deft hand from the genuine Relaciones ' for which Catalina was responsible, and that the episodt of the New Cid was elaborated from Pérez de Montalban's play, La Monja Alférez" 2 • At the same time, the distinguished scholar warns us to guard against the temptation to overrate the importance of the discrepancies in the text. Since in Spanish literature - he says, - the dividing line between trustworthy persona!. narrative and certain specimens of picaresque romance 4 is faint and shifting, the discrepancies in the Historia, though undoubtedly damaging, do not necessarily preclude it from being- at least in substance an autobiography. Severa! works which are presented•as real autobiographies s and are accepted as being essentially true, contain an imaginative element, and are not supposed to be absolutely exact in detail. The Historia may, perhaps, be granted a place near them 6• Mention has alread y been made of certain incidents in the life of Catalina de Erauso to which dates can be assigned by documentary evidence; and it is possible to extend this list. We know that in 1620, while serving in the company of Juan Recio de Le6n, she was entrusted with a special mission to Guancavélica and Cuzco; ; and that some two years la ter, when gravely wounded, For the titles, sec Serrano y Sanz, pp. 390-391. Fitzmaurice-Kelly, Mo11. Alj., 1. c. 3. Op. cil., p. XXXIX. 4. The Historia de la Mo11j,1 Alférez is included by Fonger De Haan in the picaresque works trcated in his Outliue of tbe History of tbe Novela Pi:caresca in Spain, Johns Hopkins University Dissertation, The Hague and New York, 1903. 5. For examplc : The Co11lentarios of Diego Duque de Estrada - which is bsued as an historical document - , the Vida of Miguel de Castro, ;md the Vidii of Captain Alonso di; Contreras. (Fitzmaurice-Kdly, Mon. Alj.,' 1. 2. )1. XXXIX). 6. Op. cit., 1. C. 7. Fitzmaurice-Kelly, Mt>11. Alf., p. RE VCE HISPANIQl'E . B XX. �JUAN PF.REZ DE MONTALVAN GEORGE WILLIA.M BACON / she confessed ber sex to the Bishop of Guamanga 1 • In I 62?, at Madrid, Luis de Céspedes Xeria, Governor of Parag~ay, certified that she had courageously served eighteen years m ~eru . and Chile ; and that on account of her bravery the captam Guillén de Casanova, commander of the fortress of Aranco, " la en_tre: sac6 de la compafiia por valiente y buen soldado, par,a s~hr a campear al enernigo 2 " . Further, that she had acted as alfere:;,_ m the troops of Gonzalo Rod dguez i . Under date of January 25 th ot the same year - r625, - at Madrid, Juan Cor~és de Monrroy, former captain of infantry in Chile, then captam-general of the province of Vera Cruz, made a.like sworn_stateme1:t 4 • Havino- obtained from the Kmg a pens10n of etght hundred crowns a'O years in January, r625, Catalina set out for Rome, but was arrested in France and imprisoned 6 • On ber release, ~he returned to Spain 7, and did not reach Rome till the foll~wmg year. There she was introduced by Fray Rodrig~ de San ~iguel, an Augustinian monk, to Pietro della Valle - 11 Pellegnno ~, the celebrated traveller, who, in bis seventeenth letter to h1s friend Mario Schapone, writes 8 of her as follows: " Il cinque giugno venne la prima volta in casa mia l'Alftere r. Serrano y Sanz, vol. I. p. 389 . Op. cit., l. c. Catalina enlisted in the army under the name of Alonso Diaz Rami.rez de Guzman. 3. Op. cil., 1. c. 4. Op. cit., 1. C. 5. See below, the letter of Pietro della Valle. . . 6. Her arrest apparently took place near La Tou~ du Pm, 111 t11e dcpart~ ment of Isère. " She was accused of being a Spamsh spy, was repeatedly struck and cursed as ' a hypocritical Jewish dog ' ?r 'Lut_heran ', was robbed of lier dothes, money, and papers, and was impnsoncd 111 irons for about a fortni ght " . (Fitzmaurice-Kelly, Mon. Alf., p. xx1). . , 7 . She evidently reachcd Spain befor~ June 281", ~mec on _that d~y shc lodged a complaint of her ill tr~atment w!th the ~utl~ont1es at P_amplona, and füed corroborative staternents from four fellow pilgnms. (Op. cil ., l. c.). 8. Vol. II. pp. 93 5-93 7 · 2_ Caterina d'Arauso biscaina, venuta di Spagna, ed arrivata in Roma appunto il giorni innanzi. Era costei una donzella d'età allora di trentacinque in quarant'anni in circa, la qual da fanciulla in Biscaglia suo paese, dov'era ben nata, s'era allevara in monasterio, e fat ta già grande, credo che si vestisse rnonaca ; ma prima Ji far professione, pentita di far quella vita, se ne usd, e venutole umore di far Yita da uomo, se ne fuggi travestita di casa di sua padre, ed andà alla corte di Spagna, dove con abito di maschio servi qualche tempo di paggio. Vennele poi voglia d'andare in Siviglia, e di là passare all'Indie occidental\, dove da prima servi, corne uomo, certi mercanti, ma poi con occasione d'una rissa ch'ella cbbe, e le bisogno fuggire dalla carte, si diede a far vita di soldato, inclinando molto per natura all'armi ed alle case marziàli. Milito gran tempo in quelle parti, trovandosi in diverse risse civili, di modo che acquisto fama d'uomo bravo, e perchè non metteva barba la credevano e chiamavano eu1111co. Si trovo fra le aitre in una bataglia pericolosa, nella quale essendo la sua compagnia rotta, e l'insegna perduta in mana de'nemici, ella fece sè col suo valore che trattenne i compagni dalla fuga, gli rincoro contro i nemici, e menando le mani valorosamente ricuperà di sua mana, con morte di chi l'aveva usurpata, l'insegna perdura, onde res.to poi alfiere di quella compagnia, fatto non per grazia di chi comandava, ma per propria virtù. Finalmente cominciandosi a sospetar che fosse donna, si cliiad questo fatto in una rissa grande che ebbe, nella quale dopo aver e!la fatto moite prove, resto rnortalmente ferita, e per salvarsi dalla carte che la perseguitava fu costretta a darsi in mano al vescovo, al quale anche confesso quanta passava della sua vita, dicendo d'esser donzella, e quel che aveva fatto, no aver fatto per mal fine alcuno, rria solo per inclinazione che aveva alla milizia, e perche uesto constasse, prego il vescovo che la facesse riconoscere ed ccertarsi vero. Cosi fu fatto: fu ella riconosciuta da 1~1atr?ne e a mamrnane, e fu trovata donzella. Il vescovo la 1111se m un monastero, e perchè s1 seppe cbe era. stata monaca, e dubitava t �GEORGE WILLIAM BACON che non fosse professa, vela tenne tanto, finchè dal suo paese vennecertezza che ella non era professa altrimenti, onde restando in sua libertà di far quel cbe voleva, e non volendo ella esser monaca, ma perseverar nella vita militare, uscita con licenza dal monastero, se ne venne in Spagna, <love, domandato al re rimunerazione dei suoi servigi militari, vistasi la sua causa, corne là costumano, ne'consigli, e per via di giusti zia, ebbc da! re ottocento scudi l'anno di trattenimento là nell'Indie, e chiamata nelle patenti con titolo d'alfiere, le fu data libertà di poter far vita virile e militare, e che in tutti gli stati del re non potesse esser molestata. Per questo se ne era venuta in Italia, correndo diverse avventure nel carnmino per venir in Roma a supplicare anche- il papa di non so che grazie in proposito della sua vita, le quali" ha cttenute col fa vore di moite persone principali. Io sapeva già di lei nell'India orientale, dove ne aveva sentito parlare, che fin là era arrivata la sua fama, e più volte ne aveva desiderato particqlare informazione, onde essendo venuto a Roma il padre Rodrigo di San Michele, Agostiniano scalzo, mio amico, di cui più volte ho fatto menzione, che sapeva questo mio desiderio, ed era arrivato in Roma per via di Venezia moiti giorni prima di me, ricorrendo ella a lui subito arrivata a Roma corne a suo paesano, egli è stato che me l'ha condotta in casa, dove ragionando insieme buona pezza, mi raccontà diversi accidenti suoi strani che l'erano incontrati nel corso· della sua vita, dei quali mi è bastato riferir qui solamente i più importanti e più certi, corne di persona rara ai tempi nostri. Io poi l'ho fatta conoscere in.Roma a diverse dame e cavalieri, dei quali assai più che delle donne amava la conversazione. Ilsignor Francesco Cresenzio, che sa dipinger molto bene, l'ha ritratta di sua mano. Ella è di statura grande e grossa per donna, che non si puà per quella conoscere che non sia uomo; non ha petto, che da giovinetta mi disse aver fatto no so che di rimedio per farselo seccare e restar quasi piano, corne era successo, e che questo rimedio fu un impiastro datoali . ~ da un Ita!tano, che quando l'adoperà le diede dolori grandi, ma JUAN PÉREZ DE MONTALVAN poi senza fargli altro male, nè guastar le carni, fece l'effeto assai bene : di viso non è ingrata, ma non bella, e si conosce essere strappazzata alquanto, ed oramai d'età, e con i capelli neri e corti da uomq, con un poco di zazzeretta, come oggi si usa, rappresenta in effeto più un eunuco che una donna; veste da uomo alla spagnuola, porta la spada e ben cinta, e cosi anche la vita, ma la testa bassetta alquanto, e came un poco aggobbatella, piuttosto da soldato stentato, che da conigiano che nda sull'amorosa vita. Alla mano solo si puà conoscere esser donna, che l'ha pienotta e carnosa, se bene robusta e forte, e la muove ancora donnescamente alquanto ". Under the year 16 30, we find in a manuscript diary of events in .Seville the following: - "Jueves 4 de julio estuvo en la iglesia mayor la Monja Alferez. Esta fue monja en San Sebastian, huy6se, y pas6 a Indias en habito de hombre, anode 1630 ",etc'. Under the date July 21 of the same year, the name of Dona Catalina appears in the Despacho book - fol. r 60 - as passenger on the fleet which sai}ed for Ne\\' Spain by authorization of King Felipe IV 2 • Finally: - In 1645, Fray Nicolas de Renteria, of the order of Capuchins, met our virago several times at Vera Cruz, '"·here she was known under the name of Don Antonio de Erauso, and by means of several mules and negros transported merchandise. She conveyed Fray NicoUs himself and bis baooage from the bb coast to Mexico City. The Father states that she was co·nsidered a good subject, of great courage, and dexterous in the use of arms. Dressed like a man, she worP. a sword and a dagger ornamented with silver. She appeared about fifty years old, well built although _rather fleshy, an~ of dar~ comple~i on, wi_th a few hairs \ representmg a moustache ' · She d1ed at Cuitbxtla 111 1650 whrle Ferrer, p. 119. Op. cit., p. 120. 3. Op. cil., p. 121. ln México a través de los siglos, H istor ia genera / y ro111pleta del desewuolvi111imto 1. 2. �JUAN PEREZ DE MONTALVAN GEORGE WILLIAM BACON 'j- on ber way to Ver~ Cruz, was buried with considerable pomp, and a laudatory ep1taph was inscribed on her tombstone. Three years later, a " Prodigious Narrative" of her eventful life appeared at Mexico 1 • Her portrait was painted by the fashionable Italian artist Francesco Crescentia•, and - in 1630 - by the Sevillian master Pa~hec_o, father-in-law of Velàsquez ,. Before publishing the Ht~tona, Ferrer made a fruitless search for the former portrait ; that of Pacheco was found by him in the hou se of his friend ~olonel Andreas Daniel Berthold von Schepeler at Aachen 4, It 1s _reproduced in bis edition and in Fitzmaurice-Kelly's trans~~t10n_ of the_ same, and is thus ,aptly described by Heredia: s ~ona Catalma, avec la golille, le hausse-col .le fer et le pourponi.t de bu,ffie aux ~i?uill:t:es_ mal nouées, est, à vrai dire, peu avenante, d aspect vml, m1htau-e et rébarbatif". Although Ferrer's Historia appeared at a time when French interest in Spanish literature was not great, still the book did not _fail te attract some attention . The yea.r of its appearance it rece1ve<l a favorable criticism from Andrés Muriel in the Rl'vue wryclopédiq11e 6 : and, in 1830, it was !)Ublished in French by social, politico, etc., de México desde la ant(1;1ïedad nuis remota bas/a fa ,ipom actual,. .!\'l"ex1co and . . Barcelona, 1888 , etc ., tom . II , p . 622 , Don v ·1cente Ri va Pal:1~10 ,\~·ntes ol Dona Catalina that during a journcy from Vera Cruz to Mex1~0 fs~ e.namor6 ella] de una dama â quicn sus padres le encarg:iron que llc:ase :i Mexico, sabedores ~e que doiia Cat.alina era mujer aunque Yestia el traie d_c hombre ; aquella puswn le caus6 grandes disgustos, y à punto estuvo dé buttrse con el hombre con quien cus6 la dama ; dona Catalina le desafi6 en un;1 ca~a ; pero algunas personas de impbrtancia lograron impedir d lance " . . 1_. F1tzmau_~ice-~elly, Mon. Alf., p. xxv. For the complete title of this "Prod1.g1ous narrative see op. cil., p. 295. 2. Sec above, - p. 402 - , the letter of Pietro della Valle. 3. Ferrer, p. XXXV. 4. Op. cit., 1. C. )· P. Ill. 6. Vol. XLIII, pp. 742-744, (Cf. Fitzmaurice-Kelly, Mon. Aff., pp, xxvm & 295). Bossange 1 , and in German by Colonel von Schepeler 2 • Eight years later, a reprint of the original edition appeared at Barcelona 3• ln 1839, the Duchesse d'Abrantès published an article on Catalina de Erauso in the Musée des Familles+, which was followed in 1847 by those of Valon and De Quincey mentioned above 1• In 1884, appeared at Mancbester, England, the anonymous Authentic Autobiography of Catalina de Erauso, a Runaway Nun, Sailor, Soldier, Lieutenant, Gambler and D11ellist, cornpiled from a Man11script in the Royal Library at Seville by Don Pedm de Savanilla 6 ; and in 1892, the story of Catalina formed the subject of a brief but shrewd criticism by Sr. D. Antonio Sanchez Moguel in La Ilustraci6n Espa1ïola y Americana 7. Two years later, Heredia published his French version of the original Spanish 8 , which was succeeded, in 1908, by the English translation of Fitzmaurice- Kelly so often cited in these Notes 9, On the stage, a similar theme is treated in La Dama Capitan ot the brothers Diego and José Figueroa y C6rdoba 10 ; and, according to Castillo Sol6rzano - in his novel El Bachiller Trapaz.a, I. Histoire ,le la Monja Alférez, Paris, 1830. To-day this is perhaps even more rare than Ferrer's edition. A copy exists in the Bibliothèque Nationale. (Fitzmaurice-Kelly, Mon. Alf., 1. c.). 2. Die Nonne-Fiilmrich, oder Geschicbte der Doiin C1tta.li11a. de Era1tSo, von ihr selbst gescbrieben. Aachcn und Leipzig, 1830. 3. Serrano y Sanz, vol. I, p. 392. 4. Vol. VI, pp. 303-3 r r. (Fitzmaurice-Kelly, Mon. Alf., pp. XXVIII & 296). 5, See, p. 399· 6. Grenville Tracts, no 3. A copy is in the library of the University of Pcnnsylvania. 7. Madrid, July 8, 1892. (Fitzmauricc-Kclly, Mon. Alf., pp. XXIX & 296). 8. Sec above, p. 399. 9. For the title, see below, List Of wo-rks quoted, p. 452. This edition is valuable not only for the excellent translation of the Historia, buitfor its scholarly introduction and notes. m. Schaeffer, vol. II, p. 205, gives a brief outline of the plot of this play. �X GEORGE WILLIAM BACON JUAN PEREZ DE MONTALVAN 1634, - Belmonte. wrote a comedia entitled La Monja Altérez'. A z.arz.uela oî like titlt by Carlos Coello, and based on Ferrer's Historia, was produced at the Teatro de Jovellanos in Madrid on November 24, 1875 '. Although Montalvan's production is interesting, it is not one of bis best, for he bas failed to take advantage of the dramatic situations presented in the life of the heroine. Judging from the close of the piece, it mu st have been written in I 626, for ,ve knO\v from Pietro della Valle's letter that Dona Catalina was in Rome in June, of t hat year. The verses run as follows: receive a call from Diego. Of course the object of bis v1s1t is to endeavor to gain tidings of Leonida, but why should he appeal to Rodrigo, with whom he is quite unacquainted, and of ,-..,bose rescue of Leonida he knows nothing? I believe the only possible explanation is to assume that Diego cornes to Rodrigo's in the course of a bouse to house search. Such a conjecture might be supported by Diego's declaration, Act II ., after hi s interview with Tristan in the bouse of Marcela : - " Que hoy esta cl Alférez Monja En Roma, y si casos nuevos Dieren materia a la pluma, Segunda parte os prometo ". The presentation of the gloves to Diego as a token of friendship, recalls the like gift of a ring by Laura to Juan in Los Despre- cios en quien a.ma. Scene : Lima, Callao and Madrid . Remedio, lndustria y Valor. The corrupt state of the text of this rare play 3 makes criticism difficult, for it is impossible, in some cases, to determine whether that which the careful reader would censure, is to be cbarged to the negligence of the dramatist or the printer. However, there can be scarcely any doubt that Montalvan is responsib!e for the defects noted below. In Act II., it is not made clear how Rodrigo should happen to l r. If th.is is true, the play has been lost. Fitzmaudcè--Kelly, Mon. Alj., p. XXVIII. 3. I know of but one copy, which exists in the British Museum. 2. ' ' En h casa [de Leonida] hc de sa ber el mal qu e mi pecho abrasa, mas no le queda a la casa lengua para responder. Por las calles quiero andar preguntando a desatino ; lo que no sabe un vezino, a quien se ha de prcguntar ? " This would seem to indicate tbat in addition to questioning passers-by, he proposes inquiring at different bouses, for it is not probable that he would stop at Rodrigo's only. And yet, considering the distance between Marcela's and Rodrigo's, I fail to see how he could cover it so quickly if be stopped on the way. Not\vithstanding Tristan bas hurried to reach Rodrigo's in advance of Marcela, while he is en route Leonida has sufficient time to relate to Rodrigo, at length, the story of ber life. The t wo houses, therefore, could not have been very near together. lt seems strange, then, that Diego should have sufficient time to cover the same distance, - stopping on the vay, as he must have done, - even during the interval of Leonida's long narrative, and Rodrigo's subsequent interview with Marcela. One must regret that our amhor is too prone to carelessness in such details. Diego's impulse to kill Leonida on finding ber in the house of Rodrigo - Act II. - is a most singular anomaly, for after hav- �410 GEORGE WILLIAM BACON ing so cruelly deserted her one would imagine that ail his interest in her had ceased. The excessive length of some of the monologues merits censure, but perhaps the worst feature of the piece is its close. So hurried and abrupt is tlûs, that it would seem the autbor had eitber become tired of writing, or had despaired of ever unraveling the enredo in a more legitimate manner. Several of the scenes offer interest from their novelty, while at least two recall like situations in other plays of Montalvân. The opening of Act I. is similar to that scene in Gravedad en Villaverde - Act III. - where Don Luis offers Don Dieao the 0 shelter of his bouse, after the latter has wounded a soldier in a street quarrel. Marcela's meeting with Leonida - Act II. resembles situations in the first and second acts of La Doncella de Labor. The title is no doubt borrowed from one of the lines of Rodrigo's declaration at the close of Act I. - : " Valor, haze<l resistencia si huvicrc algun enemigo, que quien noble sangre hereda, remedio, industria y valor lo tiene <lesta manera ". Scene Zamora, Villaverde, and the envirom of Madrid. El Sufrir11iento premiado. .. Probably no play of our author is more difficult to translate than this, owing to the intricacy of the plot being matched by a style that very ofœn borders on the unintelligible. At times, it is possible to determine to what character he alludes only through subsequent developments. Beside these defects, we have a tedium which is the natural result of endeavoring to construct a rhree- JUAN PEREZ DE MONTALVAN 41 I act drama from material barely suffi.cient for a production of half that length. As examples of this verbosity, can be cited the <;cene following Marcela's withdrawal from ber balcony, after her meeting with Tancredo on bis return from Italy Act I. ; an<l that in the house of Ginebra, - same act, wherein we first make the acquaintance of Hipolito, Feliciana, and ber mother. The ~haracter of Tancredo is far from being true to nature, for one cannot easily conceive of a lover so uttcrly self-sacrificing as to be delighted that bis mistress is happy in the love of bis rival. Chameleons of this species' are indeed rare, and it is n0t surprising that Leonato should marvel at Tancredo when hehears him aver -Act I. - that he bears no ill either towards Marcela or her new lover. Ginebra stands for a type which, it is pleasing to note, does not often appear in our author's comcilias. She well rnerits the appelations given her by Carpio, - Act I., - an attendant of Hipolito, who designates her first as " la tercera de Calisto ", and la ter " de Celestina un retrato ". Two inconsistencies in.the plot may be remarked. In Act II., Marcela is pictured as having been unaware that she swore to a falsehood, when she - together with Leonato - testified that Tancredo was betrothed to Feliciana before his deparrnre for Italy 2 • And yet in the prece<ling act, Tancredo unfolds to her bis r. I allude to those lines - Act I. - whcrein Tancredo declares : " ... soy de Marcela natural camaleon. De la color que estuvicre, dessa tengo de estar yo ; este enojo me enojé, y aora quiero lo que quicre ". 2. Marceltr. Luego lo que yo juré, Il y Leonato, y Fabio, fue Il cosa que mmca passé. In spite of the fact that Marcela includes Fabio among the witnesses, he does not appear at all in the scene referred to in thcse lincs. �412 JUAN PEREZ DE MONTALVAN GEORGE WILLIAM BACON proposed ruse and the part she is to play therein; whereupon sbe declares she will aid him 1 • Again - same act : - It is inexplicable ·why Hipolito should desire to aid Torcato in seeing Feliciana, - through causing her to marry Tancredo secretly 2, when, only a short time before, he asks Fabio to execute the ruse he has designed to frigbten Torcato away from ber 3 • Hipolito's attitude towards the former is directly the opposite in tbese two passages. The piece derives 1ts title from a line in a speech of Tancredo - Act II. " ... algun dia aveis de ser [i sufrimiento mio !] Il el sufrimienco premiado. " It was printed in the second volume of the Cornedias of Montalvan. Lope de Vega's El Su,frimiento de Honor resembles it only in so much tbat there, also, the leading character experiences''great mental anguish. Scene : Madrid. structed and offers several interesting situations, which are dramaticall y effective in spite of their improbability. The bombastic rhetoric which unfortunately defaces many of our author's plays is here conspicuously absent . La Toquera vizcafna was printed in the first volume of Montalvan's Corncdias, and dedicated to " Don Antonio Hurtado de Mendoça, Secretario de Camara de su Magestad, y del Consejo de la Suprema y General Inquisiciôn, Cavallero del Abito de Calatrava, y Comendador de Zurita. " It was performed by Bartolomé Romero's company ', and printed in part twenty-nine of Comedias de diferentes autores, Valencia, 1636 2 • Even in modern times it has met with success 3• Moreto's Racer Remedio el Dolor resembles La Toquera viz.caina, si □ ce there, too, the enamored girl in disguise pursues the gallant, and finally wins him by intrigue. Scene : Valladolid and Madrid. La Toquera vizcaina. C. - CO.\IEDIAS DE SANTOS. This brilliant, lively comedia, written in the manner and lan- f guage of Tirso, is one of Montalvan's best. The plot is well conI. Ma,·cela. Hazerlo espero, Il por vengarmc mejor de mi enemigo [Torcato). 2. Gi11ebra . ... esta determiuado fHipolito] que con ella [Felicianaj te [a Tancredo) casernes de secreto, y que le demos despues licencia al Soldado [a Torcato], para que la pida y quiera. 3. Fabio. Notable cucnto. Pero que sacas de :ii ? Conde. Que viendo aquesto Torcato, aborrezca su [de Felicia na] mal trato, y clla se me humilie a mi. Que a él no avra pcrsuadille con temor de su deshonra, El divi110 Port11gnés, San A11toniv de Padua. San Antonio of Padua was born at Lisbon, August I 5, r 19 5. He was first a monk of the Augustine Order, but later became a Franciscan. He went to Africa to con vert the Moors, but illness compelling bim to give up the work, he embarked for Portugal. Thrown by a storm on the coast of Sicily, he passed to Italy, where, after preaching with great success, he <lied June 13, 1231, at Padua 4 • r. Edition of 1638, vol. I, fol. 132. La Barrera, p. 685. 3. Rivadeneyra, vol. 45, p. xxxr. 4. Sec Baring-Gould, vol. for July, p. 2. 181. �~ GEORGE WILLIAM B!CON JUAN PÉREZ DE MONTALVAN El ~ivino Portugués is worse tban ml'diocre, and the third act conta10~ much tbat has nothing to do with the development of the subiect. Alth~ugh a manuscript copy 1 in the Biblioteca Nacional oames Bernardino _de ~breg~n as author, still I believe that the piece is by Montalvan, smce lt appears in the second volume of bis Co~edias, which he himself prepared for publication. It is also attnbuted to him in Doz.e Comedias n-uevas de diferentes A11tores part XXXXXVII 2 • (sic), . Valencia, r646, ; and in part forty-fou; of Comedias de dijerentes Autores, Zaragoza, r6p4. . !here are plays of the same ot similar title by fr. Antonio Faiardo Y Acevedo 5, Juan Salvo 6, Fernand.a de Zarate ï, and Lope de Vegas. Scene : Sicily, Lisbon, and Padua. version at Jemsalem, Maria retired to the desert, where, after forty-s~ven years of the most rigid asceticism, she was discovered by Zocimas and given the communion. She died the following La Gita11a de Me11fis, Santa Maria Egypciara. Maria the Egyptian, whose immoral adventures form the groundwork of this piece, was a saint of great repute in Spain and Portugal, but her history has often been regarded as apoc?Ph~l. She was barn at Memphis about 345, and <lied in Palestme _m 421. At the age of t,-..-elve she went to Alexandria, and for seventeen years led there a dissolute life. Following ber con- r. This bears the date 1623, and promises ::i second part. (Paz y Mélia, art. 956]. 2. :-'his should be XXXVU. (See Rennert, Lope, i>- 520, sub tit. La Moza i1e Cantaro). ,. La Barrera, p. 708. 4. Op. cit., p. 687. 5· Paz y Mélia, art. 957. 6. Op. cit., art. 3006. 7. Op. cit., art. 3224. 8. Op. cil., art. 545 . year. Her life is contained in the Vida de San/a Maria Egipciaqua, a nine-syllabled poem of about founeen hundred and fifty lines, written in the thirteenth century. This is borrowed from La Vie de Sainte Marie l'Egyptienne, which bas been ascribed, with little foundation, to the Bishop of Lincoln, Robert Grosseteste, - ? 1175-1253, - in whose Ca.rmina Anglo-Normannica it is interpolated r. Maria's adventures were also written in verse bv Bartolomé Cayrasco de Figueroa at the end of his Templo Militant~, I 602 ; and, less attractively, by Pedro de Ribadeneyra, 1609 2 • There exist two prose versions of tbe same theme, one in Spanish, the other in Portuguese, both of tbe fourteentb century '· Consequently, our author had no lack of subject matter. A perusal of La Gitana de Menfis cannot fail to disgust the reader with its immorality, and weary him with its incredibility. Profane passages are not lacking: for example, one cannot comprehend how the censor should have sanctioned Ventura's travesty of the miracle performed by Zocimas in crossing the Jordan on his mande. Using the same mantle, Ventura attempts to imitate his master, and when be fails into the water, gives vent to expressions than which nothing could be more irreverent. Two deviations from the legend may be noted. Monta!van represents Maria as twenty years of age on leaving Memphis, and makes her death almost simultane,ous with her discovery by Zocimas. Scene : Memphis, Jerusalem, and the district intervening. T. Fitzmaurice-Kclly, p. 53. 2. Ticknor, Lit., vol. I, p. 24, note 23 . 3· Grôber, vol. 11, Abt. 2, pp. 416 & 212. �41.6 GEORGE WILLIAM BACON El Hijo del Sera/ln, San Pedro de Alcantara. San Pedro of Alcantara was born at the latter place in 1499. After studying law at Salamanca he entered the Order of St. Francis, and later became Superior of a convent and Priest. During ail these years be lived as the strictest kind of an ascetic, and 1 inflicted upon himself such terrible penance, that by many be f was regarded as a madman. ln r 5 55, Pedro erected the first convent of The Discalced Order of Franciscans at Pedroso, in the diocese of Valencia. He died at Arenas, October 18, 1562; was beatified by Gregory XV. in 1622, and canonized by Clement IX. in 1669. He was an intimate friend of Santa Teresa, who speaks ) of bim in her Mernoirs '. El Hijo del Serafin is an extravagant specimen of those dramas written to satisfy the requisitions of the Church, and while the one, in general, is fair, the construction is very disconnected. The weakness of the third act would incline one to believe that Montalvan lacked subject matter. The best scene (and indced one of the best in ail our author's productions) is that in which Pedro endeavors to dissuade the infortunate King Sebasti[m · from his inrended expedition to Africa 2 • The contrast between the blind optimism of the fiery youth and the divine foresight of Pedro 1s most effective. l 1. See Baring-Gou{d, vol. for October, p. 487 ff. 2. As Sebastian set sait for Africa June 24, 1578, - at t\venty-four years of age, - and Pedro <lied in r 562, Montalvan has committed an anachronism in placing their meeting iust before the King's dcparrure. Such a liberty is justified, ho,vcver, by the splendid scene wbich it makes possible. Pcrhaps the idca of associating Pedro with Sebastiân was suggested to our author by the ,. fact, that on two occasions Pedro visited John Ill. of Portugal, the grand\ father of Sebastian. The latter lost his life in a terrible battle on August 4, 1,578, in which the Christiam were defeated with great slaughter. JUAN PEREZ DE .MONTALVAN The latter's indifference to Dorotea well accords with the words of Santa Teresa, who says of Pedro : " As to women, for rnany years he never looked at a single one ". His meeting with the peasant girl, while walking and reading, - Act 1., - further ~ recalls the word~' of the Saint : " - he never lifted his eyes .· from the ground . · ~ I The allusion made by Pedro - Act III. - to Santa Teresa is Ci interesting, and proves the correctness of the statement of Fitzmaurice-Kelly 2 - that "Les sots peuvent penser que sainte Thérèse est une fanatique sans cesse dans les transes et en extase''. That Teresa was sorely misunderstood even in her own time is clearly shown by the passage in the drama. A Stt_"iking example of bigotry is presented in the scene between Sebastiân and Pedro already referred to. The latter states that the proposed war would be excusable, were the King intending to seize the land for himself 3, because " La codicia no es culpa Il si contra infieles se muestra ". El Hijo del Serafin, San Pedro de Alcantara was printed in the first volume of Montalvân's Comwias, and dedicated to " El Ilustrisimo Sefior Don Alonso Ferez de Guzman, Patriarca de las In<lias, Arçobispo de Tiro, Limosnero, y Capellan mayor del Rey nuestro seiior, y de su Consejo apostolico, Juez Eclesiastico ordinario de la Real Capilla, Casa, y Corte de su Magestad ". lt was performed by the company of Tomâs Fernandez, November, 5, 1634; and by Adriân L6pez, January 16, 1653 4 • ~ : . 11,t ,._ ·;..:. r . The lioes run as follows : " tante vuestro (i.e. de Dios) amor la enciendc, nadie su espiritu entiende, y a su amor llaman assomo de supersticion .... " 2. P. 206. 3. The object of this expedition was to aid Muley Ahmed against the Sultan of Morocco, and not to make conquests for Sebastian's own profit. 4. Rennert, Clmwology, p. 52. REVUE HJSPANJQ05. B •1 1 'v ,; �GEORGE WILLIAM BACON JUAN PÉREZ DE MONTALVAN There is a drama on the same subject by Fernando Rodrîguez, entitled La Vida y Muerte de San Pedro ' ". Scene : Estremadura (?). A lack of taste, I think, is shown in opening the drama by a, duel. Would it not have been better to suppose the murder already to have taken place, and to have first introduced Domingo as seeking shelter in the monastery ? ln this way an abrupt beginning would have been avoided. The exorcism of Gerarda by Vicente recalls a like occurrence in El Hijo del Serafln, San Pedro de Alcantara, where Dorotea is cured of madness by San Pedro. Scene: Soriano, and the mountains near by. Santo Do11iin![o en Soriano. ,' Santo Domingo was born in r 170 at Caraloga, Old Castile, of parents noble in name - that of Guzman - if not in race. At Segovia he founded a monastery, and at Madrid a couvent for women. Later, he established the Third Order of the I?ominicans, which spread rapidly from its place of origin, now unknown. He <lied Auguste 6, 1221 at Bologna, and was canonized by Gregory IX. in r 23 3 2 • The Dominicans were styled by a pun "Domini-canes" (the Lord's dogs), and when the Inquisitorial power was lodged in tbeir hands, the torch, w hich kindled so many fires, became an intelligible adjunct to their symbolical aninial. Hence the appearance in the present piece of Domingo riding upon a dog, and • carrying a torch. lt is surprising that Santo Domingo en Soritino should have passed the censorsbip of the Inquisition, and should have be'e n allowed to be performed, in view of the many seemingly sacrilegious expressions which it contains. The foolery of the graciosos, Chocolate and Pierres, is very incongruous with the sober, reverent spirit which Montalvan would have us believe permeates the piece. Moreover, from a dramatic standpoint their nonsense is given too much prominence, and creates the suspicion that, as so often happens, it bas been inserted chieB y to prolong the acts to their usual length of ten pages each. f Paz y Mélia, art. I 520. A detailed life of the saint will be fotJnd in Baring-Gould, vol. for August, p. 40 ff. D. - CoMEDIAs DEVOTAS . El valt'ente Nazareno, Sanson. We bave here related the history of Sanson from his contest with the lion to his death in the destruction of the Philistine temple. The biblical account' is modified wbenever our author deems that in so doing, he can add to the dramatic effect. For example : - A distinct gain is made by representing Dalida's treachery toward Sanson as due to her apparently justified jealousy, instead of to her corruptibility, as in the Bible. Again : - In the drama, but thirty Philistines, out of a total of a thousand, bind Sanson, while we have three thousand in the biblical narrative. Written in the worst culteranismo style, the piece depends for much of its success upon the spectacular stage machinery employed. The _great number of "asides" must be remarked. El valiente "Naz_a7è~o, Sânsonwas print~<l iÏÎ t he s~cond volume of Montalvân's Comedias, and also in Comedias nw:uas de los mas 1. 2. I. ]uclges, chaps. 13-17. �420 GEORGE WILLIAM BACON célebres Autoresy realz.ados Ingenios de Espaiia, Amstardam (sic), 1726 1 • Scene : Palestine. Los dos Jueces de Israel. The theme for this piece is furnished by fudges, chap. IV, from which two deviations may be noted. ln the Bible, Jael is already the wife of He ber the Kenite when she slays Sisera 2 ; while Montalvan pictures her as giving her band to him after the murder ;_ Again: -There is no mention , in the Bible of any brothers of Jael ; yet our author represents them as trying to deprive her ot her parental inheritance - Act I. Cnlteranisuw is noticeable 4, and the scenes between the peasants Bato and Tamar are tedious and out of place. Barach's words to Del bora, immediately before their coronation with laure!, - Act 1. fin, - " No iré si no me acompaii.as ", are an exact translation of the biblical " If thou wilt not go with me, then I will not go 5 ". Sorne of the scriptural names have suffered considerable change. Heber the Kenite is Abercineo; Deborah, Delbora; Harosheth, Arroset ; and Kishon, Zifoq. With a few changes, the same theme is treated in Calderém's Qnién hallara M11jer fuerte. JUAN PEREZ DE MONTALVAN 421 Esca11derbecb '. We have here related the romantic conversion to Christianity of Ge0rge Castriota, dubbed by the Turks " Iskenderbeg ", i. e. "the Prince Alexander" 2 • This famous patriot was born, in Epirus in 1414, and was the son of John Castriota, one of the principal chiefs of Alba nia. Given by his father, in 142 3, as a hostage to the Sultan Amura th II., the latter took such a liking to him that he adopted him, made him an Islamite, and had him instructed by the best masters. After having distinguished himselt in Asia as a Turkish pasha, Escanderbech yielded to the .entreaties of the Albaoian nobility that he returo to bis land, and rule over it. Accordingly, with three hundred fellow-countrymen in the Turkish army, he deserted, took possession of Croïa, the capital of Albania, and annihilated four different armies sent against him. Although bis allies, tired of the continua! strife, desened him, yet be did not lose courage, and battle after battle took place, the struggle be.ing terminated only by his death at Alessio, in 1467. Theindomitablt leader was worn out by bis campaigns, having defeated the Turks no less tban twenty-two times , . Montalvan's production possesses little interest, the style being poor and rnlteranismo too much in evidence 4 • The brevity of the Scene : Mount Tabor, and other points in Palestine. :. La Barrera, p. 711. ]udges, IV., 17. 3. Act III, fin. Iael [â Abercineo] Pues assi premias mi fc, esta es mi mano, y con· clla el alma te doy tambien. 4. Perhaps the most extravagant example is the passage wherein Iael tells Abercineo - 011 first meeting him, Act I. - that ber brothers described ber throat as " una torre de plata ", and her hands as " jazmines celestiales ". 5. Judgcs, IV., 8. 2. 1. Paz y Mélia, art. 2729, wrongly classifies this drama as an aulo. (See notes on Las sa11tisi111as Formas de A/cala, p. 426). 2. The anglicised form of the name is " Scanderbeg ". 3. The lifc of Castriota was written by M. Barletius, an Epirote, and published at Rome in 1537, under the title De Vita et Moribus ac rebus gesti Geo. Castrioti. lt was translated into Portuguese and then imo Spanish, the latter version appearing at Madrid in 1597. (Schaeffer, vol. I, p. 291). 4. Cf. Schaeffer's criticism...,.. vol. I, p. 291 - of Luis \'élez de Guevara's play oi like title : - " Leider ist dieses interessante Drama durch cultistische Stellen vcrunziert .... " �4.22 piece, - eighteen pages, I acts should be remarked. and also the absence of division into The Albania in which was situated the city where Escanderbech first met Cristerna, is evidently not the Albania which he later endeavored to wrest from the Turks, but the country of that name lying to the west of the Caspian Sea, and corresponding to the modern Daghistan, Schirvan, and Leghistan. This is proved by the following: (a). On leaving Cristerna, after their first meeting, Escan• derbech states that to return to Constantinople he must cross the river Tanais - the modern Don, - which flows into the Sea of Azov. Therefore he must have been east of this river. (b ). When he reaches ConStantinople, he informs Amurates that he has conquered " Arabia, Persia, and Osiris. " ( c). Cristerna tells Escanderbech that she is Queen " of ail that the Tigris produces. " Escanderbech forms part of the fifth day's entertainment in the Para Todos ', and is censured by Quevedo in the Perinola. According to a note on a manuscript copy of the play in the Biblioteca Nacional, Madrid, it was performed by the company of Roque ( de Figueroa) in that city in 1629 2 • The " la Belera " who Montalvan, states took part in the production of Escanderbech, was Isabel Hernàndez, wife of Miguel Jer6nimo Pinz6n - or Punz6n. She ,vas (for how long we do not know) primer dama in Roque de Figueroa's company, and then retired from the stage and enten~d a couvent 4. Regarding the stage-setting of the piece, our aurhor , s~ys : - Edit. of 1645, fols. 180-189 b. Paz y Mélia, arr. 2729. 