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diff --git a/23206-h/23206-h.htm b/23206-h/23206-h.htm new file mode 100644 index 0000000..70b1d26 --- /dev/null +++ b/23206-h/23206-h.htm @@ -0,0 +1,9221 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <title> + The Project Gutenberg eBook of La Moza De Cántaro, by Lope De Vega. + </title> + <style type="text/css"> +/*<![CDATA[ XML blockout */ +<!-- + p { margin-top: .75em; + text-align: justify; + margin-bottom: .75em; + } + p.n {text-indent: 10%; + } + p.h {text-indent:-5%; + margin-left: 5%; + } + p.ind {text-indent: 2%; + } + p.indstart {text-indent:23%; + } + h1,h2,h3 { + text-align: center; + clear: both; + } + hr { width: 80%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; + } + p.img {border: none; text-align: center;margin-top:10%;} + table {margin-left: auto; margin-right: auto;} + body{margin-left: 10%; + margin-right: 10%; + background:#fdfdfd; + color:black; + font-family: "Times New Roman", serif; + font-size: large; + } + div.d {margin-left:25%; + margin-top:5%; + margin-bottom:5%; + } + p.top5 {margin-top:5%; + } + .top15 {margin-top:15%; + } + ul {list-style-type: none;text-indent: -1em;} + a:link {background-color: #ffffff; color: blue; text-decoration: none; } + link {background-color: #ffffff; color: blue; text-decoration: none; } + a:visited {background-color: #ffffff; color: blue; text-decoration: none; } + a:hover {background-color: #ffffff; color: red; text-decoration:underline; } + + .smcap {font-variant: small-caps; + font-family: "Times New Roman", serif; + font-size: large; + } + .box {border: solid 1px;} + .linenum {position: absolute; top: auto; right: 10%; + } /* drama line number */ + + .c {text-align: center; + text-indent: 0%; + } + .r {text-align: right; + } + .footnotes {border: dashed 1px;} + .footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} + .footnote .label {position: absolute; right: 84%; text-align: right;} + .fnanchor {vertical-align: super; font-size: .6em; text-decoration: none;} + // --> + /* XML end ]]>*/ + </style> + </head> +<body> + + +<pre> + +The Project Gutenberg EBook of La moza de cántaro, by Lope de Vega + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: La moza de cántaro + +Author: Lope de Vega + +Editor: Madison Stathers + +Release Date: October 26, 2007 [EBook #23206] + +Language: Spanish + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK LA MOZA DE CÁNTARO *** + + + + +Produced by Juliet Sutherland, Chuck Greif and the Online +Distributed Proofreading Team at http://www.pgdp.net + + + + + + +</pre> + + +<h1>LA MOZA DE CÁNTARO</h1> + +<p class="c">POR</p> + +<h3>LOPE DE VEGA</h3> + +<p class="c"><i>EDITED WITH INTRODUCTION AND NOTES</i></p> + +<p class="c">BY</p> + +<p class="c">MADISON STATHERS</p> + +<p class="c">(<i>Docteur de l'Université de Grenoble</i>)<br /> +<i>Professor of Romance Languages in West Virginia University</i><br /></p> + +<p class="img"><img src="images/001.png" alt="logo" /></p> + +<p class="c">NEW YORK</p> + +<p class="c">HENRY HOLT AND COMPANY</p> + +<p class="c">1913</p> + +<hr /> + +<table summary="toc1" cellspacing="0" cellpadding="0"> +<tr><td align="center"> +<a href="#PREFACE"><b>PREFACE</b></a><br /> +<a href="#INTRODUCTION"><b>INTRODUCTION</b></a><br /> +<a href="#BIBLIOGRAPHY"><b>BIBLIOGRAPHY</b></a><br /> +<a href="#NOTES"><b>NOTES</b></a><br /> +<a href="#FOOTNOTES"><b>FOOTNOTES</b></a><br /></td></tr> +</table> +<hr /> +<table summary="toc2" cellspacing="0" cellpadding="0"> +<tr><td><a href="#LA_MOZA_DE_CANTARO"><br /><big><b>LA MOZA DE CÁNTARO<br /> </b></big></a></td></tr> +<tr><td><a href="#PERSONAS"><span style="margin-left: 4em;"><b>LAS PERSONAS</b></span></a><br /><br /> +<a href="#ACTO_PRIMERO"><span style="margin-left: 2em;"><b>ACTO PRIMERO</b></span></a><br /> +<a href="#ESCENA_PRIMERA1"><span style="margin-left: 4em;"><b>ESCENA PRIMERA,</b></span></a> +<a href="#ESCENA_II"><b> II,</b></a> +<a href="#ESCENA_III"><b> III,</b></a> +<a href="#ESCENA_IV"><b> IV,</b></a> +<a href="#ESCENA_V"><b> V,</b></a> +<a href="#ESCENA_VI"><b> VI,</b></a> +<a