3. Patit Tcdos, ut supl':.1, fol. 179, b. 4. ·See ·Spanisb Ac/ors and Act1'esses by H. A. -Rcnnert in R,rvue Hispanique tom. XVI, u0 50, p. 409, Paris, 1907. · ' ' 5. Para Todos, ut supra, fol. 179. 1. 2. JUAN PÊREZ DE MONTALVAN GEORGE WILLIAM BACON " ... al un lado tenia [ el teatro] una tienda de campafia, cercada · de varias instrumentas de guerra, y artificios de fuego, y al otro un globo esferico a manera de media naranja, cubierto de Juzes, y Serafines, .... " In the Pa.ra Todos Montalvan states that Luis Vélez de Guevara wrote two plays on this subject; but whether he or Belmonte is the author of El gran Jorge Castrioto y Principe Escanderbecl, (sic), which was printed in part forty-five of Comedias escogidas, Madrid, r 679 ', it is impossible to determine 2 • There is also a comedia burlesca of Felipe L6pez, entitled Escanderbeg , . One cannot say whether the Amurates of Moreto's Dejar un Re-ino por otro is identical with ours or not. Three dramatizations in England of the Escanderbech story may be ·mentioned. In 1733, a play entitled Scanderbeg by Wm. Bavard, an actor, was performed at the theatre in Goodman's Fields, London, but met with little success. The following year, George Lillo's production The Christian Hero had a like reception at the Theatre Royal in Drury Lane. In I 7 4 7, appeared at London the third adaptation of this theme, Scanderbeg or Love and Liberty, by Thomas Whincop. Scene : A city in Albania, and Constantinople. El Polifemo. In a brief reference to the above, Ticknor 4 remarks that at the present day it is difficult to believe that such a drama could r. La Barrera, p. 703. La Barrera, p. 467, states that Belmonte is more commonly regarded as the author, and that Luis Vélez's production appears to be El Principe esclavo, y Hazmïas de Escanderbeg. Cf. Rennert, Chronology, p. 52. 3. Paz y Melia, art. 1144. 4. Litera/ure, vol. II, p. 320. 2. �GEORGE WILLIAM .BACON JUAN PEREZ DE MONTALVAN have been represented anywhere. To substantiate his assertion, he mentions the absurd scene in wbich Polifemo plays a guitar, and an island in the earliest ages of Greek tradition sinks into the sea, amidst a discharge of squibs and rockets. Ticknor's criticism is not too severe, for so offensive is the allegory of this extravagant and tedious production, tbat one caonot understand how the Church should have allowed its performance. The conception of the Saviour boring out the eye of Polifemo with a stick, seems almost a burlesque upon Christianity. The significance of the allegorical characters is as follows : Polifemo reprèsents the devil; Galatea, the soul ; Ulysses, Christ; the first Cyclop, Judaism; the second, disdaio of God; the third, deception ; and the fourth, the natural law. The incidents mentioned by Polifemo early in the piece, are mainly taken from the story of Ulysses's encouotcr with the Cyclops. Mythology makes both Polifemo and Acis lovers of Galatea, who persistently spurned the advances of the former. Mootalvan borrows this idea, but endows Acis with the functions of Ulysses as well, since the shepherd Acis of the latter part of the play and the " embiado del Dios mismo "of the early part, - i. e. Christ, - are one and the same person, Ulysses. The adaptation of Pagan fable to Church themes came into vogue long before Montalvan's time; perhaps the best known example is the Christian interpretation given to Vergil's fourth eclogue 1 • Another conspicuous instance is the Latin poem of Laurentius Vernensis, a Tuscan, of toward the end of the eleventh century •. Such a practice did much to bring about the toleration of Pagan literature by the Church. El Po/ifemo forms part of the fifth day's entertainment in the Para Todos 3, and in the editio princeps of the same bears the date 1628 1 • Tt has been falsely attributed to Calder6n •. Quevedo, in his Perinola, visits upon it a censure as harsh as well merited '· C11/teranis1110 abounds. Montalvan-. thus describes the stage-setting of the piece : " ... al lado izquierdo tenia [ el teatro] un monte altissimo, y en èl todos, o los mas animales de la tierra, que siendo de carton, estavan con ta! artificio puestos, que parecia con la perspetiva que hazian las luzes, y las sombras, que estavan vivos, y andavan passeandose por el risco, y a la mano derecha se mostrava un See Comparctti, Part I, p. 133 ff. See Gaspary, p. 28 ff. 3. Edit. of 1645 , fols. 171 - 178 b. 1. 2. La Barrera, p. 266. Schmidt, p. 479· 3. " Lo primero, en el auto del Pol ifemo hay una novedad : que basta agora habia diablo cojuelo solameote, y abora hay diablo tuerto con solo un ojo, porque Polifemo es el diablo ...... hace (Montalvan] â Cristo Ulises. Esta no es alegoria sino algarabla; no hiciera cosa roo mal sonante ni iodecente un moro bunolero : porque la persona de Cristo no se ha de significar por un hombre que los propios gentiles id6latras le llamaron enganador, embustero y mentiroso ... 1. 2. . . .. . . . . . . .... . Y lo mas execrable y endemoniado es, que mas abajo dice el Dotor estos versos : Dime, antes que me duerma, Tu nombre ; dime; l quién eres ? Y él entonces con èautela : 'Yo soy yo mismo ', me dijo. Pues aunque vuesasmercedes no son Niseno ni Valdivielso, miren si aprobaran el decir el autor, de su propia sentencia (hablaodo de Cristo, â quien hace Ulises), que Cristo dijo con cautela: ' Yo soy '. Esto es calumnia de los escribas y fariseos (a que respondi6 Cristo : Ero palam locutus mm; 'Yo be hablado en publico ' ; y en otra parte : Ego swn 'IJia, 1•erilas et vita ; '. Yo soy camino, verdad y vida ; ') y tambien es proposicion de los cristimâst1ges, en cl libro blasfemo, que intitularon De tl'ib11s impostoribus 1111111di, que acab6 quemado con sus autores en Alemania. Pues l c6mo se ha de defeoder deci.r que Cristo habl6 con cautela ; y pasar con dos aprobaciones, y la postrera de un ti::6logo y provincial tan grave ? " (Text of Rivadeneyra, vol. 48, PP· 474475). 4. Para Todos, ut supra, fol. 15 9. �GEORGE WILLIAM BACON JUAN PEREZ DE MONTALVAN edificio de una lglesia, con su campanario, y todas las dernas partes necessarias ; ... " · Lope de \'ega, Luis de G6ngora, and Francisco <le Prado also ~note on this theme •. Navidad )' Corp11s Christi', Madrid, 1664, and we read beneath the title " Representose en Madrid. "There exists in the Biblioteca 2 1 acional a manuscript copy of Las Formas, autograph in part and signed at the end by Montalvàn. lt former~y belonged to the Duke of Osuna i. Seene : Alcala and ics Yic-inity. Lns santlsinws Formas de A lcallt.. I Although this piece bears the tit!e Auto Famoso Sacramcntal de las Srmtissimas Formas de Alcalâ, it is not a true au/o but a comedia devota, since it does not possess the characteristic feature of the former - a dramntis personne consisting exclusively of allegorical characters ', as, for example, in Calder6n's Los Encrtntos de la C11lpa. The work offers but little interest, and the scenc at Alcali is tedious. The elaborate stage-setting of this scene, however, merits rernark. lt is thus described : " Descubrese a un tiempo en un lado el Angel en la gloria, vestido de Doctor en Teologia, con sotana, y manteo, capirote blanco, y bonete con berta blanca, y unas conclusiones en la mano ; el demonio abaxo en la boca de infierno de la misma suerte, vestido capirote azul, y borla azul en el bonete ; al otro lado en una media uaranja un dose!, y debaxo del uua taça de fuente, y en ella una Custodia con veinre y seis Formas, y otras tantas lamparillas 6 un candelero con muchas luzes; a sus pies un Nino con su m:mteo, y sotana, llcno de plumas y cifras de tesues, y su bonete con borla blanca, y capirote blanco; y en cuatro . sillas, las cuatro facultades, Medicina, Filosofia, Teologia, y Canones con capirotes, amarillo, azul, blanco, y verde, ... " Las santisirnas Formas de Alca/a was printed in th~ collection r. Op. cit., fol. 160 b. 2. Cf. Fitzmaurice-Kelly, Las Formas de. Alca/â as an p. 336. Paz y Mélia, art 1316, wrongly dassifies 1111/0. ,. P. 196 ff. Paz y Mêlia, 1. c. 3. Op. cil., 1. c. 2. �GEORGE WILLIAM BACON JUAN PÉREZ DE MO, TAL\·A, Deslxmm La) lxmrosa. Brit. Mus.; Rco.; Mad. ; R. Mad.; V.; P.1r. SEC110 Desprt>ciar lo que St' q11iere. IV Brit. Mu~.; Ren.; Mad.; R. Mad. · Ber. ; Paris ; V.; Par. Desprecios (Los) en q11im ama. LOCATION OF THE GENUINE DRAMAS OF MONTAI.YAN. (Sue/ta). Brit. Mus.; Tick.; Rcn.; M.id.; Par.; Ber.; V. De tm Castigo dos Ve11ga11,as. Brit. Mus.; Tick.; Ren.; Mad.; Ber.; Paris; V. A Ici hecho 1w hay Re-medio, y Priucipe de los Montes. Brit. Mus. '; Tick.; Rcn.; lad. ; R. ~lad; Ber.; Mun.; Paris; V.; Par. Ama11tes (Los) de Teruel. - Brit. Mus.; Ren.; Mad.; R. Mad.; Ber.; Paris; V. ; Par. Brit. Mus.; Tick.; Ren.; M.1d.; R. Mad.; Ber.; Mun.; Paris; V. ; Par.; Nap. A1110r, Lealtad y Amis/ad. Donrella (Lo) de Lobor. Brit. Mus.; Tick.; Ren. ; Mad.; R. Mad.; Ber.; Mun.; P~s; V. ; P.1r. Dos (Los)]ueces de Israel. Brit. Mus. ; Tick.; Ren.; M:id. ; R. ~fad . ; V. ; Par. Ce11li11ela (LJJ) del Ho11or. Divino (El) Portugués, San Antouio de Padua. (Sue/ta). Mad.; Par. (Sue/ta). Escanderbcc/J. Brit. Mus. Brit. Mus.; Tick.; Ren.; Mad.; V. Como amante y co1110 honrada. Fin (El) 111éts desgraciado y Fort111uts de Seyc1110, Ô Amor, Pri'im11:::_a y Castigo. Brit. Mus.; Tick.; Ren.; Mad.; R. lad; Ber.; Paris; V. ; Par. Como Padre y como Rey. (Sut/la). Brit. Mus. ; Tick.; Rcn.; Mad.; R. Mad.; Mun.; Ber.; ~is; \".; Par. Brit. Mus. ; Tick.; Ren. ; Mad. ; Ber.; Mun.; Paris; V.; Par. Como se guarda el Honor. Gananria (La) por la Mano. (Suelta). Brit. Mus. ; Mad. ; R. Mad. ; V. ; Par. Brit. Mus.; Paris. Gitana (La) de Menfis, Santa Maria Egypciaca. Ct1111plfr con s11 Obligacion. Brit. Mus.; Tick.; Ren.; Mad.; R. Mad.; Ber.; Mun.; P:tris; \T.; Par. Desdicha (La) 'Ve/llurosa. (Sue/ta). (S11elta). Brit. Mus. ; Tick.; Rcu.; Mad. ; Ber.; ~is; V.; Par. Gravedad eu Villaverde. Brit . .Mus.; Tick.; Ren. ; Ber. ; Par. Mad.; Ber. ; Paris. Guslo (Un) trae mil Disgus/os. Mad.; Ber. 1. Expl:mation of the abbreviations : Brit. Mus. British Museum. Tick. Ticknor Collection, Boston Public Llbrnry. Rcn. CoUection of Dr. Hugo A. Rennert, Philadclphia. Mad. Biblioteca Nacional, Madrid. Par. = Biblioteca Palarina, Parma. V.= K. f{ Hof-Bibliothek, Vienna. Mun. K. Hof-und Staatsbibliothek, Munich. Be.= Kônigliche Bibliothek, Berlin. Paris= Bibliothèque Nationale, Paris. R. Mad. = Bibliotcc.1 Real, Madrid. " ap. Biblioteca N'azionale, Xapks. = = = = = = Hijo (El) del Semfin, San Pedro de Alcétntara. Brir. ~i.u~. ; Tick.; Rcn. ; Mad.; R. M.1d. ; Mun.; Ber. ; Paris; \'. ; Par. Hijos (Los) de la Forl1111t1, Teâg,e11es )' Clariq11ea. Brit. Mus.; Tick.; Rcn. ; Mad.; R. Mad. ; Ber.; Mun.; Y.; Par. Lo que son ]uicios del CieLJ. Brit. Mus.; Tick.; Ren.; Mad.; R. Mad.; Ber.; ~!un.; P~; V.; P.ir. �430 GEORGE WILLIAM BACON JUAN PEREZ DE MONTALVAN Mariscal (El) de Vir6n. Mas (La) constante Mujer. - Brit. Mus.; Tick. ; Ren. ; Mad.; Ber. ; Mun. ; Paris; V. ; Nap. Monja (La) Alférez.. (Suelta). (S11elta). (Suelta). Brit. Mus. ; Tick. ; Ren. ; Mad. ; Ber. ; Patj_s ; Par. Sufrimiento (El) premiado. Brit. Mus.; Mad.; R. Mad. ; Ber. ; V.; Par. Brit. Mus. ; Tick. ; Ren. ; Mad.; Ber:; Mun; Paris; V. Olimpa y Viteno. ' Templarios (Los). Brit. Mus. ; Tick.; Ren. ; Mad.; R. Mad.; Ber.; Mun.; Paris; V.; Par. Brit. Mus.; Tick. ; Mad. ; R. Mad.; Ber.; Mun.; P:'.is; V.; Par. Toquera (La) vizcalna. Palmerfn de Oliva. Brit. Mus.; Tick.; Ren.; Mad.; R. Mad.; Ber. ; Mun. ; Paris; V.; Par. Brit. Mus. ; Ren. ; Mad. ; Par. ; Ber. Para con Todos Hernumos )' Amantes para nosotros. (Don Florisel de Niq11ea). Brit. Mus.; Tick. ; Ren.; Mad. ; R. Mad. ; Ber.; Paris; V.~ Par. Valiente (El) mas dichoso. (Don Pedro Cuirai). Brit. Mus.; Mad.; R. Mad.; Ber.; ~is; V.; Par. Valiente (El) Na:{_areno, Sanson. Brit. Mus.; Tick.; Ren.; Mad.; R. Mad.; Ber. ; ~ ; V. ; Par. Polifemo (El). Brit. Mus.; Tick.; Ren. ; Mad. ; Ber.; V. Part. I. (Suelta). Brit. Mus. ; Tick. ; Ren. ; Mad. ; Ber. ; P11ris; Par. Part. II (Suelta). Brit. Mus.; Tick.; Ren.; Mad. ; Ber. ; Paris; V.; Par. Rernedio, lndustria y Valor. (Suelta). Brit. Mus. Reynar (El) para mor,.ir. Part II. Brit. Mus.; Mad.; R. Mad.; V.; Par. Ser prudente y ser sufrido. No hay Vida coma la Honra Puerta (La) macarena. Segundo (El) Séneca de Espaïia. Brit. Mus.; Tick. ; Mad. ; R. Mad.; Ber.; Mun.; Paris; V.; Par. Ber. Puerta (La) macarena. Brit. Mus. ; Tick.; Rcn. ; Mad.; Ber.; V. Senor (El) Don Juan de Austria. Brit. Mus.; Ren.; Mad. ; Ber.; V. Morir y disimular. Part. I. Scgundo (El) Séneca de Espmîa. Brit. Mus.; Tick.; Ren. ; Mad.; R. Mad. ; Ber.; Mun.; Paris; V.; Par. 43 1 (Suelta). Ren.; Mad.; Par. Rigor (El) en la Inocencia, 6 Privarse de privar. Brit. Mus. ; Mad. ; Par. Santisimas (Las) Formas de Alcala. Brit. Mus. ; Tick. ; Mad. Santo Domingo en Soriano. Brit. Mus.; Ren.; Mad.; V.; Par. ( Suelta). (Suelta). �432 GEORGE WILLIAM BACON JUAN PÉREZ DE MONTALVAN SECTION V SECTION VI DRAMAS ATTRIBUTED To MoNTALVAN, BUT NOT ACCESSIBLE'. Cuerdos hay que parecen locos. (Rivadeneyra, vol. 45, p. LIV. Zabaleta wrote a play of this title. Are they identical ?) Gitanilla (La) de Madrid. (Schaeffer, vol. Il. p. 150 ; La Barrera, p. 268; Rivadeneyra, l. c.; Schack, vol. V. p. 186; Ticknor, Lit., vol. Il. p. 428). Martires (Los) de Valencia. (Paz y Mélia, art. 2033). Mas puede Amor que la Muerte. (Ri~adeneyra, l. c.; La Barrera, p. 268. It was performed by Juan Martinez, June 5, 1631; and by Luis L6pez, January 30, 1633) '. Navidad (La) del Senor. (Rivadeneyra, l. c. ; La Barrera, 1. c. ). Pescador (El) (La Barrera, pp. 518, 641). (Baile). Par el mal Vecino el bien. (Rivadeneyra, l. c. ; La Barrera, p. 268). PLA YS WRlTTEN BY MONTAL\"AN IN 433 . COLLABORATION \\'!TH OTHERS. Circe y Polifemo '. (Act I. by Mira de Amescua; Act II. by Montalvân; Act III. by Coello). Monstruo (El) de la Fortuna, la Lavandera de Nâpoles, Felipe Catanea. ( Act I. by Çalder6n; Act II. by Montalvân ; Act III. by Rojas). Privilegio (El) de las Mujeres. (Act I. by Calderon; Act II. by Mootalvàn ; Act III. by Coello). Terceras (Los) de San Francisco•. (Act I. by Lope de Vega; Act II. by Montalvan; Act III. by both). I. The original manuscript of thi; co111edia is in the Biblioteca Naciooal. The second and third acts bear the signature of their respective authors. (Paz y Mélia, an. 2666). 2. Montalvan relates in the Fama P6stu111a - fol. r 3 - that Lope and be wrote this play, in a little over two days, for Roque de Figueroa's company, who performed it in Madrid about the timc of the Camival, before Shrovetide. Socorro (El) de Cadiz.. (La Barrera, p. 518). 1. 2. The refereoces t-eneath each title indicate where mention is made of it. Renne11, Clwonology, p. 46. REVCE HISPANIQl'E. B 28 �434 GEORGE WILLIAM BACON JUAN PEREZ DE MONTALVAN 435 Caballm (El) del Febo. SECTION VII THE SuPP0s1T1T1ous DRAMAS OF MoNTALVAN '. Amor es Naturalez.a. Although as a suelta this piece is found attributed to Montalvan, and exhibits all the earmarks of his workmanship, yet the final verses indicate tbat Luis Vélez de Guevara is the author. They run as follows : " Desta suerte escribib Laura', que amor es naturaleza, pidiendoos perdon, Senado, y acabando la Comedia. " Schaeffer; remarks that probably the meaning is only that Montalvan bas made use of a play of Luis Vélez, but if we put such an interpretation upon the \·erses the )ast two seem strangely out of place, for they are a direct appeal to the audience. Perhaps it is on account of this objection that only the first pair are quoted by Schaeffer. r. Àlthough I should prefer the attribution to Montalvan of several plays in this section, I have classed the same as supposititiom because of the doubts espressed regarding their authenticity. I believe that the conclusions thus arrived at are more worthy of consideration than those based only upon one's own opinion. 2. "Laura" is the wcll known 110111 de plu111e of Luis Velez de Guevara. See Schaeffer, vol. II, p. 319. 3. Vol. I, p. 449. This com.edia is ascribed to Montalvan in two manuscripts in the Biblioteca Nacional. One of these is undated, and Jacks the signature of the copyist; the other bears the date I 63 5, and is signed by Fray luan Martinez de Mora. The Biblioteca Palatina at Parma possesses another manu.,cript - thought by R.estori to be autograph' - likewise naming Montalvan as author2, and identical in its opening and closing lines, at least, with the manuscripts at Madrid. In the collection Na-vidad y Corpus Christi, published at Madrid in r 664, we find the drama attributed to Francisco de Rojas. The text is here the same as that given in the two manuscripts at Madrid, except that, at the close, in the line which in ail three manuscripts rcads " que Montano en Mançanares " the word "Roxas" is substituted for" Montano, ". The drarnatis personae is likewise identical with that of the manuscri pts, except that it contains two additional characters -Astolfo (la Ignorancia), and Müsicos (la Voluntad). Restori" states that in the Parma manuscript there are eight r. See Pilr.as de Titulos de Comedias, by A. Restori, Messina, 1903, p. 192, note 7. 2. See Co111edias de diferentes Autores, by A. Restori, in Studj di Filologia Romanza, vol. VI, p. 87, Rome, 1893. 3. The closing verses in the threc rnanuscripts read as follows : Trebacio. Con que tendrà fin con esto las estra11as aventuras del Cavalkro del Febo, que Montana en Mançanares escrivio en servicio vuestro, con condicion que suplais los yerros con el deseo, las faltas con la intencion, y todo con el afecto. ~ . S tudj, ut supra. �436 GEORGE WILLIAM BACON JUAN PEREZ DE MONTALVAN pages following the close of the drama which are filled with invocations to the Virgin and calligraphie flourishes. On one of the pages he found a noie of expenses for the year 1631, and for this reason prefers the attribution to Montalvan, provided the piece be the same as that ascribed to Rojas in the Navidad y Corpus Christi - of which he is not sure. As Rojas was not born till r 610, Restori considers him as too young to have writtén a play which must have been composed before 163 I. He states that he does not know whether the pseudonym " Montano" was ever applied to Montalvfo 1 ; but there can be no doubt regarding this, for the author thus styles himself in his Para Todos, - edition of 1645, fols. 136 band 159 b--, and in his Las santisimas Formas de Alcalét - fin. In the Létgrimas Paneglricas, I have observed ten instances• in which this name is given him. Restori's believe that the youth of Rojas precludes his baving written El Caballero del Febo I regard as not well founded, for we know - for example - that Montalvan was not more than twenty when he composed La Deshonra honrosa, since we have a manuscript of it dated 1622 J. Cal/ale y calle11ws. (El Galan secreto). As a suelta it is attributed to Montai van 4 • In the apocryphal third part of Moreto'scomedias, 1681, it is ascribed to the latter, under the title El Secreto entre dos Amigos 5• In part thirty-four of r. In his Piez.as de Titulos de Comedias, Messina, 1903, p. 192, note 7, he refèrs to Schaeffer, vol. II, p. 319, where the latter cites the pscudonym in question. 2. They are as follows: - Fols. 45 b; 46b; 64 b, (2); 71; 80 b; 82; 85, (2~ i r 54. The figure "2" following folio numbers 64 b and 85 indicates that the uame there occurs twiœ). 3. See Paz y M~lia, art. 88r. 4, La Barrera, p. 268. 5. Op. cit., p. 278_ 437 Comedias escogidas, Madrid, 1670, with the title El Galit11 secreto it is attributed to Mira de Amescua ', and Schaeffer~ concurs in this ascri pt ion. Capitan (El) Belisario, y Ejemplo ma)'or de la Desdicha. In part twenty-five of Comedias de diferentes Au/ores, Zaragoza, 1632, it is attributed to Montalvan 3 • Ii;i part six of Comedips escogidas, Zaragoza, 1653, it is ascribed to Lope 4. With the tiçle El Ejeniplo mayor de la Desdicha, it is attributed to Mates in Comedias de los mejores y mas insignes lngenios de Espaîur, Colonia~ 697 , . Ticknor 6 and La Barrera 7 state that Mira de Amescua is the author ; _the truth of which assertion is confirmed by an autograph manuscript of the piece in the Biblioteca Nacional. It also bears an autograph censura of Lope, dated Madrid, July 1625; and others of Madrid, 1625; Valencia, 1627; and Portugal r 629 (?) 8 • I Cardena l ( El) Mor611. In the Biblioteca de Filosofia y Letras del Instituto de San Isidro, Madrid, is found a s11elta - without date or plate of publication - bearing this title, and attributed to Montalvan 9. I am convinced, however, that the comedia is not_hing but a reYi- r. Op. cit., p. 699. Vol. I, p. 317. 3. La Barrera, p. 684 . 4. Op. cit., p. 705. 5. Op. cit., p. 71 r. 6. Catalogue, 267. 2. 7. Pp. 684, 711. 8. Paz y Mélia, art. xo57. 9. A play of this title is ascribed to our author in Rivadeneyra, v?l. 45, p. LIV. �JUAN PÉREZ DE MONTALVAN GEORGE WILLIAM BACON sion, by an unknown l1and, of Moreto's La milagrosa Eleccion ~he plot is the same, and while the scenes are arranged in a d1fferent order, the text in bath plays agrees throughout, with the exception of comparatively few important changes 2. Often, the same passage is assigned to a different rôle. Seventeen of the twe~ty characters in El Cnrdenal Moron go to make up the drn111ntts personne of Ln milngrosa Eleccio11. Three - un criado P_orcia, and el Hermano Francisco - are peculiar to the forme; p1ece. Alr~ough i~ is well known that Moreto had no semples against plagansm 3, st1ll I cannot admit the possibility that his La milagrosn. Eleccion is based upon El Cardennl Moron, and that Montalvan was the author of the latter. It Joes not read like our author's work, _in spire of the fact that the reviser bas inserted lines, concerning King Felipe II., which bear a striking resemblance, to passages in both parts of Montalvan's El segundo Séneca de Espaiia and Don ]11rtn de Austria. So popular were both authors that the adapter could count with reasonable certainty upon the success of a piece possessinob ail the boood qualities of Moreto's workmanship, and, in addition, bearing the name of Montalvân. That El Cardenal Moron was gotten up chiefiy for ~he stage I believe very likely; and that it actually was performed 1s proven by the words following the title : " Represent6la Morales. " 1t would appear that our author's supposititious Lucha de Amor y Amistad might be included in the same category. ln the Index of his Câtalogo, p. 533, La Barrera cites El Car1• 1 r. La Barrera, p. 172, and Rivadeneyra, vol. 45, pp. xvm, LH, :ittribute a co111edia of this title to Doctor Felipe Godinez, but as I have been unable to discover it in any of the principal libraries, I suspect it tO be merely Moreto's play, bearing the name of Godinez. 2. The greatest variation i~ to be found in Act II. Gcnerally, the changes affect not over half a dozcn lincs consecutivel v. 3. See Fernandez -Guerra's introduction to 'the comedias of Moreto reprinted in vol. 39 of Ri\·adeneyra. 439 denal Moron as of Moreto, and places after this title the additional one La milatJrosa Elecci6nde SanPio V. On p. 564, to the latter title he adds San Pia V. - El Cardenal Moron. I do not know what autbority be bad for citing El Cardenal Moron as an alternative title for Ln milagrosa Eleccion, for in five different editions of Moreto's piece in the Biblioteca Nacional, tbe title appears simply as La milagrosa Eleccion de San Pio V. If he had reference to the El Cardenal Moron in question, and believed it identical with Loreto's play, be was mistaken. Should El Cardenal Moron be derived from La milagrosa Elecci6n, then it perhaps goes back ultimately to Lope's El Infanz6n de Illescas, of which Schaeffer' believes La milagrosa Eleccion to be a revision. ln some respects, El Cardenal Mor6n recalls Tirso's La Elecci6n por la Virtud and Matos's revision of the latter, El Hijo de la Pied-ra. Las Contrarias parecidos, Desdicba vent1trosa y confusa lngalaterra. In the Biblioteca Nacional a manuscript copy of this comedia exists, . bearing the date December 9, 164:.:, but naming no author. Notwithstanding this, however, ,vith the partial titleLa Desdicha ventu.rosa, Paz y Mélia 2 attributes the play to Montalvan ,. I believe that such an ascription must be rejected, for the r. Vol. II, p. 183. Schaeffer errs, however, in attributing El I11fa11zo-n de lllescas to Claramonte. It is reprinted in the Acaderny's edition of Lope, vol. IX, q. v. z. P. 699. 3. It see111s strange that he does so only in the taole of Montalvan's plays at the end of bis Catalogo. Under the titles La Desdicha venturosa. (p. I 38) and Los Co11trart'os parecid.os, Desdicha venturosa y confusa Intalaterra (p. 1 ro), in the body of the work, be names uo author. �440 JUAN PEREZ DE MONTALVAN GEORGE WILLIAM BACON 44 1 l style is unlike our author's, and the length of the piece far exceeds that of his productions. Although the plot is complicated, it is not this, but the hundreds of tedious lines assigned to the three graciosos that prolong the play to such an extent. De cwindo aca nos vino. Paz y Mélia 1 states that this comedia has been attributed, without foundation, to Montalvân, but that the true authors are Lope de Vega and Pray Alonso Rem6n (?). It is the model for Moreto's De fuera vendra 2 • El Desdén con el Desdén. As a melta, this play is found in a volume of Montalvân's comedias in the Biblioteca Palatina, Parma , . It is an amusing burlesca of Moreto's masterpiece of like title, v,1hich fact, alone, - as Restori points out - would preclude Montalvan's authorship, since be died June 25, 1638, when Moreto was but twenty. The latter was baptized April 9, 1618. Diablos son las Mujeres This drama bas been attributed to Montalvân, but is merely a reprint of Lope's Los Milagros del Desprecio with the last four verses altered. Diablos son las Mujeres is found in the K. Hof- und Staatsbibliothek, Munich, in a volume containing four genuine sue/tas of Montalvân. Op. cit., art. 825. Cf. Rennert, Lope, p. 503 ; Schaeffer, vol. 1, p. 169 ff. 3. Restori, op. cit., p. 88. 1. 2. Dic/Joso (El) en Zaragoza. In part forty of Comedias escogidas, Madrid, 1675, and also as a rnelta, this piece is ascribed to Montalvân, in which attribution Fernfoldez-Guerra concurs '. Mesonero Romanos 2 and Ticknor 3 express their doubts as to Montalvân's · authorship. In party thirty of Comedias escogidas, Madrid, 1668, it is attributed to Moreto, with the title El Premio en la misma Pena 4 ; and entitled La Merced en el Castigo 6 El Premio en la rnisma, Pena, Lope is named as author s. The text of El dichoso en Zaragoza contains, toward the close some variations from that of that of El Premio en la rnisma Pena ' 6 • La Barrera 7 believes that Moreto is probably the author of the former. Diego Garcia de Paredes 8 • Is attributed by Ticknor 9 to Montalvan; by Schaeffer 1 0 to Luis Vélez de Guevara. A suelta, without date or place of publication, in the Ticknor collection names Luis Vélez as author, an ascription in which Duran 11 concurs. With the title Darles con la entretenida, thedrama isattributed to Belmonte in part thirty-one of Rennert, Lope, p. 519, fin. In Rivadeneyra, vol. 45, p. LIV. 3. Catalogue, p. 267. 4. La Barrera, p. 698 . 5. Rennert, Lope, p. 519. 6. Op. cit. , l. c. 7. P. 682. 8. On this drama, see Zeitscbrift, vol. 30, p. 232 ff. 9. Catalogue, p. 267. 1. 2. 10. 11. Vol. I, p. 297. Paz y Mélia, art. 822. �44 2 GEORGE WILLIAM BACON Las 111:fores Com~dias que has/a oy han salido, Barcelona, 1638 JUAN PÉREZ DE MONTAI.VAN 1 ; a_nd Sanchez-Aqona z concurs in this ascription. It does not read hke Montalvân's work. Empenos (Lls) que se ofrecen. ~ suelta i? the British Museum - Madrid(?), 1650 (?)at~nbutes th1s drama to Montalvân. In El mejor de los rnejores Libros ~u~ ban s~lido de Comedias nuevas, Madrid, r 653, - with the add1t10nal mle Los Empeifos de un Acaso - Calderon is named as author '· Examen (El) de Mariffos. Ticknor 4 is quite correct in his assertion tbat this co111edia bas pas~ed under the name of Montalvân, for in the Bibliothèque Nat10nale I found a copy with such an ascription. The real author, Ticknor 5 declares, is, bowever, not Montalvân, but t Ruiz de Alarc6n - an attribution in which La Barrera 6 and Schaeffer 7 concur. The play appeared in the second part of Alarc6n's Cornedias, Barcelona, 1634. In part twenty-four of Las Cornedias del Fénix de Espana Lope de Vega Carpià, y las mejom que hasta ahora han salido, Zaragoza, 1632-1633, it is ascri bed to Lope s. It bas the alternative title Antes que te cases mira lo que haces. r. La Barrera, p. 685. Cf. his Noticias referentes 11 los Anales del Tealro en Se1,1illa, Sevilla, 1898, p. 294, note. · , 3. La Barrera, p. 709. 4. Literatu,·a, vol. II, p. 336. 5. Op. rit., 1. c. 6. P. 350. 7. Vol. I, p. 391. 8. La Barrera, p. 350. 2. 443 Li11do11a (La) de Galicia,. This is found as a rnelta with Montalvan's name attached, and has also been attributed to Lope 1 • La Barrera 2 states that with the title La Rica-hembra de Galicia it has been ascribed to Moreto 3. lt is interesting philologically from the &pecimens of Galician it con tains. Lo que puede la Crianzn. A two act comedia of this title exists in manuscript in the Biblioteca Nacional, haviog been acquired through the purchase of the !ibrary. of D. Pascual de Gayangos. lt is in manuscript and bears no author's name, the Catalogue of Gayangos's manuscripts alone attributing it to Montalvân 4 , That it should · have been given such an ascription, is probably due to the fact that it immediately follows La Desdicha ·venturosa of Montalvan in tomo II. of Co111edias varias in the Gayangos collection. Paz y Mélia art. 3917 - states that the author is Francisco de Villegas, whose El mas Jamoso troynno follows Lo que puede la Cria11za in the volume just mentioned. Lucha de Arnor y Amis/ad. Although this comedia is found attributed to Montalvan, it is identical with Lope's Amistad y Obligaci611, except that the first rwenty-nine lines of the latter play are omitted in the former, together ,vith the cbaracter of Belardo, and the few lines assigned 1. 2. Op. cil ., p. 268. Op. cit., 1. c., and p. 456. , . See Rennert, Lope, p. 5 r 5. 4. See Gayangos, Catalogo, p. 281. �444 JUAN PtREz DE MONTALVAN GEORGE WILLIAM BACON to that character 1 • Amistad y Obligacion was printed in part twenty-two of Las Co111edias del Fénix de Espana Lope de Vega Cmpio, Zaragoza, 1630 ; and, in the opinion of Dr. Rennert 2 , is undoubredly by Lope. Mejor (El) Padre de Pobres. Has been attributed to Montai van, and Schaeffer, and La Barrera 4 concnr in this ·ascription. In part fifteen of Co111edias escogidas, Madrid, 1661, Calder6n is named as author ;, an attribution which Restori 6 refuses to accept. In the Biblioteca Nacional there is an autograph manuscript of a play of like title by.Rodrigo Pacheco ï. Muda11za(La) en el Amor. In part forty-five of Comedias escogidas, Madrid, 1679, it is attributed to Montalvàn 8 • With the title La Esmeralda de Amor is attributed, as a s11elta, to Rojas 9, and Rivadeneyra 10 and Fitzmaurice-Kelly concur in this ascription. Mujer (La) de Peribaiiez.. The comedin of this title which La Barrera 11 attributes to Mon- 1. See Notes on some Co111edias of Lope de Vega, by H. A. Rennert, in 171e Modem Language Re7.,•iew, for January 1906, p. 96. 2. Op. cit., 1. c. 3. Vol. I, p. 444. 4. P. 693. 5. L:1 Barrera, p. 693. 6. Studj, ut supra, p. 88. 7. Paz y Mélia, art. 2126. 8. La Barrera, p. 703. 9- Op. cit., 1. C. 10. Cited by Ticknor, Cat., p. 267. r 1. Pp. 268, 566. 445 talvan is, no doubt, identical with the La Mujer de Peribaiiez., 6 el Comendador de Ocaiia y Labrador mas honrado of " tres ingenios" cited by him on p. 566. The catalogue of the Biblioteca Nacional arcribes .La Mttjer de Peribanez. to Montalvan, - notwithstanding the portada of the piece reads" de tres ingenios" r - , and very Iikely L1 Barrera bas followed this attribution. I am convinced, however, that the play does not read like our author's work. It is a wretched imitation of Lope's Peribanez y el Comendador de Ocana, and is more infected with culteranismo and contains more irrelevant passages than the worst specirnens to be found in Montalvtm - with the possible exception of some of his religious dramas. The concluding verses : " a nuestros pies, el perdon, sino el aplauso, merezca, [esta comedia), y hasta la segunda parte, no ay mas tener paciencia ". - indicate that a sequel was contemplated . . r. Why this should have beeu done seems inexplicable. A fac-simile of the catalogue card follows : TEATRO. 5:97. Muger de Peribârîez (La) Comedia famosa. (De tres ingenios) •. Sin lugar, Imp. ni afio. r. Dr. D. luan Pérez de Montalvan. In the K. K. Hot-Bibliothek, Vienna, two copies of La Majer de Peribâ1iez. exist; the one contained in vol. 3 of Comedùts de va rios, the other in vol. 8 of the same collection - bath lacking date and place of publication. The catalogue attributes the copy in vol. 3 to Montalvan, and ùmt in vol. 8 to " tn:s ingenios" - an evident. error, since the librari:m informs me that bath copies bear the title Mujer de Periba1iez, Co111edia f11111osa de Ires i11ge11ios. The text is identical throughout. �JUAN PEREZ DE MONTALVAN GEORGE WILLIAM BACON An aoalysis of Lope's production may be found in Schack, vol. Ill. p. 46 ff; for purposes of comparison, I give ,t brief outline of La M11jer de Peribaiie;;,_. After having been rejected at Toledo by Casilda, the Comendador returns to Ocaùa, where Casilda's fiancé, Periba1îez, a ,vorkman, asks him to be preseut at tbeir wedding festivities. Peribânez later calls upon the Comeodador, and espying in his apartment a portrait of Casilda, bis suspicions are aroused. While the Comendador is out huntiog, Peribafiez unwittingly kills his falcon, which so angers him that only the appearance of Casilda saves the unlucky man from beiog stabbed on the spot. The Comendador compliments Casilda, and when, soon after, she and her husband hear some reapers singing his illicit love for her, Peribanez determines to kill him. Beatriz, who regards herself asaffianced to thelatter, and who, too, bas seen the portrnit of Casilda, furiously bera-tes the peasam girl for allowing the Comendador to have it painred ; and is about to strike her ,virb her crutch when Peribfanez appears. After hearing bis explanations that Casilda had no hand in the matter, Beatriz pardons her. Disguised as a reaper, the Comendador enters the bouse of Peribaiiez by night, and when at dawn Casild:1 awakcs the otbers, he feigns sleep. Upon her arousing hirn, he declares his passion, and is again rejected. Perib:iiïez, ,vho frorn a place of concealment has witnessed this scene, is appointed bythe Comendador captain of a body of troops forming part of an army about to depart for Morocco. He accepts theappointment with apparent delight, and the Comendador congratulates himself that his ardent desire will soon be fulfilled. When the detachment makes a hait at the end of the first day's march, Peribânez hurries back to Oc:üia, and enters bis house just in time to save Casild:a's honor. Stabbing the Comendador, wbile Casilda strangles the maid that he bas bribed, Peribafiez dedares that they ,vil! go before the King and ask his pardon. 447 Obrar bien, que Dios es Dios. As a suelt<L is attributed to Montalvan. Francisco de Bance Candamo has also bcen naroed as author, which ascription is fouod strickcn out in a manuscript of the piece in the Biblioteca Nacional '. Pedro de UrdemalclS. The catalogue of the British Museum ascribes this play to Montalvân, notwitbstandingthe copies in the Museum - Madrid, 1750 - bear the attribution" de un ingenio". Schaetfer 1 believes the author ro be Cervantes ; Hennigs; thinks him to be Lope ; La Barrera 4 suggests either Cervantes or Lope '. Principe (El) Don Carlos. (Original version) G. In part twenty-eight of Comedias escogidas, Madrid, 1 667, this comedia is attributed to Montalvao 1, and La Barrera $ and Ticknor 9 concur in this ascription. In part twenty-eigbt of CoJ11edias de va rios Au tores, Huesca, I 6 34, it is attributed to Enciso 10 , in wbich ascription Schaeffer u and Fitzrnaurice-Kelly concur " . 1. Paz y Mélia, art. 2430. 2. Vol, 1, p. 326. 3· P. 96. 4. P. 268. 5. Cf. Rcnncrt, Lope, p. 524; Paz y Mélia, art. 25 50. 6. See p. 364, note. 7. La Barrera, p. 697. 8. 0/•. cil ., p. 684, note. 9. Litera/ure, vol. 11, p. 3l9, note . ro. Ticknor, Gat., p. 267. 11. Vol. 1, p. 400. n. Tbat La Barrera later discovercd bis rnistake in belicving Montalvau to luve been the.: author, is provcd by the tnct that on p. 267 of the copy of his �GEORGE WILLIAM BACON JUAN PEREZ DE MONTALVAN Principe (El) peregrino, y Prodigio en Dinamarca. ln a s11elta in the Ticknor collection, dateêi 1799, this comedia is ascribed to Montalvan 1 • In a suelta of like date in the Biblioteca Nacional, no author is named, but the play is catalogued as of "un ingenio ". Ticknor expresses no opinion regardirig the question ofauthorship. I believe that it is a comparatively modern work, considerably later than Montalvan's time. In the Biblioteca Nacional there is an autograph manuscript of a play of s·o mewhat similar title - El Principe peregrino y Tercera del Cielo - by Rodrigo Pacheco, dated Granada, December I 3, I 640, and still unedited 2 • Principe (El) perseguido. In a sue/ta in the Ticknor collection, Montalv{m is named as author. However, Ticknor 3 himself says that although this ascription is often !,Ilet with, the true authors are Bel.monte, Moreto, and Martînez - an attribution found in El rnejor de los mejores Libros que han sa lido de Cornedias nuevas, Madrid, 16 53 4 • That Ticknor's statement is correct, is proven by an autograph manuscript of the play in the Biblioteca Nacional which was formerly in the possession of the Duke of Osuna 5• Catâlogo which came into the possession of the Biblioteca Nacional on his death be has stricken out this play. r. Ticknor, Cat., p. 267. 2. Paz y Mélia, art. 2732. 3. Catalogue, p. 267. 4. La Barrera, p. 709. 5. Paz y Mélia, art. 273 5. 449 Principe (El) prodigioso, y Defensor de la Fe. The catalogue of the British Museum - doubtless following the ascription of two copies in the Museum, dated Barcelona, 1770 (?) and 1808 (?)- attributes this comedia to Montalvan, but adds that Moreto and Matas have also been named as authors. In treating of Luis Vélez de Guevara's El Capitan prodigioso, Principe de Transylvania, Schaeffer 1 states that Moreto and Matas have availed themselves of it in their El Prîncipe prodigioso, y .Defensor de la Fe; Schaeffer tbereby attributing the latter not to Montalvan, but to Maros and Moreto. In El mejor de los mejores Libros que han salido de Comedias nutvas, Madrid, 1653, it is given the same ascription 2 • The comedia is also found with the simple title El Principe prodigioso. lt does not read like Montalvan's work. San Juan Capistrano. As a sue/tais attributed to Montalvan. Among the corrections made by La Barrera to the copy of bis Catalogo now in the Biblioteca Nacional, he has added to the title of this play 3 the words" La Sentencia contra si, y el Hi,ngaro mas valiente ". Further in the Notes to Montalvan's comedia.s sueltas 4, he bas ' stricken out the words " San Juan Capistrano quizas la de Gaspar de Avila". Mr. Fitzmaurice-Kelly informs me tbat he believes Gaspar de Avila to be the author. Vol. I, p. 291. La Barrera, p. 709. 3. Op. cit., p. 268. '1· Op. cit., 1. C. 1. 2. REVUE HISPANJQCE. B �450 GEORGE WILLIAM BACON JUAN PEREZ DE MONTALVAN Sin Secreto no hay Amor. Zeloso (El) Estreme1îo. In a s11elta in the British Museum - Barcelona e), 1640 (?)Montalvân is named as author of this piece, which is really by Lope. The latter's autograph manuscript of it exists in the same library - Egerton, 548-, and bears a license dated December 13, 1626 1 • The catalogue of the British Museum states that this plav is found attributed to Montalvan in part forty-two of Comedia~ de diferentes Autores, Zaragoza, r650, which that library possesses 1 • In pan twenty-eight of Comedias de Lope de Vega Carpio ... y o/ros Autores, Zaragoza, r639, the comedia is attributed to Lope 2 , in which ascription Mesonero Romanos, concurs. In part twentyeight of Comedias de varios A11lores, Huesca, 1634, it is ascribed to Pedro Cuello 4 (sic), but Ticknor 5, Schaeffer 6 , and La Barrera 7 believe Antonio Coello to be the author. In his Esse~uiepoetichea Lope de Vega, Fabio Franchi also declares the comedia to be ot Antonio Coello, - testimony which Restori regards as indisputable 8 . Vidor (El) persegui1v y Tmycù5n vengada. In sueltas of the eighteenth century it is often ascribed to Montalvan '. lt is found attributed to Lope in vol. r 32 of the Osuna collection 3, but reads much like our author's work. 451 Ventura (La) en el Engaiw. As a melta is attributed to Montalvân 4, and La Barrera 5 aud Schack 6 concur in this ascription. There is a manuscript of the piece in the Biblioteca Nacional, dated Barcelona, May 9, I 6w, and on account of the close resemblance between the handwriting and tbat of Fr. Alonso Rem6n, Paz y Mélia 7 believes it to be the work of the latter. Judged from the stand point of style, 1 think, however, that Montalvân bas a strong daim to authorship. 1. Dr. Hugo Albert Rennert also has a copy of this suelta in his library, and from it and the above mentioned manuscript published the comedia Baltimore, 1894. 2. La Barrera, p. 456. 3. Op. cit., l. c. On thcse !01110s colecticios of the Osuna Library, see an article by Dr. Rennert in The Modem La11g11nge Re-z1iew for January, 1906. 4. La Barrera, p. 268. 5. Op. cil., p. 266. 6. Vol. III, p. 376, note. 7. Art. 3458. I. La Barrera, p. 686, does not cite this comedia amona those contained in the part mentioned. 0 2. La Barrera, p. 683. 3. In Rivadencyra, vol. 45, p. uv. 4. Ticknor, Cat., p. 97. 5. Op. cit., l. c. 6. Vol. JI, p. 89. 7. P. 683. 8. See Piezas de Titulos de Co111edins by A. Restori, Messina, 1903, p. 7 L �JUAN PEREZ DE MONTALVAN GEORGE WlLLIAM BACON 452 from the ~panish with an Introduction and Notes by James Fitzmaurice-Kelly. Also, La Monja Alférez., a play in the Original Spanish by Juan Pérez de Montalban. London, 1908. Florez = Memorias de las Reynas Catolicas de Espaiia, por Fray Henrique Florez. Madrid, 1761. FULL TITLES OF WORKS QUOTED IN ABBREVIATION Addison 1842. Anales = The Knighls Templars, by C. G. Addison, London, = Anales de la Literat11ra Espaiiola, publicados por Adolfo Bonilla y San Martin. Madrid. Autores Dramaticos = Autores Dramaticos contemporlz.neos y Joyas del Teatro Espaizol del Siglo XIX., publicados por Pedro de Novo y Colson. Madrid, 1882-1886. Baena = Hijos de Madrid, por D. Joseph Antonio Alvarez y Baena. Madrid, 1790. &iring-Gould = Lives of the Saints, by Rev. S. Baring-Gould, new edition. London. 1898. Burke = A History of Spain from the earliest limes ta the death of Ferdinand the Catho/ic, by Ulick Ralph Burke, M. D. Second edition, edited by Martin A. S. Hume. London, 1900. Cabrera = Filipe Seg1111do, Rey de Espana, por Luis Cabrera de C6rdoba. Madrid, 1619. Comparetti, = Virgilio 11el Media Eva, per Domenico Comparetti. 2a edizione. Firenze, 1896. Della Vàlle = Viaggi di Pietro della Valle il Pellegrino. Descritti da lui medesimo in lettere Jamiliari all' erttdito sua amico Mario Schipano. Brighton, 1843. Ferrer = Historia de la nwnja alférez., Dona Catali11a de Erauso, escrita por el/a mis1na é ilustrada cou notas y documentas por D. Joaquin Maria de Ferrer. Paris, 1829. ..., Fi~maurice-Kelly. = Littérature Espagnole, par James Fitzmaurice-Kelly; traduction de Henry-D. Davray. Paris, 1904. Fit-zmaurice-Kelly, Mon-Alf. = The Nun Ensign. Translated 453 ( - Gallardo = Ensayo de una Biblioteca Espano/a de Libros Raros )' Curiosos por D. Bartolomé José Gallardo. Madrid, I 888. Gaspary = History of Early Italian Literat11re to the Dealb of Dante. Translated from .the German of Adolf Gaspary by Herman Oelsner. London, 1901. Gayangos, Catlz.logo = Catltlogo de los Man11scritos que pertene- cieron a Don Pasc11al de Gayangos e:xistentes boy en la Biblioteca Nacional. Redactado por D. Pedro Roca. Madrid, 1904. Givio = Le Vite dei Dodeci Visconti, e di Sforz.n, Prencipi di Milano, di Monsig. Paolo Givio. Vinegia, r 5 58. Grëber = Grundriss der Romanischen Philologie, herausgegeben von Gustav Grober. Strassburg, 1888. Hennigs = Studien z.tt Lope de Vega Carpio. Eine Klassifikation seiner Comedias, von Dr. Wilhelm Hennigs. Gottingen, 1891. . - Heredia = La Nonne A/ferez., par José-Maria de Heredia. Paris, r 89 4 . - La Barrera = Catalogo Bibliogrltfico del Teatro Ant~![UO Espaîîol, desde sus Origenes hasta Media dos del Siglo X VIII. , Por D. Cayetano Alberto de La Barrera y Leirado. Madrid, 1860. Lagrimas panegiricas = Lag1imas Pnnegiricas a la Tenpra11a Muerte del Gran Poeta, I Teologo Insigne Doc/or Juan Perez. de Monta.lban, Clerigo Presbitero, i Notario de la Sauta I11quisicio11, Natural de ln Iuperial Villa de Madrid. Recogidas I Publicadas por don Pedro Grande de Tena. Madrid, 1639. -Mariana = Historia General de Espaîia, por Juan de Mariana. Madrid, 1794 . Mérimée = Essai sur la Vie et les Œuvres de Fra11cisco de Quevedo, par E. Mérimée. Paris, 1886. �JUAN PEREZ DE MONTALVAN 454 GEORGE WILLIAM BACON Octavian Uctœuian, Altfranz.osicher Roman, herausgegeben von Karl Vollmoller. Heilbron, 1883. Paz y Mélia = Catâlogo de las Fiez.as de Teatro que se conscrvan en el Departamento de Man11scritos de la Biblioteca Nacional, por D. A. Paz y Mélia. Madrid, 1899. Pérez Pastor, Bibliografia = Bibliosrraffa Madrile11a. Madrid, 1891-1907. Pérez Pastor, Datas = Nuevos Datas are1ca del Histrionisrno Espaiiol en los Siglos XVI. y XVII. Recogidos por D. Crist6bal Pérez Pastor. Madrid, 1901. = Arte Poética Espaiîola, con 1ma Fertilissima Sylva de Consonantes Conmnes, Propios, Esdruxulos, y Refiexos, y 11n Divino Estîmulo del Amor de Dias. Su Autor, Juan Diaz Rengifo. Barce- - Rengifo lona, 1703. Rennert, Chronology = Notes on the Chronology of the Spanish Drarna, by H. A. Rennert, in the Modern Language Revieiu for July and October, 1907, Cambridge. Rennert, Lope= Life of Lope de Vega, by H. A. Rennert. Gla~gow, 1904. - Rivadeneyra = Biblioteca de Autores Espano/es, desde la Formaciôn del Lenguaje hasta Nuestros Dias, por D. Ram6n de Mesonero Romanos. Madrid, r88r. M. Rivadeneyra, Editor. Salva = Pedro Salvi y Malien. Catalogo de la biblioteca de Salvlt. Valencia, 1872. Two volumes. - Schack = Historia de la Literatura. y del Arte Dramâtico en Espmia, por Adolfo Federico Conde de Schack; traducida directamente del aleman al castellano por Eduardo de Mier. Madrid, 1887. Schaeffer = Geschicbte des Spanischen Nationaldramns, von Adolf Schaefier. Leipzig, 1890. Schmidt = Die Schauspiele Calderon's, dargestellt und erlautert von Friedr. Wilh. Val. Schmidt. Elbe1:feld, 1857. Serrano y Sanz = Apuntes para 1111a Biblioteca de Escritoras 455 espanolas desde el aîio 1401 al 1833, por Manuel Serrano y Sanz. Madrid, 1903-1905. Shallow = The Te-mplars' Trials, by J. Shallow. London, 1888. , Ticknor. Cat. = Catalm;ue of the Spanis/J Library and of the Portuguese Books bequeathed by George Ticlmor to the Boston Public Library. Boston, 1879. Ticknor, Lit. = History of Spanish Literatttre, by George Ticknor. 3rd. edition. Boston, 1866. Wolf & Hofmann = Primavera y Fior de Romances, 6 Coleccion de los mas Viejos y mas Populares Romances Castellanos, por D. Fernando José Wolf y D. Conrado Hofmann. B7rlin, 1856. Zeitschrift = Zeitchrift für Ro111anische. Philologie, herausgegeben von Gustav Grôber. Halle. �GEORGE WILLIAM BACON , JUAN PEREZ DE MONTALVAN Rompiendo nuues y rasgando velos, Baxan con risa por lograr un llanto. Y tanto alcança Isidro, y puede tanto, Que mientras forma en extasis desuelos, Siente el campo lisonjas y consuelos Con injurias de arado sacrosanto. Y assi destina Dios, grato a un desseo, Glorias a Isidro, agricultor astuto, Y, ofreciendo su amor, le da el trofeo; Rindiendo sus desseos el tributo, Cogiendo en Dios sus gozos el empleo, Sembrando aqui sus lagrimas el fruto '. APPENDIX (A). Poems submitted by Montalvan in the Justa Poética at the Fiestas at the Beatification of San Isidro in I 620. Sonnet. Los campos de Madrid, Isidro santo, Que fueron parayso peregrino, Mudos ah1ban a su Adan divino, Que un cielo les comprà pagado en llanto. Pues quando Isidro con amante canto , Vacava su labor a Dios vezino, De agricolas brillantes se previno, Que presten tanta luz, esplendor tanto. Orad, Isidro, orad, pues tan copioso Se ostenta Dios que vuestro afecto escoge Y espiritus humilia por tributo. · Dichoso vos, pues es aquel dichoso Que de los Cielos la cosecha coge, Sem bran do aqui sus lagrimas el fruto '. Glnssa,. A ninguno, Isidro, el cielo Premib por a,rar tan bien, Porque fnystes solo quien Arb con el cielo el suelo. Isidro, soys tan astuto En las tierras que labrays, Que anticipays su tributo ; Pues quando vos las arays, Baxa el cielo a dar el fruto. Y assi hallays dulce ~onsuelo En el trabajo y desvelo; Que favor desta manera, Sino es a vos, no le <liera A nin·guno, Isidro, el cielo. Sonnet. Los Campos de Madrid, Isidro santo, Cielos son ya, pues nuncios de los cielos, r. bis/a Poétira y Alaban{,1S l11stas. Que bizo la insigne Villa de Madrid al bienauenturado San Isidro en las Fiesta1 de su Beatificacion, recopiladas por Lope de Vega Carpio. Madrid, 1620. Fol. 45 (sic). (This should be 48). The subject of this sonnet was given as : - " mientras nuestro Santo Labrador estava en oracion, los Angeles aravan ". The first and last verses were prescribed. 1 Op. cil., fol. 45 b (sic). (This ~bould be 48 b), 457 �GEORGE WILLIAM BACON JUAN Solo con afecto vos En el trabajo que encierra Un acto, tuvistes dos; Uoo, con vos en la tierra, Y otro, en la tierra con Dias. Por lo qual es bien que os den, Santo Isidro, el para bien; Pues Dias, que siempre agradece A quien tambien lo merece, Premià por arar tambien. Puesto que el sudo habita7~, En el cielo estar podeys, Aunque al cielo no subays; Pues con vos Angeles veys, Y en el pecbo a Dios mirays. Y assi, quien solo arè> bien, Quien arando orô tan bien, Y quien mas obligô a Dios ; Digo, Isidro, que soys vos, 'i Porque fuysteys solo quien. Su Angelîca juventud Dios, para ayudaros, llama, . Porque oreys con mas quietud, Y porque, al fin, como os ama Mira por vuestra salud. Con un divino desvelo Arays vuestro suelo y cielo, Mas Dios, que su amor os muestra Solo por ser cosa vuestra, Arô con el cielo el suelo 1 • , 1. Op. cit ., fol. 80. PEREZ DE MONTALVAN Romance. Mantua, tus glorias descrivo En tres hijos, simulacros De deidades que apellidan Depositos de alabastro. Permitete agradecida Quando ùe tus hijos trato, Pues no ay bien para una maùre Como escuchar alabarlos. Mira y admira en un tiempo A tu querido Damasio, De Dios substituto excelso, Digna premio, propio lauro. Presumele tan valiente, Que, a pesar de los Arrianos, Hizo a Dios cantar la gloria Al fin de todos los Psalmos. Brota flores de alegria, Pues Melchiades sagrado, Siendo del cielo, fue tuyo Martyr, Pontifice y Santo. Un Seneca a lo divino Te doy cifrado en sus actos, Pues sus decretos le aclaman Legislador soberano. Y un Labrador te presento, Que haze el Papa del tal caso Que sus milagros confirma, Auoque hazerlo no es milagro. Tu Isidro se beatifica Labrador divino y tanto, Que Labrador se hizo el cielo 459 �GEORGE WILLIAM BACON Solo por ser de su trato. Y, al fin, te ofrezco un Monarca Que parecen sus passados, Prevista tanta grandeza, Corta suma, breves rasgos. Madrid ilustre, tus hijos Goza del Fenix Christiano, Cede perdon a mi pluma, Y admite grata el cuydado '. (B). Poems submitted by Montalvan in the Justa Poética at the Fiestas at the Canonization of San Isidro in 1622. Octavas. Zeloso Isidro, aunque enganado mira Una incierta verdad, y temeroso Su esposa alaba y el agravio admira (Tanto que apenas sabe estar zeloso) ; Tierno se quexa, y con amor suspira, Calla discreto y terne sospechoso, Y entre zelos de honor, indiferente, A un mismo tiempo duda lo que siente. No sentir un pesar fuera locura, Mas saberle sufrir toca a los sabios. Isidro assi, con sa'nta compostura, Sufre la p~na, siente los agravios, Recela amante, y justo se assegura ; Salenle las sospechas a los labios, 1. Op. cit., fol. 98 b. Tht: subject of this roma11ce was given as : - " en este ponganse los tres hijos <lesta insigne Villa, San Damaso, San Mclchiades, sumos Pontifices, y San Isidro. ; y se acabe felicemente, con aver nacido en clla el Rey nuestro sefior. " The number of verses was limited to forty. JUAN PEREZ DE MONTALVAN Y confiessa sus zelos, - quien dixera Que zelos en un cielo aver pudiera? Viene a verle Maria, que Maria Corno el pecho de Isidro consulta va; De mas cerca sus zelos advertia; Ella mirava a Isidro, y el callava. Ella con mudo enojo le renia, Y el, sin que ella lo viesse, la mirava. El agùa murmurava sus enojos, Y los dos se llamavan con los ojos. Hizo la Santa puente de su manto, - Alta satisfacion - , y el casto csposo Casi quisiera dar licencia al llanto, Sino se detuviera vergonçoso. Lleva a sus braços con amor tan santo, Que pudo agradecerse el ser zeloso ; Pues a no darle zelos su hermosura, Ni ella viera tal bien, .ni el tal ventura '. Cancion. Atlante <leste suelo, Divino protector, Gregorio sapto, Substituto del cielo, A tanto honor no indigno, pues que tanto Honrays a un vivo muerto. Digalo Isidro que es testigo cierto. r. Relacio11 de las Fiestas que la i11signe i•illa de Madrid hizo en la ca11oniçacio11 de su Bicnaveuturado Hijo y Patron San Isidro, con las Comedias que se represmtaron ,, los ,z,·e1·sos que m la Jusf,z Poetica se escrii1iero11. Dfrigida a la misma Insigne Villa por Lope de Vega Carpio. Afio de 1622. Fol. 66 b. The subject of these oclavas was given as : - " la satisfacicin de los 1.elos ·que le (i. e. a Sar. Isidro] dio su diuina Esposa, Santa Maria de la Cabeça, p,1ssando el rio Xarama sobre Sil manto ". The number of verses was prescribed. �GEORGE WILLIAM BACON Madrid, de Isidro madre, - Que aunque esta es su mejor executoria - , Coma a piadoso padre Os da las gracias por la nueva gloria, Que por vos goza ufano Un labrador del cielo cortesano. Las aimas de sus hijos, Que a ser sus vidas mas aimas <liera ' Ofrec€ en regozijos. Dios se paga de amor, y en esta esfera De serlo days indicio. Heredalde el amor como el oficio. Isidro os satisfaga ; Cobrad, Gregorio, del, pues le servistes ; Obliguese a la paga; · Y accordalde la gloria que le <listes Para immortal memoria ; Que aunque es acidental, en fin es gloria. Blasonad, vitorioso, Que unico al mundo soys, y que aveys sido Mas que todos dichoso ; Pues que todos de Isidro han recebido, Y vos, en tal estado, Solo podeys dezir que le aveys dada. Madrid està obligada, Humilde, alegre, vuestra, agradecida, Superior, estimada, Enriquezida, noble, preferida. Su obligacion concede ; Cobrad en rnluntad. que pagar puede 1 • I •. Op. cit .. fol._ I 19. The subject qf this catzcion was given as : " dar gracias par la Vtlb .de Madrid a nuestro muy Santo Padre Gregorio Deci- JUA.N PEREZ DE MONTALVAN Glossa. Madrid, mmque tn valor Reyes le estan aumerttando, Nimca fue mayor que qua11do Tuviste tal labrador. Madrid tu valor no es tuyo, aunque tuyo se llama, que sole Isidro, despues que dio aumentos a tu fama, te ha dada el' valor que ves. Tu valor es el mayor, par ser de tal labrador : el te le da, que no es tuyo ; y assi tu valor es suyo, Madrid, aunque tu valor.' El parabien puedes datte a ti misma de tener hijo tal; que puede honrarte solo, Madrid, con saber que Isidro llegà a pisarte. Tu clicha, en fin, vas logrando, y la logras m.ejorando ; pues tu ser enriqueziendo santos le van defendiendo, reyes le estan aumentando. Quando de Isidro gozaste, valor llegaste a tener, y :;olo con el te honraste ; moquinto, par la Canonizacion de nuestro diuiuo Archicultor de Espafia. " The number of stanzas was lirnited to six, each consist111g oI six verses . . �GEORGE WILLIAM BACON que tu ser empeçô a ser quando tuyo le miraste. ruern honor fuyste cobrando y nuevo valor gozando, quando aquel quando llegô ; que aunque antes valor te honro, nunca fue mayor que uando. Dcsdc que a tu Isidro viste, quanto quisiste alcançaste; rica fuyste, noble fuyste ; madre suya te llamaste; hijo y padre mereciste. Gozaste el mayor hooor; grangeaste un defensor ; viste arar por alto modo; y para dezirlo todo, tuviste ta! labrador'. . (C). Poems submitted by Montalvân in the Justa Poética at the Fiestas at the Canonization of San Ignacio de Loyola and 'an Francisco Xavier in 1622. Terce/os. Divino Ignacio, si al amor, si al zelo alguna vez favor se les concede, oy de mi pluma a vuestro auxilio apelo. Que aunque la empresa a mi ignorancia excede, amor me Hama, - perdonadme Ionacio ' " J pues vos sabeis mejor lo que amor puede. 1. Op. cil., fol. qo b. JUA. PÉREZ DE MONTAL\'AN Amor le obliga a Dios que tan despacio os ,·isite en un campo, que quien ama el c:unpo juzgarà rico palacio. Y os banado en amorosa llama, assomandose el alma por los ojos, llamais a Dios, y el viene a quien le llama. Como foyses entre zelages roxos, el ol dh·ino veis, tan cara a cara que a ser Sol inferior, os <liera enojos. Ya os contemplo mirar con luz mas clara aquella essenôa trina, aquellos rayos, que Dios con sus amigos no repara . Y YOS gozais, sin permitir dcsmayos, talés gust0s ; que, en fin, os parecia que de los que teneis eran ensayos. Y ma quando ad\·irtio vuestra alegria, que aquel principio que de nadie nace - porque de ser principio dexaria. Le dize al Hijo que el se satisfaze, de que mire por \'OS; y el lo promete : mi rad loque es amor, pues estO haze. El ingenio mayor calle, y respete <licha tan superior, pues no la alcança que a garça mas diuina le compete. i aun vos, Ignacio, vos, con la mudança que en vos mismo mirastes) no pudistes dar lugar a discursos de alabança. Mirastes, ad 111 iras tes, suspeodistes el alma, que, olvidada de su engaste, gozo sin el quanto gozar quisistes. Pero mas docta pluma el tiempo oaste en grandezas tan altas, que yo espero que el silencio no mas, Ignacio, baste. Mas pues arnor enseiia, aprender quiero REVCE HISPANIQCE . B 3o �466 JU,\.· PÉREZ DE .\IONT.\L\'A~ C,EORGE \\'LLLIA.\l BACON La Iglesia cstriua en los do ; tcncdla, Francisco, vos, que Dios de ,o. la confia : pues por Atlantl.: os embia, Francisco, a su Iglcsia Dios. Los dos devcis tal piedad, pues Dios a los dos amor ; dio constancia, dio humilda<l, que no ay hnmana fauor sin diuina voluutad. A los dos, en fin, da Dios quanto os dan Iglesia a vos; y de un Dios tan justo y santo sus deudores, pues que tanto ha dado, sonle los dos. Y como los Polos son dos, aunque inmobilcs puntos, del mundo continuacion : - que puesto que no estan junto , forman una misma union - : Assi un Ignacio scgundo, y un Franci co, que al profundo dio miedos, y aimas a Dios, a la Iglesia dan los dos lo que los Polo al mundo ' . . alabanças de vos, dichoso anto; que si el amor es el mejor tercero, muchas podrà dezir quien tiene tanto '. Glvssa. clio Seg1111do Ig11aci<1, y seg1111do Francisco, a St/ ~~/esia Dios lia dado; soule los dos lo q11e los Polos al 1111111dcJ. Segundo Ignacio ha nacido, y assi segundo se Hama; y aunque solo es :ipellido cl ser segundo, en la fama primero y segundo ha sido. Primero en dar luz a un mundo, segu::ido en amor profundo, que al fin le hcredô postrero ; de sucrte que fue primera, segundo Ignacio, y segundo. Y vicndole Dios estar con la Iglesia a su cuidado, quiso un Francisco embiar, que, como Ignacio sagrado, la pudiera sustentar. 1. Rtlcrcio11 de las Fiestas que /,a becbo el Coltgio lmperial ,fr l,1 Co111p.11i ia de Ies11s de Madrid e11 la C1111011iz.acio11 de Sa11 Jg1111cio de LoJola, _v S. Francisco X,n•ier. Par Do11 Fer11a11Jo de Mcmforle )' Hurera. Dirigidn nl mismv CC'ltgio J111perù1/ de la Co111pa11ia dt Ierns. Madrid, 1622. Fol. 29 b. The subjcct of thcse lcrccfos w:is givcn as : - " la ilustrc \'Ïsion del Smto ". The number of stanzas was prescribed. Q11i111illas. Francisco, si bien se advierce, la muerte a de venciJa ; que aunque c encmigo fuertc, 1. Op. cil., fol. 32 b. �GEORGE WILUAM BACON ,, 1 111 1 ,. no està en sus manos la vida, y està en las vuestras su muene. Y aunque ella suele quitar lo que jamas pudo dar, tanto la hazeis desmentir que casi os pnede pedir licencia para matar. Dios y vos vais acabando su imperio, mas advirtiendo que os estais diferenciando ; pues · Dios la vence muriendo, pero vos resucitando. De lo que al ser ~uestro excede Dios comission os concede ; tanto que venis a ser Vicar-io de su poder, y hazeis lo que el solo puede. Y como el no ha menester milagros para ser Dios, el hazerlos vino a ser mas por honraros a vos, que por quererlos hazer. ~ Y assi que importa que acierte su golpe la parca fuerte, si Dios libra en vuestro amparo para la vida un repar<_>, y un fiscal contra la muerte ? Todos, Francisco, mejoren de esperança, y solenizen vuestra virtud ; no la ignoren, pues aun los muertos la dizen porque los vivos la adoren. Ya la muertè se reporta, y su loca furia acorta; JUAN PÉREZ DE MONTALVA~ ya de matar se despide ; porque si Francisco pide, poco su guadaii.a corta. Conozca la muerte y vea que limitais su potier; no de su passion se crea, pues discreta avia de ser por lo que titne de fea. Y antes que matar intente, sepa primero obediente si aquella vida guardais ; porque si vos no gustais, no mata seguramente. Y aunque, en fin, se atrevio a vos, como la muerte sabia vuestro gusto en ver a Dios, pareciole cortesia el juntaros a los dos. Muy bien os supo obligar, pues viendose sin matar y entre esperanças perdidas, para poder quitar vidas os quiso lisongear '. r. Op. cit., fol. 72. The subject of these quiiltilla.s was given as : - " el imperio que tuuo el glorioso San Fr:111cisco Xavier sobre la 111L\erte ". The number of stanzas was prescribed. �47° GEORGE WILLIAM BACON INDEX (D). Poem submitted by Montalvao in the Justa Poética at the Fiestas held in Honor of San Pedro Nolasco by the Order ot Our Lady of Mercy, in 1629. Pages Preface.. . ......... . . . . . . . . . . . . . • . . . . . . . . . . . . . . . . . . . . . . .... . Sonnet. Suele a penas sacar la Primauera Las manas a una rosa, dessoxando Del boton las mantillas verdes, quando La abeja en ellas beue miel y cera. Ansi las manos de Nolasco espera, Por tan jazmines, un en..~ambre blando, Que olorosa dulçuras apostando, Llegà a dudar si flor si panai era. Lo que en Ambrosio foe por su elegancia Hicrog1ifico, en Pedro, a quien le invoca, Rcclencion vino a ser por la abundancia. Y tanto mas misterio a Pedro toca, Quanta del dicho al hecho ay de distancia, Quanta va de las ma.nos a la boca •. Relations with Quevedo. . . . . . . . . . . . ...... . ...... . . . . ........ . 4 24 Style ... .. .. . ... ... .. . . . . .. .... . ............... . ....... .. . 52 Life and Works . . . .. , . . . . . . . . . . . . . . . . . . . . . . . .... .. . . .... . ANALYSES. que 1. Las Fiestas sole11mes y grandiosas que biz.o la Sagrnda Religion de N. Se1iora de l,i Merœà, m este m Co11ve11to de Madrid, a su glorioso Patriarca y primero J1wdador sa11 Pedro Nolasco. Por el Padi-e Maestro Fray Alomo Re111011, Predicador, y Coronistageneral de lodo el Orden de N. Sen.ira de la Merced, Rede11cio11 de Ca11livos. Madrid, 1630. Fol. 75. The subject of this sonnet was given as : - " la ponderacion de aquel rnisterioso rnilagro que sucedio a muestro glorioso padre !San Pedro Nolasco] rccien nacido, poniendosc en las palmas de las maoos un enxambre de abejas ". The décimas submitted bv Montalvan in \ this jus/a have inadverteotly been omitted in the work abov~ cited, so I am unable to reprint them. Co~amus HER01CAS. A lo becbo 110 hay Remedio, y Principe de los Montes. . . . . . . . . , .. . Am<llites (Los) de Teruel . . . ... .. .. .• • .•. • .. . ..••.... .... .• •. A111or, LeaJtad y Amistad . . . . . . . . . . . . . . . . . . .•.... . ..... . • . Ce1ztinelti (La) del Honor . • . ...• . . . .. , .•... . . • .••..... . .••. • Coma Padre y cowo Rey . . . . . . . . . . .•••.. . •. , .... . •... , •.• • Como se guarda el Houor . . . . . . . . . . . . . . . • . . . . . . . . . . . . . .. . . . C11111plir coi1 su Obligacion •.... . . .. . .. . . ..........•...•.•. . • Desdicha (La) venturosa ... .•... . •.• .. •• • . . .. . • .. ...... ••... Desbom·a (La) bo11rosa .. • ...•. • .•.....•.••••..•• , ....• .. •. •• Desprecias (Los) m quim at11a ••• • ••• .• •• • •••• • • • • •• ••• •• •••• Fin (El) 111cls d$sgraciaào y Fortimas de Seya110, o Amor, Privanz.a )' Castigo ... . . . ... .. .... .. . ... • .. ..•.•• • •• • • • . • • . • • .. , • Hijos (U!s) de la Fortu11a, Tetigenes y Clariquea ..• .. . ...... ,. Lo son Juicios del Cielo . . .. . ..........•.. . .. . .• . . .. .•.... Marisarl (El) de Vir6n ...•. • •. . • •. •. . .. . ... .. •.• • .. • • , .•• • Mtis (La) comt,mte Mujer ..... . ....•.....•.. . . . ........• . • . l11orir y disi11111lar . ..••.... . . • .• • ... • 1 • • • • • • · • • • • • • • • • • • • No ha_v Vida como la Honra . • . . . . . . . . . . . . . . . . . . . . . . .... .. . Olimpa y Vireno ....•.... . .......•.. • .• . ••. • • • • • • , •. • •. • Pal111eri11 de Oli·i·a. . . . • . . • • • . . • • • . . . . . . . . • • ••... . .. ..• .... Para co11 'I'odos Hermatws y Amantes para nosotros. (Don Florisel de Niquca) . .. .. ..• .. . ...... . . . .. .. ..• .. ..... . • . , .. ... .. • Pue-ria (L<I) macare11a (Part I) ...... . .•.. .. .... . .. .... ... ,. , Puer/a (L11) 111acare-1i.1 (Part II) . . ...... . .... . ..... . •• • . •, • • • • Reynar ( El) para 111orir . ....•. .. ......... . .•• , • • . • • , • • • • • • Rigor (El) en la I11oce11cia, 6 Privarse de pri'lJ{lr . ..•• . .• • •.••. .• Segu11do (El) Shieca de Espafia (Part I.) . . ..... : . . . . . . . . . . . . . 6o 65 69 75 83 88 95 99 106 III IJS 120 125 128 132 136 144 149 152 155 159 164 168 171 182 �47 2 INDEX INDEX Segrmdo (El) Séneca de Espaiza (Part II.)............. . . . . . . . Seiior (El) Don Juan de Austria.. . . . • . . . . . . . . . . • . . • . . . • • . • Ser prudente y ser sufrido. . . . . . . . . . . . . . . . . . . . . . • . . • . . . . . . . • Te.mplarios (Los).... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . • . . . • . V,rlien/e '(El) mas dichoso. (Don Pedro Guira[)..... . . . . . . . . . • . 186 192 198 202 207 CoMEDIAS DE CAPA Y EsPADA. Co,110 a1J1anle y como bonrada............. . .. .. . . . .. • .. . . .. Despreci,1.r loque se quiere.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . De un Castigo dos Venga11zos.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Doncella (La) de Labor.. . ...... . . . .. .. . . . . .. .. • . . . . . . . . . . . Gana11cia (La) por la Mano................. . ............. . Grm,edad en Vitlœverde......... .. .. . . . .. . . .. .. .. . .. .. . .. . Gusto ( Un) trae 111il Disguslos. . . . . . . . . . . . . . . . . . . . . . . . . . . . • . Monjct (La) Afférez. ..........•. . ...... . ..... ,............. Rftm..edio, Indwtria y Va/or. . . • . . . . . . . . . . . . . . . . • . . . . . . . . . • Sufrimiento (El) premiado........ . . . . . . . . . . • . . . . . . . . . . . . • . Toquera (La) viz.caiua.. . . . . . . . . . . . . . . . . . . . . . . . . . . 217 223 228 233 237 247 251 260 266 275 285 COMEDIAS DE SANTOS. Divino (El) Poi-tugués, Sait Ântonio de Padua. . . . . . . . . . . . . . . . . . Gilana (La) de Mmfts, Santa Maria Egypciaca....... . . . . . . . . . . Hijo (El) del Serafin., 51111 Pedro de Alcantarn.... . . . . . . . . . . . . • . Santo Domingo en Soria110 .•..••..•. ... ... :. • • . . . • . . . . . • . . . . 290 291 295 299 302 306 312 314 3t6 NOTES. Co.MEDIAS HEROlCAS. 1 11 JI Il ,: 11• A lo hec,ho 110 hay Re111edio, y Principe de los Montes . •............ Amantes (Los) de Teruel...................... . . . . . ... . ... . Amor, Lealtad y A11iistad ........ . . . .. . .................... . Centinela (La) del Honor. . . . . . . . . . . . . . . . . . . . . . . . .. ....... . Como Padre y como Rey. . . . . . . . . .............. . ... . . .. ... . Coma se,guarda el Hon01'.. . . . . . . . . . . . . . . . . . . . . . . . . . . .. C11111plir con su Obligaci611 ....... . . ...... . . . ............. . 336 336 337 338 339 340 342 '44 346 347 349 35l 352 35-1 356 357 358 368 375 384 585 387 CoMEDIAs DE CAPA Y ESPADA . COMEDIAS DEVOTAS. Valiente (El) Naz.ai·eno, Sanson ............................. . Dos (Los) Jueces de Israel. . . . . . . . . . . . . . . . . .•..... .......... Escande1·bech . . • . . .............................. : • .. ..... Polifemo (El). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . Santisirnas (Las) Formas de Alc.1/a. . . . . . . . . . . . . . ...... . Desdiclia (la) venturosa ..... . ......... .... .. .. . . .. . .... •... Desho11ra (Lâ) bonrosct....... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Desp,ecios (Los) en quien a,ua, ................ . . . ...... . , . Fin (El) mâs d.csgraciado y Forhmas de Seyano, 6 A111or, Priva11z_17 y Castigo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hijos (Los) de la Fortuua, Tedgenes y Clariquea.... . . . . • . . . . . . . Lo que son Juicios de( Cielo.. . . . . . . . . . . . . . . . . . . . . . . . • . . . . . . . . Mariscal (EF) de /1ir6n.... . . . . . • . . . . . . . . . . . . . . . . . . . . . . . . . Mas (La) consta11te Mujer........ . . . . . .............. . .... • Morir y disi111ular. . . • . . . . . . . . . . . . . . . . . . . . • . • . . . . . . . . . No /!lly vida c01110 la Honra ...........•. .................. •. Olimpa y Vireno.......... . . . . . . . . . . • . . . . . . . . . . . . . ....• • • Pal111erin de Oliva... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . • . . . . Para con Todos Hennm10s y Ama11tes para nosolros. (Don Florisel d11 Niquea)............................... . . . . . . . . . . . . . . Puer/a (La) ·nrncareua... . . . . . . . . . . . . . . . . . . . . . . . . . .... •. •. Revnar (El) par.i, 111orir....... . . . . . . . . . . . . . . . . . . . . . . . - . • Rigor (El) m l,i l,zoceuC-ia, 6 Prii-arse de privar ...•... : . • . . . . . . . Segiwdo (El) Sé11eca de Esp,l!ïa (Part I.)........... . ........ . . Segu11do (El) Séuem de Espmia (Pm II.)......... . ........ . . . Sciior (El) Don Juan de Austria............. . . . . . . . . . . . . . . Ser prudmte y ser suf:rido .. ..... . ..... . . ...... • ...... - . . . . Tu11plarios (Los)......... . . . . . . . • . . . . . ........... . . . , . , •. Valiente (El) mas dichoso . (Don Pedro Cuira!)............ . . . ... 473 321 322 330 331 332 333 335 Como mu ante y co1110 /Jùttrada. . . . . . . . . . . . . . . . . . . . . . . . . . . . . Desprecia r lo que se quie1·e .. .......•....... • . . ... • . • - • • • • • • De un Castig-o dos Vengauz.,u. . . . . . . . . . . . . . . . . ..... - . . . . . . . Donrella (La) de Labor . . . . . . . . . . . . . . . . . . . . . . - • - . • • • • • • • G,111a11ci11 (La) par la Ma110 .. ..........•. . ........ • •• • • • • Grai•edad eu Villaverde . . . . ........•... • . . .. • . . - • • • •. • • • Gusto ( Un) trne mil Disgw.stos .. .. . .. .. . . .. .. . . • • ...... • • Monja (Ln) Alfirez.. . . . ••........ . .. .. · · · · · · · ·, · · · · · · · · · · Re111edio, Indmlria y Valor. .... . . .................... . •. Stifrimieuto (El) premiado .•. . .• ..... . ... . ......•..... • • • Toquem (La) viz.caiua......... . ...... ...... ...... 388 389 390 39 1 392 393 394 395 408 410 412 CoMEDfAS DE SANTOS. Divino (El) Port1ig11és. San Antonio de Padua.. . . . . . . . . . . . . . . . Gitana (Lii) de Men.fis, Sa11ta Maria Egypciactr.. . . . . . . . . . . . . . . 413 414 �INDEX 474 Hijo (El) del Sera/in, San Pedro de AICtintara .. ....... , . . . . . . . . Santo Domi1l![O en Soria110,, ................. . , •. , . , . . . • . . 416 418 COMEDIAS DE\'OTAS, Valien.te (El) Naz.areno, Sans6n............ . ....•....... . . , . Dos (Los) Jueces de Israel. . . , , .... , , . , , . . . , • , , . , ... , , . , ... Esc,111derbecl1 .. ........ , • . . . . . .•..•... , . , ..... , ...•.•.... Polifemo (Ef).............. . . . . . . ............. , ..... , .. . Sa11tisimas (Las) Formas de A/cala ..........•. . , .. , •....... BIBLIOGRAPHIE DE 421 42 3 ,p6 JACINTO VER DAGUER Location of the Genuine Dramas ....... , , , ...... , . .... , . , .. , . , . Dramas attributed to Montalvan, but not accessible.. . . . • . . . .• , .•.. 432 Dramas written by Montalvan in collaboration with othcrs ......... . 433 Supposititious Dramas .... , .. , .... , ..•.. , ... , ........ , . . ..... . 434 Full titles of works quoted in abbreviarion, . . . . . . . . . . . . . . . . . . ... . 452 Appcndix ..•....... , , •...... , .......... , ... , , . . . . ....... , .. . 456 D'après le plan que nous nous étions tout d'abord tracé, la présente Bibliographie ne devait comprendre que les œuvres de V erdaguer publiées sous une forme indépendante; elle aurait laissé de côté les œuvres parues soit dans des périodiques, soit dans des volumes ne contenant pas exclusivement des écrits de notre auteur. L'expérience a montri:, une fois de plus, la difficulté qu'il y a, pour un bibliographe, à se cantonner dans un domaine trop rigoureusement délimité et à ne pas entreindre parfois les règles qu'il s'était lui-meme fixees; le plan primitif a donc subi les quelques modifications que rendaient indispensables certaines particularités éditoriales : il eût été etrange, par exemple, que. la première édition de l'Atlantide ne fût pas décrite ici sous 1<! prétexte qu'elle avait paru dans le recueil des Jeux Floraux. Nous n'avons relevé, sauf de tri:s rares exceptions, ni les éditions de poésies a.:compagnées de musique, ni les goigs et les feuilles volantes imprimées dans diverses circonstances. On voit que nous sommes fort loin de présenter une bibliographie complète, au sens absolu du mot : pourtant, malgré le cadre volontairement restreint, malgré les inévitables lacunes de notre répertoire et ses défectuosités possibles, nous espérons avqir fait un travail utile à ceux qui étudieront désormais l'œuvre de Verdaguer. Deux bibliophiles de Barcelone ont eu l'amab:lité de nous accueillir dans la partie de leurs bibliothèques la plus fermée, la plus inaccessible aux profanes. M. J.-B. Batlle et M. Alfons Bonay possèdent les deux plus riches collections d'éditions du poète dont ils gardent pieusement le souvenir et dont ils servent intelligemment la mémoire. L'un et l'autre n'ont cessé, au cours de longues et multiples séances, de nous communiquer libéralement leurs trésors, tout en nous faisant profiter de leurs connaissances spéciales et de leurs souvenirs personnels sur le sujet de nos recherches. Que ces deux excellents amis soient assurés de notre bien vive reconnaissance ! Robert Duaors. �BlBLlOGRAPHIE DE VERDAGUER ROBERT DUBO[S 477 Pi, 5, baxos. 1873. - (Titre:) Passi6 de Nostre Senyor Jesuchrist, per J. V . .Barcelona : Tipografia cat61ica, Pino, 5, bajos. I. - BIBLIOGRAPHIE 1873 . ln-16, 32 pp. 1865 1877 Dos martirs de ma patria, 6 siga Llucià y Marciâ. Poema en dos cants que llegi l'estiu passat en un cércol d'aficionats â'l llenguatje y a las glorias de la patria son autor D. Jacinto Verdaguer. Vicb, Imprempta de Soler-germaos. - 1865. 5. - (Co11t•ert11re :) Jochs Florals de Barcelona (écusson wlre deux brmzches de laurier) 1877 Any 19 de sa restauraci6. (Faux-titre:) Jochs Florals de Barcelona. - (Titre :) Jocbs Flbrals de Barcelona. Any XIX de llur restauraci6. MDCCCLXXVII. Barcelona, Estampa de la Renaixensa, Carrer de la Porta-Ferrissa, 18, baixos. MDCCCLXXVII. I. - In-8, 32 pp. 1867 Diseurs que pera donar comensament a las AcaJernias literarias tingudas en la Font del Desmay per lo cercle de joves vigatans entusiastas aymadors de la llengua y de las glorias catalanas, <ligué en Jacinto Verdaguer en lo dia 19 de Juny del any 1867. Vich, lmprempta y llibreria de Soler-germans, Ramada, 24, 1867. 2. - In-8, 8 pp., dont la dernière en blanc. 1869 3. - Romans llegit a l'ombra de la Font del Desmay en Jo darrer aplech que hi feu la colla de joves montanyesos, anomenada Esbart d'afectats a la llengua y a las glorias de la Patria. Vich: lmprempta y llibreria de Ramon Anglada, 1869. In-8, !2 pp. Aux pp. 3-12: i Qui corn Déu I poème signé Jacinto Verdaguer. 1873 4. - (Com:er/11re :) Passi6 de Nostre Senyor Jesuchrist, per Preu : 3 quartos. Barcelona : Estampa cat61ica, carrer del J. V. ln-4, 239 pp. P. 125: Prcmi ofert perla Excma. Diputaci6 Provincial de fü1rcelona. Num. XIII. - L'Atl:intida, de D. Jascinto Verdaguer, Pbre. Le poc:mc occupe les pp. 127-229. A. - Papier ordinaire. B. - Papier à la cm·e. 1877-1878 6. - L'Atlantida de Jascinto Verdaguer, Pbre. poema épich que obtin~ué lo premi ofert per la Excma. Diputaci6 Provincial de Barcelona en los Jochs Florals de l'an y r877. Buenos Aires, Estampa de "L'Aureneta ", Carrer del Peni, ntims. 