href="#ESCENA_VII"><b> VII,</b></a> +<a href="#ESCENA_VIII"><b> VIII,</b></a> +<a href="#ESCENA_IX"><b> IX,</b></a> +<a href="#ESCENA_X"><b> X,</b></a> +<a href="#ESCENA_XI"><b> XI,</b></a> +<a href="#ESCENA_XII"><b> XII,</b></a> +<a href="#ESCENA_XIII"><b> XIII,</b></a> +<a href="#ESCENA_XIV"><b> XIV</b></a><br /><br /> +<a href="#ACTO_SEGUNDO"><span style="margin-left: 2em;"><b>ACTO SEGUNDO</b></span></a><br /> +<a href="#ESCENA_PRIMERA2"><span style="margin-left: 4em;"><b>ESCENA PRIMERA,</b></span></a> +<a href="#ESCENA_II2"><b> II,</b></a> +<a href="#ESCENA_III2"><b> III,</b></a> +<a href="#ESCENA_IV2"><b> IV,</b></a> +<a href="#ESCENA_V2"><b> V,</b></a> +<a href="#ESCENA_VI2"><b> VI,</b></a> +<a href="#ESCENA_VII2"><b> VII,</b></a> +<a href="#ESCENA_VIII2"><b> VIII,</b></a> +<a href="#ESCENA_IX2"><b> IX,</b></a> +<a href="#ESCENA_X2"><b> X,</b></a> +<a href="#ESCENA_XI2"><b> XI,</b></a> +<a href="#ESCENA_XII2"><b> XII,</b></a> +<a href="#ESCENA_XIII2"><b> XIII,</b></a> +<a href="#ESCENA_XIV2"><b> XIV,</b></a> +<a href="#ESCENA_XV2"><b> XV,</b></a> +<a href="#ESCENA_XVI2"><b> XVI</b></a><br /><br /> +<a href="#ACTO_TERCERO"><span style="margin-left: 2em;"><b>ACTO TERCERO</b></span></a><br /> +<a href="#ESCENA_PRIMERA3"><span style="margin-left: 4em;"><b>ESCENA PRIMERA,</b></span></a> +<a href="#ESCENA_II3"><b> II,</b></a> +<a href="#ESCENA_III3"><b> III,</b></a> +<a href="#ESCENA_IV3"><b> IV,</b></a> +<a href="#ESCENA_V3"><b> V,</b></a> +<a href="#ESCENA_VI3"><b> VI,</b></a> +<a href="#ESCENA_VII3"><b> VII,</b></a> +<a href="#ESCENA_VIII3"><b> VIII,</b></a> +<a href="#ESCENA_IX3"><b> IX,</b></a> +<a href="#ESCENA_X3"><b> X,</b></a> +<a href="#ESCENA_XI3"><b> XI,</b></a> +<a href="#ESCENA_XII3"><b> XII,</b></a> +<a href="#ESCENA_XIII3"><b> XIII</b></a> +</td></tr> +</table> + +<hr /> +<h2><a name="PREFACE" id="PREFACE"></a>PREFACE</h2> + + +<p>The vast number of the works of Lope de Vega renders the task of +selecting one of them as an appropriate text for publication very +difficult, and it is only after having examined a large number of the +works of the great poet that the editor has chosen <i>La Moza de Cántaro</i>, +not only because it is one of the author's most interesting comedies, +but also because it stands forth prominently in the field in which he is +preëminent—the interpretation of Spanish life and character. It too is +one of the few plays of the poet which have continued down to recent +times in the favor of the Spanish theater-going public,—perhaps in the +end the most trustworthy critic. Written in Lope's more mature years, at +the time of his greatest activity, and probably corrected or rewritten +seven years later, this play contains few of the inaccuracies and +obscure passages so common to many of his works, reveals to us much of +interest in Spanish daily life and in a way reflects the condition of +the Spanish capital during the reign of Philip IV, which certainly was +one of the most brilliant in the history of the kingdom.</p> + +<p>The text has been taken completely, without any omissions or +modifications, from the Hartzenbusch collection of <i>Comedias Escogidas +de Lope de Vega</i> published in the <i>Biblioteca de Autores Españoles</i> and, +where it varies from other texts with which it has been compared, the +variation is noted. The accentuation has been changed freely to conform +with present usage, translations have been suggested for passages of +more than ordinary difficulty and full notes given on proper names and +on passages that suggest historical or other connection. Literary +comparisons have been made occasionally and modern forms or equivalents +for archaic words and expressions have been given, but usually these +have been limited to words not found in the better class of dictionaries +commonly used in the study of such works.</p> + +<p>The editor is especially indebted to Sr. D. Eugenio Fernández for aid in +the interpretation of several passages and in the correction of +accentuation, to Professor J. D. M. Ford for valuable suggestions, and +to Sr. D. Manuel Saavedra Martínez, Professor in the Escuela Normal de +Salamanca, for information not easily accessible.