215 y 217, 1877. La couvenure est la reproduction du titre, mais avec la date 1878. In-8, 92 pp. L'e:semplaire offert à Verdaguer (collection Batlle) a la dédicace manuscrite suivante: En testimoni d'atmiraci6 y estima y com a ofreoa en desagravis per hi profanaci6 d'estampar "L'Atl:inl'ida" sens son permis y sens aptituts pera atendrcrla, dediquem aqucst excmplar trasatl:mtich al.qui millorcant:i l'enfonzamcnt del mou, lo llorejat poeta y amor de la obra Mossen Jascinto Verdaguer Pbre. Los editors en Buenos Aires. Amon de P. Aleu, Jaume Puigvent6s. Juriol (sic) 8/8r. �BIBLLOGRAPHIE DE YERDAGUER 479 ROBERT DUBOIS 1880 1878 7. - (Co11vcrt11rc:) La Atlantida. Poema de Mosscn Jacinto \'crdaguer ab la traduccio castellana per Mclcior de Palau. Unica cdici6 completa. Barcelona, Llibreria d'Euscbi Riera, 24, Robador, 24. - (Titre:) La Atlântida. Poema de Mossen Ja. cinlO Verdaguer que obtingué'l premi de la Excma . Diputaci6 Provincial de Barcelona en los Jochs Florals de r877 ab la traducci6 castcllana pcr Melcior de Palau. Estampat a dcspcses del Excm. Sr. D. A. Lopez. (marque : . eparando j\'nxit). Barcclona, Estampa de Jaume Jepùs, MDCCCLX..'<:VIII. Jn-8, >48 PP· Papier vergé à la cuve, ayaot pour filigrane A1lantiJ. (à l,1 première page de chaque feuille). Le~ exempl:iires ,wec cou,•erture sont rarissimes. Presque toute l'cdition w . - Bibliotcca dels Escons de Catalunya fundada per Mossen Jaume Collcll, Pbrc. Quadcrn rr. Causons de Montserrat ara novament dictadas y en celebraci6 del milenar publicadas per fossen Jacinto erdaguer, Prebcre. An· 1880. Vich: Estampa de Ramon Anglada. ln-8, 97 PP· 1 I. Biblioteca dds Escons fun<lada y dirigida per Mosscn Jaume Collell, Pbrc. Quadern 2 11 • Llegenda de Montserrat per Mossen Jacinto \ erdaguer, Pbre. M~stre en gay saber. fou premiada aquesta obrcta ab 1:1 dtara d'or y d'argent en lo Ccrtamen del Milcnar. Any 1880. ich : Estampa de Ramon Anglada. ln-8, 97 pp. 1881 e~t cJrtono(:c (cartonnage d'éditeur) . 12. - 1879 8. - Idilis y cants mistichs per Mossen Jacinto Vcrdaguer ab un prolcch de D. L 1ila y Fontanals. Any 18ï9· Barcelona, Llibreria d'Emebi Riera, 24, Robador, 24- - (a lei fin:) Aqucst !libre fou acabat d'estampar en Barcelona per Jaume J pus ais s d'Abril de MDCCCLXXIX. ln-t!, v111-2.~9 pp., cartonnage d'(:direur avec J. Verd,1guer. ldilis. 9. - ( Coll'l:erlure :) Idilios y cantos mlsticos por Mosen Jacinto \'erdaguercon un prôlogo de D. M. Mita y Fontanals. Obra traducîda en ,•ersos castellanos por don José Maria Carulla, Direct0r de" La Civilizacion" y abogado del llustrl! Colegio de Madrid. Ana 1879. Madrid, Imprcnta de D. A. Pcrcz Dubrull, Fior 13aja, num. 22 . Titre, comme la u11n·ert11re, snuf Aiio 1879; la date 1&79 a11 bas). ln-8. y dirigida Cantich de Mossen Jascinto Vcrdaguer al desposori de (à la fin :) Barcelona D. Claudi L6pcz y D• Maria Gayôn. 1881 . Estampa de L. Obradors. ln-4, 10 pp., la dernière en blanc. Te11te cat,11:10 et traduction castillane en vers. Edition sur parchemin, tirée il quelques exemplaires. Initiales ornées et enluminées, bleu, rouge, or. Texte encadré. Miniatures dans la marge extérieure des pages paires. Reliure parchemin avec sur le premier plat (or et rouge); Al desposori de D . Claudi Lopez y D• Maria Gayon. J. Vcrdaguer. 13 . -Cantichdc Mossen Jacinto \"erdaguer al desposori de D. Claudi Lapez y D• Maria Gayon. - (à ln fiu :) Fou estampat fer eu L. Obradors, impressor en la ciutat de Barcelona ais XXIII. dies del mes de Mars del any MDCCCLXXXI. In-8, 8 pp. A. B. - 75 exemplaires sur papier:\ la cuve. t c. emplaire sur p:irchemin. �ROBERT DUBOIS BIBLIOGRAPHIE DE VERDAGUER 14. - (Couverture et titre:) leyenda de Montserrat, escrita en versos catalanes par D. Jacinto Verdaguer, Pbro. maestro en gay saber. Fué premiada esta abrita con la citara de oro y plata, en el certamen del milenario. Traducida par D. José Maria Carulla, Abogado del Ilustre Colegio de Madrid, y Director de " La Civilizaci6n ". Segunda edicion. Madrid, Imprenta de D. A. Pérez Du bru li, Fior Baja, num. 22. J 88 r. 18. - Efemèrides vigatanas per D. Joaquim Salarich y Verdaguer, cronista de Vich, membre de varias societats cientificas y literarias naciona1s y extranjeras, precedidas d'un pr6lech de Mossen Jacinto Verdaguer, Pbre, Mestre en Gay Saber. Vich, Estampa de Ramon Anglada, MDCCCLXXXII. Jn-8, X-101 pp. Le Prologue de Verdaguer occupe les pp. v-x. In-8, 85 pp. 1882 1883 1 5. Salteri franciscâ. Romancets sobre la prodigiosa vida del patriarca Sant Francesch per Mossen Jacinto Verdaguer, Pbre ... (gravure) Vich : Estampa de Ramon Anglada. 1882. Mossen Jacinto Verdaguer. A Barcelona. Oda. dans le volume des Jochs Florals. 20. - Mossen Jacinro Verdaguer. A Barcelona. Oda premiada en la XXV• festa dels Jochs Florals ab la rosella de plata oferta perla redacci6 de la Revista Literaria. Edicîo de 100.oco exemplars costejada per l'Excm. Ajuntament d'aquesta Ciutat. Estampa espanyola - 1883. 5 feuilles volantes de 4 pp. ayant les sous-titres suivants : Romans I. Sant Francesch s'hi moria. Romans Romans Romans Romat1s li. Desposori de S. Francesch y la pobresa. III. Lo noy ressuscitat. IV. Sant Francesch predicant a)s aucells. V. Impressi6 de las. Llagas. - ( Couverture :) fdilis y cants mistichs per Mossen Jacinto Verdaguer ab un prolech de D. M. Mila y Fontanals. Segona edici6. Barcelona, Llibreria d'Eusebi Riera 1882. - (Titre:) id ... id ... Barce1ona, Estampa de Jaume Jepus 1882. In-8, xrn-226 pp. I 6. A. - Papier ordinaire. B. - Papier à la cuve. 17. - Lo Somni de Sant Joan, per M. Jacinto Verdaguer, 19. - In-8, 8 pp. 21. - Mossen Jacinto Verdaguer. Oda ... 22. A Barcelona. Oda premiada en la fiesta XXV• de los Juegos Florales. original del Rdo. D. Jacinto Verdaguer. Edicion costeada par varies Catalanes y Aragoneses residentes en Manila con la traduccion en verso castellano por D. Francisco de Mas y Otzet. Manila, lmp. de La Oceania espaiiola, Real 39. 1883. Pbre. In-8, 19 pp. Se trouve aux pp. 619-631 de : Nacîonal Homenaje de las Cîencias, Letras y Artes espaiiolas al Sacratîsimo Corazon de Jesus. 26 de Junio r88r, Tarragona. Barcelona: Imprenta y Libreria religiosa y cientîfica del beredero de D. Pablo Riera, calle de Robador, nùmero 24 y 26. 1882. ln-4, 772 pp. A Barcelona. Mémè titre que le Llo 20, in-8, 8 pp. et une couverture. Au haut de la première page, frontispice a,,ec portrait de Verdaguer. 1883-1884 - ( Couvert//re et titre :) Albert Savine. L'Atlantide, poème traduit du catalan de Mossen Jacinto Verdaguer, Maître en Gai Savoir, Un des Quarante de l'Académie catalane, augmenté d'une introduction et d'appendices. Paris, Librairie Léopold Cerf, 2 3. REVl.! E HJSPANJQCE B. �ROBERT DUBOIS BIBLIOGRAl>flIE DE VER.DAGUER 13, rue de Médicis, 13. 1883. (La. couverture et le dos dn volume portent 1884). 26. - (Couverture :) Jacinto Verdaguei-. La Atlantida. Poetna traducido en verso castellano par don Fraucisco Dfaz Carmona, Catedratko de Geografü.é Historht en el Instituto de Ciudad-Real. Madrid, Tipografia Gùtenberg, 5-Vitlalàr-5, MDCCCLXXXIV. - (Titre :) La Adandda, poema escrito en catalan por D. Jach1to Verdaguer y Traducido en verso castellano por D. Francisco Dfaz Carmona, Catedrâtico de Geografia é Historia. en el lnsrituro de Ciudad-Real. Madrid, Tipografi:t Gutenberg, Calle de Villalar, n(tm. 5, 1i84. In-8, CLXXIx-273 pp. Tulle, lmp. de J. Mazeyrie.• A. - Papier ordinaire. B. - Papier de Chine. 1884 24- - ( COll'vertttre et titre :) Albert Savine. L'Atlantide, poème traduit du catalan de Mossen Jacinto Verdaguer, Maître en Gai Savoir, Un des Quarante de l'Académie catalane, augmenté d'une intrôduction et d'appendices. Deùxième édition. Paris, Librairie Léopold Cerf, 13, rue de Médicis, 13. 1884. Jn-8, CLXXlX-273 pp. Sur le titre, la date 1884 a été superposée à la date 1883 . Même composition que celle de la première édition (11° 23), mais avec interlignes et espaces plus grands. Format plus grand. A. - 550 exemplaires sur papier ordinaire. B. - 30 sur Hollande. C. - 20 sur Chine. D. - 10 sur Japon. ,, '' 25. - (Couverture:) Justin Pépratx. L'Atlantide, poème c;nalan de Don Jacinto Verdaguer traduit en vers français. Paris, Librairie Charles Bayle & Ci•, Union générale de la librairie, n, rue de l'Abbaye, n. i884. - (Tilre :) L'Atlantide, poème catalan de Don Jacinto Verdaguer traduit en vers français par Justin Pépratx, Membre de la Société pour l'étude des langues romanes, Mainteneur des Jeux Floraux de Barcelone, etc. Paris, Librairie Charles Bayle & Union générale de la librairie, rr, rue de !'Abbaye, I 1. 1884. - (a la fin :) Perpignan, Typographie de Charles Latrobe. c< 1 ,J ln-8, 236-pp. 1, ' 1, I'' '· L'e,;emplaire offert à Verdagucr (Collection Batlle) a la dédicace manuscrite suivante : Hommage à l'autem du poème, du premier exemplaire reçu, ce tour 10 avril 1884, de l'Editeur. L'auteur de la traduction. Jtin Pépratx. In-8, r,v-143 pp. 27. - (Couverture:) Justin Pépratx. L'Atlantide. Poèfl1e catalan de don Jacinto Verdaguer traduit en ve.rs français. Paris, Librairie Charles Bayle & Ci<:, Union générale de la. librairie, II, rue de l'Abbaye, 11. r884. - (Ti.tre :) L'Atlantide, poètne catalan de don Jacinto Verdaguer, traduit en vers français pàr Justin Pépratx, membre de la Société ponr l'étude des Iartguts romanes, Mainteneur des Jeux Floraux: de Barcelone, etc. Paris, Librairie Charles Bayle & Ci•, Union générale de la librairie, rr, rue de l'Abbaye, rt. r884. - (a la fin:) Perpignan, Typographie de Charles Latrobe. In-8, 235 pp-. 28. - Mossen Jacinto Verdaguer. La Atlantide, poema ca:talano, traduzione di L Suner; dans Fanfulla della Don1e11i,a. Roma, 1884, du 20 juillet an 7 déce.11tbre, 29. - ( Couverture :) Passi6 de Nostre Senyor Jesucrist, per Mossen Jacinto Verdaguer. Barcelona: Tipografîa cat6lica, carrer del Pi, 5. r884. - (Titre :) Passi6 de Nostre Senyor JesuêtÎSt, per Mossen Jacinto Verdaguer. Nova edid6 corretgida y aumentada. Ab llicenda: edesiasrka. Barcelona : Tipogn1(fa cat6Hca, carrer del Pi, 5. 1884. ln-r6, 2$ pp. A. B. - Papier ordinaire. exemplaires sur papier 1t la cuve. JOO �ï 1 BIBLIOGRAPHIE DE \'ERDAGUER ROBERT DUBOIS 30. - (Couverture :) Passio de Nostre Senyor Jesucrist, per Mossen Jacinto Verdaguer. Barcelona: Tipografia cat6lica, carrer ·Jel Pi, 5. 1884. - (Titre:) Passi6 de Nostre Senyor Jesucrist, per Mossen Jacinto Verdaguer. Nova edici6 corretgida y aumentada. Ab )licencia eclesiastica. Barcelona : Tipografia cat6lica, carrer del Pi, 5. 1884. In-16, 32 pp. dont la deruiere en blanc. Papier à 1a cuve. Même composition typographique que la précédente (no 29), mais pagination changée ; faux-titre en plus, et la liste d'Obras de Mossen Jacinto Vcrdaguer qui occupe trois pages à fa fin, réimprimée. 35. - Caritat. Poesies de Mossen Jacinto Verdaguer estam pades a favor de les victimes dels terratrémols. Segona edici6. Barcelona, Llibreria d'Alvar Verdaguer. In-8, 108 pp., cartonné. 36. -(Couverture et titre:) Nerto. Poema escrit en versos provensals per Frederich Mistral y trnduhit al catala per Mossen Jacinto Verdaguer. Barcelona, Llibreria d'Alvar Verdaguer, 5. Rambla del Mitx. 5. Jn-8, l 40 pp. La date (1.885) se trouve au dos du volume. 1885 3 r. - ( Com.:erture et titre :) La Atlanride, poema di Mossen Jascinto Verdaguer che ottenne il p,remio della eccellentissima Deputazione Provinciale di Barcellona nei Giuochi Floreali dell' anno 1877. Traduzione di L. Sufier. Roma, Forzani e C., Tipografi del Senato, 1885. lil-8, 173 pp. 32. - Idilis y cants mistichs per Mossen Jacinto Verdaguer ab un prôlech de D. M. Mila y Fontanals. Tercera edici6. Barcelona, Llibreria y Tipografia cat6lica, Pi, 5. 188 5. In-8, xm-229 pp. 33. - ( Couverture el fil re :) Causons de _Montserrat per M. JaGinto Verdaguer, Pbre. Segona edici6. Barcelona. Llibreria y Tipografia catôlica, Pi, 5. 1885. In-8, 69 pp. 34. - (Couver/11.re :) Caritat. Poesies de Mossen Jacinto Verdaguer, estampades a favor de les vfctimes dels terratrémols. Barcelona, Llibreria d'Alvar Verdaguer, 5. Rambla del Mitx. 5. (Titre :) Caritat. Poesîes de Mossen Jacinto Verdaguer, estampades a farnr de les victimes dels terratrémols. Barcelona, Llibreria d'Alvar Verdaguer, 1885. ln-8, 100 pp., papier à la cuve. 1886 37. - L1 Atlantida, poema de Mossen Jacinto Verdaguer, ab la traducci6 castellana per Melcior de Palau. Tercera edici6. Barcelona, Estampa de Fidel Gir6, MDCCCLXXXVI. In-8, XXJ-343 PP· Tous les exemplaires ont un cartonnage d'êditeur. 38. - (Couverture :) Passi6 de Nostre Senyor Jesucrisr, per Mossen Jacinto Verdaguer. Barcelona : Llibrerîa y Tipografia cat6lica, Pi, 5. 1886. - (Titre:) Passi6 de Nostre Senyor Jesuc1 ist, per Mossen Jacinto Verdaguer. Tercera edici6. Ab llicencia eclesi[1stica. Barcelona : Llibreria y Tipografia cat61ica, Pi, 5. 1886. In-r6, 26 pp. 39. - Canig6. Llegenda pirenayca del temps de la Reconquista per Mossen Jacinto Verdaguer. Barcelona, Llibrtria catolica, 5, Pi, 5. - (ti la fin :) Barcelona, Tipografîa de Gir6, 1886. In-8, 255 pp. et Mapa del Pirineu catala ... per Joseph Ricart Girnlt. Cartonnage d'éditeur. 1887 40. - Lo somni de Sant Joan. Llegenda del Sagrat Cor de �ROBERT DUBOIS BJBLIOGRAPHIE DE VERDAGUER Jesus ab l;i, traducci6 castellana per Mossen Jacinto Verdaguer. (épigraphe) Barcelona, Llibrerîa y Tipografia cat6lica, 5-Pi-5. (a la fin:) Fou imprés aquest llibre en lo mes de Abril del any del Senyor MDCCCLXXXVIL ' daguer, ab un pr6lech de Mossen Jaume Collell. Barc~lo11a, A. Verdaguer: Rambla del Mitx, 5. R. Casals: Carrer del Pi, 5. 1888. - (Titre :) Patria. Poesies de Mossen Jacinto Verdaguer, ab un pr6lech de Mossen Jaume Collell. Barcelona, Estampa de Fidel Gir6 : Grau Via, 212 bis. 1888. In-8. 41. - (Couverture et. titre :) Justin Pépratx. L'Atlantide, poème catalan de Don Jacinto Verdaguer traduit en vers français. Nouvelle édition contenant la biographie de Verdaguer par Don Jaume Collell, avec son portrait par Gaston Vuillier. Paris, Librairie Hachette & (i•, 79, Boulevard Saint-Germain, 79. 1887. - (à l~ fin :) Perpignan, Typographie de Charles Latrobe. Iu-8, Lxvm-315 pp., portrait de Verdaguer. 42. - (Couverture et titre :) Excursions y viatjes de Mossen Jacinto Verdaguer. Barcelona, La Ilustraci6 Catalana, 1887. In-8, 223 pp., gravures. 43. - ( Couverture et titre :) Albert Sa,ine. L'Atlantide, poème de Jacinto Verdaguer. Traduction précédée d'une étude sur la renaissance de la poésie catalane. Paris, Nouvelle librairie parisienne, Albert Savine, éditeur, 18, rue Drouot, 18. r887. In-8, CLXXx-273 pp. Même édition que le n° 24 : la demi-feuille de tête est setùe réimprimée. 1888 44. - Lo somni de Sant Joan. Llegenda del Sagrat Cor de Jesus ab la traducci6 castellana per Mossen Jacinto Verdaguer. (épigraphe) Barcelona, Llibreria y Tipografia cat6lica. 5-Pi-5, (au verso du titre :) Segona edici6. (a la fin :) Fou imprés aquest llibre en lo mes de Jené del any del Senyor MDCCCLXXXVIII. In-8, 226 pp., gravure hors texte en regard du titre. Cartonnage d'éditeur avec: Lo Somni de Sam Joan, per J. Verdaguer. +5• - (Couverture :) Patria. Poesies de Mosseu Jacinto Ver- In-8, xm-204 pp. 46. - Frammento del Canig6, poema catalano di D. Giacinto Verdaguer con versione italiana di Maria Licer. Estratto dal Tom. III degli Studj Let!. e Mor. ecc. (Modena, 1888, Soc. Tipogr.) In-8, I 5 pp. 47. - ( Cottverture et titre :) L' Atlantido de Mossen Jacinto Verdaguer revirado en prouvençau per Jan Monné, Majourau d6u Felibrige, chivalié de l'ordre reiau de la Couronno-de-Roumanio. Mount-Pelié, Empremarié centralo d6u Miejour (Li Fraire Hamelin), 1888. Io-8, 4 ff. o. ch., 72 pp. 48. - (Couverture :) Le songe de saint Jean. Légende du Sacré-Cœur de Jésus par Jacinto Verdaguer. Traduction de Justin Pépratx. (épigraphe). Perpignan, Typographie de Charles Latrobe, Rue des Trois-Rois, 1. 1888. - (double fifre, sur deux pages :) Lo somni de sant Joan. Llcgenda del Sagrat Cor de Jesus per Jacinto Verdaguer (épigraphe). Perpiny!1, Tipografia de Carlos Latrobe, Carrer dels Tres-Reys, r. 1888. - (Second titre identique a la couverture). In-8, 199 pp. 1889 49. - Jacinto Verdaguer. Le Canigou, légende pyrénéenne du temps de la Reconquête. Traduction française avec le texte catalan en regard, autorisée et approuvée par l'auteur. Paris, �ROBERT DUBOIS BIBLIOGRAPHIE DE VERDAGUER Nouvelle librairie parisienne, Albert Savine, éditeur. r8, Rue Drouot, r 8. r 889. eclesiastica. Barcelona : Llibreria y Tipografia cat6lica, Pi, 5. r 890. Jn-18, LXXI-383 pp., carte (Mapa del Pirinen catalâ ... per Joseph Ricart Giralt). Le traducteur est J. Tolra de Bordas. 50. - (Couverture et titre :) Llegenda de Montserrat per Mossen Jacinto Verdaguer, Pbre. Mestre en gay saber. Fou premiada aquesta obreta ab la ci tara d'or y argent en lo Certamen del Milenar. Segona edici6. Any 1889. Vich : Estampa de Ramon Anglada. In-8, 109 pp. In-16, 26 pp. 54. - (Couverture et titre :) El sue110 de San Juan . Leyenda del Sagrado Coraz6n de Jesùs, escrita en catalan por D. Jacinto Verdaguer, Pbro . y traducida en verso castellano por D. Juan F. Muiioz y Pab6n, Seminarista. (Segunda edici6n) Sevilla, T ipografia de El Obrero de Nazaret, Farnesio num. r. 1890. (a la fin :) Acab6se de imprimir en la oficina tipografica de don Carlos de Torres y Daza, Farnesio r, Sevilla a XII <lias del mes de Junio del aiio de N. S. J. de MDCCCLXL. In-8, 237 pp. 5 r. - ( Couverture et titre :) El sueno de San Juan. Leyenda del Sagrado Coraz6n de Jesus escrita en catalan por D. Jacinto Vc:rdaguer, Pbro. y traducida en verso castellano por Juan . F. Mun.oz y Pab6n. Jerez, Imprenta de " El Guadalete ", a cargo de D. Tomas Bueno, calle Compas, numero 2. 1889. / 55 . - (Couverture :) Jesus infant. Nazareth, per Mossen Jacinto Verdaguer. Barcelona, Llibrera (sic) de Bastinos, Pelayo, 52. - (Titre:) Jesus Infant. Nazareth, per Mossen Jacinto Verdaguer. Barcelona, Estampa de Fidel Gir6, 1890. In-8, 98 pp. In-8, 67 pp. 1 1 52 . - (Titre :) Colecci6 de Cantichs Religiosos pel poble a una, dues y tres veus ab acompanyament de piano ù orga, per Mossen Jacinto Verdaguer. Musica del Mestre Candida Candi. (Epigraphe). Barcelona, Rafel Guardia, Editor de musica, Ram~ bla de Sant Joseph, 29; Llibreria y tipografia cat6lica, carrer del Pi, 5. - (La c01tv,rture, comme le titre, moins l'épigraphe). (à la fin :) Fou imprés aquest llibre en lo mes de desembre del any del Senyor MDCCCLXXXIX. In-8, 226 pp. 56. - (Couvertnre :) Justin Pépratx. L'Atlantide, poème catalan de Don Jacinto Verdaguer traduit en Yers français. Montpellier, Imprimerie centrale du Midi (Hamelin Frèr~s). 1890. - (Titre :) L'Atlantide, poème catalan de Don Jacmto Verdaguer traduit en vers français par Justin Pépratx, Membre de la Société pour l'étude des langues romanes, Membre correspondant de l'Académie royale des belles-lettres, Mainteneur des Jeux Floraux de Barcelone, etc. Montpellier, Imprimerie centrale du Midi (Hamelin Frères). 1890. ln-8, 219 pp. 1890 53. - (Cvuverlure :) Passi6 de Nostre Senyor Jesucrist, per Mossen Jacinto Verdaguer. Barcelona : Llibreria y Tipografia · cat6lica, Pi, 5. 1890. - (Titre :) Passi6 de Nostre Senyor Jesucrist, per Mossen Jac~nto Verdaguer. Quinta edici6. Ab llicencia 1891 57 . - Idilis y cants mistichs per Mossen Jacinto Verdaguer, ab un pr6lech de D. M. Mila y Fontanals. Quarta edici6 . Barcelona, Llibreria y Tipografîa cat6lica, Pi, 5. 1 89 I. La couverture reproduit le titre, mais avec Nova (au lirn de Quarta) edici6 . �490 ROBERT DUBOIS In-16, xu-215 pp., cartonnage d'éditeur, avec; cams mistichs. BIBLIOGRAPHIE DE VERDAGUER J. 49 1 Verdaguer. Idilis y 58. - Catalanische Ljeder von Jacinto Verdaguer. Deutsch von Clara Commer. Münster, 1891. Druck und Verlag der Aschendorffschen Buchhandlung. In-8, >4 pp., texte encadré de filets rouges. Cartom~age d'édit~ur, avec : Jacinto Verdaguer, Catalanische Lieder. Deutsch von Clara Commer. 59. - ( Couverture :) Bibliotéka preklad u vynikajîcich del cizojazycnyc h. V. (Celé sbirky sesit 23-25.) Jacinto Verdaguer : Atlantis. Prelozil a zivotopisem spisovatele opatril Jaroslav Vrchlicky. VPraze. NâklademJaroslava Pospisila. 1891. - (Titre double mr deux pages:) Bibliotéka prekladu vynikajicich del cizojazycnych. Vydava Jaroslav Pospisil. Svazek V. Don Jacinto Verdaguer: Atlantis. V Praze. Nâkladem Jaroslava Pospisila. 1891. - Don Jacinto Verdaguer: Atlantis. Basen. Prelozil a uvodem i zivotopisem spisovatele provàzî Jaroslav Vrchlicky. V Praze. Nakladem Jaroslava Pospisila. 1891. ln-8, I 33 pp. Traduction en vers tchèques. 1893 62. - (Couverture :) Jesus infant. La fugida a Egipte, per Mossen Jacinto Verdaguer. Barcelona, Llibreria de Bastinos, Pelayo, 52. r893. - (Titre :) Jesus infant. La fugida a Egipte, per Mossen Jacinto Verdaguer. Barcelona, Tip. "La Ilustraci6n ", ac. deF. Gir6. 1893. ln-8, 124 pp. 63. - (Couverture:) Svazek 29. Sbornik Svetové poesie vyda.vâ Ceska Akademie Cisare Frantiska Josefa pro Vedy, Slovesnost a Umeni. Rocnik IV. Trida IV. Cislo 4. Jacinto Verdaguer : Sen Sv. Jana. Rozmerem originalu Prelozil. P. Sigismund Bouska, O. S. B. Nakladatelstvi J. Otto Knihti~kârna v Praze. - (Double titre rnr deux pages :) Sbornîk svétové Poesie vydavâ Ceska Akademie Cisare Frantiska Josefa pro Vedy, Slovesnost a Umenî. Cislo 29. J. Verdaguer : Sen Sv. Jana. akladatelstvî J. Otto Knihtiskarna v Praze. - Jacinto Verdaguer: Sen Sv. Jana rozmerem originalu prelozil P. Sigismund Bouska, O. S. B. Nakladatelstvi J. Otto Knihtiskarna v Praze. Io-8, 83 pp. 60. - ( Couverture : ) Jesus infant. Bethlem, per Mossen Jacinto Verdaguer . .(épigraphe) Barcelona, Llibreria de Bastinos, Pelayo, 52. 1891. - (Titre :) Jesus infant. Bethlem, per Mossen Jacinto Verdaguer. (épigraphe) Barcelooa, Tip. " La Ilustracion ", a carrech de F. Giro, 1891. In-8, 92 pp. 64. - ( Couverture et titre :) Caritat. Poesies de Mossen Jacinto Verdaguer, estampades ab motiu dels terratrémols de Andalusia. Tercera edicio. Barcelona, Llibreria y Tipografîa Cat6lica, Pi, 5. J893. 1892 1894 61. - (Couverture et titre :) Justin Pépratx. L'Atlantide, poème catalan de Don Jacinto Verdaguer, Traduit en français. Montpellier, Imprimerie centrale du Midi (Hamelin Frères) . 1892. In-8, 22.7 pp. ln-8, ID pp. 6 5. - ( Couverture et titre :) Veus del bon pastor 6 Cântichs espirituals dels Rnts. PP. Missionistas Fills del Immaculat Cor de Maria. Vich : Estampa de Ramon Anglada, 1894. In-r6, 13 3 pp. 66. - (Couverture et titre:) Justin Pépratx. L'Atlantide, poème �ROBERT DUBOIS 492 catalan de Don Jacinto Verdaguer, traduit en français. Cinquième édition. Montpellier, Imprimerie Centrale du Midi (Hamelin Frères), 1894. In-8, 240 pp. 67. - Dietari d'un pelegri a Terra Santa per Mossen Jacinto Verdaguer, ilustrat per Andreu Sola. Segona edici6. Barcelona Llibreria y Tipografia Cat6lica, Pi, 5, 1894. ' In-8, 214 pp., gravures. J'ignore la date de publication de l'édition originale, qui est peut-être celle décrite sous le no 1 8r. BIBLIOGRAPHIE DE VERDAGUER 493 ciero "y a " La Publicidad ". Barcelona, Tip. " L'Avenç ": Ronda de la Universidad, 1895. In-8, 62 pp. 71. - (Coavertim :) Passi6 de Nostre Senyor Jesucrist, per Mossén Jacinto Verdaguer. Barcelona : Llibretia y Tipogratia Cat6lica, Pi, 5. r89 5. - ( Titre :) Passi6 de Nostre Senyor Jesucrist, per Mossén Jacinto Verdaguer. Sexta edici6. Ab llicencia ecle:iiastica. Barcelona, Llibreria y Tipografia Cat6lica, Pi, 5. 1895. ~11-16, 26 pp. 68. - (Couverture:) Roser de tot l'amy. Dietari de pensaments religiosos per Jacinto Verdaguer, Pvre. Barcelona, " Llibreria Cat6lica ", carrer del Pi, 5. 1894. - (Titre :) Roser de tot l'any. Dietari de pensaments religiosos per Jacinto Verdaauer b , B P vre. arcelona, " La Catalana ", Estampa de Jaume Puigvent6s, 5, Dormitori de Sant Francesch, 5, 1894. In-8, 181 pp. 72. - (Couverture et titre:) Sant Francesch. Poema per Mossen Jacinto Verdaguer. Charitas. Barcelona, Tip. "L'Avenç" : Ronda Universitat, 4. 1895. - (a la fin :) Aquest Hibre s'acaba d'estampar avuy 3 d'Octubre de 1895, vigili:i. de Sant Francesch. In-8, xm- 165 pp., papier à Ja cuvt:. 1895 69. - (Couverture :) Mosén Jacinto Verdaguer en defensa propia. Colecci6n de las cartas al " Noticiero " y a " La Publicidad ". Un real. Barcelona, Tip. "L'Avenç " : Ronda de la Universidad, 1895. - (Titre :) Mosén Jacinto Verdaguer en defensa propia. Colecci6n de las cartas al " Noticiero " y a " La Publicidad ". Barcelona, Tip. "L'Avenç" : Ronda de la Universidad, 1895. In-8, 62 pp. 70. - (Couverture :) Mosén Jacinto Verdaguer en defensa propia. Colecci6n de las cartas al " Noticiero " y a " La Publicidad ". Segunda edici6n. Un real. Barcelona, Tip. "L'Avenç": Ronda de la Universidad, 1895. - (Titre :) Mosén Jacinto Verdaguer en defensa propia. Colecci6n de las canas al " Noti- 1896 73. - (Couverture:) A Barcelona. Oda. Mossen Jacinto Verdaguer. Preu : Una pesseta. Barcelona, Biblioteca de" L'Atlantida" 1896. - (Titre:) Mossen Jacinto Verdaguer. A Barcelona. Oda premiada· en la XXV• festa dels Jochs Florals ab la rosella de plata oferta per la redacci6 de la Revista Literaria. Barcelona, Francisco Badia, impresor, Dau, 14. 1896. In-8, r 5 pp. 74. - (Convertnre :) Jesùs infant per Mossén Jacinto Verdaguer. (Ab tres fototipies) (gravure). Barcelona, Llibreria de A. J. Bastinos, Pelayo, 52. 1896. - (Tître :) Jesus infant per Mossén Jacinto Verdaguer (gravure :) Barcelona, Llibreria de A. J. Bastinos, Pelayo, 52 . 1896. In-8, 288 pp. �BIBLIOGRAPHIE DE VERD.\GUER ll.OBERT DUBOIS 494 75. -(Couverture et tiire :) Jacinto Verdaguer. Jésus enfant, poème catalan. Traduction de Justin Pépratx avec une lettrepréface du T. R. P. Monsabré. Perpignan, Imprimerie de Charles Latrobe, 1, Rue des Trois-Rois, I. 1896. In-8, xrv-135 pp. 76. - ( Couverture et titte :) FI ors del Calvari. Llibre de consols per Mossèn Jacinto Verdaguer. (épigmphe) Barcelona. 1896. Imp. de Henrich y C" en comandita. In-8, 208 pp. 77- - ( Couverture et titre :) En Terre Sainte par Jacinto Verdaguer traduit du catalan par Jules Delpont. Perpignan, Imprimerie Joseph Payret, 9, Rue de l'Ange, 9. r896. 495 Il y a des e)>emµlaites avec cartonnage d'éditeur, portant sur ie premier plat : Verdaguers Atlautis. Herder'sche Verlagshandlung F reiburg i. B, et un paysage maritime en couleurs. 8r. - ( Couvertu,re et titre:) Jacinto Verdaguer, Fleurs du Calvaire. Livre de consolations. Traduction de Justin Pépratx avec une lettre-préface de Frédéric Donnadieu. (épigraphe) Perpignan, Imprimerie de Charles Latrobe. r, rue des Trois-Rois, r. 1897. In-8, 1 5r pp. 82. - (Comxrture :) Aux victimes du Bazar de la Charité. Elégie par Jacinto Verdaguer dédiée à ses amis de France. Perpignan, Imprimerie de Charles Latrobe, f, Rue des Trois-Rois, 1. 1897. (pas de titre). ln-8, 8 pp. dont la derniëre en blanc. In-8, .t25 pp., gravures. 1897 1897-1898 78. - (Col/,verture et titre ;) La Atlantida. Poema de Mossen Jacinto Verdaguer ab la traducci6 castellana per Mekior de Pal~u. Setena edfri6. Barcelona, Estampa de Fidel Gin'>, MDCCCXCVII. In-8, 347 pp. 79. - Hymne de Mossen Jacinto Verdaguer aux Saintes Hosties. Lo Sol de Pézilla. (Texte catalan et traduction françafre) au,x pp, 10- I J de : Hommage aux Saintes Hosties de Pézilla~de-la-Rivière (Epigraphe), Perpignan, Charles Latrobe, Imprimeur de l'Évêché, 1, Rue des Trois-Rois, I. 1897. In-8, 13 pp. 80. - ( Co-uvertttre et titre :) Jacinto Verdaguers Atlantis. Deutsch von Clara Commer. Mit ei □er biographiscben Vorrede und erklarenden Anmerkungen von Lie. Fr. -von TessenWesierski. Nebs.t Bi:ldniss und Schriftprohe von Verdaguer. Freibmg im Breisgau. 1897. Herder'sc:he Verlagshandlung ••. In-8, xv1-r95 pp., portrait de Vcrdaguer, 83, - Mossen Jacinto Verdaguer. Articles publiés dans La Publicidad des 5, 7, 8, 15, 17, 20, 22, 26, 29 août; 2, 5, ?, 12, 16, r9, 2.f., 29 août; J, 8, IO, r7, 24 octobre; 1, 7, r4, 2I novembre 1897 - 6 janvier et II fé:vrier r898. Ces articles om ét.é réimprimés dans les Obre5 compfrrles, tome VI, pp. 247-n8, a la suite de Mossm Jacinfo Verdagwi:r en defema.prupia. 1898 84. - Excursions y viatjes de Mossen Jacinto Vcrdaguer. Edici6 fera a despeses de La Voz de la Patria. Barcelona, Irnp. Santa Monica, 2 bis, bajos. r898. Edition inachevée. 85. - (Couverture illwtrù en coultL!rs :) Mosen Jacinto Verdaguer. Canig6. Leyenda pirenaica del tiempo de la Reconquista. Vers.ion castell:ma de El ronde de Cedillo~ vizconde de Palazuelos. Madüd. 1898. - (Faux-titre:) Ca.nig6. - (Titre:) Mosen �ROBERT DUBOIS Jacinto Verdaguer. Canig6. Leyenda pir'eniica del tiempo de la Reconquista. Versi6n castellana seguida de notas y un apéndice por El conde de Cedillo, vizconde de Palazuelos. Dibujos de los Sres. Santa Maria y L6pez de Ayala. Fototipias de Hauser y Menet. Fotograbados de La.porta. Madrid., Imprenta de Fortanet, calle de la Libertad, mirn. 29. MDCCC.XCVIII. Gr. in-8, xx-307 pp. A. - Papier ordinaire. B. - Papier fort. 1898-1899 BIBLIOGRAPHIE DE VERDAGUER 497 tant bult0 corn ho es cl consignar que acompanya al original catala de la llegenda la traducci6 castellana, sent aixfs que alla bon la versi6 esmentada es en la segona edici6. Creyém que 'ls lectors de la present obra dispensar:in al editor aquesta falta im·oluntaria. 89. - (Couverture:) Santa Eularia. Poemet per Mossén Jacinto Verdaguer. Barcelona, Estampa de Francisco X. Altés, Carrer de Pelay, 6 bis, 1899. - (Titre:) Santa Eularia. Poemet per Mossén Jacinto Verdaguer. Edici6 il-lustra.da (Epigraphe). Barcelona, Estampa de Francisco X. Altés, Carrer de Pela.y, nùmero 6 bis, 1899. 86. - (Couverture:) Montserrat. Llegendari, Cansons, Odes, per Mossén Jacinto Verdaguer. Barcelona, Estampa de Francisco X. Altès, Carrer de Pelayo, 6 bis. 1899. - (Titre:) Montserrat. Llegendari, Cansons, Odes, per Mossén Jacinto Verdaguer. Barcclona-Sarria. Estampa de Francisco X. Altés, Pelayo, 6 bis. Major, 1 5. 1898. In-8, r91 pp. 1899 87. - A Barcelona. Oda escrita en catalan por Mosén Jacinto Verdaguer, y traducida en verso castellano por Hermenegildo Torres, Pbro_ Barcelona (Gracia), Tipo-litografia Seix, San Agustin, 5 y 7. 1899. In-8, 16 pp. Il y a des exemplaires avec couverture rose et des exemplaires avec couverture bistre, lettres dorées. 88 . - Lo Somni de Sant Joan. Llegenda del Sagrat Cor de Jesùs ab la traducci6 castellana per Mossen Jacinto Verdaguer. Ab llicencia del ordinari. Tercera edici6. Barcelona, Biblioteca de "L'Atlantida", Dou, 14, baixos, r899. In-8, 55 pp. Au bas de la p. 55 : Nota : Per una lamentable confusi6 ha aparescut en la portada de la presem cdici6 de Lo S01111ti de Sant Joan una errada de lu-8, xxu-88 pp., gravures hors texte. 1900 90. - ( Convertnre:) Passi6 de Nostre Senyor Jesucrist per Mossén Jacinto Verdaguer. Barcelona, Llibrerla y Tipografia Cat6lica, Pi, 5. 1900. - (Titre:) Passi6 de Nostre Senyor J esucrist per Mossén Jacinto Verdaguer. Séptima ed-ici6. Ab !licencia eclesiàstica_ Barcelona : Llibreria. y Tipografia Cat61ica, Pi, 5· 1900. In-8, 26 pp. 91. - (Co11'l}erfure et titre :) Justin Pépratx. L'Atlantide, poème catalan de Jadnto Verdaguer, Traduit en vers français. Sixiè'me édition. Montpellier, Imprimerie centrale du Midi, Hamelin Frères, 1900_ ln-8, . XX XVlll-220 pp. 1901 92. - (Couverture:) Biblioteca Joventvt.Ayresdel Montseny, per M: Jacinto Verdag\·cr, 1901. - (Titre :) Publicaci6 Joventut. Ayres del Montseny, pcesles de Mossén Jacinto Verdaguer ab ilustracions de S. G6mez, M. Urgell, Ll. Graner, J. Triad6, REVCE HJSPAJVIQ C-E . B �RO.8ERT ouno1s BIBT,JOGRAPl-ilE DE VERDAGUER A. Solé, F. Sard[\, J. Primo, S. Junycnt, J. Vilallonga, y J. Brui!. B:irtelom1, Plaça del Te:nre, 6, emtessol. 1901. lona, Llibreria espanyola de Antoni L6pez, .R:unbla del Mitj, n° 20. MDCCCCII. In-8, xn-rq. pp., portrait de Verdaguer et gntvures. 93. - Canig6. Llegenda pirenayca del temps de la Reconquista per MoSsen Jadmo Verdaguer. Barcelona, Biblioteca de "Catalunya Artistita H Rautkh, !20) prindp:11, 1901. In-8, 205 pp., porlrait de Verdaguer par Casas, c.1rtonnage d'éditeur. 94, - Canigô. Llegend::t pirenayca del temps de la Reconquista per Mossén Jacinto Verdaguer. Barcelona, Biblioteca de " Catalnnya Artistica" Raurich, 20, principal, r 901. In-8, 205 pp., portrait de Verdaguer par Casas, cartonnage d'éditeur. l~éimpression page par page du n° 93. 95 . - La Comarca de Lleyda (Suplement litera ri). Jochs floral-s de Lleyda . Any 1901. Discurspresidencialde MossenJacinto erdaguer. Lleyda, Imp. M-:iriana ac. de R. Farré. 1901. Gr. in-~, 8 pp. 1902 96. - Recort necrol6gich del Excm. Sr. D. Joaqulm Rubi6 y Ors, llegit en la solemne sessi6 inaugural celebrada per la te Reat Academia de Buenas Let ras" lo dîa 12 de J aner de 1 902 per Mossen Jacinto Verdaguer. Aux pp. 19-J-f. de: Real Academia de Bûenas Letr:1s de Ban:elona. Sesi6n pùblica inaugural, celebrada el dia r 2 de Enero de 1902. Barcelona, Imprenta de la Casa prov:incial de Caridad, Calle de Montealegrc, nùmero 5. 1902. Gr. in-8, 47 pp. 97. ~ (Cottm-t,we :) La Atlantida. Poema de Mossen Jacinto Verdaguer. Llibreria Espanyola de Antoni L6pez. Barcdooa. (Titre:) La Atlimida, poema de Mossen Jacinto Verda_g-uer ab la rra4u-0ei6 castdlana per Mekiot de Palau, Octava edioi.6. Blrce- 499 In-8, 293 pp. 98. - (Couverture:) Mossén Jacinto Verdaguer. Flors de Maria. - (Titre:) Flors de Maria, per Mossen Jacinto Verd_aguer. Barcelona, Estampa de la Casa P. de Caritat, 1902. - (à la fin:) S'acaba d'estampar aquest Œbre en Jo dia de la Mare de Dèu de Montserrat, XXVII d'Abril del any del Senyor MCMII. In-8, 15 7 pp. A. B. - 2.000 200 exemplaires sur papier ordinaire. '• exemplaires sur papier à. la cuve (format ua peo plus grand). 99. - ( Co11vert11 re :) Ramon Masifern. La ,·ida al camp. Poemet bucolich popular ab un prolech de Mossen Jacinto Verdaguer. Preu : 2 pessetas. Barcclona, F. Gir6, i.mpresspr. ~arrer de Valencia, 31 I. 1902. - (Titre, comme la couvtrture, 111oi11s la mention du prix). ln-8, 94 pp. Le ProledJ occupe les pp. rx-xrv. roo. - ( Co1werture:) Mossen Jacinto Verdaguer. 3a edicio. A Barcelona. Oda. Lo Pi de les Tres Branq_ues.Llegcnda (1214). Preu; 2 rais. - (Titre:) Mossen Jacinto Verdaguer. A Barcelona. Oda premiada en la XXV• festa dels Jochs Florals ab la rosella de plata oferta per 1a redacci6 de la Revista Literaria. Lo Pi de les Tres Branques. Llegenda (r214). 3'1 edici6. Barcelona, Biblioteca L' Atl:intida, 1902. • 1 In-8, 24 pp., portrait de Vcrdaguer. lOI. - (Couvert11re :) Mossen Jacinto Verdaguer. 4a eurcio. A Barcelona. Oda. Lo Pi de les Tres Branques. Llegenda ( 1 2 q ). Prcu: 2 rais. - (Titre:) Mossen Jacinto Verdaguer. A Ban:clona. Oda prerniada en la XXV• festa dels Jochs Florals ab la roselb de plata oferta per la redacci6 de la Revistq Literaria. Lo �ROBERT DUBOIS BIBLIOGRAPHIE DE YERDAGUER Pi de les Tres Branques. Llegenda (1214). 4• edici6. Barcelona, Biblioteca 'L' Atlantida, 1902. rn6. - Al Cel per Jacinto Verdaguer, Pbre. dans Pèl &Ploma, n° 92. Vol. IV. Abri! 1903, pp. II3-128 et 11° 93. Vol. IV. Maig 1903, pp. 129-130. rn7. - Al Cel per Mossen Jacinto Verdaguer. Edicio de Pèl & Ploma. Thomas-Barcelona. 500 In-8, 24 pp., portrait de Verdaguer. Même composition typographique que le n° 100. I02. (Couverture et titre:) Montserrat. Llegendari, cançons, odes, per Mossén Jacinto Verdaguer. Nova edici6. Barcelona, Estampa de Francisco X. Altés, Carrer dels Angels, 22 y 24. 1902. In-8, 184 pp. ro3. - (Co11vertui'e:) Mossen Jacinto Verdaguer. Flors del Calvari. Barcelona, Llibreria espanyola de Antoni Lapez, Ram. bla del Mitj, mi m. 20. I 902. - (Titre:) Flors del Calvari. Llibre de consols per Mossen Jacinto Verdaguer. (épigraphe) Segona edici6. Barcelona, Llibreria espanyola de Antoni L6pez, Rambla del Mitj, mimera 20. 1902. In-8, 208 pp. rn4- - (Couverture:) Jacinto Verdaguer. La mellor Corona. Barcelona, 1902. - (Titre:) La mellor Corona. Poesies de Mossèn Jacinto Verdaguer, aplegades y ordenades per N'Anton Busqucts y Punset y En Lluis Carles Viada y Lluch. Barcelona, Tipografia "L'Avenç; ", Ronda Je l'Universitat, 20. 1902. ln-8, xx1v-194 pp., photogravure de Verdaguer sur son lit de mort. A. - Papier satiné. B. - Papier à la cuve;:. 1903 105. - ( Couvertui'e:) Passiô de. Nome Senyor Jesucrist ·per Mossén Jacinto Verd<Jguer. BarceI-ona, Llibrerîa y Tipografia Cat6li.::a, Pi, 5. 1903. - (Titre:) Passiô de Nostre Senyor Jesucrist per Mossén Jacinto Verdaguer. Octava edici6. Ab llicencia eclesiastica. Barcelona, Llibreria y Tipografia Catôlica, Pi, 5. 15ü3. In-16, 26 pp. 501 Gr. in-8 à 2 col., f. de titre et 18 pp. (La pagination est au bas et à droite de la seconde col. aux pages impaires, au bas et à gauche de la premiére col. aux pages paires.) Ces I 8 pp. sont une découpure de la revue Pèl & Ploma (no 106), trés rognée dans le haut, avec titre et couverture mauve imprimés spécialement pour les quelques exemplaires constitués ainsi. 108. - (Co11vert11re:) Corpus Christi (photogravure dorée). Mos(Titre:) Mossèn Jacinto Verdaguer. Corpus Christi. La Creu de Barcino. - La Séu. - La Custodia. - La Banda de la Reina. Barcelona, Tipografia "L'Avenç ", Ronda de l'Universitat, 20. r903. - (a la.fin:) S'acabâ d'estampar lo present llibre en" L'Avenç" lo 10 de Juny de 1903, cap d'any de la mort de nostre gran poeta. sèn Jacinto Verdaguer. - In-8, v11-5 5 pp., portrait de Verdaguer, fac-similé d'autographe, \'ure hors texte. Aux pp. v-vn, introduction signée J. Ma~s6 Torrents. A. - Papier ordinaire. B. - 100 exemplaires sur papier à la cuve. C. - 12 exemplaires sur papier du Japon. wa- 109. - ( Couverture :) Biblioteca popular de " L' Avenç ". MossènJacinto Verdaguer. Viatges. Llibreria "L'Avenç": Ronda de l'Universitat, 20. Barcelona. Num. 7. 50 centims. - (Fauxtitre :) Viatges. - (Titre:) Mossèn Jacinto Verdaguer. Viatges. Records de la Costa d'Africa. A vol d'aucell. Barcelona, Biblioteca popular de" L'Avenç" 1903. In-8, 1 30 pp . I ro. (Couverture:) Biblioteca popular de "L'Avenç ". Frederic Mistral. Nerto. Poema escrit en versos provençals. Traducciô de Mossèn Jacinto VerJaguer. Llibreria "L'Avenç": �BIBLIOGRAPIIIE DE VERDAGUER ROBERT DUBOIS 502 Ronda de l'Universitat, 20. Barcelona. Num. 5. 50 centims. (Faux-titre:) Nerto. - (Titre:) Frederic Mistral. Nerto. Poema escrit en versos provensals. Traducci6 de Mossèn Jacinto Verdagner. Barcelona, Biblioteca popular de "L'Avenç", 1903. Jn-8, r r7 pp. r l r. - La Vierge Marie d'après le Dante et d'après Verdaguer. Blois, Imprimerie C. Migault et ( ïe, 1903. In-8, 23 pp. Le r,p ducteùr est Augustin Vassal. Trois poésies, tt::-:te et traduction. (2 du Rose,· tle lot l'a11y, serrat). I de Mo11l- 1904 112. - (Couverture el titre :) Blumen vom Kalvarienberge. Ein Bucb des Trostes für Viele von Mossen Jacinto Verdaguer. (Epigraphe.) Aus dem Catalanischen übersetzt von F. v. B. Mit einem Bildnisse des Verfassers. Paderborn, Druck und Verlag von Ferdinand Schoningh. 1904. In-8, VIH83 pp. , portrait de Verdaguer. Il y a des e1.cmplaires avec cartonnage d'éditeur. J 1 II 3. - (Couve1·tirre:) Jacinto Verdaguer. Eucaristiques. Obra pèstuma. Barcelona 1904. - (Double titre, sur deux pages:) Eucaristiques. Obra postuma de Jacinto Verdaguer. Pu~licades segons desitj del autor y traduhides al francès per Agustî Vassal. Ab una Carta de Monseuyor de CarsaJade, bisbe de Perpinya y un Prefaci d'en Pere Palau Gonzalez de Quijano. Barcelona, Tipografia "L'Avenç ", Ronda de l'Universitat, 20, 1904. - Eucharistiques. Œuvre posthume de Jacinto Verdaguer. Publiées selon le vœu de l'auteur et traduites en français par Augustin Vassal. Avec une Lettre de Monseigneur de Carsalade, évêque de Perpignan et une Préface de Pierre Palau Gonzalez de Quijano. Barcelone, Typographie "L'Avenç ", Ronda de l'Universitat, 20, 1904. (a la fin :) Va acabar-se d'estampar aquesta obra postuma en l'impremta "L'Avenç" el dia la Pasqua de Resurreccio. 2 d'abri! de l'any 1904, vigilia de ln-8, LlWI·359 PP· A. - Papier ordinaire. B. - Papier à la cuve. C. - 20 exempbires sur papier du Japon. 114. - (Couverture:) Biblioteca popular de" L'Avenç ". Jacinto Verdaguer. Excursions. LUbreria " L'Avenç": Ronda de l'Uni\·ersitat, 20. Barcelona. um. 26. 50 centims. - (Fauxtitre :) Excursions. - (Titre:) Jacinto Verdaguer. Excursions. Barcelona, Biblioteca popular de ''L'Avenç ". 1904. In-8, 89 pp. A. - Papier ordinaire. B. - roo exemplaires sur papier satiné. 115 . - (Couverture: grande gravure en co11le11rs, et dans le /mut de la gravure:) Sant Francesch. Poema per Mossen Jacinto Verdaguer. - (Titre:) Sant Francescb. Poema per Mossen Jacinto Verdaguer. Cbaritas. Barcelona, Llibreria de Francisco Puig, Plaça Nova, 11° 5, 1904. ln-8, 164 pp. A. - Papier ordinaire. l\. - Papier à la cuve. C. - Papier du Japon. (Couverture:) Mossen Jacinto Verdaguer. Pa~ria. Barcelona 1904. - (Titre:) Patria. Poesies de Mossen Jacmto Ver· II6. - daguer ab un pr6lech de Mossen Jaume Collell. Barcelona, Libreria de F. Ribalta Tisans, Espaseria 1 I 4, r 904. Jn-8, XV-222 pp. A. - 2.000 exemplaires sur papier ordinaire. B. - IOO exemplaires sur papier à la cuve. C. - 16 e1:1emplaires sur papier du Japon. 1905 117. - (Co11vert11re :) Rondalles Jacinto Verdaguer Pbre (repro- �BIBLIOGRAPHIE DE VERDAGDER ROBERT DUBOIS duction d'autographe, et un cachet avec les quatre barras catalanes). (Titre:) Jacinto Verdaguer. Rondalles. Obra postuma. Barcelona, Tip. " L'Avenç" ; Ronda de l'Universitat, 20, 1905. Prologue (pp. v-v1) signé J(aume] M(asso] T[orrents]. In-8, v11-187 pp. A. - Papier ordinaire. B. - Papier a la cuve. C. - 20 exemplaires sur papier du Japon. Il y a des ex.emplaires avec un cartonnage d'éditeur identique a la couverture. II8. -- (Couverture :) Biblioteca popular de « l'Avenç ». Jacinto Verdaguer. Flors de Maria. Llibreria "L'Avenç": Ronda de l'Universitat, 20. Barcelona. Num. 38. 50 centims. - (Fa11xtitre :) Flors de Maria. - (Titre:) Jacinto Verdaguer. Flors de Maria. Barcelona, Biblioteca popular de "L'Avenç ", 1905. ln-8, 106 pp. A. - Papier ordinaire. B. - 100 exemplaires sur papier satiné. 119. - P. Blazy. Fleurs de Marie de Jacinto Verdaguer. (Extrait de la Science Catholique, Mai 1905). Imprimerie SueurCbauuey, Arras ... Paris ... ln-8, 48 pp. 120. - Jacinto Verdaguer. Al Cel (Obra postuma). Barcelona, Establimem gràfich de J. Thomas, MCMV. ln-8, r85 pp. Texte encadré de filets rouges. A. - 500 exemplaires sur papier a la cuve. B. - 20 exemplaires sur papier du Japon. Les exemplaires sur papier du Japon 011/ une couverture portant simplement: Verdaguer. Al éel. Barcelona, 1905. et le colopbon suivant: Aquesta edici6 de AL CEL, obra pàstuma de Mossen Jacinto Verdaguer, publicada a despeses d' Alfons Bona y, ha sigut impresa y acabada a l'Establiment grafich de J. Thomas de Barcelona en la diada del Corpus Christi del any 1905. -12 r. - La Atlantida. Poema de Mossen Jacinto Verdaguer ab la traducci6 castellana per Mekior de Palau. Novena edicio. ,,) '• ' • j Barcelona, Libreria Cientifico-Literaria Toledano, Compa, 4, Elisabets, 4- 1905 . Lôpez y In-8, 291 pp. A. - Papier vergé. Ces txempl,ûres 011t 1uu: 1;ow1:erture portant : Jacinto Verdaguer. La Atlantida. Barcelona : Libreria cienti6co-literaria Toledano, Lapez y Ci•. 1 B. - Papier satiné. Ces exemplaires ont un carto,mage en toile anglaise, at,ec fers dorés. 122. - (Couvertur~ :) Verdaguer. La Atlantida. 1905. (Titre :) Mossen Ûcinto Verdaguer. La Atlantida. Edici6 de bibli6fil. Barcelona, Llibreria cientifico-literaria Toledan~, L6pez y C•, Elisabets, 4, r905. In-8, 159 pp. A. - 100 exemplaires (19 à ri8) sur papier à la cuve. B. - 18 exemplaires (1 à 18) sur papier du Japon. La composition typographique est celle du texte catalan de l'édition bilingue (no 121) . 123. - (Couverture :) Saint François, Poème de Mossèn Jacinto Verdaguer. Charité, traduit du catalan par Frère Bonaventure, tertiaire. Avec la gravure inédite du tableau de Jean Ningres, de Toulouse. Paris ... Leipzig .. . H. & L. Casterman, Editeurs pontificaux, imprimeurs de !'Evêché, Tournai. ( Titre identiqtte, moins la mention de la gravure). [ 190 5]. ln-8, xx-96 pp. , gravure. 124. - Jacinto Verdaguer. Discursos (1867-1902). Proleg de Joan Maragall. Barcelona, Tip. " L'Avenç ", Ronda de l'Universitat, 20, 1905. In-8, vm-rr9 pp. A. - Papio::r ordinaire. Ces exemplaires out uue coui•erture portant : Collecci6 de prosistes catalans. Discursos de Jacinto Verdaguer. Proleg de Joan Maragall. B. - 20 exemplaires sur papier du Japon . Ces exemplaires out uue couver/ure portant : Verdaguer, Discursos. Barcelona. 1905. 12 5. - P. Blazy. Au Ciel. De Jacinto Verdaguer dédié à ceux �506 ROBERT DUBOIS BIBLIOGRAPHIE DE VERDAGUER qui s~uffr~nt. (Extrait de la Science Catholique, Décembre 1905). Impnmene Sueur-Charruey, Arras ... Paris ... tiques de Jacinto Verdaguer. (Extrait de la Science ,Catholique, Février-Mars · 1906). Imprimerie Sueur-Charruey, . Arras ... In-8, 36 pp. Paris ... 1905-1908 126. - Mossen Jacinto Verdaguer. Obres complertes ab gran c~ra ordenades y anotades. (pour les tomes I et II :) Barcelona, L1breria cientifich-literaria Toledano, L6pez y Ca, Elisabets, 4. (pour les tomes III a VII:) Barcelona, Joseph Agusti, Successor de Toledano, L6pez y C•, Elisabets, 4. 7 vol. in-8. ~olùm primer. Idilis y Cants mistichs. - Caritat. - Llegendan, Cançons y Odes de Montserrat. Passi6 de Nostre Senyor Jesucrist. Any 1905. 477 pp. (2 de Septembre). · Volùm segon. Lo somni de Sant Joan. - Santa Eularia. Roser de tot l'any. -- Sant Francesch. Romanceret de Santa Clara. Any 1905. 476 pp. (ro d'Octubre). Volùm tercer. Jesusinfant: Bethlèm. - La fugida a Egypte. - Nazareth. - Flors del Calvari. - Cantichs. Any 1905. 524 pp. (21 de Desembre). Volùm quart. La Atlàntida. - Canig6. - Patria. Any 1906, 463 pp. (27 de Maig). Volùm quint. Dietari d'un pelegri a Terra Santa. - Discursos. - Articles. - Pràlechs. - Nerto. - Rondalles. Any 1906. 532 p.p. (29 de Novembre). Volùm sisé. Excursions y Viatges. - Folk-Lore. - Mossèn Jacinto Verdaguer en defensa propria. - Ayres del Montseny. Any 1907 ( 16 de Setembre) 469 pp. Volùm setè. Al Cel. - Eucaristiques. - Flors de Maria. Veus del Bon Pastor. Any r908 (14 de Novembre). 545 pp. ln-8, 63 pp. 128. - (Convertnre :) Biblioteca popular de « L'Avenç ». Jacinto Verdaguer. Dietari d'un pelegri a Terra Santa. Llibreria <( L'Avenç >l : Ronda de l'Universitat, 20. Barcelona. Num. 58. 50 centims. - (Faux-titre :') Dieiari d'trn pelegri a Terra Santa. - (Titre:) Jacinto Verdaguer. Dietari d'un pelegri a Terra Santa. Barcelona, Biblioteca popular de « L'Avenç ))' l906. ln-8, 129 pp. A. - Papier ordinaire. B. - 50 exemplaires sur papier satint:, 129. -- Eucharisticum. Lieder zu Ehren des allerheiligsten Altarssakramentes von Jacinto Verdaguer. Ins Deutsche übertragen von Bernhard Schuler. München 1906. Dr. Wild'sche Buchdruckerei (Gebr. Parens). In-8, xiv-130 pp., portrait de Verdaguer, cartonnage d'éditeur, avec Eucharisticum von Jacinto Verdaguer et une gravure collée. 130, - (Couverture:) Vybrané Spisy Jacinta Verdaguera. Preklada Sigismund. Bouska. I. Kvety Mariiny. (Spodobiznou basnikovou.) K2° - Prostejov r906. - (Titre double sur dmx pages:) Vybrané spisy Jacinta Verdaguera. Z Katalanstiny preklada P. Sigismund Bouska, O. S. B. L Kvety Mariiny. Prostejov 1906. Ni1kladern Nového Zivota. - Jacinto Verdaguer : Kv~ty Mariiny. Prelozii Sigismund Bouska. Prostejov 1906. Nakladem Nového Zivota. In-8, 198 pp. 1 31. - Jacinto Verdaguer. La Atlantida. Poema. Barcelona, Ilustraci6 catala3:a, MCMVI. 1906 127. - (Couverture et titre:) P. Blazy. Idylles et Chants Mys- In-fol., 182 pp., portrait et gravures hors texte. A. - Papier ordinaire. B. - Papier à la cuve (non mis eu vente). �ROBERT DUBOIS 132. - (Co11verture :) Jacinto Verdaguer. Al Cel (Obra postuma). Segona edici6. Barcelona, 1906. - (Titre :) Jacinto Verdaguer. Al Cel (Obra postuma). Segona edici6. Barcelona, Tip. « L'Avenç », Ronda de l'Universitat, 20. 1906. In-8, 104 pp. 133. - (Couverture tenant lieu de titre :) Jacinto Verdaguer. A Barcelona. Oda premiada en la Festa dels Jochs Florals de l'any 1883. Edici6 costejada perla Societat An6nima El Tibidabo ab motiu de la colocaci6 de la lapida destinada a perpetuar aquesta admirable composici6, y també pera obsequiar als senyors Congressistes del Primer Congrés Internacional de la Llengua Catalana que visitaren el cim del Tibidabo pera honrar ab sa presencia aquell herm6s acte d'homenatge al més genial dels poetes catalans. Barcelona, 17 d'Octu bre de r 906. - (a la fin:) Tip. L'Avenç, Barcelona. Io-8, 8 pp. 1907 r 34. - ( Couverture :) Jacinto Verdaguer. Folk-Lore. Barcelona, 1907. - (Titre :) Jacinto Verdaguer. Folk-Lore (Obra postuma) Que duien els aucells ? - Notes esparces. - Tradicions. - Aforistica. Barcelona, Tip. « L'Avenç », Ronda de l'Universitat, 20, 1907. In-8, 93 pp. A. - ·Papier ordinaire. Carto1111age d'éditeu1· portant : Collecci6 d'obres postumes. Jacinto Verdaguer. Folk-Lore. B. - 100 exemplaires sur papier à la cm·e. C. - 20 exemplaires sur papier du Japon. La co11ve1·/11re de ces exe111pla.ires porte : Jacinto Verdaguer. Folk-Lore. Barcelona, 19o6. 135. - (Couverture :) Collecci6 d'Obres Postumes. Jacinto Verdagut:r. Colom, seguit de Tenerife. - (Titre:) Jacinto Verdaguer. Colom seguit de Tenerife (Obra postuma). Barcelona, Tip. « L'Avenç », Ronda de l'Universitat, 20, 1907. In-8, 87 pp. BIBLIOGRAPHIE DE VERDAGUER A. - Papier ordinaire. B. - 100 exemplaires sur papier à la cuve. (Couverture :) (médaillon doré signé Renart : tête du poete, et au-dessous:) Jacinto Verdaguer. La Atlântida. Editprial 136. - Ibero-Americana, Madrid : Desengafio, 9, II y J 3. Barcelona : Valencia, 209. - (Faux-titre :) Oro viejo y oro nuevo. XI. -(Titre:) Jacinto Verdaguer. La Atlantida. Traducci6n de Melchor de Palau. Editorial Ibero-Americana, Madrid ... Barcelona ... s. d. [1907]. In-8, 183 pp. r 37. - (Couverture:) Jacinto Verdaguer. El Sueîio de San Juan, version castellana del mismo autor de Lo Somni de Sant Joan. Barcelona, Libreria Cientifico-Literaria José Agusti, 4, Elisabets, 4. - (Titre :) Lo Somni de Sant Joan. Llegenda del Sagrat Cor de Jesùs, per Mossen Jacinto Verdaguer, ab la traducciô castellana del meteix autor. 2• edici6. Barcelona, Libreria Cientifico-Litcraria José Agusti, 4, Elisabets, 4. I 907. In-8, 219 pp. 138. - (Couver/ure :) Verdaguér. 0 sonho de Sam Joào. Lenda lyrica do coraçào de Jesus. Traduzida do o_riginal catalào pelo pc Joâo Serafim Gomes, S. J. Propaganda Catholica. Fafe~907. - (Titre :) Bibliotheca das familias. Ediçâo da Propaganda Catholica ; composta e impresso na typographia da mesma publicacâo. S. Clemente de Silvares. Volume IV. 0 sonho de Sam Jo5:o. Lenda lyrica do coraçao (sic) de Jesus, traduzido do original catalào. Junho, 1907. In-8, 69 pp. I 39-153. (Co1tverture :) Eucharistische Lieder (gravure) Magnificat 4nima mea Dominum. (au ·verso :) portrait de Verdaguer. -- (Titre :) Eucharistische Lieder aus dem Nachlasz des Jacinto Verdaguer. Ios Deutsche übertragen von Bernhard Schuler. Fünfzehntes Tausend. München 1907. Generalagentur katho- �5II BIBLIOGRAPHlE DE \'liRD:\GUER ROBERT Dt:BOIS 510 lischcr Kirchenbaulotterien. A. und B. ln-8, X· l 02 ln-8, 93 PP· huler in München. A. - l'> pp. B. - 158. - (Cü11t•trl11re :) Jacinto Verdaguer. Idilis y cants mistichs. - (Titre:) Idilis y Canes 1istichs, per Mossen Jacinto Verdaguer, ab la traduccio en vers castella per Fr:mcesch BaJenes y Dalmau, iestrc en gay saber. Barcelona, Llibreria "CiemîfichLiteraria" Joseph Agusci, 4, Elisabets, 4- 1908. 154. - Co11ver/11re :) Biblioteca d'autors vigatans. Jacinto Verdaguer. Dos Mirtirs de ma Patria. Vich, Gazera Montanyesa, 1907. -(Titre:) Jacinto Verdaguer. Dos martirs de ma patria 6 sia Llucifi y Marcia. Poema en dos cants ab un pr6lech de Mosséo Jaume Collell, canonge de la Seu de Vich. Vich, Gazeta ln-8, ,26 pp. JI v ,1 des exemplaires t1t•tc cartouuage d'tdite11r port1111t: Jacinto Verd.i- Montanyesa, 1907. In-8, XXXIX·5 3 Papier ordinaire. 50 exemplaires sur papier satiné. PP· gucr. ldilis y Cants rul.stichs. 15 5. - ( Couverture :) Passi6 de astre Seoyor Jesucrist per Mossén Jacinto Verdaguer. Barcelona, Llibreria y Tipogrnfia Catôlica, Pi, 5. 1907. - (Titre:) Passi6 de ome Sen ·or Jcsucrist per Mossén Jacinto Verdaguer. Tovena edici6. Ab llicencia e-clesi:istica. Barcelona, Llibrerla y Ti pografia Cat6lica, Pi, 5. 159. - (Co1roerfure :) \'erdagi.1er. Idilis y Cants Mistichs 1908. - (Titre:) ,:fosscn Jacinto Verdaguer. ldilis y Cants füticbs. Edici6 de bibliofil. Barcelona, Llibreria ciemifich-lite1aria Joseph Agusti, Eli abets, 4, 1908. In-8, 17,1 pp., papier à la cuve. 1907. Même composition tyrographique que le tei.,e catalan de l'édition lu-16, 26 pp. bilingue (no 156. - ( Co11ver/11re :) Collecci6 d'Obres Pàstumes. Jacinto Verdaguer. Cantic dels Cantics precedic de Els Jardins de Salomo. - (Tilrl! :) Jacinto Verdaguer. Cantic dels cantics, precedit de Els Jardins de Salom6 (Obra posmma). Proleg de Manuel de Montoliu. Barcelona, Tip. cc L'Avenç », Ronda de l'Unive,;sitat, 20. 1907. ln-8, 87 PP· A. - Papier ordin:tire. 13. - 100 e:s.enipl:l.ires sur papier à hl cuve. ' I' 1908 157. - (Co1werl11re :) Biblioteca popular de " L'Avenç ". Jacinto \'erdaguer. Prosa florida. Llibreria "L'Avenç": Rambla de Catalunya, 24. Barceloua. Num. 79 . 50 centims. - (F,wxtitre :) Prosa florida. - (Titre:) Jacinto Verdaguer. Prosa ftorida. Barcelona, Biblioteca popular d •~ L'Avenç ", 1908. I 58). 160. - P. Blazy. Le Canigou de Jacinto Verdaguer. (Extrait de la Revue de Lille, 1908). ueur-Charrucy, Libraire-Editeur, Arras ... Paris ... In-8, 92 pp. 161. - (Com!trlurt' :) Colleccié d'Obrcs Pàsmmes. Jacinto Verdaguer. Perles del " Llibre d'Amic e <l'Amat ", den Ramon Llull. Prokg den iiquel . O!n·er (Amb censura) - (Titre:) Jacinto Verdaguer. Perles del Llibre d' Amie e d Amat den Ramon Llull (Obra pàstuma) Amb una 1ntroducci6 den fiqucl S. 01iver. Barcelona, Tip. ,. L'A-vcnç ", lhmbla de Catalunya, 24. 1908. ln-8, 91 pp. ,\ . - B. 162. - P.ipier o rdinaire. exemplaires ~ur papier .i 1:1 cu,·e. 1oo (Cam •·ture:) C lleccio d'Obr p· tum . Jacinto �512 BIBLIOGRAPHIE DE VERDAGUER ROBERT DUBOIS Verdaguer. Els pobres. Els sants. - (Titre:) Jacinto Verdaguer. Els pobres. Els sants. (Obres postumes). Barcelona, Tip. " L'Avenç ", Rambla de Catalunya, 24. 1908. In-8, 79 pp. A. - Papier ordinaire. B. - 100 exemplaires sur papier à la cuve. 1909 16.3. - (Couverture:) Der Traum des heil. Johannes von Jacinto Verdaguer. Autorisierte Uebertragung. Deutsch von Clara Commer. - (Titre:) . Der Traum des heiligen· Johannes. Von Jacinto Verdaguer. Deutsch von Clara Commer. Autorisierte Uebersetzung. Münster in Westfalen, Verlag der AlphonsusBuchhandlung (A. Ostendorff) 1909. In-8, vm-76 pp., cn1·to1111nge d'éditeur a·i:ec : Der Traum des heilig. Johannes von Jacinto Verdaguer. Autorisierte Uebertragung. Deutsch v. Clara Commer. 164. - (Couverture:) Passi6 de Nostre Senyor Jesucrist per Mossén Jacinto Verdaguer. Barcelona, Llib. y Tipografia Catolica, Pi, 5. 1909. - (Titre:) Passi6 de Nostre Senyor J_esucrist per Mossén Jacinto Verdaguer. Décima edici6. Ab llicencia ecclesiâstica. Barcelona, Llibreria y Tipografia Cat6lica, Pi, 5. 1909. ln-16, 26 pp. 165. - (Couverture:) Biblioteca popular de " l'Avenç ". Frederic Mistral. ·Nerto, poema escrit en versos provençals. Traducci6 de Jacinto Verdaguer. Segona edici6. Llibreria" L'Avenç"; Rambla d.e Catalunya, 24. Barcelona. Num. 5. 50 centims .. (Titre:) Frederic Mistral. Nerto, poema provençal. Traducci6 en prosa de Jacinto V.erdaguer. Segona edici6. Barcelona, Biblioteca popular de" l'Avenç ". 1909. In-16, 105 pp. 166. - (Couverture:) Jacinto Verdaguer. Sant Francesch. - ( Titre double sur deux paf;es :) Sant Francesch. Poe ma per Moss.èn Jacinto Verdaguer ab la traducci6 en vers castellà de Francesch Badenes y Dalmau, Mestre en Gay Saber. Charitas. Barcelona, Llibreria Cientifich-Literaria Joseph Agusti, Elisabets, 4. 1909. - San Francisco. Poema de Mosén Jacinto Verdaguer con la traducciôn en verso castellano de Francisco Badenes y Dalmau, Mestre en Gay Saber. Charitas. Barcelona, Libreria Cienti.ficoLiteraria José Agusti, Elisabets, 4. 1909. - (a la fin :) Esta obra se acab6 de imprimir en casa de los hijos de J. Jepùs el dia IO de Agosto del aii o 1909. In-8, 2 94 PP· (Couverture servant de titre :) Portail d'église en photogravure, avec ce titre : S:mcta Maria del Pi. Llegenda p6stuma 167. - de M. Jacinto Verdaguer ab la traduccio castellana. Barcelona, Imprempta" La Hormiga de Oro" r909. ln-8, 16 pp. 1910 168. - (Couverture:) Biblioteca popular de " L'Avenç ". Mossèn Jacinto Vcrdaguer. Viatges. Segona ediciô. Llibrcria "L'Avenç ", Rambla de Catalunya, 24. Barcelona. Num. 7. 50 centims. ~ (Faux-titre :) Viatges. (Titre:) Mossèn Jacinto Verdaguer. Viatges. Records de la Costa d'Africa. A Yol d'aucell. Segona edici6. Barcelona, Biblioteca · popular de "L'Avenç ", 19ro. Iu-8, 1 30 pp. 169. - (Couverture:) Jacinto Verdaguer. Eucaristiques. Obra p6stuma. Barcelona, r 9 rn. ( Titre :) Eucaristiques. Obra p6stuma de Jacinto Verdaguer. Barcelona, Tipogratia " El Siglo XX", Retira, 12 â 18. Sans. 19rn. In-8, 181 pp. 170. - (Co11verl11re :) Jacinto Verdaguer. Canigo. Adaptacio a la escena, en tres actes, d'En Josep Camer. Josep Agusti, REV[:E HISPANIQCE. B 33 �ROBERT DUBOIS BIBLIOGRAPHIE DE VERDAGUER Editor. Barcelona. - (Titre:) Jacinto Verdaguer. Canig6. Adaptaci6 a la escena, en tres actes,. d'En Josep Carner (Musica d'En Jaume Pahissa). Barcelona, Llibreria Cientific-Literaria de Josep Ag-osti, Elizabets, 4. - (à la fin:) Aquesta obra s'acabat d'estampar el dia 20 d' Abri! de 19 ra. 174. - (Couverture et titre:) La Atlântida. Poema catalan de Jacinto Verdaguer, Pbro. Premiado eri losJuegos Florales deBarcelona en 1877. Traducido en verso castellano par don José Maria de Despujol y de Dusay. Barcelona, Libreria de D. Juan Oliveres, Impresor de S. M. 57, Calle de Escudillers, nümero 57. Madrid. -E. y V. Oliveres, calle de Tetuan, num. 14. In-8, vn-136 pp. In-8, 80 pp., portrait de Verdaguer. 515 1911 171. (Couverture:) Verdaguer. Atlantis. Freiburg i. Br. Herdersche Verlagshaodlu!1g. - (Titre:) Jacinto Verdaguers Atlantis. Deutsch von Clara Commer. Nebst füldnis und Schriftprobe von Verdaguer. Zweite und dritte, verbesserte Aufl.age . Freiburg im Breis~au, Herdersche Verlagshandlung. La date (r9u) est au verso du titre. In-8, xvr-r 5s pp., portr.iit de Verdaguer et fac-similé d'autographe. 1912 172. - (Couverture:) JRc;into Verdaguer. Canig6, Barcelona l9I2. ~ (Titre:)Canig6 . Llegenda pirenayca del temps de la Reconquista per Mossen Jacinto Verdaguer. Barcelona: Llibreria cientifich-literada Joseph Agusti, Elisabets 4. - (à la fin:) Aquesta obra va acabarse d'estampar en la impremta..de Fills de J.Jepùs el dia 5. de Janer de l'any 1912, vigilia de Reys . In-8, r82 pp., P_Ortrait de Verdaguer. Sans date ·173. _- ( Couverture :) Biblioteca de " L' Atlant1da ". Lo pi de les tres branques. Uegenda (12r4) (grande photogravure:) per Mossen Jacinto Verdaguer. Preu: dos rals. - (Titre:) Lo pi de les tres branques. Llegenda ( 1 2 r 4) (grande photogravure) per Mossen Jacinto ·Verdaguer, In-8, 12 pp.. 175. - (Couverture:) La Atlântida. Poema catalan de Jacinto Verdaguer, Pbro. Premiado en los Juegos Florales de Barcelona en 1877. Traducido en verso castellano par don José Maria de Despujol y de Dusay. Barcelona, Libreria de Vicente Oliveres, l mpresor de S. M. 4ro-Calle de Aragon-410 - (Titre:) La AtÙintida .. . Barcelona, Libreria de D . Juan Oliveres, Impresor de S. M. 57, Calle de Escudillers, nùmero 57 . Madrid. - E. y V. O liveres, calle Je Tetuan, miro . 14. In-8, vn-136 pp. Même édition que la précédente : la couverture seule est réimprimée. Vicente Oliveres était le successeur de Juan Oliveres. 176. - Parlament que feu en la festa del Certâmen Catalanista de Sant Marti de Provensals, la President del Jurat, Mossen Jascinto Verdaguer. In-8, 8 pp. Publié par la revue" L' Arch de Sant Marti". Le discours de Verdaguer occupe les pp. I à 4. Les pp. 5 à 8 contiennent deux poésies d'autres auteurs. - ( Couverture tenant lieu de titre :) Ais catalans de Filipines que m'han enviat una corona de llorer d'argent per Mossen Jacinto Verdaguer. Barcelona, Estampa de Fidel Gir6, 212. Granvia. 212. 1 77. ln-8, 8 pp. y compris la couverture ; les deux dernières en blanc. 178. - (Couverture:) Jacinto Verdaguer. Montserrat. Llegen• dari, Cançons, Odes. - (Titre:) Montsll:rrat, Llegendari, Cançons, �BIBLIOGRAPIJIE DE \'ERDAGl!ER ROBERT DUBOIS 183. - Cantichs feuilles i•oln11t1 s avec gravure el texte a11 mto, el leversom blanc. Llibreria y Tipografia cat6lica, Pi, 5. 1 Odes, per Mossèo Jacinto erdaguer. 1 ova edici6. Barcelona, Llibreria Cientîficb-Literaria, Joseph Agusti, Elisabets, 4. In-8, 206 pp. 179. - (Couverture:) Biblioteca selecta. Mossén Jacinto Verdaguer. Diario de un peregrino a Tierra Santa, traducido al castellano por Constantino Llombart. Valencia, Pascual Aguilar, Editor, r, Caballeros, 1. .. - (Titre:) Mosén Jacinto Verdaguer. Diario de un peregrino a Tierra Santa, traducido al castellano por Constantino Llombart. Valencia, Pascual Aguilar, Editor, Caballeros, 1. In-8 1 161 pp. Tomt LV1[ dt l&J Biblioteca sclccta. 180. - (Com.'ert11rc :) Mossen Jacinto Verdaguer. Dietari d'un pelegri :i Terra Santa, ilustrat per Andreu Solà. Barcelona, La Ilustraci6 Catalana, 220, Gran Via, 220. - (Titre:) Dietari d'un pelegri a Terra Santa per Mossen Jacinto Verdaguer, ilustrat per Andreu Sola. Barcelona, la Ilustraci6 Catalana, 220, Gran \ ia, 220. In-8, 2r r pp., gravures. 181. - Les Cansons de Mont-Serrat. r8 Melodias pera cant y piano. Llctra de Mossen Jacinto Verdaguer. Mùsica de Lluis Ginesta. Propietat. Preu net. 6 Ptas. Barcelona. Almaccn de musica de Rafael Guardia. Rambla de S. José 29. In-fol. 39 pp. (Couverture et titre:) Cantichs per Mossen Jacinto Verdaguer. (épigraphe) Barcelona, Llibreria y Tipografia cat6lica. 182. - 5-Pi-5. In-8, I 64 pp. A11 /ms de la -1• p. de la co11verlltre: Nota. Tots los cantichs d'aquest YOlum se vencn en fulles soltes al pro.:u de r ptJ. lo cent v 8 lo mil; ah musica, â 10 cénts. de pt:-.. cada un. La Passi6, a 6 céntiros. En pJpé de fil, 25 cénts. 1. 2. Maria al ccl guia. Vanitat del mon. 3. Eternitat. 4. Lo pecat mortal. 5. Al Cd. 6. La bona mort. 7. Judici uni versai. 8. Lamcnts dels condemnats. 9. La gloria. 10. Jesus ais homes. 11. La Verge del bon conscll a sas tillas. 12. i Oh Maria! 13. Coblas del cor de Jesus. 14. Jo so tilla de Maria. r5. Yo soy hija de Maria (Trad. del catalan por F. H.). r6. Lo sant Rosari. 17. Lo sant Rosari. Mim:ris de ~oig. 18. Lo saut Rosari. Misteris de dolor. 19. Lo sant Rosari. Misteris de gloria. 20. :\ b Verge de hl Gleva. 21. (11 par erreur) La cans6 del rossinyol. 22 (13 PM trreur) Lo noy de la mare. 23. (10 par ureur) La nadal:I. 24. A Betlhcm (sit). 25. A Belen (Trad. por F. H.). 26. Rcc6rdat que cts pois. 27. La m.:u. 28. La confessio. 29. < Qué t'hc fet, oh poble nwu? \'eniu a Maria. Chor d'alabansas al S:tntissim. Lo sant nom de Jesùs. i Gucrra :\ Lt blasfemia ! Jesus ais noys. Camarellas. 36. Resignaci6. 37· La puresa. 38. La divina pastora. 39. Himnea Lle6 XIII. 40. j Qui corn Déu ! 41. A la Verge del Mont. 42. L'Assumpci6 de la \"crge. 43. A la lmmaculada, patrona d'Espanya. 44. A la Inmaculada, patrona de Espana. . T. y P. 45. Sa\vacié> de l'inirua. 46. Las duas banderas. 47. Mort del just. 48. Promeses del Sagr.it Cor. 49. Himne a Sant Lluis. 50. Al S.1grat Cor. 30. 31. 32. 33. 34. 35. �5l 8 ROBERT DUBOIS Il TABLE (Les dates, plaâes avant les litrns, sont celles des p1-en1ièn,s éditio11s; les mmrt!ros sn11t cmx tle ln Bibliographie.) 1865. I 867. 1869. 187 3. 1877. 1879. 1880. r88r. 1882. 1882. 1882. 1883. 1885. 1885. 1886. 1887. 1888. 1889. r890. 189r. 1 894. 1894. 1894. 1895. 1895. 1896. 1897. Dos martirs de ma patria. 1, 154 Diseurs. 2 Romans. 3 Passi6 de Nostre Senyor Jesuchrist. - Voir ci-après. L'Atlantida. - Voir ci-après. ldilis y cants mistichs. - Voir ci-après. Montserrat. - Voir ci-apres. Cantich. 12, r3 Salteri francisca. 15 Lo Somni de Sant Joan. - Voir ri-après. Efemèrides vigatanas. 18 Oda a Barcelona. 19, 20, 21, 22, 73, 87, roo, 101, 133 Caritat. 34, 36, 64, 123 Nerto. 36, no, 165 Canigé. - Voir ci-apres. Excursions y viatjes. 42, 84, 109, 114, 168 Patria. 45, u6 Cantichs ~eligiosos. 52 Jesus Infant. 5 5, 60, 62, 74, 75 Catalanische Lieder. 58 Veus del Bon Pastor. 6 5 Dietari d'un pelegri a Terra Santa. 67, 77, 128, 179, 180 Roser de tot l'any. 68 Mosén Jacinto Verdaguer en defensa propia. 69,70,83 Sant francesch. 72,115,123,166 Flors del CaJvari. 76, 8 r, 103, II2 Hymne aux Saintes Hosties. 79 13IBLIOGRAPHIE DE VERDAGUER 1897. Aux. victimes du Bazar de la Charité. 82 1899. Santa Eularia. 89 1901. Ayres del Montseny. 92 1901. Diseurs presidencial. 95 1902. Recort necrolégich de Rubi6 y Ors. 96 1902. flors de Maria. 98, rr8, II 9, I 30 1902. Prolech de La vida al camp. 99 . 1902. Lo Pi de les Tres Branques. 100, 101, r 73 r902. La mellor Corona. 104. 1903. Al Cel. 106, 107, 120, 125, r32 190 3. Corpus Christi. 108 1903. La Vierge Marie. I I I 1904- Eucaristiques. 113, 129, n9-r53, 169 1905. Rondalles. r 17 1905. Discursos. 124 1905-1908. Obres complertes. 126. 1907. Folk-Lore. 134. 1907. Colom. 13 5. 1907. Cantic dels cantics. 156. 1908. Prosa florida. 15 7. 1908. Perles del" Llibre d'Amic e d'Amat ". 161. 1908. Els pobres. Els sants. r62. 1909. Santa Maria del PL 167. S. d. Parlament... de Sant Marti de Provcnsals. 176. S. d. Ais Catalans de Filipines. 177. S. d. Cantichs. 182, 183. PASSIO DE NOSTRE SENYOR JESUCHRIST 4. 29. 30. 38. - Barcclona I 873. Nova edicié . Barcelona 1884. Jova cdici6. Bareelona 1884. Tercera edici6. Barcelona r886. �520 ROBERT DUBOIS 53. - Quiota edici6. Barcelona r890. 7 r. - Sexta edici6. Barcelona r 89 5. Séptitua edici6. Barcelona 1900. Octava edici6. Barcelona 1903. 126. Au tome Ides Obres complertes. Barcelona r905. 155. - Novena edici6. Barcelona r907. 164. --- Décima edici6. Barcclona 1909. 90. - BIBLIOGRAPHIE DE ''ERDAGGER r36. 174. 175. - 105. - L'A'fLANTlDA 5. - Jochs Florals 1877. 6. - Buenos Aires 1877-1878. 7. -- Barcelona 1878 [avec traduction castillane de Melchor de Palau]. 37. - Tercera edici6. Barcelona 1886 [avec traduction castillane de Melchor de Palau]. 78. - Setena edici6. Barcelona 1897 [avec traduction castillane de Melchor de Palau]. 97. - Octava edici6. Barcelona 1902 [avec traduction castillane de Melchor de Palau]. 12 r. Nove na edici6. Barcelona r 905 [avec traduction castill~ne <le Melchor de Palau]. 122. Barcelona 1905. r26. - Au tome IV des Obres complertes. Barcelona r906. 131. - Barcelooa 1906. TRADUCTIONS CASTILLAl'ŒS 7. 26. 37. 78. 97. 121. - Melchor de Palau. Barcelona 1878 [avec le texte catalan]. Francisco Diaz Carmona. Madrid 1884. Melchor de Palau. 13arceloua r 886 [avec le texte catalan]. Melchor de Palau. Barcelona 1897 [avec le texte catalan]. Melchor de Palau. Barcelona 1902 [ avec le texte catalan J. Melchor de Palau. Barcelona 1905 [avec le texte catalan]. 521 Melchor de Palau. Madrid, Barcelona, s. d. [r907]. José Maria de Despujol y de Dusay. Barcelona s. d. José Maria de Despujol y de Dusay. Barcelona s. d. TRADUC'frQN,S FRANÇAISES Albert Savine. Paris 1883-1884. Albert Savine. Deuxième éditio.n. Paris 1884. 25. - Justin Pépratx. Perpignan r884. 27. -- Justin Pép:atx. Paris 1884. 41. - Justin Pépratx. Nouvelle édition. Paris 1887. 43. - Albert Savine. Paris 1887. 56. - Justin Pépratx. Montpellier 1890. 6r. - Justin Pépratx. Montpellier 1892. 66. - Justin Pépratx. Cinquième édition. Montpellier 1894. 9r. -- Justin Pépratx. Sixième édition. Montpellier r900. 23. - 24. - TRADUCTION l'fALlliliNE 28. - 31. - L. Suner. Roma 1884. L. Suiï.er. Roma r885. TRADUCTlON PROVENÇALE 47. - Jan Monné. Moum-Pelié 1888. TRADUCTION TCHÈQUE 59. - Jaroslav Vrchlicky. Prague 1891. TRADUCTION ALLEMANDE 80. 171. - Clara Commer. Freiburg im Brcisgau. r897. Clara Commer. Freiburg im Breisgau. r91 r. lmus 8. r6. - y CANTS :',ITSTICHS Barcelona 1879. Segona edicio. Barcelona 1882. �522 32. 57. 126. r58. 159. - BlBLIOGRAPHIE DE \'ERDAGUER ROBERT DUBOIS Tercera edici6. Barcelona 1885 . Quarta edici6. Barcelona 189 I. A11 toi/le Ides Obres complertes. Barcelona r905. Barcelona 1908 [avec traduction castillane de Francesch Badenes y Dalmau ]. Barcclona 1908. 44. 48. 88. 126. 137. - 523 Barcelona 1888. Segona edici6. Perpignan 1888 [avec traduction française par Justin Pépratx]. Tercera edici6. Barcelona 1899. Au to111e II des Obres complertes. Barcelona 1905. Barcelona 1907 [avec traduction castillane, 2•edici6, par Verdaguer ]. . 'fRADTJCTIONS CASTILLANES TR,'\Dt;CTIONS CASTILLA!-JF..S 9. - José Maria Carulla. Madrid 1879. r 58. - Francesch Badencs y Dalmau. Barcelona I 908 [avec le texte catalan]. TRADUCTION r27. - FRANÇAISE 40. - 5r. 54. 137. - P. Blazy. Arras, Paris 1906. Jacinto Verdaguer. Barcelona 1887 [avec le texte catalan]. Juan F. Muiioz y Pabon. Jerez 1889. Juan F. Munoz y Pab6n. Segunda edici6n. Sevilla r890. Jacinto Verdaguer. za edici6. Barcelona r907. TRADUCTION FRANÇAISE MONTSERRAT 48. - 1 r. - Vich 1880. 3 3. - Segona edici6. Barcelona r88 5. 50. - Segona edici6. Vich 1889. 86. - Barcelona 1898-1899. I02. - Nova cdici6. Barcelona 1902. 126. - Au tome 1 des.Obres complertes. Barcelona 1905. 178. - Nova edici6. Barcelona, s. d. 181. - Pera cant y piano. Barcelona, s. d. 10, Justin Pépratx. Perpignan I 888 [ ayec le texte catalan]. TRADUCTION TCHÈQUE 63. - Sigismund Bouska. Prague 1893. TRADUCTION PORTUGAISE 138. - Joâo Serafim Gomes. Fafe r907. TRADUCTION ALLDIANDll 163. - Clara Commer, Münster in Westfalen 1909. TRADUCTION CASTil.LANE r4. - José Maria Carulla. Segunda edici6n. Madrid r88r. Lo SoMNI DE SANT JoAN 17. -- Barcelona 1882. 40. - Barcelona 1887 [avec traduction castillane par Verdaguer]. CANIGO 39. 49. 93. 94. - Barcelona 1886. Paris 1889 [avec traduction française de J. Tolra de Bordas]. Barcelona r9or. Barcelona r9or. �ROBERT DUBOIS 524 1 26. BJBLIOGR.APHŒ DE VERDAGUER - 172. - Au to/1/e IV des Obres complertes. Barcelona 1906. Barcelona 1912. TRADUCTION ITALIENNE 46. - 49. - J. Les chiffres romains rem.!Oient au., tomes, et les chiffres arabes aux pages des Obres complertcs (n° r26). Taira de Bordas. Paris 1889 °[avec le texte catalan l. P. Blazy. Arras, Paris 1908. TRADUCTION ADAPTATION SCÉNIQUE Barcelona 1910. A CASTILLAl-.'r'. 8 5. - Conde de Cedillo. Madrid 1898. 170. - III. INDEX ALPHABÉTIQUE DE~ POÉSIES Maria Licer. Modena 1888 [fragment]. TD.ADUCTIONS FRANÇAISES 160. - 525 A aqueix querubi terrestre. II, 38. A arrencar la Crèu d'Europa. IV, 361. A cada alba que surt prou vos adoro. 1, r 13. A captar jo me n'ani. III, 274. A Catarina de Sena. III, 330. A Clara de Montefalco. II, 274. A Déu abandonas. VII, 469. A Déu que-m fa !liure. VII, 513. A Déu que tant l'estimava. VI, 421. A dintre les Catacumbes. II, 74A donar vos pena. VII, 507. A grapats lo fanch m'envia. III, 404A l'Esposa dels cantars.11, 251. A l'hora en que s'es desclosa. II, 3 38. A l'ombra d'un gessami. II, 253. A la claror d'un llampech. 1, 343 . A la crèu me'n s6 pujada. Il, 242. A la fira de les Roses. II, 1 67. A la montanya de Si6n. VII, qr. A la patria de Llorens. VI, 3 59. A la perduda ovella. Il, 267. A la porta de la Gloria. Ill, 392 . A la pres6 del Sagrari. II, 197. A la sombra suàu - de vostra ala dolça. II, 226. �526 ROBERT DUBOIS A la Verge he visitat. II, 165. A la voluntat de Déu. III, 376. A moltes bandes vaig alegre. II, 189. A mon cor en sos martyris . III, 378. A Montserrat tot plora. I, 22 5 ; I, 307. A Nazar hi ha un cep. VII, 268 ; VII, 3 56. A Nazareth hi ha una terra dexada. III, 232. A qui Déu li es dolç. II, 180. A qui ha viscut en la Crèu. III, 380. A qui li demaoa Creus. III, 380. A qui pateix per Jesùs. III, 406. A redôs d'un gessamL VII, 3 11 . A Sant Francesch li agrada tot aucell. II, 42 5. A tres dits del Cel. II, 21 7. A un brillant Estel. I, 390. A un llaurador que en sa fexa. II, 3 1 5. A una estrella porto enveja. II, 187. A una nit bella li volgui corn ptar. VII, 62. A vista de Nazareth. III, 167. A vostre Roser mistich. II, 342. A vostres peus que adoro. III, 364. A vostres plantes, oh Altissim. III, 392. Ab l'arada de la Crèu. III, 401. Ab la florida vara. I, 134. Ab lo bon Jesus s'abraça. III, 403. Ab lo pecat vé l'hivern. -II, 208. Ab los Angels - y Arcàngels. Ill, 433; VII, 366. Ab los aucells que alegran vostra serra. I, 38 r. ~ Ab quins bonichs Déu enjoya. II, 216. Ab Santa Maria un jorn. II, 142. Ab serra d'or los angelets serraren. I, 38 3. Ab son cànter a la testa. lII, 217 . Ab son germà, lo comte de Cerdanya. IV, 13 5. Ab sos lleons y torres. V, i 67. BIBLIOGRAPHlE DE VERDAGUER Ab ton nom, !livertat, bé n'esdavisa. II, 3 3 3. Ab una espigueta. III, 196. Ab vcstidures blanques y vermelles. II, 41. Abvèu amorosa. VII, 523. Ab vostra vara florida . II, 214. Ahans no cercava titols. III, 406. Abans que'! comte moria. IV, 268. Ahans vivia en la cima. III, 389. Acostàuvos a mi, fèu la rodona. III, 9. -Aguayta t - diu l'hermosa, y en màgich panorama. IV, 192. Ahont ns, boyreta d'or. I, 202. Al Arbre d'amor. I, 1 r8. Al Arbre divi, I, 47. Al bell cim d'una cinglera. I, 327. Al bell fons d'una terra inhabitable. Vil, 213. Al bescambi de Jesus. III, 374. Al blasfemar fèm guerra. III, 509. Al Calvari y a la Gloria. III, 374. Al Cel alça'l cor. III, 407. Al cim d'un promontori que domina. Ill, 366. Al entrar al cementiri. I, 240. Al fiblô del' sufriment. III, 379. Al front la barretina. IV, 394. Al girassol del jardi. Il, 28 r. Al jardi solitari. III, 468. Al partir lo sendemà. III, 161. Al recordar del Cenacle. VII, 185. Al sortir del Santuari. III, 64. Al trono d'hont la superbia. II, 436. - Al verger de Jesucrist. III, 388. Al verger se'n va Teresa. III, 286 . Al veure-us bella - com lliri en poncella. VII, 380. Al veure-us cap al ce!, Verge divina. VII,. 354; II, 269. �528 ROBERT DUBOIS Al veure-us en lo Cel, Verge divina. Il, 269; VII, 35+ Algùn dia, del Sagrari. II, 196. Allà d'allà del espay. "\ II, 44. Allia l'Establia. III, 42, 416. Alli a azareth / <lavant d'una porta. III, 214. Alli a Nazareth / en la Fusteria, / n'hi ha un Fusteret. III, r92. Alli a Nazaret, / en sa Fusteria, / lo bon Jesuset. III, 306. Alli dalt del Paradis. II, 29 5. Amadîssims enemichs. IlI, 276. Amagadiça entre'ls pins. II, 270. Amichs meus, si'm veyèu trist. II, 19 5. Amor, amor, amor. II, 169. Amor y dolor. III, 388. Amor6s es lo coxi : / a aquell Cor que tant l'estima. II, 52. Amor6s es lo coxî, / Joan encara sornnia. II, 81. Anant pêls camins. III, 269. Anegantse en lo Gave una pastora. II, 284. Aném / a Bethlèm. III, 4 r 1 ; 1Il, 2 5. Anèm, empordanesos. III, 444: Anima pura, que al cel caminas. VII, 385. Aniré a casa del méu Pare. VII, 78. Ans de pu jar lo nou Cruciferari. II, 4or. Ans de ser rey de la Gloria. III, 403. Aprés de la tempesta axafadora. II, 236. Aquell qui suplantaria. II, 467. Aquest mati joliu, joliu. II, 251. Aquest ventur6s mati. VII, 202. Aquexes palletes que hi ha a l'Establia. II, 340. Aqui dalt al serrat. I, 60. Ara vélo mes de Maig. VII, 74. Ara veyèu. VII, 346. Arbre de la vida. II, 39. Arribas de llunyes terres. I, 176. Aucellet que camas. II, 322. BIBLIOGRAPHIE DE \ 'ERDAGUER Arny, desYetllador, un toch de salva. I, 40. Avuy en breç hurnil ploràu, pobre Infant6. II, 170. Avuy es Corpus Christi, la festa de les festes. VII, r 30. Avuy la Reyna que-1 m6n espera. VII, 389. Avuy, tot portant la Crèu. III, 382. Avuyvischa laG!eva. II, 335. Axamplàu cxa corona. II, 199. Ay ! qui us sabés dir. IJI, 514; VII, 493. B vn, Bé 1sentirèu cantar. 164. Bé mpodenmoure guerra. III, 395. Bé n'han passades de Creus. III, 386. Bé n'hi ban d'hcrmosts flors. Vil, 3 57. Bé s'està, Jesùs, en vostrc Sagrari. VII, 148. Bé t'ayma, bé t'estima mon cor, oh Barcelona. IV, 408. Bethlèm, Betblèm ditxosa. II, 168. Blanca corn un ciri. VII, 406. Blanca y pura sou, Maria. II, 26 r. Bon Jesùs, ahont Vos estàu. Il, 182. Bon Jesus, l'hermosa resta. 1, 470. Bon Jesùs; que fou pesada. I, 37. C Cabussada per lo llamp. I, 2ïO, Cada comuni6. VII, 262. Cada dia 'l bon Jesùs. II, 302. Cada dia veniu a mon cor, que us estima. VII, 265. Cada g6ta de rosada. VI, 369. Cada mati ma pensa a Vos se'n puja. Il, 282. Cada romeu. III, 406. Caderneres d'aquest mon. Il, 207. REVC:E HISPANIQCE. B 529 �530 ROBERT DUBOIS Calumnia, dctractor. Ill, 3 q.. Cami de Cornellà, lo comte Guifre. IV, 249. Cana pena es un grah6. ID, 393· Candor de la llum eterna. II, 185. Canta, busquera - rossinyolera. II, 219. Cantèm gloria, gloria. IU, 427. Cap al Cel camino . .1, 139. Cap al cementir. VII, 4+5. Castissim Lluis. II, 70. Catalans t6ts, de genollons en terra. VI, 385. Catalunya, Catalunya, / lo téu dia s'es fet nie. IV, 387. i Cataluoya, Catalunya, / que 'n passas ay ! de neguits. IV, -4-55. Cercant del paradis l'aspra sortida. I, 67 . Ciutat de Vich, obre tes amples portes. VI, .J.29 . Clohent los ulls a tantes mara,Telles. Il, 136. Cobrlume de flors. I, 46; VIT, 352. Colom et que volas. I, 41 5. Corn abella dintre'I rusch. I, 170. Corn al astre del dîa'l girassol. li, 33I. Corn alço més sovint los ulls al Cel. m, 27 3. Cam ais vells paladins en la batalla. IV, 2 3 1. ~ Corn baxaré dela Crèu. Ill, 381. j Coin cantan los auccllers. Il, 2 II. Com cer\'ola ferida que sedeja. II, 26. Com creix lo foch entre espines. III. 38 r. Corn d'un infant la virginal parpella. I, r66. Corn dos gegants annats veu en la terra. II, 9 I. Corn espigol eu llit a trench de dia. II, 179. Cam gegant per empendre la carrera. II, J9. Com ho farà Santa Clara? Il, 446. Corn l'he perduda la blancor del lliri. II, 181. Corn més lo rn6n m'aborreix. Ill, 403. Corn passarell solitari. II, 2 34; VII, I 54· Corn ressona un buyr:ich plè de sagetes. IV, 145. BIBLlOGRAPHJE DE \'ER.DAGUER Corn s'engalanan les serres. YII, 191. Corn sosteniu l'estrella al firmament. II, 17 5. Cam tenda d'un sobirà. II, 233. Corn ull que s'amaga en la serra. V, 277. Com un infant son este/. II, 33r. Cam una tendra poncella. II, 24-4-. Corn Vos en l'Eucaristfa. II, 276. Corn vos sento sonar en mes orelles. VU, 33. Concebuda s6u, Maria. III, 472. Contra Déu fer bandol. VII, 44r. Cor de Jesûs, hort coronat d'espines. I, r7. Cor de Maria. VlI, 387 . Coratge, amich ! Mes l'hàrrida galerna. II, 29 5. Corona de roses. III, 463; VII, 382 . Cors fels, llums, alors y cinrichs. I, 18r. Cova de Sant Joan. III, 165. Crèu sagrada. III, 422. · Creuada del bon Jesüs. III, 278. Crida l condemnat. VII, 4Tl• CulHm del Rosari. I, 420. Cullint violetes. I, 152; VIT, 372. Cullita <le penes. Ill, 4-07. D D'alegries sense pena. II, 283. D'Arnèrica s6 la flor. II, 279. D'amor en la dolça Taula. II, 78 . D'arnor ferida està morintse Clara. Il, 448. D'Aquell que he tant desitjat. II, 212. D'ença que, exida com un ou del caos. V, 138. D'ença que't planti en mon cor. III, 397. D'exa mar del amor cisne purissim. II, 90. D'cxèrcits de cordicols patriarca. II, 3 r. 531 �532 ROBERT DUBOIS D'hermosos j6Yens d'Assis. II, 366. . D'improperis y dolors. III, 368. D'or verge es feta la reyal carroça. IV, 165. D'un a un me'ls he beguts . III, 384D'un roser a l'ombra . III, 40; III, 412; VII, 319. Dalt al bell cim del Pyrinèu un dia. IV, 360. Dalt de la volta blava. II, 307 . Dàu ais aitres lo repos. Ill, 405 . Dau-nos entrada. VII, 387. Davant de Jesùs en Crèu . III, 346. Davant de la botiga. III, 182. De bat a bat lo temple avuy se us obre. II, 225. De Beret l'immensa plana. IV, 2IO. De cada santuari. II, 240 . De caritat jo tinch l'ànima enccsa. II, 79. De coronarvos, Senyor. III, 378. De Francesch es compatrici. II, 371. De genolls clavant l'altar. II, 458. De ~ran pujada •- vé gran baxada. III, 290. De Grcccio en lo pessebre. II, 404. De haver-vos ofès. VII, 521. De Jesùs crucificat / s6n les Creus les abraçade,s. III, 397· De Jesùs crucificat / Teresa està enamorada. III, 3 59· De Jesùs dolcissim Cor. II, 282. De Jesùs sagramentat. VII, 195. De Joseph en la pobra fusteria. III, 2 38. De l'Alberna en la montanya. II, 422. De la belia fontana de la vida. II, 307. De la fàbrica dels sants. III, 382. De la fruyta y de l'amor. II, 315. De la mort ressucita. III, 470. De la patria bélla Aurora. VI, 3 55. De la pres6 del Sagrari. II, 2 3 3. De la sanch de J esùs. VII, 2 1;. BIBLIOGRAPIIIE DE \'ERDAGUER De la terra n'he ,·ist poch. II, 18+ De la terra y de la mar. II, 115. De la vostra Crèu, Jesus, no'n s6 digne. III, 348. De les boscuries de Nazareth. III, 227. De les minyones d'Assls. II, 439. De llàgrimes bé'n plorl. III, 406. De mon cor feune un breçol. II, 172. De Montserrat al Cel. I, 298. De Montserrat en los cingles. I, 3 I 9. De Pasqua Borida . III, 427. De Pazzi la gentil Bor. VII, 172. De peoes corn més millor. III, 378. De penyores d'amor. III, 334De penyores prou ne tinch. II, 301 . De petit lo bon Jesùs. III, 1 36. De porta en porta - trucas a rotes. III, 266. De puntejar l'harpa d'or. II, 320. De que li arriba la nit. Ill, 390. De què ploras? ide què ploras. III, 72. De i Qui corn Déu I a vostre crit de guerra. III, 46 r . De sants y santes dolç breviari. II, 240 . De sobre-! rrooo d'or de la patena. VU, 238. De tots los sacerdots que hi ha en lo Temple. III, 59 . De vostra ara en la tarima. II, 222. Del africà desert en la sortida. Ill, rn4. Del arbre caygut. III, 401 . Del bon Jesus al Cor. I, 32. Del Calvari en lo verger. Il, 34· Del càlzer de la rosa. Ill, 4 53. Del Cel en lo viarge. II, 470. Del Cel perla via. II, 271. Del ce! un dia en la planicie blarn. VII, 4r. Del celestial Presoner. II, I 8 5. Del consol l'ayga divina. III, 260. 