</p> + +<p class="r">M. S.</p> + +<p><span class="smcap">West Virginia University.</span></p> + + + +<hr /> +<h3><a name="INTRODUCTION" id="INTRODUCTION"></a>INTRODUCTION</h3> + +<p class="c top5">I. LIFE OF LOPE DE VEGA</p> + + +<p>The family of Lope de Vega Carpio was one of high rank, if not noble, +and had a manor house in the mountain regions of northwestern Spain. Of +his parents we know nothing more than the scanty mention the poet has +given them in his works. It would seem that they lived a while at least +in Madrid, where the future prince of Spanish dramatists was born, +November 25, 1562. Of his childhood and early youth we have no definite +knowledge, but it appears that his parents died when he was very young +and that he lived some time with his uncle, Don Miguel del Carpio.</p> + +<p>From his own utterances and those of his friend and biographer, +Montalvan, we know that genius developed early with him and that he +dictated verses to his schoolmates before he was able to write. In +school he was particularly brilliant and showed remarkable aptitude in +the study of Latin, rhetoric, and literature. These school days were +interrupted once by a truant flight to the north of Spain, but at +Astorga, near the ancestral estate of Vega, Lope, weary of the hardships +of travel, turned back to Madrid.</p> + +<p>Soon after he left the Colegio de los Teatinos, at about the age of +fourteen, Lope entered the service of Don Jerónimo Manrique, Bishop of +Ávila, who took so great an interest in him that he sent him to the +famous University of Alcalá de Henares, where he seems to have spent +from his sixteenth to his twentieth year and on leaving to have received +his bachelor's degree. The next five years of his life are shrouded in +considerable obscurity. It was formerly believed, as related by +Montalvan, that he returned from the University of Alcalá to Madrid +about 1582, was married and, after a duel with a nobleman, was obliged +to flee to Valencia, where he remained until he enlisted in the +Invincible Armada in 1588, but recent research +<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> +has proved the case to +be quite otherwise. It would seem that, on leaving the University about +1582, he became Secretary to the Marqués de las Navas and that for four +or five years he led in Madrid a dissolute life, writing verses and +frequenting the society of actors and of other young degenerates like +himself and enjoying the favor of a young woman, Elena Osorio, whom he +addressed in numberless poems as "Filis" and whom he calls "Dorotea" in +his dramatic romance of the same name. In the latter work he relates +shamelessly and with evident respect for truth of detail many of his +adventures of the period, which, as Ticknor says, "do him little credit +as a young man of honor and a cavalier."</p> + +<p>In the light of the recent information cited above, we know also that +Lope's career immediately after 1587 was quite different from what his +contemporary Montalvan had led the world long to believe. In the +<i>Proceso de Lope de Vega por libelos contra unos Cómicos</i>, it is shown +that the poet, having broken with "Filis," circulated slanderous verses +written against her father, Jerónimo Velázquez, and his family. The +author was tried and sentenced to two years' banishment from Castile and +eight more from within five leagues of the city of Madrid. He began his +exile in Valencia, but soon disobeyed the decree of banishment, which +carried with it the penalty of death if broken, and entered Castile +secretly to marry, early in 1588, Doña Isabel de Urbina, a young woman +of good family in the capital. Accompanied by his young wife, he +doubtless went on directly to Lisbon, where he left her and enlisted in +the Invincible Armada, which sailed from that port, May 29, 1588. During +the expedition, according to his own account, Lope fought bravely +against the English and the Dutch, using, as he says, his poems written +to "Filis" for gun-wads, and yet found time to write a work of eleven +thousand verses entitled <i>la Hermosura de Angélica</i>. The disastrous +expedition returned to Cadiz in December, and Lope made his way back to +the city of his exile, Valencia, where he was joined by his wife. There +they lived happily for some time, the poet gaining their livelihood by +writing and selling plays, which up to that time he had written for his +own amusement and given to the theatrical managers.