533 �BIBLlOGRAPH IE DE YERD.\GUER 534 535 ROBERT Dt.:B01S Del couvent del Riu Tort en l'abeller. II, 380. Del cor ignocent y pur. II, 280. Del herm6s coral de l'Eucaristia. \ Il, 198. Del Llibre sagrat. III, 481; VII, 485. Del mar de Catalunya en la ribera. I, 24 5. Del mar en los abismes. VII, 40 . Del mon quan ha fet presa, - per set vcgades. II, 205. Del môn y os gustos. Ill, -t 9 5. Del monestir ab los monjos. 1, 162. Del Mont Verge Maria. III, 4 t4. Del Momseny en la cima, dess6ta la Créu santa. \ I, 438. Del Nil blav6s en laYerdosa riba. III, u6. Del Palàu de nosttes Comtes. II, 146. D 1 pit descomunal. IV, 382. Del riu de Babilonia en la vorada. 1, 14 5. Del roseret del amor. 11,300; III, 383. Del seraf! encarnat per ben escriure. II, 353. Del Sicomoro a la Font. III, r 38. Del Vaticà rugeix en l'alta roca. III, 517. Dcls rius de Babilonia aci a la vora. III, 152. Dcmari se'n baxa al hort.1, 57. Dcmunt d'Assîs lo sol se'n va a la posta. II, '431. Demunt de mon poblet hi ha una capella. IV, 370. Derrera 1 puig vé la vall. III, 390. Des de les platges de Barcel6na. VI, 393. Des del bell dm de lamés alta. serra. VI, 350. Des que, al rompre del caos la despulla. I, 76. Des que Cristo nostre pare. VII, 361; VII, 535. Des qu Jesus ha lligat. Il, 2 r 5. Des que no copsa exa rosada. II, 257. Desclouœ volta estrellada. 111, 2 3. Desde exes altes cimes, i que gran es l'estrellada. I, 4 37. Desde son trono de gloria. I, ~8. Dcsitjosa de rebrc a son Espès. VII, 183. Despullàurne a exemple \"Ostre. III, 405. Dessota les seves flors. Ill, 398. Desterrada de la Gloria. I, r 81. Déu a les ànimcs belles . II, 229. Déu al fons de tots los càlzers. Hl, 400. Deu anys renia '1 bon Jcsùs; baxava. Ill, 198. Déu crià l'aucellet per cantar. II, 29 r. Déu de pencs y dolors. 11, 310. Déu del SinaL III, 46. Déu no t'ha dit quin dia. II, 191. Déu s'ha format un castel\. II, 256. Dexa lo và per los vans. III, 400. Dexàume encara passar. 11, 213. Dia sens sol, vesprada sens estrelles. Il, 171. Diamants son los estels. VII, 30. Digas, oh tu, Farigola que crexcs. \'II, 31 4. Dihèu-me, Ano lets. VII, 162. l Dihèu que vinga a pouar. ll, 243. Dins cada dol or. lll, 28 3. Oins l'Estable de Bethlèm. Ill, 74. "Dins son palàude Valldaura. I, 356; IV, 405. Dintre-l agrari be sentida. II, 2 I 5. Dimre les ones del il. III, 144. Diras cada dia. VII, 44 3. Ditxosa Assis, bella ciutat d'Humbria. Il, 470. Ditxosa ciutat d'Assis. TI, 358. Ditxosos los qui ploràu. Ill, 398. Diu que cra blanca y rossa. I, 425. Dolç Amor del méu amor. 1II, 387. Dolç Amor dels meus amors, / de les corones divines. III, 394. Dolç Amor dcls meus amors, /jo les po. o a \"Ostres pcus. II1, 374Dolç es per mi l'aroma <le les roses. III, 417. Dolça Catalunya. IV, 373. Dolça Mare del bon Déu. l, 120; \11, 363. �ROBERT DUBOfS Dolça Mare dels Dolors .. II, 201. Domingo cullia. III, 463; VII, 382. D6nans, oh Cel, florons de tes estrelles. I, 430. Donchs com ho fèu, abelletes divines. III, 270. Donchs hont sou, videta mia? I, 2 5. Donchs hont va lo trobador. VI, 38r. Donchs ( què us he fet, superbes abaJies. IV, 286, 348. Donèume una Crèu o dues. III, 390. Doni a la Verge Maria. I, 165. Dormiu en la meva harpa, hymnes de guerra. I, 19. Drets cantan lo Magnificat los monjos en lo chor. VII, 398. E Ella es-morena : demunt de sa testa. VII, 24. Ella està besant. III, 53. Empresonat al fons del Tabernacle. VII, 150. En Amèrica ha niuat. IV, 42~. En aquest m6n tothom plora. VII, 19. En aquesta vall de plors. III, 3 77. En Aquisgràn. IV, 241. En Barcclona la gran. I, 142. En cada cor un sa~rari. II, 193. En cada font de la serra. II, 290. En eix 111611 confus. III, 486; VII, 4 7 5· En esta blanca pàgina ( quin nom hi escriuria. II, 267. En esta font d'ayga clara. II, 188. En forma, donchs, de pt1ra y blanca rosa. II, 4 5. En la Judea hi ha un arbre. II, 260. En la modesta casa de Maria. I,. 158; I, 284. En la santa Eucaristia. VII, 229. En la tempesta que passo. III, 391. En la terra se capgiran. II, 32 3. En lo bell cim d'aquesta aguda serra. VI, 414. BIBLIOGRAPHIE DE VERDAGUER En lo breçol de ma vida. II, 279. En lo desert africà. VII, 33 3. En lo festi de la Gloria. III, 301. En lo filat del amor. II, 266. En lofons de mon no-rès. II, 68. En lo jardi de l'Esglesia. II, 304. En lo jardi de Nazareth Maria. III, 234. En lo mes d'Adar. III, 186. En lo nùvol que no plora. III, 308. En lo piset més humil. I, r 9 5. En los braços de Maria. III, 94. En llit ample jau lo Nil!. III, r 32. En mitg d'una plana de cingles reclosa. IV, 433. En mon llit de tlors. I, 9 r. En mon pît tinch una llaga. II, 263. En sa cambreta - de Nazareth. II, 209. En sa cambreta humil. III, 13; VII, 309. En son èxtasis un dîa. II, 76. En terra al home seguir vold ria. II, 2 3 5. En terra'! sem brar. II, 21 7. En tos palaus mon esperit hi plora. III, 305. Enamorat de Jesùs, - cada punt l'ovira. II, 82. Encara es petit, petit. III, 68. Encara no se't clou una ferida. III, 3 ro. Entre dues riberes florides. II, 2 r 5. Entre les quatre llagues ab gu'ens cnda. II, 250. Emre'ls arbres de l'illa delitosa. IV, I 5 6. Entre Maig y Abri!. VII, 151. Entre mitg de les flors y les estrelles. II, 327. Era a entrada de fosch. II, 263. Era al cor de l'hivernada. I, 241. Era molt rich lo patriarca Job. III, 309. Era mon cos una llaga. III, 264. Era nit bruna - quan Vos nasquereu. II, 183. 537 �538 ROBERT DUBOIS Era tan gran la Crèu de Jesucrist. Ill, 394. Era un vespre d'Abril, a l'hora bella. I, 362. Eran dos combatcnts, en crùa guerra. I, 251. Es de la sabia Heli6polis . Ill, I 12. Es de nit y nit d'hi.vern . Ill, 212. Es fora al bosch lo sant Fuster. III, 203. Es l'amor la dolça corda. li, 190. Es la taula sagrada bont Jesucrist. VII, 168 . ·Es lo bon Jesùs. m, 253 . Es lo pecat la llaga antiga y nova. II, 256. Es plè de fanch lo vas de fimpuresa. II, 319. Es rosari esgranadis. II, 3I 1. Es serena la nit y de celistia. Ill, 146. Es tan berm6s y tan gran . II, 336. Es un tancar y obrir d'ull. III, 396. Es una pluja Je roses. III, 402. Es una pluja suàu. II, 212 . Es vid detestable. Jll, 509. Es viurc sens estimar. II, 176. E coltàu lo que vos diu. 11, 220. Essent vos Déu in.fi nit. II, 181. Estant encara en vida. I, 385. Estant Francesch m6lt abat ut. VII, 65. Estant Jesus en la Crèu. I, 28r. Estant lo Rey en son n:clinatori / mon nart dexà sentir la seva olor. VII, 313 ; II, 223. Estant lo Rey en son reclinatori / mon nart dexà sentir sa dolça odor. II, 223; VII, 31 3. Este! de Barcelona. III, 459. Estima bé a Jesucrist. III, 394. Estimala de cor, noble Igualada. VI, 380. Estrella de nostre dia. VII, 537. Eularia, oh tu del Cel Filla volguda. U, r52. BIBLIOGRAPHIE DE VERDAGUER F Fa cent y cent mil anys que'! Llobregat. I, 4t18. Fcliç t6t aucéll. VI, 399. Festejador de la Crèu. III, 39r. Festiu Rossinyol. I, 4rn. Fill de la terra dura. II, 312 . Filles de 1 azar. III, r84. Fins lo Cel se m'ha ennegrit. II, 337. Florejat <le cinch ferides. II, 203. Florida del Maig. VII) 342. Flors sempre renadiues, des que us fiayro. I, 54. ~Fondre no veus la vanitat humana. II, 2r8. Fona ha sigut la tempesta. III, 271 . Fona Judith, oh Maria. II, 228. rra Joseph de les Llnnties - de Montserrat. I, 309. Fra Masseo y Sant Francescb. II, 391. Fra Pacificb algun temps. II, 426 . Fugint de Vos i que n'he perdut de passos ! Il, 246. G Gegant era mon pare, mon a vi també n'era. IV, 413. Gentil ja passa la Tet. IV, 1 88. Gentil méu, jo què'r daré. IV, 205. Gentil Pastoreta. I, 4 r 3. Gcrmans de Filipincs, rebi yostra corona . I, 267, 444. Gertrudis n'està malalta. I, 146. Gloria a Maria. VII, 389. H Ha plogut tot lo sant dia. VII, 247Hc perdut tot quant tenîa. II, 299; III, 395. 539 �BIBLlOGHAPHIE DE VERDAGUER ROBERT DUBOIS .,,. He tastat les mels del m6n. III, 386. He vist les dorze ermites. I, 392. He vist uns ulls hermosos que'm somreyan. Il, 308. Herèu de vostres injuries. III, 397. Herm6s es la Cel. VII, 55. Hermosa es l'Hostia Santa en l'ostensori. VII, 169. Hermosa vall, breçol de ma infantesa. IV, 373. Hermosissima es Lam pegia. IV, 2 1 3. Heu fet lo m6n amargant. III, 385 . Heu vist lo cedre altivol, del Liban en la serra. 1, 19 3. Hi ha al Carmel un gran verger. II, 322. Hi ha via un arbre herm6s. VII, r S3. Hont tens lo tresor. VII, 53. I Infant6, bell infant6. II, 2 3 I; VII, 273. J Ja fà molts anys, los jochs de l'infantesa. IV, 33 3. Ja fà quinze .anys, desde'l balc6 de sobre . I,· 208. Ja hi he navegat prou. VII, 2 3. Ja la nit es menos bruna. Il, 46. Jaque al premi etern. VU, 45 I. Jaque Jesi'.1s y Maria. III, 407. Ja que l'ayga d'aquest mon. Il, 2 I 5. Ja tmnau ser mon amich. II, 259. Ja us tinclt dintre de mi, Jesus dolcissim ! VII, 178. Ja vostra escarpa y martel!. III, 279. Jacoponi l'advocat. II, 456. Jesucrist, la Passi6 vostra. I, 4 5 3 ; Ill, 42 r. Jesucrist nostre Senyor. II, 171. Jesucrist pujà al Calvari. II, 249. Jesus a qui estima més. III, 382. Jestis, abans que'l mirarvos. II, 2q. Jesus, bon Jesus, amor de ma vida. II, 32-l-Jesus està en son jardi. III, 219. Jesus fà una llum tan clara. Il, 3 r8. Jestis, fill de Maria. VII, 206. Jestis, Jesùs, nom doldssim. III, 417. Jesùs, Jesùs, oh vida de ma vida. Il, 174. Jesüs la gloria retreya. I, 276. J esùs la Cel va dexar. li, r 98. Jestis, Maria y Joseph . III, 100. Jesùs me clona dolor. III, 392. Jesùs no va sens la crèu . II, 276. Jestis passa per la terra. VI, 404Jesùs pcr esposa vol. II, 53. Jesus, per vi~itar al pecador. II. 182. Jestis planta - la Crèu santa. III, 422. Jesus, puix be viscut en Jo platxeri. III, 280. Jesus, i que dolç es sufrir. III, 376. Jesus se-ns entrega. VII, 465 . . Jesùs, vos fèu corn lo sol. II, 312. Jesus, vostre dolç servey. II, 332. Jesus y Maria. VII, 477. Jesùs y Sant Joan. III, 178. Jesuset J1ermos. I, 210. Jo alçava la maneta a les estrelles. Il, 242. Jo del cami herm6s del Cel. II, 2 50. J o ciels misteris del san t rosari. III, 24 3. Jo estimo y sô estimat. 11, 305. Jo-1 veya de ben aprop. VII, 137. Jo mirava aquesta nit. VII, 63. Jo no sé cançons profanes. III, 436; VII, 374. Jo no us demano pas lo Cel. Ill, 293. Jo prou voldria estimarv~s. I, 106. 54 1 �542 ROBERT DUBOIS José una capellera entre lesbranques. II, II. Jo tenia cinch anys; ana va a estudi. VI, 346. - Jo tenia un jardinet. II, 192. Jo us mostro'l cami. III, 32. Jo veig una rosa vera. IV, 196. Jo, vil peccador. VII, 521. Joan de un a un passar los mira. II, 86. Joan encara somnia. II, 33. Jonquillo entre les floretes. 11, 273; VII, 32..J.. L L'afecce ab que Déu nos ama. II, 303. L'albor plateja ls finestrals de marbres. VII, 139. L'amor aci a la terra. III, 387. L'amor del home es una trista gora. II, 3 r r. L'amor se'n va del m6n; ja no s'hi estima. II, 3I + L'Amor s'ha fabricat una pres6. II, 176. L'Anyell divi qui pastura entre-1s lliris. VII, 160. L'apàstol Sant Pau ho d1u. II, 453. L'arbre de la Crèu. III, 267. L'escola del amor es lo Calvari. II, 247. L'Esglesiaestà, com Jesucrist en l'hort. Il, 35+ L'Esperit Sant en l'ànima reposa. Il, 226. L'Espos de Marla. III, 57. L'Estrella. III, 429; VII, 359. L'Eucaristîa es lo cel començat. VII, r 36. L'he rrobada en aqueix Cor. 11, 241. L'he trobada, Jesùs, l'hc ben rrobada. VII, 79. L'home cerca una Crèu d'or. Ill, 395. L'home naix per sufrir. III, 398. L'home pren :.1bans lo fel. Il, 207. L'infant Jesùs demana pà. ID, 120. L'infant Jesûs té una crèu d'olivera. 111~ 147. BrBLIOGRAPHlE DE VEllDAGUER L'infant Jesùs un mati. YII, 33 5. La bandera Vos donareu. VI, 355. La blanca papellona de les prades. II, 271. La Casa de sanr Joseph. III, 130. La ciurat de Barcdona. VII, 280. La comunio que rebo aqui a la terra . Vil, 234La congesta de la serra. I, 212. La Crèu que m'heu dat. I, 222 ; III, 5r 3 ; VII, 49 5. La cullica de les Creus. III, 396. La de vostre front. II, 206. La diada de Nadal. II, 405. La fé es l'alba sercna de la Gloria. II, 205. La fira de Santa Crèu. III, 380. La flor de mès dolça mel. III, 38 3. La Bordels joyens d'Assis. II, 361. La Bor diu a l'atzebara. I, 203. La font al riu, lo rlu al mar rossola. II, 332. L-i farta tempesta. III, 35 4. Lalley obeheix. VII, 48 r. La llum del jorn engrossa re\"inguda. VII, uLa malaltia que rinch. II, 214; IJI, 390. La manna que plou. VII, 156. La mare de Déu. VII, 317. La menta traydora . II, 279. L'l Nazareoa gentil. III, 66. L-i nit de Corpus Christi. VII, 2 39. La nit de la terra'm cança. II, 334La nit va a donar lo tom. 111, 84. La passionera crexia. III, 221; VII, 336. La pena ab que' m coronàu. III, 379. La plana de Vich. I, 71; II, 387. La pobrcsa de la Crèu. III, 385. La poesîa es un aucell del cel. VI, 378. L-i Poncdla del Desert. U, I 55. 543 �544 ROBERT DUBOIS La porta del paradîs. Il, 30. presé del tabernacle. Il, 232. romeua y lo roméu. I, 301. Rosa y Eva en la metexa aurora. VII, 71. santa Crèu es l'arbre de la vida. III, 26 3. santa Crèu es l'arbre del su pl ici_ Ill, 379. Santa Eularia barcelonina. VII, 277. soletat es un cel. III, 90. tardor / dona tristor. fil, 377. tardor de la vida se rn'atança. II, 297. tendror de tos quinze anys- II, 3 r 3. La terra des de' l cel blau. II, 299_ La terra es un gran Calvari. III, 316. La terra es una nau. I, 94. La torrentada ja arriba. 1, 256. La tortoreta que plora. II, 290. La tribulaci.6 me vé a visitar. II, 24r. La tristor es nostra nit. III, 401. La vall hérm6sa de Vich. VI, 426. La vana gloria del m6n. III, 396. La Verge de Montserrat. II, 150. La Verge Maria. VII, 39r. La Verge seya un dia. II, 300. La Verge va cap a Egypte. III, 87; VII, 325. La veritat del empiri es baxada. Il, 275. La vila de Sens. VII, 417. La Volta de Santa Eularia. II, r 53. La vostra ploma, oh Teresa. H, 305. Les alegries del Cel. II, r 73; III, 394. Les a mors de que l'ànima s'a beura. II, 2 r 3. Les belleses del rn6n s6n lo fullatge. II, 342. Les colometes volan. I, ro4. Les dolces alors. II, 220. Les estones de Cah·ari. HI, 399. La La La La La La La La La La BIBLIOGRAPHIE DE , -ERDAGUER Les estrelletes que' b ulls clouen. II, 262. Les ferides de la Crèu . III, 391. Les floretes de la terra. Il, 271. Les glorioles terrenes. II, 210. Les gages de Mirmanda, de Vallespir y Alberes. IV, 206. Les guilles tenen llur càu. III, 124Les ombres fugen de la llum que arriba. VII, 258. Les pedres del dolor. Ill, 405. Les penes que passareu al Calva ri. I, 12 3. Les penes s6n com les ones. III, 398. Les penes y'ls sufriments. III, 378. Les que ahir niera□ dolors. III, 3ï6. Les ~oses del téu jardi. VI, 418. Les virtutsque perla mén. lII, 385 . Lo bon Jesùs un mati. III, 22 3. Lo bon Jesuset / a morir ana va. VII, 1 24Lo bon Jesusets / e-n puja a la vinya. Il, r 86; VII, 269. Lo cami que fà baxa □ t. I, 349. Lo campanar corona la capella. II, 222. Lo castell de ma esperança. 111, 282. Lo Cel agrada a rots corn la moneda. VII, 56. Lo Cel estava boyr6s. III, 361 . Lo Cel que-ns espera. VII, 5 r7. Lo Cel sospenia. TIi, 70. Lo comte de Mataplana. VI, 352. Lo comte Guifre encara d'ira està foll. IV, 22 5. Lo comte Tallaferro va com lo venc. IV, 180. Lo con vent es tan petit. II, 409. Lo Criador amaga. III, 288. Lo Criador del Cel y de la terra. II, 272 . Lo Criador del m6n, en lo principi. VII, 67. Lo despertarse clins l'eterna flama. II, 239. Lo dexarte, oh rn6n dolent. ll, r97. Lo dia de Sant Joan. IV, 14r. REVCE HlSPA N IQCE. B 545 �ROBERT DUBOIS Lo dia dos d'agost. VII, 409. Lo Dilmi Uni versai. VII, 348. Lo diumenge es d'alegrîa. Il, 4-J. 1. Lo dolent fill a la dolen~a filla. I, 229 . Lo dolor tot temps. III, 26 r. Lo ferre fret del méu cor. III, 399. Lo foch es fet per cremar. II, 4 3. Lo girassol. VII, 338. Lo glori6s Sant Francesch / a son dolç Jesûs li prega. II, 4 r 1 . Lo glori6s Sant Francesch / es una pcdra foguera. II, 408. Lo jardi de azareth. III, 194. Lo jonch més humil, quan vé la riuada. lII, 258. Lo lliri blanch que floria. I, 49 . Lo !lites l'enclusa. III, 404 . Lo llop ja es un anyell : anant a pendre. II, 24Lo Maig es passat. VII, 393. Lo mati de ma infantesa. I, 3 5. Lo més herm6s dels infants. III, 163; VII, 330. Lo Messias noy. I, 97 ; III, 51. Lo méu cor en sa volada. II, 139. Lo méu cor vos crida. VII, 431. Lo mistich Anyell. III, 180. Lo 111611 me creya feliç. III, 30+ Lo Pastor de les estrelles. III, 28. Lo Patriarca d'Assis / en son niu de la Porciüncula. Il, H3· Lo Patriarca d'Assis, / sortint de Roma. Il, 384. Lo que rà la llima al ferro. III, 385. Lo que jo us doni de pena. II, 190. Lo Rector de Vilanova. I, 205. Lo Rey herm6s de Bëthlèn. III, 55 ; VU, 3 22. Lo rosa.ri de mes penes. II, 199; fil, 275. Lo rossinyol eutre-ls arbres. VI, 364Lo rossinyol vos cant~ nit y dia. III, 332. Lo Sao-rament es l'arbre de la Yida. VII, 228. h ., 1318LIOGRAPlllE DE VERDAGUER Lo sant temple esta plè de gom a gom. VII, 245. Lo Santissim Sagrament. VU, r8r. Lo sol encès va a exir sobre l'Egypte. Ill, rn8. Lo sol ha de sortir del orient. VII, 219. Lo Ter y lo Fre5er una aspra serra. IV, 367. Lo timonerde la nau. II, 318. Lo viril sagrat. VII, 227. Lo vostre dolç sagrari. II, 2 55. Los Angels la baxaren . III, 5r r. Los astres viuen de llum. II, 258. Los aucellets que penjau lo niu a més altura. II, 316. Los butiflers diu que arriban. IV, 3 53. Los dexebles de Francesch. II, 378 . Los exilats caminan a nit en la foscor. IIT, 98. Los hàmens miran la cara. II, 32 5. Los hè>mens que tot ho aman. II, 275. Los mundans Yan hont se riu. II, 394Los vols se-n van. VII, 305. Los pecadors de la terra. III, 352. Los pensaments que niuan en mon front. II, 179. Los pensaments que tingui. II, 26r. Los primers cristians tenfan sols un cor. II, 246. Los que patiu en esta mar de penes. III, 479. Los que teniu fam . II, 238. Los gui anàu perduts. VII, r 99. Los qui patiu en esta vall de llàgrimes. VII, 9. Los qui patiu sens consol. III, 395. Los roserets de la gloria. III, 298. Los rosers d'aquells jardins. III, 106. Los terrenals cercan a mors terrenes. II, 175. Los treballs son les empentes. III, 39r. Los tres divins Viadors. III, 96; VII, 328 . Llavis meus, ab noves faules . II, 268 . Llcrnr que estàs en la terra. III, 3 17. nu 547 �ROBERT DUBOIS BIBLIOGRAPHIE DE YERDAGUER Lli ri de puresa. I, 42 3· Lliriet florit. II, 2 H· Lluhir se veya una perla. IV, 375 · Lluny de l'ayga 'l peix se mor. II, 326. M M'esticb al hostal. VI, 43-2. M'estime més que'm donèu. III, 385. M'han dit que partexes, amich: ( donchs, ahont? VI, 434 · - M'heu dexat sense corona. II, 339. Ma ànima vos crida. VII, 526. Magnifica al Senyor, ànima mia. II, 22. Mar y vents vos obehexen. II, 217. Mare del bon Déu . III, 446. - Mare estimada, dàumela vos. II, 2 30. Maria al Cel guia. III, 429; VII, 359. Maria, aurora. III, 439; VII, 377· Maria, de vostre Cor. II, 222. Marla es l'Estrella. VII, 491. Maria, font d'ayga pura. II, 227 . Maria' ns es mare. I, 395. Mati primer d'Abril. I, 317. ~ Me dius si tin ch voluntat? II, 213. Me fèu present cada dia. II, 329; Ill, 3 I 5 · Mentres guarnexen l'altar. I, 371. Mentres Maria breçava· y vestia. I, 178; III, 413; III, 36. Mentres som ad a la terra. Ill, 38 I. Mercader del Evangeli . Il, 364. Mes al tigre del tirà. II, 131. Mes culpes passades. III, 507; VII, 459. Mes culpes s6n tantes. VII, 457. Més d'un clavell hi riu. II, 214Mes esperances florides. II, 207. Mes no: tu fores la gentil petxina . Il, 1 r7. Mirant a Jesus en Crèu. III, 407. Miràu los lliris corn crexen. II, 260. Mirau mon Cor de pare amorosîssim. I, 1 IO . Miràula bé, miràula béa la reyna. IV, 418. Mitg segle fà que pêl mon. VII, 38. Mogut un jorn d'inspiraci6 suprema. VII, 20. Malts, a exemple d'Afrodisi. III, I 14. Malts conquistadors. II, 262. Mon ànima us crida. VII, 266 . Mon Cor a Catalunya més s'aferra. II, 270. Mon cor es un llibre. I, 75. Mon cor sempre plora . VII, 526. Mon cor vos somnîa. III, 504; VII, 497. Mon Deu, l per què dareu ales. II, 218. Mon Déu, suferta per Vos. III, 392. Mon front cap a la terra se decanta. II, 309. Mon nom es Maria. VII, 3 50. Montanya de Montserrat. I, 304 . Moreneta n'es la Verge. I, 313; IV, 396. Moreneta 'n sou. I, 403. Muntat de tos navilis en l'ala bcnebida. IV, 1 r. N N'era un pelegrî. I, 285. N'es ben plantada, n'es bonicoya. I, 227. 'hi ha un Pastoret - a dalt de la serra. il, 58. N'hi ha una flor bella. \ II, 34 5. Naxèu sobre la gebre. II, 341. ecesito de la Crèu. III, 32r. Nit de Juny, ~ quantes estrelles. I, 1 54; III, 45 r ; V.II, 27 r. Nit de Sant SilYestre. I, 29 5. Niuada de calandries, poetes de ma lerra. I\, 379. 549 �550 ROBERT DUBOIS Niuet de rossinyols en primavera. IV, 376. < 1 0 conech ma petitesa. II, 188. No degueren fugir totes les fades. IV, 349. No devallà de la Crèu. III, 384. .1. o digas d'aquesta ayga no beuré. III, 389. No es gayre ovirador demunt lo mapa. VI, 401. No les miràu pas, ulls meus / d'aquest m6n les vanes coses. Vil, 32. No les mirèu pas, ulls meus / les vanitats de la terra. III, 3 I 3. No'm cerquèu clins la ciutat. II, 244. No'm quexo pas de la Crèu. II, 309. No'n resta més que un bod . III, 126. No prengas per gula . VII, 499. No's concedexen consols. III, 404. No t'adaleres per rès. III, 400 . No té breçol l'Infant6 de Maria. III, 48. Nom de Jesùs, nom salvador. II, 176. Nom doldssim de Maria. II, 286 . ,. ostra ànima's va enriquint. III, 383. Nostra rah6 es una cega. II, 288. Nostre Senyor Jesucrist. II, 206. Nostre Senyor Jesus. VII, 158. · rostres dolors son gates que caygueren. III, 284. Nou Apàstol del amor. Il, 9. Jou 611s tingui - tot expirant me deya. I) 2 r 8. 0 ' 0 lliris de l'estrellada. II, 196. Oh bon Jesùs amor6s. II, 327. Oh celestial Poncella. II, 227 . Oh ciutat de Montpeller. IV, 430. Oh Coloma perseguida. II, 252. - Oh coloma sense fel. II, 289 . BlBLIOGRAPHIE DE YERDAGUER Oh Crèu, dolcissima Crèu. Il, 287. Oh Crèu, oh ma dolça Crèu. II, r 9 r. Oh Déu que 'l méu cor adora. II, 33 r . Oh dolça Crèu, oh !lit d'or y d'evori . II, r 34. j Oh dolça obligaciô la d'estiman,os. TI, 321 . Oh dolcîssima fol lia. II, 55. Oh fi lles de Si6n, veniul o a veure. III, 3-P · Oh fosser, tu sabs hont s6n. II, 169 . Oh Fuster de azareth . III, 2 JO. Oh Jesus, en vostre Cor. JI, 248. Oh Jesûs mon redemptor. II, 276. Oh Mare de Déu del Mont. IV, 417. Oh Maria. III, 433 ; VII, 366; VII, 535. Oh Maria, aquî'm tenîu. II, 293. Oh Maria, en vostre si. VII, 2r2 . Oh niu d'amor, oh tàlam de caricies. II, 246. Oh nom de Jesus, oh nom del méu pare. II, 173. Oh puntayres de la costa. IV, 324. Oh ! l quan serà que puga. I, 135. Oh que es grau ser petit6 l Il, 174. Oh! i quès'ban fét los anys de la infantesa. VI, 361. Oh quin somni ha somniat. VII, 187. i Oh quina dolça alegria. 11, 2 55. - Oh ri.us que'n baxàu : - <: al cim de la serra. II, 307. i Oh Sant Felip ! donàunos adjutori. I, 274. Oh Verge imrnaculada. III, 472 . Oh Virrey de Catalunya. VII, 230. Orant una nit Francesch. II, 382. O,·iro una alta y lluminosa serra. 11, 277. Oydà, pescadors. II, 194. Oydà, rosa florida. II, 32,9. 55 1 �552 ROBERT DUBOTS p Pare nostre gue estàu en lo Cel. II, 2 59. Passà ma jovenmt; sobre ma testa. II, 308. Passan les nits de dolor. III, 383. Passant pêl pradell. II, 287. Pasroreta gue pêl prar. VII, 321. Pêl Calvari amunt. I, 126. Pêl molinet ja sento rotllarse la cadena. I, ro7. Pêls camps de la Judea. VII, r46. Pensa, ànima mia. VU, 479 . Pensa en ben obrar. III, 490; VII, 453. Pensant ab vostres martyris. II, JO I. Per amarguissim plat de llentfes. II, 319. Per brodar lo vostre nom. II, 285. Per ceptre d'un rey. VII, 332. Per copsar una gota de rosada. III, 383. Per cristià y per devot. VII, 404. Per ensenyar-nos d'estirnar. VII, 224 . Pcr entre les branques. I, ror. Per esborrar mos agravis. III, 294. Per espargirme al front rosades perles. I, 149. Per fiorir, oh puliol. II, 3 38. Per hoot baxa 'l Llobregat. IV, p6. Per l'ànima, florir es estimar. II, 264Per l'axerit infant de la masia. I, 199. Perla set que jo tenia. II, 278 . Per les riberes del Gave . I, r r 6. Per més llarga que la trobes. IlI, 401. Per nostre Senyor - los xichs s611 los grans. II, 198. Per pujar a una alta serra. III, 336. Per què a les folles d'eura esmaragdines. I, 252. Per què, castell ciclè>picb, montanya catalana. I, 439. BlBLIOGRAPlllE DE VERDAGUER 553 Per què Déu ha creat los puigs de marbre. I, 445 ; IV, 436. Per què '] Déu de la pau permet la guerra? I, 250. è Per què m'heu fet tan petit. II, 286. ë Per què té forma de sol. II, 178. Per qui del m6n se desterra. Il, 187. Per qui ré l' Amor al Cel. II, 2 5 5. Per robar sa dolça mel. II, 3or . Per seguir al bon Jesùs. III, 393. l Per terrejar en lo m6n. III, 375. Per tot los dits de Nostra Mare escriuen. VII, 355. Per tu jo he mort y vullch tornarhi. Il, 295; Ill, 292. Per un cami sembrat de creus. II, 196; Ill, 302. Per un forat tenebr6s. I, 324. Per un regne que Luter. II, 66. Per veure bé Catalunya. I, 288; IV, 438. Per vostres mans sagrades. I, 319. Perque f6s de la mar Barcino filla. II, r 26. Perque je!>Ùs ha plorat. III, 384. Perque jo no hi puch segar. II, 322. Perque miro les estrelles. I, 1p. Plora Jesucrist. II, 199; Ill, 289 . Plorau poetes de la patria 1111a. IV, 341. Pobre entràu en mon pit corn al Estable. VII, 208. I Pobre J esùs ! ~ qui canta vostra gloria ? Il, 201. Pobre portas lo vestit. VU, 204. Pobre viola ! - l'homet calciga. II, I 92. Poeta misticb . VI, 436. Portl corona de dotze ermites. I, 397. Posant les mans en la sagrada feyna. IV, 2 56. Prenèu Jesüs, lo méu cor. II, 283 . Pretenent ser esposos de Maria. VII, 402 . Prop d'hont Puigmal, altissim cloquer de nosrra terra. IV, 3 39. Prop del riu. Il, 294. Prou en Orient cercareu lo martyri. Il, 41+ �554 ROBERT DUBOIS Provi tes aygues un dia. II, 245. Pugèm, fills de Maria. I, 385. Puix al cel portàu cor6na. VI, 409. Puix al remat pexèu. VI, 406. Puix j ay ! se t'emmena. VII, 471. · Puix del Cor de Jesucrist. Il, 243. Puix dels sants sou breviari . III, 297. Puix enemichs sôn. VII, 5 11. Puix es breviari. VII, 487. Puix es del diable. VII, 437. Puix floriu corn una rosa. I, 430. Puix honravau nit y dia. VI, 37 5. Puix Jesùs vos acompanya. II, 462. Puix la mida de ma Crèu. III, 388. Puix la vida vola. III, 497 ; VII, 46 3. Puix lo Cel vos ha enviat. III, 4 55 ; IV, 400. Puix no hi ha agonia. VII, 489. Puix s6 ferre fret. III, 325. Puix s6u, Pastoreta. III, 441; VII, 369. Puix un tancar y obrir d'ulls. III, 379. Purissim Este!. VII, 519. Q Quan a l'hora roenta del mirg-dia. VII, 189. Quan a la copa sagrada. II, 296. Quan a la Escola Pia. VI, 366. Quan a la falda't miro de Montjuich seguda. IV, 309. Quan a Olot jo l'aprenia. IV, 448. Quan a vostres plantes queya. II, 316. Quan ab un pèu en la barca. I, 405. Quan al home vol criar. II, 330. Quan al tribunal. VII, 449. Quan anavan los noys de Nazareth. VII, 193. BIBLIOGRAPHIE DE VERDAGUER Quan contcmplo la vostra fesomia. II, 204Quan de la Crèu sagrada. VII, 340. Quan del grà d'or l'espiga es plena. II, 24 7. Quan del sol pert la claror. Il, 25 I. Quan Déu te clava a la Crèu. III, 382. Quan devalla del cel lo bon Jesùs. VII, r76. Quan dexe'l sol d'escalfar. II, 320. Quan eclipsantse lo sol. III, 300. Quan en son carre flamejant Elles. VII, 226. Quan encara les aygues no sabia. II, 184. Quan entre penes te veus. III, 375. Quan ja de la terra . II, 22 I ; VII, 343. Quau Jesùs lo Fill de Déu. III, 397. Quan Jesùs morî. VII, 25 1. Quan Jesùs torna d'Egypte. III, 174. Quan jo anava perla mar. VII, 48. Quan jo era xich, feya castells enlayre. I, 220. Quan jo era xich, ma crèu era petita. II, 302; Ill, 402. Quan l'àliga francesa del m6n ja ensenyorida. 1, 376. Quan l'ànima exposas. VII, 461. Quan la mare de Déu pujà a la gloria. VII, 41 T. Quan la mort nos crida. VII, 447. Quan les floretes riuen. I, 407. Quan les folles dels arbres. VII, 26. Quan les primeres plantes s'adornaren. Il, 452. Quan lo sol surt a la serra/ badan son càlzer les flors. I, ro3. Quan lo sol surt a la serra, / la poncella del jardî. II, 62. Quan los juheus lo trobaren. III, 259. Quan los lliris del jardi. VII, 237. Quan m'agenollo - vora l'altar. II, 190. Quan m'apartava de Vos. III, 382. Quan Maria eus. I, I 5 6. Quan miro la vostra Crèu. III, 403. Quan ploro agenollat à vostres peus. II, 3 l 7. 555 �ROBERT DUBOIS Quan posaren en mon front. III, 281. Quan se pateix per Jesus / lo goig segueix a la pena. III, 380. Quan se pateix per Jesus / totes les penes son dolces. III, 377. Quan son vas d'alabastre Magdalena. II, 49. Quan vegé lo bon J esus. II, I 3. Quan veig encendre en la nit bruma. II, 29 r. Quan veniu a dar conhort. Il, 209: Quan vens de combregar. VII, 144. Quan veu l'aurora que brilla. II, 298. Quan Vos no'n s6u donador. II, 310. Quant or puch guanyar. III, 488. Que bé s'està ab Vos aqui. II, 293. i Que bé s~està, Jesùs, en vostres tabernacles. II, 238. Que dolça es ta essencia. I, 42 3. Què es aqueix rîu d'estrelles .. VII, 28. <Què es la rah6 del home ? Una llenterna. II, 26 5. <Què es ma dolça amor? II, 328. Que espigues té'[ camp. II, 224. Que hermosa n'es la terra. I, 417. Què hi portas, Nazareth, aqui a la falda. III, 170. QueJesus fill del Altissim. II, r74Què li dîu al mati lo rossinyol a l'alba. VII, 60. Què 'ls diuen a les roses les abelles. I, 105. i Que llarga trobo - jo l'hivernada ! III, 403. Que n'es de blanca. II, 268. i Que n'està 'I méu co·r de trist. II, 330. Que n'hi ha d'ulls envenats. II, 336. Que rosada, que vermella. VI, 42 3. Què t'he fet? Jesus te crida. III, 42 5< Què t'he fet, oh vinya impura. III, 42 5. i Que trista es aquesta vall. 111, 402. Que tristes s6u, presons de Moreria. III, 459. Què us darà la terra, Espos. I, I4I. Qui a Déu estima - sempre es felîç. II, 2 Ir. BIBLIOGRAPHIE DE VERDAGUER Qui al Cel s'encamina. VII, 530. Qui compta 'ls astres del cel. III, 393. Qui d'eix m6n aborrible se desterra. III, 268. Qui del Cel pretinga. VII, 427. <Qui es aquexa que puja y s'arbora. II, 272. Qui es eix que acaba de nàxer. II, 355 Qui espera los goigs eterns. III, 387. Qui ha fet tot lo mal. III, 484 ; VII, 4 3 3<Qui me la clona, oh Espos. II, :p8. Qui més hi fà, més hi pert. II, 210. Qui no cerca pas la Crèu. III, 384. Qui no tastaràles penes. II, 253; III, 188. Qui pert l'innocencia. VII, 467. Qui plora sos mals aumenta. III, 387. i Qui pogués fer una gran voladuria. II, 310. <Qui son exos cavallers. I, 3 35. Qui sou, oh Vos, que trobo sempre seguint mos passos. III, 370. Qui-t baxà dt l'alta cima. VII, 126. - <Qui t'ensenya exes cançons. II, 288. Qui té a Jesus en lo cor. III, 396. Qui tinga set que vinga aci y que bcga. II, 27. Qui viu sens dolçor. III, 387. Qui vol veure viu a Balmes. IV, 444. Quin dolor tan fora mida. III, 299. <Quin llit voliau, - Jesus amable. II, 341. Quin martyri tan crudel. VII, 69. i Quin mirall hi s6 trobat. III, 376. <Quin monjo dèu predicar. I, 330. Quin· somni tingué exa nit. I, 22. Quin somni tingui tan dolç. VI, 39 I. Quin terr.1trèmol de guerra ! II, 28 3Quina amargô 'ns bas dexat. I, 86. - <Quina ayga dus, Font Segellada? II, 336. Qui na casa tan hermosa. III, 175 . �ROBERT DUBOIS Quina perla sé ! VII, 14 3. Quina roda tan ampla y grandiosa. VII, 46. R Rebèu exa corona. I, 430. Recolzim en una canya. III, 32 3. Reys de Caldea, pastors de Judea. III, 3 6. Ribera del Ter. III, 446. Riereta avall baxava una rosa. I, 2 3 3. Rihent vaig arribarhi. I, 427. Rosa d'Abril, Morena de la serra. I, 383. Rosada divina. I, roo. Roseta's deya l'esposa. I, 258. Rossa n'es la ginestayre. I, 261 ; VII, 274. Rossinyol de la boscuria. VI, 39 5. Rossinyolet que ploras. I, 69. Rossinyols del méu pahis. IV, 442. s S'acaba 'l divendres sant. III; 344S'esborra 'l cami -, isser. II, 2 I 6. Sabés hont venen calumnies. III, 386. Sabesseu lo català. IV, 337. Sabèu per què les estrelles. U, 278. Sabis del m6n, donchs per què us diuen sabis. II, 202. Sagrari dd Altissim. III, 448. Salve, Maria. I, 400. Salve, Regina. I, 400. Sanch de Jesùs, des de la Crèu. II, 257. Sant Domingo de Guzman. II, 42. Sant Francesch ja té onze apostais. II, 373. Santa Angela de Foligno. III, 3 18. , BIBLIOGRAPHIE DE VERDAGUER anta Clara està en son llit. II, 4-1-5 • Santa Cova, santa Cava. II, 178. Sé que es radar per lo golf. III, 37 5. Segons lo pecat. VII, -1-39· Seguiré a mon Estimat. II, 200. Sense passar pêl gresol. III, 399. Sense qui m'arnpare. VII, -1-55Sent a Espanya un càntich dolç. II, 57. Sentint colps de martell dalt del Calvari. II, 203. Sentint trucar en mon cor. II, 177. j Senyor, vos m'heu enganyat. II, 303. Ses galtes hermoses. III, 41 I ; III, 25. Si a tos peus la terra 's bada. III, 501. Si ahans guardava ovelles. I, 89. Si al Cel Yolèm anar. III, -1-76 ; VII, 532. Si al Cel volèu pu jar. III, 29 r. Si al ce! vos ne tornàu. VII, 39 3. Si d'un àngel vols la guia. II, 245. Si de l'arrel de la pena. III, 3 r 2. ide la victoria. VII, 503. Si del foch etern. VII, 435. Si estimas la Crèu. III, 394. i Jestis nos ha empobrit. III, 389. Si jo f6s un aucellet. I, 388. Si jo pogués estalviarvos penes. II, 189. Si jo tingués del rossinyol. II, 277. Si l'ànima perdo. III, 488; VII, 429. Si 1Cel es lo prèu. VII, 48 3. Si l'ermita del Mont no té campana. IV, 385. Si l'or verge's dàs esment. III, 393. Si '1 vîure t'es dolç. III, 419; VII, 509. Si llenças la Crèu. III, 399. i'm donasseu la penyora. II, 3 r3; VII, 2or. Si'm tira creuetes. III, 350. 559 �560 ROBEIU' DUBOIS Si mon cor f6s un palà.u. Il, 3 37. Si n'era un pobre ermità. VII, 407 . - Si seguiu, filles, mos passas. III, .-1-39; VII, 377 · Si't sembla amarch lo ben viure. II, 286. Si-t vols assentar. VII, 501 . Si ton cor poguès obrir. Il, 32 I. c: Si tot f6s aqui alegria. III, 402. Si una tenda vol. III, 158. Si us compara a la aurora que esgrana. II, 228. Si volèu valents de mena. N, 327 . Si vols bé morî. III, 492. Si vols pu jar a la gloria. III, 311. i Si vostre Co:· se m'obris. Il, 248. Siau nostre escut. Ill, 431; VII, 361. S6 fil! del Noguera. IV, 346. Sobre 'l pit del bon Jesùs. II, 50. Sobre'l pit del Salvador, / Benjami Jel séu amor. II, 71. Sobre'l pit del Salvador, / corn trobador sobre !'harpa. Il, 95Sol ab Jesùs, oh dolça companyia . II, 191. Sola cantant y sonant. I, 44. Soler vos hi estàu a dintre 'l Sagrari. II, 231. Sols per donarvos la llum . . II, 179. Solûn se deya per nom. VII, 395. Somnia veure a Adàm, no'l de la terra. II, I 5. Somreya morint. Il, 225. S6n les cimes acimades. II, I 97. S6n les ones del Mar Roig. III, 400. S6n les perles del cd blau. III, 320. Son llenguatges del desterro. VII, 36. Son, oh J esùs, les cruciferes. Ill, 378. Sortint de Salèm. Ill, 205. Sortint de vostra capella. II, 264Sortint, oh Eucaristîa . Il, 169. Sortiré del tabernacle. II, 204- BIBLIOGRAPHIE DE VERDAGUER Sota aquell portal humil. III, 128. Sota l'ala del cel blava y immensa. VII, 75. Sara. l'arbre sant. I, ro8. Sota mos pe1.1s la terra a vuy tombeja. Il, 195. S6ta una branca. VI, 388. Sovint, sovint solo pèrdrem. l, 50. Suara, a tall de poncella. II, 309 . Sufrir per Vos es de lley. II, 294Surt ab son Infant. III, 230. Surt de Gènova 'I Colom . I, 292 . T També plora 'l comte Jofrc. I, 3 51. Tan bon punt el] ha expirat. II, 434. Tan <lepressa caminava. III, 322. Té <lues palmes veres. III, 201. Te hermoseja qui'r rualdiu . III, 386. Té lo Cel un vestit blau. Il, 266. Te pion del ce! o't brota <le la terra. IV, 320. Tendre, gemat, fresquivol. VII, 3 I 5. Tenen forma de Crèu. III, 327. Terebinte, vostres rames. Il, 229. Texim per Maria. I, 420. Tinch en mon cor una pobra cadira. II, 168. Ton front abaxa coronat d'estrelles. VII~ r2t. Toma a bon cami. VII, 505. Torna a solcb l'ayga del Nil. III, I 34. Tot arbre fruyter de l'horta. VII, 174. Tot dorm en la masia nit enlia. II, 121. Tot entrant al monument. I, 121. Tor fent sa via - cap al Calvari. III, 319 . Tot fugint Maria a Egîpte. I, 29. Tot ho ha perdut. I, 197. REVCE 1/ISPAA/Ql,-E . B 36 �ROBERT DUBOIS BIBLIOGRAPHIE DE VERDAGUER Tot ho he perdut, lo nom y la riquesa. III, 303. Tot orant passa los dies. I, 338. Tot pensant ab qui es ma gloria. II, 306. Tot plorant lo bon Jesùs. II, 237. Tot plorant vingui a la vida. III, 377· Tot sol dintre'l sagrari jo sospiro. I, 237. Tota la llum vé del sol. II, 429. Tota sola, donchs, bont va. Il, 124. Totes les penes son dolces. III, 400. Tothom cerca la llum d'una lluherna. II, 284. Tots los carrers s6n d'amargura. II, 202. Tots s611 invitats. VII, 515. Transformat en harpa dolça. II, 47 · Tria-1 roure més bell de tes campanyes. VI, 420. Tristes lo rn6n; la vida transitoria. I, 274. Trobador de Catalunya. VII, 5I. . Trobi un aucell arrupit. II~ 332. Trucàu y se us obrirà. Il, 24 5. Tu que culls rahims de fel. II, 292. Tu que enfangat en l'humana desferra. II, 218. Tu que'm vens del pit sagrat. Il, 319Tu que sant desitjas ser. III, 39r. Tu que vas per lo verger. III, 277. u Ulis del bon Jesùs, miràume. II, 33 3· Un Angel del Altîssim. III, 466. Un Angelet .he vist. Il, 297. Un anyellet arribà a l'Establia. III, 44· Un arbre hi ha al Cayre. II, 29. Un aucell de sa niuada. Il, 396. Un cap al vespre de Desembre, a la bora. Un cistell de flors. Ill, 141. III, r 5• Un desitg nit y dia m'esperona. VII, 82. Un dexeble de Francesch. II, 450. Un dia a la mort diguf. II, 243. Un dia a punta d'alba, sorrint de les matines. IV, 422. Un dia al verger Maria s'esqueya. VII, 307. Un dia d'Abril. III, 295. Un dia del méu pare en la vessana. II, 306. Un dia ja ploravaavergonyida. II, 257. Un dia'! bon Jesùs. III, 148. Un dia mos pensarnents. II, 3 r8. Un <lia somnii que era una abella. VII, 17. Un jove marxant d'Assis. IL 369. Un mati jo l'.he perdut. VII, 220. Un monjo del Cister en son cenobi. VII, 414. Un niu de rossinyols en 111011 cor nia. II, 210. Un pagès hi hà al Empordà. I, 214 . Un penitent del desert / trobà un home que rnoria. I, 85. Un penitent del desert / va perdre a Jesüs un dia. VII, 400. Un pobret penitent. Vll, 412. Un roser blanch floreix. Ill, 324. Un vol d'infantons. III, 188. Un vol de colom.etes. VII, 233. Una amorosa estrella. VII, 127. Una ànima que plora sens consol. II, 185. Una ànima sens amors. II, 325. Una barca de Marsella. IV, 420. Una crèu m'ha regalada. II, 261. Una crèu rn'beu dada avuy. III, 40 5. Una estella <le la Crèu. III, 38r. U na nina de vuyt anys, - plora que plora. I, 2 3 5. Una sarment hi ha al Calvari. II, 237. Una ,·egada era un rey. IV, 343. U na viu<la Yella y po bra. I, 2 3I. Una volta al any. III, 143. �ROBERT DUBOIS Una volta nasquereu a Bethlèm. II, I 73 · Uns diuen que s6 baxat. III, 285. V Va l'Apôstol del amor. II, 398. Vé del patir. III, 375. Vell que t'ajups cap a terra. III, 338. Venim d'Orient. III, 34. Veniu a ma presencia. l, 248; ill, 474; VII, 528. Venfo a Mi, mon Cor a tots convida. III, 479. Veniu a mi tots, - nos diu la Crèu Santa. III, 326. Venîu, Jesus, a cremar. II, 321. Veniu, pecadors. III, 43 I ; VII, 361. Veniu Sol, Solet. II, 334. Venluhi tots al cel d'aquesta vida. II, 248. Verge del Roure. VI, 388. Verge, en vostre Desposori. II, 324. Verge Marîa, Estrella dela mar. II, 223. Vèrgens y sants, oh cignes que volàu. VII, 50. Vés, ad6bala, Francesch. II, 375. Veu la hidra del infetn. Il, 64. Veu passar la figura macilenta. II, 36. Veu passar sauta Teresa. Il, 60. Veubi un novici fervent. II, 72. Veùsela aqui; miràu sa gegantina altura. IV, 170. Veyèume aqui, Senyor, a vostres plantes. III, 356. Vich, oh reyna de Mc,ntanya. IV, 4r 1. Vina a penitencia. VII, 52 3. Vina, 'm diuen sovint veus de sirena. Il, 200. Visca Lle6, Vicari del Altissim ! III, 5 I 7. Viudeta-s queda Valencia. VI, 373. Volàu, mos somnis, volàu. Il, 177. ~ Volèu anar a la Gloria? III, 401. BIBLIOGRAPHIE DE VERDAGUER Volguereu fer testament. II, 233. l Vols cullir en l'alegria? III, 376. <'. Vols ser feliç ? III, 399. Voltada de raigs d'or. VII, 209. Voltada de turons, c berta y franca. IV, 35 r. Vora la rnar de Lusitania, un dia. IV, 19. Vara la mar hi ha un samuari. II, 2 r 1. Vora un riuet de Judea. I, 64. Vara voreta'l riu . I, 128. Vos al rossinyol divi. VII, 123. Vos cri da à la Gloria. III, 4 53. Vos en Canà de Galilea un dia. VII, 232. Vos faig del enamorat. II, 274. Vos l'ensarmenta un roser de garlanda. II, 2 30. Vos sou del Sant Esperit. II, 227. Vos sou la divina Ayrola. II, 224. Vos sou la Terra sagrada. II, 229. Vos sou lo sagrat Navili. II, 219. Vos tornaré dexar, Jesus dokissim? I, 265. Vostra amor es sense mida. Ir, 172. Vostra corona d'espines. II, 188. Vostre blau mantell es gran. IY, 308. l Vostres abelles hont son volades. V, 34. Vosrres braços, oh Maria. II, 172. Vullch sembrar bons pensaments. Il, 169. y Y veu un àngel que \'Ola. II, 44. �LA DEMEUllE DE LASTA 'OSA UNE DESCRIPTION l ÉDITE DE LA DEMEURE DE DON VI NCENC IO JUAN DE LAST A N O SA li y a deux ans, mon attention avait été retenue par les manuscrits 187271s et 187274s de la Biblioteca Nacional de Madrid, relatifs à la demeure que Don Vinccncio Juan de Last::mosa (1607-1684) possédait à Huesca. On y trouve en effet des renseignements très curieux sur le palais dont ce Mécène aragonais, protecteur des lettres et des arts, avait, à force de patience et d'argent, fait un véritable musée que les étrangers mi::me venaient visiter. lncidcmmem, dans un article de la Revue ·des Pyré11ùs (T. XXIII, 1911) intitulé A,itiquaires d'a11frefois, j'avais eu l'occasion d'esquisser la physionomie de ce grand seigneur, qui mériterait d'être pris comme centre d'une étude où revivraient les Pelliccr, les Xiniénez de Urréa, les Andrés de Uztarroz, les comtes de Guimerâ et tant d'autres infatigables érudits aragonais, de la première moitié du xvu• siècle, dont les noms sont aujourd'hui tombés dans un injuste oubli. J'avais utilisé, pour cette esquisse, les notes prises dans le second de ces manuscrits. Le premier, intitulé 1'."arrariO!l ile loque le paso d Don Vi11re11te fua11 de Lastauosa ti 15 de Octubre del mio r662 ron 1111 Religioso docto y grabe, vient d'être publié par D. Ricardo del Arco 1 d'après une copie assez exacte faite par Latassa et conservée à la Bibliothèque de Huesca. Le second est incomplet, et sans titre, car le début a disparu : ce n'est qu'un fragment d'un ouvrage beaucoup plus considérable, puisqu'il n'en reste que les pages 102-149, cette dernière fi11issant au milieu d'une phrase. La pagination semble contemporaine du manuscrit. Nous ne pouvons que conjecturer ce que contenaient les feuillets qui nous manquent : c'était, selon toute apparence, la description de l'extérieur du palais, puis des appartements du rez-de-chaussée et du premier étage. La 1. En partie dans un opuscule intitulé : Do,z Vi11wzcio ]11a11 dt Lasta11osa. Ap1111tes bio-bibliogrâjfros (Huesca, 1911), et surtout dans un second: Mâs datos sobre D. Vinu11cio ]11a11 de Lastanosa (Huesra, 1912). ll n'y manque qu'une courte liste d'ouvrages de la Bibliothèque de Lastanosa. J'ai pu me rendre compte à Madrid de l'exactitude de la copie de Latassa. page I02 commence en effet au milieu de la description de la 24• pièce du premier étage; puis on passe à la 25• et dernière, et l'~uteur invite ses lecteurs à le suivre au second étage où se trouvaient la Bibl iotbêque et la Collrctio11 d',1r111es dont il commence la visite sous le titre de : La Ires cosas mas Si11uulares que tienne la Casa de Lasta11osa eu este atio de 1639. I1 est intéressant de :emarquer que ce document nous donne une date précise, et qu'il est antérieur de 2 3 ans à la .l\',1rrncio11. La troisième des merveilles du palais est l'étang, qui égayait les jardins, et par lequel finit l'énumération Jcs splendeurs de la maison; iI semble peu probable en effet qu'il manque un grand nombre de feuillets après la page 149, car cette dernière finit au milieu de la liste des visiteurs éminents qui avaient visité le palais et des appré.ciations flatteuses dans lesquelles ils résumaient leur impression . Le manuscrit .:st complété par un certain nombre de plans qui permettent de se rendre i;nieux compte de la disposition des bâtiments et des jardins. Il ressort des expressions de l'auteur que cc document a été dicté par Lastanosa qui y parle de lui-même à la première personne : mais il a été recopié. par un scribe ignorant, qui ne comprenait pas ce qu'il écri,•ait et dont toute l'attention semble avoir été absorbée par le soin qu' il mettait à tracer ks lettres; le style est fort incorrect, les phrases donnent la sensation d'avoir été improvisées; elles sont surchargées d'incidentes et d't!pithétes qui les rendent souvent difficiles à comprendre. Quoi qu' il en soit, la physionomie de Lastanosa avec sa bonhomie ~ouriante, sa courtoisie, sou désir d'obliger, s'y manifeste à d1aque page, soit qu'il se plaise à rappeler les merveilles de. son« Palais du rire », de cette « pien de hurlas » où l'on devait s'attarder Yolonti crs, soit qu'il explique que sa demeure est accessible à tous, ou qu'il s'offre à fournir des graines rares aux amateurs de fleurs; â chaque ligne éclate la naïve satisfaction qu'il éprouve devant toutes ces belles choses qu'il ne se lasse pas de qualifier de très belles, « hermosas, mui bcrmosas, hcrmosisimas, » et dont il ne néglige pas de rappeler la valeur marchande, moins par vanité que pour les faire plus eltactement apprécier. « Ces instniments de physique ont coùté tant à Paris; cette statue fut payée td prix à Naples, ce tableau telle somme à Venise. » Cette description, si pcll littéraire, offre un grand intérêt pour l'histoire d'un livre fameux, le Criticou de Baltasar Gracian. Ce dernier fut en \ effet !'écrivain favori de Lastanosa, qui poussa l'adrniration jusqu'à publier à ses frais la plupart des œuvres du célèbre Jésuite. En récompense, Gracian consacre un des chapitres du Critico1z à la description des Prodiges de Salastano (anagramme de Lastauosa) •. On y retrouve, sous forme allégorique, toutes les I. Critiro11 . Parte II, Crisi 11. �568 LA DEMEURE DE LASTANOSA merveilles de la fameuse demeure. Si, en entrant dans le jardin, Critilo et Andrenio entendent siffler le fabuleux basilic, c'est que Lastauosa se flattait de posséder un specimen empaillé de cet animal et que, dans une des salles de son musée, des automates r.:présent:mt des fauves ou des reptiles faisaient entendre leurs cris ou leurs sifflements. On en pourrait citer dix autres exemples ; je me contenterai de signaler le rapprochement qui s'impose entre !'Ile a~ l'I111111ortalité décrite à la fin du roman, et l'ilot qui se dressait au milieu de l'Etang dom Lastanosa se montre si fier. Cela seul suffirait à rendre intéressant ce manuscrit · mais on v trouve encore nùlle détails précieux : ici une lettre inédite de Ch;rles-Quin~, lit, une autre de Don Bernardino Fcrnande1. de Velasco, connétable de Castille; plus loin c'est l'attestation d'un séjour de Gaston d'Orléans à Huesca, de deux séjours de Philippe IV à son retour de Catalogne, etc ... sans compter quelques problèmes que soulève le texte : par exemple quel est ce Michcl-Angelin qui est au service de Lastanosa comme sculpteur? que sont devenues ses œuvres ? que faut-il entendre par ces statues de « cha,·ol • » dont il était l'auteur? Je laisse aux archtlologues le soin de répondre à ces questions et de faire revivre la somptueuse demeure de Lastanosa : il me suffit, pour le moment, d'avoir fait connaitre cc curieux document et d'en assurer la conservation. En le reproduisant j'ai respecté l'orthographe incorrecte du copiste ; mais j'ai dû créer entièrement la ponctuation, sans me flatter toutefois d'avoir toujours réussi à couper les phrases où elles doivent l'être. A. COSTER . mas; en la puerta que entra desde esta a la quinta Pieza del mediod ia tiene Pilastras de Marmol so las quab ay dos Chicos de lo mismo, sobre una basa, asidos a un sarmieoto que tiene hubas; en el otro lado, en otra basa ay otro, y, en un manto que le cuelga del hombro, lleua tres perrillos, y la madre de los Perrillos Io ase del manto : figura Admirable. E □ trase por esta Puerta a la quinta Pieza de esta Abitacion y vigesima quinta de este primer Suelo. MANUSCRIT 18727 4S DE LA BrnLIOTECA NACIOK.,L DE MADRID. " tiene esta Pieza una Colgadura de flandcs mui Rica con l!rmosos colores; los balcones tienen quatro cristales quat ro palmos de altos y zinco de largos, piotados en ellos bellisimos Paises para que, como las demas bentanas, tengan ese adorno 1. L'expression de " carton dado de charol n semble indiquer que, par d1arol, Lastanosa désigne un vernis. Le mot cb,1rol ne se trouve pas dans Covarrubias. Piez.a 25 Esta es la ultima que corre por las que van por la parte de fuera de la Torre de He[r lcules azia el mediodia: es hermosisima y es la que ocupan las seüoras de esta casa. Tiene tres balcones al mediodia, muy dorades y hermosos, con segundas Puertas de chrisrales, como los demas, y porque, aunque es grande, este mas abrigada. Esta Pie::za lkgo a merezer la ocupara en el tiempo que adelaote se dira el Sr Rey Phelipe quarto. Es su colgadura de darnascos berdes, con galones y franxas de oro; quatro mesas de piedra mui Rica, con mur ricos escaparates sobre ellas, y doze laminas mui ricas de diferentes santos. A la parte del Pooieote tiene la Pieza un Retrete o tocador, todo hecho de Cbarol y espexos, todo el con una fuente en medio, de marmot blanquisimo, Iaspe roxo y verde : en la Pila que se mantiene el agua para labarse, un conduto, para que no acaue de llenarse de agua que con un larro becha una hermosa Ninfa que esta sobre la fuente; ay un tocador muy rico; adelante se ablara de el ; tiene Puerca este retrete para una galeria que cruza roda la casa por la Parte del Poniente, con vista a los Jardines por sobre las casas de los lardineros, Pintada toda ella de Monterias mui bien hechas : al cauo de ella ay otra ermosa foente que con muchos adornos sale de la pared y coxc el agua una Pila de !aspe mui hermosa. Aqui acauan las veinte y seis piezas que ocupao el Primer suelo de esta Casa que agrada mucha a Naturales y estranxeros, lo primera por las vistas Ue las ventanas, los muchos ador- �LA DEMEURE DE LASTANOSA nos de colgaduras y Pinturas, fuentes, mesas tambien, de varias y bien brunidas pied ras; pero lo que mas a gustado a muchos es. la pieza. de las hurlas, donde ai tanto que ver en figuras de hombres, fieras y Aves, que a sido para todos imbencion nuena . Los Estra(n]xeros dizen prueuan mal las fuentes por los quartos, porque bienen las paredes padeciendo desde los fundamentos, por vien hechos que èSten los cooductos, y que de muchos Palacios 1 las an quita<lo porque arruinauan las Paredes. En la otra plana se seiialara las lineas que se tiraron para hazer los fundamentos, para que los inteligente[s] bean lo que es : son solo las lineas de la media. Casa. Las dos mitades de la casa forman esta figura. Pues hauemos dado fin a lo que hai en el primer suelo subiremos al segundo, que auu ay mas que admirar, y ablarc de Libros y Armas, los dos Polos del Mundo. 1,;,.,, ulo}m lt 'l ~ 0 Jcm/1~ 0,,,1,.,., :funJa 3a. ~ '\ 0 ~ ~ ~ ....E , Las tres Cosas mas Singulares que tiene la Casa de Lastauosa m esteaiîo de 16;9. (j) ,_;> ::; 11,,, LA LlBRERlA tiene zinco Piezas grandes, tres al Poniente y dos al mediodia, y ai en ellas 80 estantes, todosc on puertas de Lienzos pintados de fabulas, cerrados con llaue porque esten los libros guardados del polrn, y de algunos Curiosos que los quieren sin gastar las Sumas que me han Costa.do. Hazen, cerrados, una vista Hermosa por ser las pinturas de gran mano, y a mas tienen los Estantes encima estatuas de algunos Hombres Sabios, y entre una y otra dos Iarras de bucaro, Seis palmos de al tas, con flores artificiales; y detras de esto, porque no se \"ea el blanco de la pared, un lienzo·de lo ancho del estante hasta llegar arriva, pintadas en ellos las fachadas de las mexores Ciudades de la Europa; y sobre los estantes de Matematicas y Astrologia los Instrnmentos de estas :Yut>fo 7, G 1-o~~, de. E,rw./41 .,) w ?.ml.i or11n1 Plan d'une moitié de la demeure de Lastaoosa. L~ �LA DEMEURE DE LAST AN OSA 573 manuescritos en los mismos Idiomas, doctissin:os, noticiosos, antiquisimos y Pasmosos. Aora, Se hara Relacion par maior de las E[s]tatuas, Piedras, Medallas, y otras curiosidades que adornan la libreria y piezas Colaterales. Pieza r•. Tiene la Ymagen de Ch[rJisto, estatura naturel, de quien nos biene la Ciencia y todos los bienes ; a sus dos Lados su Madre y San Juan (todos hechos en Napoles, que todo esta dicho) Adbogados y Sen.ores mios de cuanto Posseo y de todo lo ½riado. Esta tambien San Bicente (la misma estatura) hecho por la misma mano, homa de Huesca su Gloriosisima Patria, Patron y Seùor mio por siempre. j Amen! Costaron en apoles I 24 doblones. Estaltws mas Peque,ïas. (Jw"'- L ..) '()rl(,nJ Plan des deux moiti~s de la demeure de Lastanosa. faculrndes, que me costaron en Paris I 58 doblones. Tienen los 80 e.c;cantes 6698 Cuerpos de libros (los mas de folio Patente, enquadernacion de Paris) de todas facultades, y historicos, en latin, Castellano, frances, Italiano y Griego, con muchas Papeles Huna Alazena Con dos Cristales ( 6 palmas de largos, 5 de anchos) que, puestos a lo largo hazen la Vrna de 12 palmas, y dentro toda la Pasion de Christo, de figuras de zera deuotissimas; dos laminas de bronce con sus zeraduras sobre los cristales: en la una pintada la Ascension, y en la otra la Adoracion. Esta Vrna ocupa su puesto a los Pies de Christo, Maria y San Inan sobre uno mesa de Lapizlazu li, con dos Dragon es de Alambre dorados a fuego y esmaltados; con 1o que, debax.o de un dose] de terciopelo carnesi con frangas de oro, se halla ocupado aquel puesto desde el pauimento al techo: alajas clignas del Pa[la ]cio Real : assi lo digeron Siempre todos los que las han visto; y yo estoi pronto a seruir a mi Rei con· esto y todo lo demas que poseo. Esta a una esquina San large, a Cauallo, sobre la Sierpe; tan hermoso el Santo y el Cauallo coma temible ella: hechos de Mazoneria, dorados y estofados, figuras de estatura natural estas y las que se sigen. A la otra San Tiago, pisando su Cauallo las cauezas coronadas de unos Moros que !>Îrven de basa a su Cauallo. �LA DEMEURE DE LASTANOSA A la otra San Martin partiendo la Capa con Christo, y a la otra San Lorenzo, a cauallo, con dalmatica, atropellando Infieles; todas de un tamaîio, doradas y estofadas. Los t>stantes de esta pieza estan las puertas pintadas de historias Sagradas, correspondientes a los demas adornos y a los libros que en los estantes hay; porque Dios merece el Primer Lugar. de tres formas a q uien se mira en cl a difcrentes distancias; porque, a la regular, haze una Cara grande pero hermosa; un paso mas apartado, mayor y mui fea; y otro paso mas lexos mui peq~eJÎa, linda y Caueza abaxo; cogiendolo en la mano, y pon1endola al Sol, imbiando el reflexo a cierso distancia, encien:ie toda Cosa Combustible, y, de noche, Puesta una vela delante de el embia el reflexo tan lexos que a mas de 50 pasos, se leera un pape!. Ay otro espexo prolongado que, mirado perpinticularmente (sic) haze una Carn etica, seca, larga, y Mazilenta; colgado el cristal por la parte que es prolongado, la haze al contrario, porque la haze redonda, llena y de buena color; seis pasos apartados de el colgado par esta parte, un Enano perfectisirno; colgado por la parte que es largo, a menos distancia de tres pa~os haze una figura tan estrecha y larga que es un traslado de Don Quixote. Ay otro en Obalo perfecto, que, mirado a distancia proporcionada haze uoa cara vieu con una zicatriz en el carillo drecho, grandissima nariz, con una barruga en ella, y gra~ Cauallcte, el ojo hizquierdo torzido, puesto de arriva abaxo, al contrario del otro ; y lo que peor llevan las Mugeres es unas rever[en Jdissimas barvas que las aca\'an de Hermosear; y, im pacientes de verse tan trocadas, pagan el metamorfosis con infini tas maldiciones, al que lo hizo, su avilidad, al que lo cornpro, y a mi porque lo tengo: este pi el de arriva, al Sol no embian ningun reflexo. Ay otro en Obalo prolongado con quatro zercillas a la circunferencia, porque, colgado en cada una de ellas, representa diferente figura. Puesto en la zercilla del un estremo prolonaado b l haze la cara en triangula en esta forma: la barua la una punta, los oxos y cexas en linea azia las otras dos pumas; puesto por el lado opuesto haze los Carillos con dos balsas, y la frente en puma, y si fea la una, tanto o mas la otra. Colgado en una de las otras dos cerzillas haze la nariz mui roma y rernangada acia la frente, la cara corta y ancha, los oxos 574 Piez.a 2•. Tiene las Estatuas sigientes: Hercules luchando con el Gigante de T(r]inacria, que son tres montes turnulo de su ~arandeza '· el mismo a orra esquina con la Ydra de Siete cauezas; el rnismo a otra, matando al Leon Nemeo; el mismo a _otra matando el Puerco de Calidonia, estaturas de 12 palmas de Carton dado de charol, tan terrible el por lo Valiente como espantables ellas par su fiereza, tan imitado el natural, que apenas pueden mirarse sin temor; y eran tales que me Merecieron la honrra de que me escriuiera una Cana el Sr Duque de Orleans, pidiendome los diseîios de estas y otras Esta tuas de las que auia en mi casa; su data en Paris a 4 deluniode r63r. Y Su Alteza me imbio dos Leones azecinados, de los maiores que tengo, coma se bera quando se hable de ellos. · ùts mas Pequ.eiias. Huna Vrna, 8 palmas de larga, 4 de alta, con sus dos Cristales; dentro el bano de Diana con sus Ninfas, de zera, figum, de media bara, roui Hermosas, en una bien imitada fuente con sus Penascos, Arboles y florestas; cosa en fin en que se esmero el Primor, mui agradable a la vista; sobre una mesa de laspe sobre dos Sirenas mui bien encarnadas y doradas; Sobre la Vrna el Dias Cupido, de Marmol blanquissimo, durmiendo sobre la aljaua. Hai tambien 4 espejos que me dio el Serenisimo Sr Duque de Orleans; ,iue el huno, Sin quitarlo de donde esta puesto, haze 575 �DE LAST AN OSA LA DEMEURE cuatro dedos de largos, dos tumores a las dos sienes, como los dos punos, que nos seruiran de alforxas debaxo las quixadas baxas de la opuesta cara. La Opuesta tiene lo dicho en la parte baxa de las quixadas, la voca grande, con gran cauallete la nariz, de forma que cubre, casi, la punta parte del ]abi.o ; los ox.os como los otros mui largos, las cexas lunto el pelo ; que todo haze una como se puede discurir de cara tambien pintada ; el lleua infinidad de maldiciones coni.o los otros, pero ellos estan roui luzidos. Dias los libre de Pi[eJdra, que hara mas estrago que las maldiciones ; ellos son mas di:;graciados que los que siempre mienten. Ay tambien otra alazena, quatro palmas y medio de alta y 8 de larga, y cubiertas las paredes de ella de espexos mui unidos; el p;mimento es un Iardin mui Hernioso, con mucha variedad de florecillas, plantas, arboles y fuentes, y, a los dos rincones, dos penascos con dos pedazos de Mar : en el uno desnuda y encadenada Andromeda, que quiere comerla el Monstruo marino, y que la Libra Perseo en su cauallo alado ; al otro rincon Anxelica desnuda 1 y atada a otro penasco, para que otro Monstro Marino la comiera ; y Peleando Rugero con el, la quiere librar; y unas por su belleza, por la Valentia otras, la[s] otras por su fiereza, todas son est[at]uas primorosisimas, y, corna estas y la florida Ysla que abrazan los dos brazos de Mar, nos los repiten los espexos, haze todo una armonia que embelesa la vista. Esta alazena tiene por puertas dos laminas de Bronze, pintada en la una buna Batalla en que ban de vencida las Amazonas, y otra Batalla en la otra puerta, en que ban vencidas las tropas de Dar:io; y, Prisioneras la Muger y las hijas de Dario, las presentan los Soldados a Alexandra : la una y la otra de mucbo p[r]ecio. Sobre esta alazena, sentados en dos Penascos, Venus y Adonis de Charol, figuras de seis palmos bermosisimas : esta sobre una mesa de Iaspe, sobre dos Leones de mazoneria admirablemente hechos. 577 Hai una Arquimesa hecha de metal, con dos grifos que la sostienen ; en la tapa que es de una pi[ e]za, seis palmos y medio de larga, tres y medio de ancha ( es lamina del propio metal), pintada [sic] en ella el Robo de Proserpina ; a los dos lados, asidos a la arquimesa dos Satiros, de la estatura de hombres, y en las manos libres una Alabarda : son de charol; y de lo mismo el Rovo de Elena y destruccion de troya sobre ella, de figuras de tres palmos Hermosisimas; y dentro de la Arquimesa quatro mil ochocientas y noueinta y zinco monedas .de oro, grandes y pequenas, que, entre rodas, pesan dos arrobas veinte y seis libras, de muchas de los Emperadores Romanos y Griegos, seis Ydolos, de piedras no conocidas los quatro, y los dos el uno de porfido, el otro de serpentina, pero tan feos coma las al mas de los que les tributavan adoracion : lamentable Zegedad [sic] tener por Dioses figuras de animales. j La misericordia del Altissimo de a todos el verdadero conocimiento ! De estos y otros que tengo se dira adelante las formas, las naciones que los adoraron, por donde los tuve y quanto Costaron, las canas en los idiornas que estan, y deuaxo de cada una la traduction en el nuestro. Adviertese que en las piezas clichas, y las que estan por dezir, devaxo de las mas baxas tablas asta el Suelo esta lleno de casas curiosisirnas naturales y artificiales, criadas y hechas en las quatro partes de el Mundo, que, si se vbieran de relatar por menudo, hauia mucho que escriuir, y asi solo digo que de gueuds de Abestruz, otras Aves y Pescados, los ay tantos que pasan de doscientos, y [enJel mas pequeno cauen zinco libras de agua, y, en el que mas, <liez. Todos tienen las Cascaras fuertes, algunos mui blancas, otros no tanto, pero todos lisas que parecen ua piedra mui brunida ; la cascara mas delgada de ellos tiene el recio de un real de a ocho, el que mas, coma dos. Aez.a 3•. En esta pieza aprenden todos ·10s animales a espantar con sus REVUE HISPANIQUE. B �LA DEMEURE DE LASTANOSA bien j mitadas fierezas, y, con ciertos artificios, quai brama, quai ruxe y quai silva : agui ay Serpientes, Dragones, Leones, Leopardos, Grifos, Elefontes, Rinozerontes, Camellos, Panteras, Tigres, Osos, Labos, Cocodrillos, todo de Charol, dado el ve[r Juiz del color corespondiente a cada uno ; y aunque a la vista son espantables, hacen que se alaue a Dios que crio tanta variedad de cosas sujetas al hombre. Ay buna alazena de Cosa_s preciosas del Mar, en caracoles y conchas, todo de la Madre de la perla, unos guarnecidos de Plata, y otros sin guarnezer, segun las hechuras de ellos, pero los mas Sin a,·er Sacudido la-s perlas, como en ellos se ve ; tiene doze palmos de alta; tiene por pies dos delfines de metal, dorados y esmaltados de verde, y sob[rje ella dos sirenas de Charol, -Hermosissimas, los medios Cuerpos de Muxeres hermosissimas, bièn , enca[ rJnados con los Cauellos dorados, los otros medios, que son colas de Pescados, dorados y ben.les, ymitando el color de ellas quanta es posible. Ay una arquimesa que sustentan dos Agilas de bronze dorado; la tapa e_s de maclera, pintada una lamina de Monteria con muchos cazadores y muchas fieras con variedad de modos de i cogerlas vivas ; encima tres ramos, o arbolitos de coral que todos pesan quareint:t :y seis libras, maior el de medio que el de -los lados ; y dentro la arquimesa zinco mil y setecientas monedas de Plata de antes que los Romanos binieran a Espaîia, co11 caracteres hebreos y fenicios las mil, las demas del tiempo del Senado de Roma, y las mas de los primeros Ernperadores ; de estas ! las de Oro las mas son duplicadas, que las separare pai:a lm dando a los Curiosos : pesan las clichas monedas tres ai:robas <liez y nueue libras. En rnedio de las Aguilas que siruen de p~es ay dos Y <lolos que binieron de la florida, tan feos quanto no puede esplicarse; son una ban de altos, de piedra transparente, de col or del vino blanco, y mui l ijera, tanto que entre los dos no pesan <liez libras. Al formarlos se coaoze quisieron forrnar bom bres, con rostros feisimos ; en su lugar se; pondran las for- mas de estos, y de todos los demas, quienes y de donde los traxeron, lo largo y recio. 579 Piez_a 4•. En esta Pieza ay una Alazena que Casi todo lo que ay en ella lo dio el Senor Emperador Carlos quinto a la Sefiora D011a Maria Iuana de Ribas y Silva, mi tercera Abuela, muger de Iuan Lastanosa, Maiordomo de la Serenisima Seîiora D'ona Maria de Austria, Reyna ViuJa de Vngria y He[r]mana de nuestro Sefior el dicho Emperador; y fue loque su Magestad la dio, y esta en la Alazena : dos seruicios de mesa, uno de China, pintadas admirables fabulas, cuatro dozenas de platos grandes, una dozena de fuentes, seis Iarros, dos dozen~s de escudillas, ocho Saluillas con una dozena de basos cada una, todo de la misrna pintura, todo admirable por lo bien trauaxado y rico. Otro servicio todo de Benturina, que se compone de veinte y quatro platos, otras tantas escudillas, seis fuentes, quaî:ro Iarros de diferentes hechuras, una fuente onda, para lauar las manos, y ùna escriuania con una mesa mediana de lapizlazuli, pies y tç:,do ; alaxas riquisimas por su materia y forma, cle manera que lo que menos valia eran dos Salvillas, con media dozena de vasos cada una, grandemente hechas, una docena de Cucharas y otra de tenedores, todo de oro, con una carta de su Magestad para clicha Senora, cuia copia se pone. Carta de la Cesarea y Catolica Md del Sr Emperador D. Carlos V. " Doiia Maria de Rivas, el Duque de Saxonia me ha dado esas bagillas para mi mesa, y no son, por su delicadeza, para la mesa de un Soldado, y mui propias para la êle una Dama; y deuiendo en fuerza de hombre honrrado ser agradecido al hospedaxe que, quando estauamos en Espana, me hizisteis- en Monzon., os embio el regalo todo entero, como me ha benido, Sin tomar mas que essa espada que embio para Vuestro Esposo luan Lastanosa; en cambio de las que me emvia de los Generales �LA DEMEURE DE LAST A_NOSA de francia. Me auisareis si ha llegado t0do sano, que tendre ousto de que nada se aia rompida. Se que bais mucho a cazar; ~ürad sean buenos dias, porque ese pais de flandes es destemplado. Tambien he tomada para mi quatro Cauallos. Dias os guarde. Praga i Marza, a 20 de 1541. · Carlos Emperador. " mal quien dize : cc El que ba a Huesca y no ve Casa de Lastan[ o ]sa no ve cosa », porque diria mejor : cc Quien va a Huesca y no vela casa de Lastanosa dexa de ver quanta tiene el Mundo >>. Ay remito a V. S., para que ponga entre las muchas que tiene, doscientas y zinquenta monedas de oro, las mas modernas d·e Tiberia Cesar, de Plata; van trescientas y veinte y zinco; mi Padre las guardaua; no se de donde las huvo; aqui estan archivadas y nadie las ue; ay seran vistas de muchas naturales y Estrangeros. Embio para la Armeria essa Cota de Armas hecha de redecilla de Yerro, cubierta con guarniciones de otra de oro, red primorosisima ; el escudo de azero Colado con los blasones de su Real Casa; que todo lo gano el dia que lo hizo Prisioncro al Duque de Saxonia el Excelentisimo Conde de Baradin caballero del Toyson, General de la C_avalleria de Don Fernando de Austria Rey de Boemia, Natural de Monzon en el Reyno de Aragon, llamado Don Pedro Lastanosa, hermano del Bisabuelo de V. S. cuios papeles, y los· del gran Padre de V. S. no ojala se hubieran perdido, lo unos por la distancia, lo otros en el Mar, y asi por la razon clicha deue estar esta armadura con las que V. S. tiene dadas por los Reies a los Antecesores de V. S. Doy mi palabra de bolver a ver esos portentos con el animo de estar dos meses : si alguna moneda llegase a mi mano, con mucho gusto la recogere. Dios guarde a V. S. muchos anas. Madrid a 8 de Abril de 1636. Afectisimo Amigo de V. S. el Condestable. " Esta esta alacena Sobre dos Leones darados, y cada una tiene un mundo en la mano y un rotulo en la boca que dize : " Est~ y el otro son de Carlos. " Ay aqui ~n arquimesa en que ha1 monedas de ara, Plata y cabre, mas bien trauaxadas, de muchas de los Emperadores Ramanos ..·Pesan las de oro doze libras zi_nco anzas; ay quatrocientas y veinte y dos. Las de _Plata pesan vemte y seis libràs y Son seiscientas y tres. Es una lamina la tapa. de la arquimesa en que esta pintada la (ragua de. Bulcano, admirablemente pintada : Bulcano tiene en las tenazas_ una armadura, y los dos fieras Cic[l]opes, Esterope y Brontes, arndando a martillar, v muchas armaduras colgadas en la oficina; otros andan con el Carbon otros en las manchas otros en 0tra fragua tirando Plan' . . chas y en medio las dos fraguas, pintada una targeta, escnto en ella : ;, Sin cesar punto nos haze trauaxar Don Carlos V. " Es mui Rica aunque no huviera venido por la mano que vino, que fue la del Exmo S' Don Bernardino Fernandez de Velasco Condestable de Castilla y Leon, como se bera en la siguiente Carta. " Amigo y Sen.or mio, pasmado de hauer visto las _gra_n~ezas de la Casa de V. S. tanto en libros como en alaxas Riqms1mas, Alacenas, E[s]tatuas, pjnturas, Monedas, Armas, Iardines, Grutas, Estanques, que· me pareze que en los quinze dias que estube en la Casa de V. S. siei:µpre vi casas nuevas en todas las ostentosas piezas de tan Magestuosa casa, que goze po~o por estarnos lo mas en la Librerra donde auia tanto que adm1rar, que aun en hun Monarca fuera casa de gran empeno Iuntar tal Cumulo de casas de tan remotas partes, pues aun para solo los portes. se abra consumido muchas millares de doblones, par lo que d1ze 581 Hai en esta pieza, en el mexor puesto de elh, un grande dosel de terciopelo con franxas de oro y devaxo de el la E[s]tatua del Sr Emperador Carlos V, puesto a ca[ uaJllo, estatura regular, de Charol, las quatro partes del Mundo de Muxeres Ermosisimas arudilladas : cada una tiene una tarxeta que ofrezen con un mapa y un rotulo, que va par sobre las quatro tarxetas, que 'dize : cc A ser mas Campafi.eras rifi.eramos por ser de las primeras. >> Ai tambien doze estatuas, tambi[e]n de Charol, fabulosas, mucho �DE LASTA. 'OSA LA Dt::ME RE mas pece1ias !sir], pero hermosas. Las demas curiosid:ides son muchas y es largo el Rclatarlas todas. Pie::._a f". Ticne la siguiente una arquimesa de euano y marfil con doze gauetas : en la primera ciento y diez y seis zafiros mui brillantes y hermos! os], con las cauezas de los emperadores de Constantinopla las mas, las menas de los de Roma. 2 a gaueta : tiene veinte y dos diamantes en los quatro de ellos, esta la Caueza de anta Elena, porque estan estas letras ELE TA .A. G.; en seis de ellos que al parezer son de la Empcratriz faustina, pues esta su nombre y estas lerras FA\ STINA. S. A. G. T. Los otros son mas pequenos; tienen algunas letras; no puede leerse nada. Ay en ella a mas de <lichas pie<lras que estan en su cagita muchas cosas curiosas del Mar y estraordinanas. 3" gaueta : ay dos esmeraldas de Tiberio Cesar; esta su efigie de medio Cuerpo, y escrito en la una Tiverius C. A. S. G. X. y en la otra Tiberius .1. A. P. 1. ; ocho amatistas; en tres de ellas esta el Emperador Comodo, de medio Cuerpo, y escrito Cornodus .I. S. A. en la una, en las otras Comodus .A. F. R. y Cornodus .F. R. A. S. Ay cres Iacintos escrito en ellos Caligula .A. . G. P. y en media un Ramo de L,urel, esto en el uno, y en los dos dize Caligula .R. l. X. 1. en medio otro ramo de laure!. Ay quarra Rubies, esculpido eron de media cuerpo, y por orla 1 ERO . A. C. S. I. Ai veinte i tres topacios, de diferentes Emperadores y Emperat[rlizes, de media cuerpo doze; las orlas tienen las mismas letras, algunas mas, otras menas ; las onze no tienen mas que las cauezas coronadas de laure! : las acompa1ian dos lagartillos de esmeralda prodixiosamente trauaxados ; Iuntos los do forman un Ioielito tan grande coma un rcal de a quatro, y escrito en el cuerpo de uno Claudia Agusta, alaxa <ligna de ser de una Emperatriz. Ay <los Aguilas imperiales de un Zafiro, escrito en cl pecho de ella faustina ', deuaxo cl nombre, estas dos letra[s ], S. A. Ay mas un pcdazo de cristal congelado, y dentro de el congelada una lagartixa, todo una Pieza, hobra que solo pu<lo hazer la 'aturaleza. Ay dos Zafiros mui claros del aradario de un deciocheno, con una caueza coronada de laurel, ; por orla estas lctras OCTAVIAi VS .I.A. M. R. Ay asta ciento mas que no se que son aunque mui hermosas, rodas sin letras, pero grauadas en cllas algunas Cauezas, Coronas de laurel, ramas de ~livo; en otras una Palma, en otras un Cieruo, todas de ermosis1mos colores, cosa mui deleitable a la vista. En tres gauerns iguientes ay dos mil Camafeos de rnui varias colores, esculpidos en ellos los rnedios cuerpos de muchas de los Emperidores Romanos, con sus nombres por orla, en otras Palmas, Laureles, Ciervos, las dos Aguilas, Delfines, coco[dlrillos. Ay quatro gauetas de pedazos de minerales de diferentes metales y pied ras preciosas, como se sige : una tiene seis pedazos como cl puûo, y quatro algo mas pequenos, en ellos se ben las be~as del oro, _recias 1~ que mas corna una paxa. Salen por a[g]ugenllos del m1smo mmeral que es una piedra blanca, y mui f~erte : quedan las venas del oro al romperse el minerai, pedarnos largos que tendran el largo como tendria el recio la parte de pciia que al golpe salto; y no codas las venas las sueltan los a[g]ugeros de la peiia, que cambien sc lleua porciones por loque es menester desacerla mucho para s:icarlo toùo; tengo sacado de los misrnos pedazos que eran mayorcs quatro barrillas que pesan \·einte y dos onzas y un quarto, y tengo en pedazos de venas que no he hecho fundir doze onzas y dos quartas . El minerai de Plata cs tambien blanco, y fuerte la da(?) coma el del oro : tengo en venas ocho onzas y en barrillas quareinta; son los pedazos de minerai catorze. Ay en los minerales, tanto en los de oro coma en los de Plata ' muchas pedazos de venas que dan al separarse algun pedazo quai un dedo largo, quai dos algunos mas y algunos menos: por esto 4 �LA DEMEURE DE LASTA1{0SA los tengo pesados, y pesan los de oro <liez y nueve libras zinco onzas y tres quartas; los de plata pesan veinte y zinco li bras y siete onzas. Ay tres pedazos de mineral de diamantes : es pefia durisima, piedra blanca y estan metidos dentro de ella a pedazos los diamantes que aun en bruro muestran sus luzes. Hize serrar aigunos pedazos con unas sierras pequeiias bien rempladas, y mojandolas con sangre de cordera serrava un hombre al dia auo no medio dedo ; ernbiome un pedazo de las tres el Sr Duque de Orleans con_otro pedazo de todos los que se sigen, deuiendo a su Alteza muchas fou[o ]res, y mucho de lo que tengo. Pesades los tres pedazos pesan zinco libras quatro onzas dos arienzos; y en una cagita treinta diamantes labrados : no son yguales en el grandario, pero los an tasado los Plateros en esta forma; 6 a cinco pesos; ro a doze; 8 a veinte y zinco; 4 a zincueota; r ciento; I cieoto y treinta pesos. Se entiende que los precios es por cada uoo. Ay quatro pedazos de minerai de Rubis, piedra blanc:1 no tan fuerte coma la de arriva : estan metidos coma los diamantes, se sieran mas aprisa, y se uen mui roxos entra la piedra; sacan las luzes travaxados: tengo ciento de ellos, los zinquenta tasados par ziento y doze pesos, los treinta y dos en novei[ n]ta pesos, los <liez ochenta, los ocho ciento pesos. Es un pedazo de los <lichas de dicho Sefior Duque; pesao las quatro piedras siete li bras seis onzas; son unos de Color mui enzendido, otros menos. Ay zinco pedazos de mineral de Esmeralda, pei'ia mui dura y blanca : estan en la peiia como las otras; se uen a trechos las Esmeraldas ; cuesta mucho de serrar; he sacado de ellas Zinquenta tasadas unas con otras por doscieotos pesos: otras veinte esmeraldas por ziento y doze, 8 mas por ciento y ochenta pesos. Pesan los minerales onze libras y siete onzas. Tiene parte cl Sr Duque. El precio de ellos aqui se entiende por todas, segun a su gradario. Ay dos pedazos de minerai de zafiros fortisimo : tambien de estos ai claros coma los diamantes, otros tiran algo al azul zeleste, pero clarisimo : tengo de ellos treinta, los doze tasados a quatro pesos cada uno, los ocho a siete cada uno, y los diez a doze pesos cada uno. Pesao los minerales doze libras y rres on7,as. Imbiome el uno el Sen.or Duque. Ay de topacios, Iacintos y otras piedras; de estas aun no . be sacado ninguna : se ve loque son, algo diferentes los Colores de los minerales. Las de mas gauetas estan llenas de curiosidades hecbas de oro, de Plata, de Piedras, caracolitos de mar, conchitas, y cosas raras del occeano y mediterraneo, ya naturales, ya anificiales. Ay sobre la Arquimesa una arquita de Yerro : en ella ay tres pedazos de la Pied.ra Yman, el mas pequefio como un gran membrillo, las otras mayores, y la una mas que la otra, y a los lado[s de la arquilla dos tinaxitas de Bucaro, zinco palmos de a_ltas; esta sobre una mesa de lapizlazuli que susteotan dos Monsrruos marinos. Ay estatuas algunas de Pi[e]dra : estas son pequefias: ai dos Zentauros de Charol grandes, quatro Diosas de charol muy Ermosas: luno, Venus, Minerva y Palas. Ay muchos caracoles marinas de madre de perla, maiores que cauezas de hombres, y diferentes figuras ; dos arbolitos de Coral, el uno quatro palmos alto, el otro poco menos ; 8 Idolos de pied ra desconozida. El que es mas alto no llega a tres palmos : se ablara de ellos a su tiempo. Por la puerta que sale de esta pieza, que guardan los dos Centaures con dos clauas, se entra en una pieza llamada de los Emperadores, por estar rodeada de muchos de ellos. Es redonda, con ana media naranxa bien pintada : deuaxo de ella los Emperadores, y debaxo de ellos dos estantes en media luna a cres estancias cada uno ; y a las dos maoos para dexar franca la puerta y ventana; en estos Estantes ay a zinco tablas en cada uno, y en ios seis treima. De todas ocupan las quatro airas Ios papeles y libros de mi casa y de otras que bon recaido en ella : en las tablas bajas ay muchisimas casas curiosisimas, del Mar de las unas y las otras Yndias. Pues entre otras cosas ai mas de ciento y sesenta J �586 LA DEMEURE DE LASTANOSA cocos, el mas pecefio como un buen melon : de estos la maior parte estan labrados; los demas esran dentro sus cascaras, abiertas por un lado, para que se bea, estos mas gra( n]des, porque la cascara tiene mas de dos dedos de recia ; estas y otras muchas curiosidades estan por deuaxo los estantes para que todo este ocupado; colgado de una cuerda que baxa de la media naranxa esta colgado un Basilisco azezinado; diomelo el Sr Duque de Orleans, que a no ser por su Alteza y otros Senores no me era posible el aber luntado tantas cosas que con razon se pasman quantos las ven, y la compostura de ellas, tanto que todos alaban a Dios criador de todo. A la mano drecha de esta pieza ay una estancia para tomar el Sol, mui bien pintada y la brada con agatas y . otras esquisitas piedras, y espexos; tiene dos diuisiones en forma de dos capillas con sus bouedas que estan cubiertas rodas de conchas de muchos generos, pero todas de la madre de la perla, guarnecidos los arcos de lo mismo y espexos: desde la mano yzquierda empieza una Gruta, frente de las bentanas del medodia, donde se uen por aqudlos peüascos todo genero de animales y quareinta cueuas de Santos ; estos son de metal porque corne estan al agua, Sèan durables; pero son primorosamente baciadas. Aqui da fin la Libreria y sus agregados, 'en donde no solo se labra el entendimie[ nJto, pero muchisimo de lo escrito se ve por experiencia. Dexanse de poner muchas curiosidades, por no cansar al Letor: ai se veran, que a nadie se niega la entrada. Razon sera tengan su lugar Jas Armas, despnes de las Letras, porque sin ellas el baliente no sera mas que hun Leon; con ellas sera dos. Picas, cien partesanas. Sobre los cstaotes ay dos Leones azezinados, dos tigres, un Leopardo, tres Panteras, todo animales fierisimos, tamuien azezinados que ni aun las pieles no han perdido nada. Embiome dos panteras el Sr Duque de Orleans; colgadas en el techo ay diez vanderas de Moros con dos cauezas con sus tocas, y en medio de las dos en arauigo dize : " Para siempre. " Sobre lo escrito una Salamandra. Son todas de una telilla mui delgada, y no es lino, Seda ni !ana : ay entre ellas colgado un Puerco espin . Lo[s]demas arcabuces estan baxo los estantes. A RMERIA 1·' Piez.a. Tiene veinte estantes, a veinte y zinco alcabuzes, que todos son mil : denaxo los estantes, tendidas en el suelo, quatrocientas 2° Piez_a . Tiene los mismos estantcs, los mismos alcabuzes, doscientas picas, cien alabardas : sobre los estantes un Leon, un tigre, dos Osas, dos Xaualis y dos cauezas de Elefantes, colgadas en el techo beinte banderas de Moros y turcos, las catorze, unas con medias lunas, y otras con animales, y Seis un turco Pintado dandole con el pie a un Mundo. J" Pieza. T iene doscientas Ballestas con sus alxauas Ilenas de flechas, cien Mosquetes con sus fiascos y horquillas, zinquenta armaduras enteras de los pies a la Caueza, mui vien labradas, puestas en la Pared como si fueran hombres vestidos de modo que dan miedo, pues tienen todos levantadas las viseras y puestas dentro caras de carton. Tiene cada uno su escudo mui lustroso, labrado, y una rosa en media con una punta de un palmo, doradas Rosa y punta al fuego, y cada uno la espada colgada en Ja manopla; ay dos cauezas de Rinozerontes tan grandes como las maiores tin axas; en media una de elefante maior que las clichas, dos cocodrillos imviados por el S• Duque de Orleans, doze vanderas colgadas en el techo, como las <lichas, y ocho galapagos, una bara anchas las couchas, y la que menos no le faltan tres dedos, �588 LA DEMEURE DE LASTANOSA y zinco palmas por lo largo. Las cauezas son como melones grandes : los traxeros, de Y ndias ; pasa la mas pecena tres arrovas ocho libras. una cagilla de plata coma un caùoncito la Saeta con que los Moros mataron al Rey Don Sancho en esta Ciudad, entrandosela por la escotadura baxo el brazo drecho, suceso que aun aora puede llorarlo Huesca. Esta el pufü\! de el Rei don Pedro de Aragon, con el quai_ se corto los dedos, porque, estando enoxado quiso romper con el el libro de los fueros de este Reino de Aragon : esta su nombre grauado en el, es de marfil el puno, labrado de oro ; la oxa es dos palmas larga, ancha dos dedos, mui grauada~ con oro rebutido en el azero, y en medio dize : cc Soi de don Pedro Rey de Aragon." 4• Fiez.a. Tiene zinquenta hombres armadas como los dichos : ay cien alabard:is, cien arcos, sus arpones llenos de flechas, muchas armas antiguas y raras; pero lo mexor que ai es una alazena en que se guardan las armas y armaduras siguientes del Rei Don Iaime de Aragon, llamado el conquistador, grabado en el Peto con oro lo sigiente : cc Iacobus Rex Aragonis. " Esta toda entera, sino la manopla izqu[i]erda·; en el escudo esta sobre el azero pintado con esmalte una Cruz roxa. Ay otra que el Senor Emperador Carlos V llevava el dia que entro en Tunez y la dio a Iuan Lastanosa, mi terzer Abuelo : es entera ; esta primorosamente trabaxada, y grauada con oro todos los remates de las piezas, sin quitar de ella sino una corona que lleuava por remate la zelada. Ay otra del Sen.or Rey Don Pedro llamado el Cruel en Castilla : es mui pesada; no tiene mas grauazon que en el peto : "Petrus, Rex Castele ». Tiene escudo y espada, grauado en la oxa su nombre. Ay otra"del Conde de Trastamara, Hermano del dicho Rei don Pedro, y que despues le sucedio : esta mas bien travaxada, mas ligera, y mas grauada, porque en el peto dize: "Enrique Conde de Trastamara ", y todos los filetes de oro. La espada dize lo mismo, y el tragico puna! que lo hizo Rey. Esta en la hoja su nombre como en lo de mas. Su Escudo lleua grauado de oro el raio de Iupiter. Ay otra mas curiosa que todas; dize en ella : " Enrrique de Valois. " Tiene grauazones de oro y esmalte. El escudo tiene una orla en medio, y dentro dize : " Valois". Y vio con ellas el Sr Emperador Carlos V a luan Lastanosa, y dixo : " Iuan, las Armas de francia tienen pazes con el Turco, y asi no podeis 8clear con ellas; os pondreis las que ayer traxe a Tu nez. Esta en De El Sr Don Phelippe 3° Ay un alfange guarnecido de oro, y muchos diamantes, que su Magestad dio a mi Padre Iuan Agustin Lastanosa, General de sus Galeras, es alaxa de mucho precio. De Francisco 1° de Francia. Ay dos espadas de mucho valor: el puiïo guarnezido de oro y para guardar la mano dos conchas de pescado delgadas, mui claras y fortisimas : diolas su Magestad en Paris a Iuan Lastanosa mi te[r]cero Abuelo, estando imbiado del S. Emperador Carlos V. De Soliman Emperador De los T11rcos. Ay dos alfanges primorosisimos y ricos. porque los pmios son de oro y varias piedras preciosas y medicinales, tanto que, tomandolos en la mano, instantaneamente se siente en el brazo mucha mas que doblada fuerza; una ropa talar con mangas de Padre Agustino, de esquisitas plumas y perlas, con una red de oro por brazos y cuerpo, por aforro es :irmadura arto fuerte; un adrezo de Cauallo con mucho correaxe cubierto de madre de la perla engastada en oro; un turvante prirnorosisimo con faxa de �DE LASTAlliOSA 590 LA DEMEURE red [d]e oro 'pedreria, con una media Luna mui resplandecicnte; pero no conozen los Plateros de que metal es, ni de las Picdras conozen mas que las esmeraldas y ruvis; las que ay de estos dos generos dizen que Yaldran cien doblones, y doscientos la redezilla que guardar la caueza. Esto dio Maomet Soliman a Pedro Lastanosa, estando en Consrnntinopla por Embaxador de el Rey de Boemia y Hungria el Sr Don Fernando de Austria, que fuc Emperadordespues de su Hermano el gran Carlos , al que sirvio, asta que en una Batalla murio mui lleno de Honores, pues lo bizo Conde, General, Embaxador y le dio el Toison. Dicho Pedro Lastanosa fuc natural de Monzon y Hermano de luan mi tercer Abuclo. Reyes moros de Espa,ïa. Ay trcs alfanges de cres Reyes de Granada, grauados en las ox:as con oro sus nombres; ai dos de Reyes de Toledo, dos de Reyes de Cordo,·a, tres de Reyes de euilla, uno de un Rey de Iaen, otro d.! un Rey de Alroeria; ay de estos mui buenos, pero no mui Ricos : algunos tienen en las bainas algunas planchirns de oro; todos mui curiosos, y mas fuertes que ricos. Lo que Coresponde a Ca11allos. Ay en esta alazena Yei;1te adrezos de Cauallos; los corespondientes a las annaduras clichas son mui ricos porque todo cl coreage esta cubierto de bronzes dorades, y esmaltados con admiracion; los otros adrezos estan tarnbien cubiertos de metal <lorado, pero con menos esmalte ; ai estriuos corespondieotes, dorades y csmaltados, sumamente ricos, en especial los del . Emperador Carlos V, y los de el gran Turco. En esta pieza ai variedad de animales fierisimos, pues es justo que la mayor soveruia rinda vasallage a cosa que lleuo nue[sjtro Gran Emperador. Ay dos Leones mui grandes, tres Tigres, des Panteras, dos Leopardos, dos Galapagos tan grandes como mas que medianas mesas. En el 59 1 techo ai veinte y quatro banderas de Turcos y Moros de delg~das y esquisitas telas con cauezas de Moros, · algunas' animales pintad~s, y en_ arauigo escrito : " Para siem pre "; de estas las ocho t1enen pmtadas en ellas una cola de cauallo y estas son mui aprcciadas entre los Turcos, porque siemp:e que el gran Turco nombra un gran visir, le da una de ellas. 5• Pie,a. . Tiene esta cien sillas de cauallos con todo lo que nczesitan, sm f~ltar la mas minima correa, estriuos, cspuelas; tres mil y <losc1cntos fiascos para los Mosqu[eJtes y Alcabuzcs; otras mucbas armas antiguas, Yallestas, partesanas, mazas, y ocras. 6• Pie;_a. Esta es en la que se guar<lan las cosas que sirvcn en la Campana como son <loscicnta tiendas, cien morralcs para corner los eau[a]llos, dos mil y quinientas mochilas para los oldados; camas, mui bucnas y mui comodas, seis de veinte que ai : es el colchon de cada una dos grandes vaquetas que bicn cosida una y otra se llcnan de aire, que es el que sirve de mullido v vien inch.atlas queda una vaqueta tres palmas apartada de la ~t;a, que es c1erto que, aunquc se duerme en el aire, se duerme mexor que en la mas mullida pluma. Aqui acava la Armeria, que asi esta como la Libreria a pasmado a quantas naturalcs y Estrangeros las an bisto; y aunque muchas estrangeros en los Palacios de algunos Prinzipes an visto mucho, pero todos combienen en que an bisto en algunos muchas de las cosas que ai agui, pcro que en ninguno tantas Iuntas, de forma que a merecido la fama de ellas que muchas Poderosos Prinzipes de remotas tierras aian venido a verlas, y entre ellos basta por exemple un • Duque de Orleans a quien deui la honrra de venir desconozido con condicion que solo yo • �59 2 LA DEMEURE lo hauia de sa ver; me honrro su Alteza mes y medio y para honrrarme ma~ me permitio fuera siruiendole Asta Paris, y me alegre de ver las gra[ nJdezas de su Palacio, y me hizo ber los del Rey y las grandezas de aquella gran Corte. De otro mas Poderoso Principe ablaremos en su lugar. AoRA SE ABLARA DE LOS IARDINES, FUENTES, EsTANQUES, EsT ATUAS Y PINTURAS. Tienen su entrada por el patio Prinzipal de la casa asta una gran puerta que sirue de entrada a otra Calle que ba al estanque principal. Primera Calle : tiene ochenta pasos de larga, ocho de Ancha : tiene sus paredes con zinco rexas por cada lado de Yerro, para que por ellas se vean unos l~rdines que el uno sirve para la avitacio~ de los entresuelos, y el otro para la abitaciôn del Verano, mUI ermosos, rodeadas las paredes de ellos de Naranxos y limones que al abrigo dè la casa se mantienen, y ai en ellos muchas quadros de varias y esquisitas flores de los generos que se allan en Francia, Ytalia, y Ynglaterra. La calle que diuide estas lardines esta entre rexa y rexa, pintada admirablemente y con vellos colores una fabula de tanta mentida Deidad como nos cuentan los Poetas. Esta calle remata en la <licha puerta que esta adornada con mui buenas pilastras de piedra y sobre dos vâsas mui bien hechas, tam bien de pied ra, dos grandes Salvaxes ( que aunque de piedra no son tan pesados como los otros), estan guardando la ·puerta con dos grandes mazas muy nudosas. Son estatuas mui bien hechas. Los dos Jardines dichos no tienen el Largo que <licha calle, porque, cerca de <licha puerta ay otra que entra a las casas en que abitan ocbo lardineros con sus familias que se reduzen a Marido y Muger, que hijos entre todos no llegaron a mas que a tre,, tan feos que unos los tenian por Micos, y otros por Mo?os. Tiene cada uno su casilla a parte, como las de los Moras bax1tas, DE LASTANOSA 593 porque no quiten la vista a los Balcones de casa que caen por aquella parte. Ay tres con sus Mugeres, que los que menos, haze zinquenta y ocho anas que estan en las casillas que les clieron ,tl principio : no Ileuan mas salario que comida y vestido, ni han aprendido una palabra en Espano!, sino una de las Mugeres dize vina, los demas ni aun esso. Para heredar las casas de los muertos me ha imbiado el S. Duque de Orleans Sucesores a medida de mi deseo por saverlo su Alteza y auer gusta<lo mucho de ver los que io tenia, y ablar con Monsiur Esquillot, lardinero mas antiguo, que hablaua su lengua nativa tan mal que reia mucho su Alteza con el. He ablado tanto de ellos porque en los lardines hazen su pape! sus malas figuras. Ay a mas de las <lichas casillas otras para otros criados, y devaxo de ellas Cauallerizas, cocheras, y paxares, y por todas esta[s] casas quedan los dos lardines primeras en qu[aJdro prolongado, no mui grandes : el largo treinta pasos, el ancho veinte y quatro. Ay otro lardin que haze frente a las casas de Ios lardineros y tiene entrada por el de Ios quartas de verano, pintadas las Paredes con el Robo de Erena, disposicion del Sitio, entrada·y incendia de Troya, admirablemente pintadas: es tam bien qu[aJdro prolongado; tiene zinquenta pasos de largo; el ancho es veinte y quatro; acaua su pared en linea con la pared de donde cstan las casillas y demas ofizinas <lichas, calle en medio. Empieza esta calle desde la puerta <licha: tiene quatrocientos pasos de Longitud y ocho de Latitud; es arboleada de frutales de todos generos, criados con diferentes formas; que al arte obedeze la mas bronca Rustiquez. Estan a las dos manos de esta Calle las Calles y casas que mal <lichas y mal delineadas se veran. La figura del Gardin grande es la que se sige. Componen estos angulos mil quatrocientos y ochenta pasos. Esta repartido este lardin en treze qu[aJdros lien os de quantas Bores y frutas conozen Ytalia, Francia et Ynglaterra, y aun de REV[!E HISPA N IQ UE . B 38 �594 DE LAST AN OSA LA DEMEURE parte del Africa (pues tengo de Tetuan Arboles de Pimienta); fuentes, Estanques, grmas y un Lauerinto. Las Paredes de este gra[ nJ Iardin estan todas admirablemente pintadas de fabulas y monterias con sus pedazos de marinas, con ' 595 En otra Calle que cruza por la <licha, y va de una puerta a otra de dos que ay que salen a distiotos Camioos, rernatan las dos vocas de la Calle en dos Gru tas: en 1a una ay otra cueua con fuerte rexa, y dentro un Leon, y en otra un Oso; en la parte contraria, en la otra Gruta ay otras dos rexas y dentro dos Aberstruzes : estas comen qualquiera cosa, asta pedazos de Yerro, los otros solo carne. A lado de estas dos Grutas estan las Puertas adornadas de esta.tuas y Pilastras coma la Prinzipal, con la diferencia que la Prinzipal tiene los m,i.smos adornos por dentro que por fuera, las otras solo por la parte de los Jardines. Ahora se pondran la,s formas de los qn[a]dros que componen este Jardin, con algo de lo que ay en ellos; las formas son segun la disposicion del Sitio, diferentes no todas, y son como se vera. h;n, fofo,f.,,CJ~ftu ?.',ot=' c-.JIL 'lw,.~,1,,.14.,l. varios modos de cazar bestias fieras y Pescar Balleoas y otro[sJ Monstruos Marinos. Entre la Pared y Iardines sigue por todo una Calle mui ygual y Ermosa, pues al un lado diuierten las Pinturas, al otro Murtas, Cipreses, Rosales y otros sin dexar subir unos ni otros algo mas que la cintura, para que no quiten la luz a las pin tu ras. Las Grutas ta[ m]bien diuierten rnucho porque se ven en ellas bien hechos montes, basques, y animales bien hecbos y algunos vÏ\'OS; porque en frenre de la Calle que ba desde la Casa ay una, y, a !os dos lad os, dos Cueva,5 con rexas de Yerro mui fuerœs, y dentro de la uoa un Tigre, y dentro de la otra un Leopardo. Allase al entrar por la casa por la mano bizquierda, que es por donde estrecha mas este quadro, en la forma que se ve la figura; esta formado de quadros hechos con ladri\los mui llenos de todos generos de flores, rodeado de murtas con tres piramides de ellaa las tres esquinas; a las esquinas <le los qu[a]dros de dentro arbolitos enanos de todos generos de frutas. �597 DE LASTANOSA LA DEMEURE Este quadro como el otro con murtas, y de lo mismo quatro piramides en las quatro esquinas; sus quadros dentro formados con ladrillos, dentro flores, y, como en el otro frutales enanos. Los quatro que se ven tienen lo que aba.."o se dira. De estos quatro Jardines que estan a la bizquierda, Saliendo de Casa por la principal calle, se ubiera de dezir todas sm, particularidades : era enfadoso empeiio asi para escrivirlo como para el curioso que quisiere leerlo, y asi solo pondremos lo mas prinzipal de sus cosas, como son fuentes, largo de las calles, de que se componen, y loque no pueda ni deua escusarse. El quadro que esta baxo el numero segundo es el primera que se encuentra a la mano hizquier<la entrando en el lardin por la Casa, pasados los dos Jardines arriva dichos que ocupan el sitio mas estrecho. Tienen sus quatro caltes, que todas son 6 pasos anchas, dos menos que la prinzipal : el largo de los laureles de que todo el quadro esta rodeado es 438 pasos por dentro. Tiene el Iardin sus lauores hechas de ladrillos vernizados, que asi son los de todos los quadros de todos Jardines. El circula de medio es una Ermosa fuente en ochauo, y en cada uno dos Estatuas, algo mas que la estatura Regular, bechas de barro cozido, y vernizadas, con los vernizes de los yestidos corespondientes a los vestidos que lleban, y sus colores : son ocho Maridos con sus ocho Mugeres, franceses t:llos y ellas, para poco por viexos, pero roui leales y por los anos Iorovados, llenos de varrugas, arrug.ts, y uno que haze sesenta aùos que 0 0 0 0 esta en casa y nunca se ha hecho la barua, por lo que no tiene mas Pelo que dos caracolitos a la parte baxa de la barva: este es el Celebrado Monsiur Esquillot, que, con hazer t.tntos aùos que esta en casa no me entiende una palabra si no se la digo en franzes; tan ridiculos como este son los demas y de los mismos talentos. Cada farido esta como hablando con su Muger, �LA DEMEURE DE LA5TANOSA tales todas como ellos, pero grandemente travaxados por manos <le Micaelo Angelin Napolitano, de cuia mano son rodas las demas que ai, a quien tengo en mi casa con hun hijo suio que tarn bien travaxa, ocho aîios haze . En medio el agua de esta fuentc suve una vasa que suve mas que las estatuas, y enzima una cuva Vaco a cauallo. Este quadro que esta baxo el numero primera sirve de terzero a mano hizquierda contando desde la puerta prinzipal. Ti[e]ne por la parte que coofreota COil el arriva dicho todo aquel lado de laureles porque aquella calle este assi uniforme. Las otras tres calles son Murtas y frutales de forma que entre Murta y Murta ai un frutal, todos criados con rnucho arte. Tienen las quatro calles, dandole vuelta, 550 pasos. Tiene sus lauores dentro con ladrillos vernizados variedad de flores y muchos frutalitos enanos; en medio ay una fuellte redonda, y en medio el Agua tres Delfines que mantienen un Trono donde esta una Venus mui ermosa; los delfines hechan el agua por ojos, narizes y voca. Es todo varro cozido, vien vemizado y dado a cada cosa su color; los Delfines son grandes, la Venus como se mira aira es onze palmos, el verniz mui Blanco y mui fi.no; cubrese con un zendal loque no puede verse: esta hecba Agua por los pechos. Las pied ras de esta fuente son de Jaspe: vinieron de Tortosa. El terzero de los quatro lardines que compooen la figura de arriva esta mas a la hizquierda : tiene la calle que confrenta con la de los Laureles uniforme, las otras son cipreses y murtas que no pasan de la zintura, y entre una y otra un frutal, que cada uno forma una ermosa figura. Ay de todos generos quamos se allan en las partes clichas; es toda de piedra negra mui lustrosa huna gran fuente que tiene en medio, y ella en medio del Agua un peiiasco con quatro Satiros de varro cozido vernizado, y sobre las cauezas tieoen un trono y sobre el un Centauro : tienen sus quatro calles 484 pasos. En la balsa de esta fuente ay muchas tencas y engilas : ai 599 tambien en las otras no tantas como en esta y la que se signe. En el quarto Jardin de la figura de arriva son sus calles de Mirtas y frutales; los quadros dentro de el son, como los otros, con flores y frutales enanos; la fuente es grande, hecha de Jaspe y piedra negra mui lustrosas: estan en medio del quadro Monstruos Marinos, y sostieneo un Pefiasco en que esta Neptuno recostado en el propio pefiasco que esta mui verde y lleno de flores, y vaxa el agua en aroyitos por el penasco. Esta rodeada la fueote de boxes de diferentes figuras mui verdes y hermosos como en todos tiempos lo estan. En medio de.estas quatro Jardines ai un zenador con zipreses en diferentes formas conpuestos, dexando francas las quatro calles que a el vienen que estan con quatro arcos de una plancha de Yerro delgada bien trepadas, y doradas, puestas dos en cada arco para que hagan frente a las dos partes: ay en cada media luna que forman el circulo de calle a calle, hay dos Pinos que con sus hermosas copas puestas en ta! disposicion que al primer cuerpo de zipreses sirven por fuera de coroisamento, por dentro forman en un segundo cuerpo su media naranxa, y unas ramas que suven forman terzer cuerpo, y su linterna para la media naranxa. Tiene sobre cada arco una Ninfa mui ermosa; delante de cada cipres ay un Satiro, una negra, un negro, y asi todo el zenador rodeado; estos estan con fuentes en las manos, llenas de diferentes frutas; todos son de varro cozido, estatura regular, naturalisimos, y las frutas tan propias que a muchos burlan, y es cierto que el tal zenador asi por dentro como por fuera haze una figura ermosisima, porque los tres cuerpos subiran veinte varas, bien proporcionados segun arte. Hay tambien a la hizquierda de la Calle prinzipal tres Jardines; mas los dos primeras que se encuentran tienen en esta figur~. Estos Iardines tienen de largo las calles de los lados contando desde la Maior, contando la callexuela que los diuide 400 pasos cada una y 50 de ancho; ban siguiendo la forma de la zerca; se ablara de rodos en comun porque en estos no ai fuentes. �DE LASTANOSA 600 601 LA DEMEURE E(s]te Jardin es el ultimo que se encuentra a la hizquierda de la calle Maior; tiene de rodeo 63o pasos, de estas son 70 de aocho. Estos estan coma los otros pero sin fuentes. Aora diremas lo que ay a la mana drecha de la calle Maior, pues son casas digoas de sauerse par si alguno de los que lo lean quiere Este Jardin es el Segu(n]do a la drecha de la calle Mayor : tiene sus calles con el adorno que todos los otros, solo que aqui no haî fuentes ; pero suplen la falta de ellas mucha[s] pirarnides, Gigantes y otras cosas : ùenen las quatro calles que lo zircundan 608 pasos. 3 . aniroarse a hazer algun Jardin : aqui allara el modo de disponerlo, y mas adelaote los tiempos en que cada especie de flores se pane o se saca de la tierra; porque, sin esa Prevencion y el cuidado, nada se haze ; y las tendran los Curiosos con solo el caste de pidirlas, y sepan que tengo graneros llenos de ellas. Bolvamos al asunto. �_ _ _ _ _ _ _ _ _ _ _ _ ______,14 LA DEMEURE DE LASTANOSA 602 /5 Este terzer Iardin a la mano drecha de la calle prinzipal tiene las mismas cosas para su adorno que el que acauamos de decir : tiene por todo 280 pasos. '! / _/; 010;,· Este quarto Iardin esta a la drecha de la calte Maior : esta adomado como los otros con la diferencia que este tiene en media una torre de tres cuerpos hecha de boxes y Laureles, hermossisima. Tiene este 230 pasos. Da el ultimo angulo de este quadro sobre la misma mano en una Plazuela que, rodeada de murtas por los tres angulos y dos partes del terzero dexando espacio en medio para el embarcadero de un Estanque de que luego se ablara. Esta Plazuela esta enladrillada de ladrillos vernizados de verde, azul, y blanco. Estan las Murtas formando diferentes figuras ermosisimas que ermosean el espacio : tienen sus Angulos 80 pasos los quatro. Este quinto Iardin esta a la drecha de la Calle prinzipal, viniendo desde la Casa : es el ultimo que ay a la drécha. Guarda .,; )/a,or Jio v;. !."' ro. "' Jrodo "J,/lm,.,'i..,,. �LA DEMEURE DB LAS1' ANOSA bronze que con mucho disimulo arroxan azia arriva agua, de forma que llueve en todos ellos, cuando el Dueno, a los Iardi est-i figura par las lineas de la zerca, y porque un estanque y Lauerinto que estan a su costada drecha tengan las figuras proporcionadas a la de la zerca, porque las calles tengan cl ser rectas, que esta aumenta mucha la ermosura de ellas y de tantos y tan grandes Iardines. Este tiene, dandoie buelta 600 pasas; tiene en todas las esquinas de sus muchas quadros piramides, Gigantes i otras figuras de Murtas, Naranxos, frutales ermosisimos, par estar al abrigo de Zipreses que par el costada drecho le guardan del frio dexandolos al mediodia. En todos estas Jardines de mana drecha, ya que no ay fuentes, ai muchisimos canonzitos de L'Etang. neros quieren ; esto se pucde hazer par estar todas las calles de rodas Ios Jardines llenas de canductos ya para esta, ya para las �DE LAST A:'-fOSA 606 LA DEMEURE fuentes; estos y los que dan agua a otras Guenas ban por debaxo la tierra, de forma que solo se ve el agua de las fuentes, y essa se ue correr solo quando se riega, pues tiene ocultos conductos para irse. Este Estanque mereze nos detengamos en ablar del con alguna particularidad, por ser cosa mui deleitable a la vista, y hecha a todo coste, y con tantos costosos adornos como vera el Letor. Tiene por sus quatro frentes 380 pasos : son sus paredes de piedra de silleria, mui humidas y bien enbetumadas; las calles de los lad os son 6 pasos anchas; estan todas como se ue la primer frente que es la que da con la Plazuela clicha que esta delante del embarcadero. El pescado que ai es mucho, aunque de pocos generos, pues no ai sino tencas, Engilas, Barbas, Tartugas, aues de agua domesticas de muchas generos, tres barcos para pasar a ber loque ai en una torre que esta en medio del Agua de que se ablara luego, y para pescar cuando se quiere. EL circula que se ue en el media es una Torre: en esta forma, desde la lengua del agua sube ocbo Palmos basta el suelo adonde se suve por siete escalas, y este piso esta con un Iardin que aunque no es grande tiene liudos quadritos de flores ; desde este piso mueuen ocho pilares : suven veinte palmos asta el arrancadero de ocho arcos, guardando siempre la forma redonda : estan adornadas las pilastras de buenas molduras de piedra, y delante de ellas salen del agua otras ocho basas muy bien trauaxadas, y suven tanto como el piso del lardin; y sobre cada una de ellas uno de los dichos Iardineros, de figuras mas qu.e regulares, porque se miran de alguna distancia ; entre pilastra y pilastra ai un balcon de Yerro con labores doradas, y sus asientos a los lados. Sobre los arcos su ben algo los pilares para que la bien compuesta desigualdad forme arriva una especie de montanas doude se ven casillas, valles, arboledas, ganados, Pastores; y los arboles que ai son unos cuio fruto madura en el imbierno; es colorado algo mas que nuezes : se llaman Modronos : conserva todo el ai"io la oxa y es como la del Laurel; suve en todo 40 palmos, y subiran doze mas cien chorros de Agua que anoxa acia [ar]riva con fuerza, y cae en el agua mas de siete varas de la zircunferencia de la Torre : las ocho Estatuas hechan a quatro chorros cada una y todos azia fuera, que es cierto esta ermosisima cuando se da Agua a los conductos, y mas si ai gente en los ba!:quillos y ven que sin nublado les llueve tanto. Los seis quadritos que estan dentro del quadro que forma el Estanque son las pilastras, o basas, en que ai seis Estatuas : en las dos de la escala del Embarca.dero, en la tma esta Neptuno sentado sobre un Delfin con el tridente en la Mano; en la otra Baco sentado en una cabra, Coronado de panpanos, una vid con hubas en la mano; las otras quatro son Iuno, Palas, Benus y Diana: todas son estatuas admirablemente hechas y que son mui Ponderadas de los estra( nJgeros que las ven, asi estas coma las demas que ay en los Jardines ; y en tin son tan lindos que, entre otros, dixo el Serenisimo Sr Duque de Orleans, biendolos : " No tiene el Rey de francia Cosa como esta, y como la Libreria; armeria si, mucha maior ". Tambien dizen muchas extra[n]xeros que an visto en barias cortes muches Jardines mas grandes, y con mas estatuas, pero ningunos tan ermosos; lo mismo que dizen estas dizen muchas Grandes de Espafia, pero con mas Pasmo ; tal vez lo haze el que an bisto poco de estas cosas : aun de flores en este Reino auia tan pocas y conmnes, y lo mismo sucedia en castilla, pues yo proveo a los Iardineros de su Magestad. Aora delinearemos el Lauerinto que, aunque atras lo esta, esta alli en quadro perfecto, y no lo es porque sige la linea dt: la zerca porque las calles sean iguales. LABERINTO. Este es el que da fin a las tres cosas mas memorables de la casa de Ltstanosa por su coste, riqueza, y disposicion Curiosa, de tal sinnmnero de cosas puestas en donde deuen estar, con tanto azierto que a los que mas noticias tienen, los aturde mas el ver �608 LA DEMEURE DE LASTANOSA 609 de sus grandezas, que a su tiempo se nombraran, ellos y las historias y lugares en que ablan . Esta el Lauerinto cercado de Zipreses grandes y mui poblados por loque dcntro se crian, \ ellos , 1aranxos, arboles de Pimienta y otros traidos de ticrras ardentisimas como es el Africa; en una callegita formada de dichos Arvoles esta la unica Puerta que tiene este Lauerinto; y se entra por una calle de Murta azia la drecba ; despues buelue sobre la hizquierda, ya de aqui a qua[l]quier mano que hechen, ya no sauen por donde van ni aun quizas no azenarian a salir pues ha suzedido entrar con un relox y aodar quarto y medio por sus calles y no llegar a una Plazuela que ay en el medio con un Montecito con varios Santos en sus cueuezitas, no teniendo mas todos sus quatro angulos que 522 pasos : todo es de murtas y algunos Arbolitos de frutas cstraiias que por el abrigo de los zipreses suelen por febrero tener fruta y oxa, y po[r] lo comun las nuevas ban hacienda caer las v-iexas; y por fin que rerdezir [sic] la disposicion de sus calles fuera otro Laverinto que no nos ensenaria a salir de el el Hilo de que se valen los Iardineros, quando entran con sus tigeras a cortar las ramas que sobresalen; por loque no quiero sino dezir de la puerta que se rcduze a que es de Murta, de lo mismo sus basas, Pilastras, frisas, cornisas, y encima un Leon hecho de la misma Murta, y a los dos !ados de la Pucrta, fuera las Pilastras un Zentauro mas alto que un hombre puesto a cauallo, y al otro lado un gran Satiro, los dos con sus Mazas amenazando a los que quieren entrar : que el no tiene mas puertas que sus mismos que solo la colocacion de tantas casas es una rccopilacion de Muchas Historias ; y por todo esto ha rnerecido esta casa sercelebrada de tantos Historiadores Estrangeros y Naturales que ablan enrcdos. An merccido las tres cosas que las vinieran a ber muchas Prinzipes estra[ n]geros, el Duque de Orleans, el de fcrrara, Iuan de Medizis, el de la Mirandula, El Prinzipe de Esquilache, don Juan Borromeo, el Marques de Pescara y otros muchos Caualleros de menor Gerarquia. De Ios Grandes de E[s]paîia cl Condecstable, cl de Iedina-Ccli, el de Arcos, el del Infantado, el de Bexar, el de 1edina de las torres, Marques de Aytona, Duqnc de Villaermosa, �610 LA DEMEURE DE LASTANOSA Duque de Lerma, Marques de Camarasa y otros muchos caualleros. Pero la Maior honrra es Auer venido a mi Casa, de buelta de Cataluna, el Gran Phelipe IV, mi Seùor y Rey, y auer ,·enido dos vezes con pretesto de Cazar desde Zaragoza : honrra tan grande que es inesplicable; y me decia que nunca auia visto cosa como mi casa, que era ... " TABLES DU TOME XXVI 1. TABLE UMÉROS PAR NUMÉRO 69. - MARS 1912 George William BAco:s. - 'The lift: and d.ramatic works of Doctor Juan Pérez de Montalvan (1602-1638). Pages 1-320 ............ . . . NUMÉRO 70. - Jül~ 1912 George William BACON. - The lifc and dramaùc works of Doccor Juan Pérez de Montalvan (1602-1638). Pages 321-474 .. . .. ,. . . . . Robcn D0001s. - Bibliographie de Jacimo Vcrdaguer.. • . . . . . . . . . . pl 475 TEXTE Une description inédite de la demeure de don Vincencio Juan de Lastanosa, publiée par A. Coster.... .. . . . . . . . . . . .. . .. . . . . . . . . . . . . . ll. TABLE PAR 0 1S 566 D'AUTEURS Anonyme Une description inédite de la demeure de don Vinccncio Juan de Lastanosa, publiée p.1r A. Coster....... . . . . . . . . . . . . . . . . . . . . . . . . . . Bacon (George William) The lite and dramatic works of Doctor Juan Pérez de Montalvan (16o21638) ........................ . ....................... . 566 �TABLES 6T2 Coster (A.) TClltc. Unt! dcscription inédite de la demt!urc de don Vinccn~io Juan d~ f~1~t:mosa. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 566 Dubois (Robert) Bibliogr:tphil: Je Jacinto Verdagucr ....... . lll. . .... ....... . PLANCHE HORS TEXTE El Doctor Iv~n Pcrcz de Montalban... . . . . . . . . . . . . . . . . . . . . . · 2-3 ABBE\'ll.1.E, - UlPRl"-ERI! F. PALLLART, �1 1 i 1 1 1 1 1 ,. 1 1 ! 1 1 1 ,,.,, 'I 1 1 ,. ' • • ' (' I• l.• ;•,, .' • f �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Revue Hispanique Description An account of the resource Editada en París, fue fundada en 1894 por Raymond Foulché-Delbosc, quien sería su primer director. En ella colaboraron firmas como las del propio Foulché-Delbosc, Gonçalves Viana, Ernest Mérimée, Marcelino Menéndez Pelayo, Louis Barrau-Dihigo, Léo Rouanet, Georges Desdevises du Dézert, Adolphe Coster, James Fitzmaurice-Kelly, Arturo Farinelli o Alexander Haggerty Krappe, entre otros muchos. Fue rival del Bulletin Hispanique editado en Burdeos. Cesó su publicación en 1933. La revista estadounidense Hispanic Review es considerada una continuación de la Revue hispanique. Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Título Uniforme Revue Hispanique Año de publicación El año cuando se publico 1912 Tomo Tomo al que pertenece 26 Periodicidad La periodicidad de la publicación (diaria, semanal, mensual, anual) Trimestral Relación OPAC https://www.codice.uanl.mx/RegistroBibliografico/InformacionBibliografica?from=BusquedaAvanzada&bibId=1752043&biblioteca=0&fb=20000&fm=6&isbn= Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Revue Hispanique, recueil consacré à l'étude des langues, des littératures et de l'histoire des pays castillans, catalans et portugais, 1912, Tomo 26, No 69-70 Creator An entity primarily responsible for making the resource Foulché-Delbosc, R. (Raymond), 1864-1929, Director Fundador Subject The topic of the resource Filología española Filología portuguesa Filología Literatura Lenguas Description An account of the resource Editada en París, fue fundada en 1894 por Raymond Foulché-Delbosc, quien sería su primer director. En ella colaboraron firmas como las del propio Foulché-Delbosc, Gonçalves Viana, Ernest Mérimée, Marcelino Menéndez Pelayo, Louis Barrau-Dihigo, Léo Rouanet, Georges Desdevises du Dézert, Adolphe Coster, James Fitzmaurice-Kelly, Arturo Farinelli o Alexander Haggerty Krappe, entre otros muchos. Fue rival del Bulletin Hispanique editado en Burdeos. Cesó su publicación en 1933. La revista estadounidense Hispanic Review es considerada una continuación de la Revue hispanique. Publisher An entity responsible for making the resource available Hispanic society of AmericaHispanic society of America (New York) Date A point or period of time associated with an event in the lifecycle of the resource 1912 Type The nature or genre of the resource Revista Format The file format, physical medium, or dimensions of the resource text/pdf Identifier An unambiguous reference to the resource within a given context 2020591 Source A related resource from which the described resource is derived Fondo Alfonso Reyes Language A language of the resource fre Relation A related resource https://gallica.bnf.fr/ark:/12148/cb344704512/date1936 Spatial Coverage Spatial characteristics of the resource. París, Francia Access Rights Information about who can access the resource or an indication of its security status. Access Rights may include information regarding access or restrictions based on privacy, security, or other policies. Universidad Autónoma de Nuevo León Rights Holder A person or organization owning or managing rights over the resource. El diseño y los contenidos de La hemeroteca Digital UANL están protegidos por la Ley de derechos de autor, Cap. III. De dominio público. Art. 152. Las obras del dominio público pueden ser libremente utilizadas por cualquier persona, con la sola restricción de respetar los derechos morales de los respectivos autores. George Willian Bacon Juan Pérez de Montalván La desdicha venturosa Life and Works