</p> + +<p>Of the early literary efforts of Lope de Vega, such as have come down +to us are evidently but a small part, but from them we know something of +the breadth of his genius. In childhood even he wrote voluminously, and +one of his plays, <i>El Verdadero Amante</i>, which we have of this early +period, was written at the age of twelve, but was probably rewritten +later in the author's life. He wrote also many ballads, not a few of +which have been preserved, and we know that, at the time of his +banishment, he was perhaps the most popular poet of the day.</p> + +<p>The two years following the return of the Armada, Lope continued to live +in Valencia, busied with his literary pursuits, but in 1590, after his +two years of banishment from Castile had expired, he moved to Toledo and +later to Alba de Tormes and entered the service of the Duke of Alba, +grandson of the great soldier, in the capacity of secretary. For his +employer he composed about this time the pastoral romance <i>Arcadia</i>, +which was not published until 1598. The remaining years of his +banishment, which was evidently remitted in 1595, were uneventful +enough, but this last year brought to him a great sorrow in the death of +his faithful wife. However, he seems to have consoled himself easily, +for on his return to Madrid the following year we know of his entering +upon a career of gallant adventures which were to last many years and +which were scarcely interrupted by his second marriage in 1598 to Doña +Juana de Guardo.</p> + +<p>Aside from his literary works the following twelve years of the life of +Lope offer us but little of interest. The first few years of the period +saw the appearance of <i>La Dragontea</i>, an epic poem on Sir Francis +Drake, and <i>Isidro</i>, a long narrative poem on the life and achievements +of San Isidro, patron of Madrid. These two works were followed in 1605 +by his epic, <i>Jerusalén Conquistada</i>, an untrustworthy narration of the +achievements of Richard Cœur-de-Lion and Alfonso VIII in the crusade +at the close of the twelfth century. Lope left the service of the Duke +of Alba on his return to Madrid, or about that time, and during the next +decade held similar positions under the Marqués de Malpica and the Conde +de Lemos, and during a large part of this period he led a more or less +vagabond existence wherever the whims of his employers or his own +gallant adventures led him. About 1605 he made the acquaintance of the +Duque de Sessa, who shortly afterwards became his patron and so +continued until the death of the poet about thirty years later. The +correspondence of the two forms the best source for the biography of +this part of Lope's career. From 1605 until 1610 he lived in Toledo with +his much neglected wife, of whom we have no mention since their marriage +in 1598. But in 1610 they moved to Madrid, where Lope bought the little +house in what is now the Calle de Cervantes, and in this house the great +poet passed the last quarter of a century of his long and eventful life.</p> + +<p>The next few years following this return to the capital were made +sorrowful to Lope by the sickness and death of both his wife and his +beloved little son, Carlos Félix, in whom the father had founded the +fondest hopes. Then it was that Lope, now past the fiftieth year of his +age, sought refuge, like so many of his contemporaries and compatriots, +in the protecting fold of the Church. Before the death of his wife he +had given evidence of religious fervor by numerous short poems and in +his sacred work, <i>los Pastores de Belén</i>, a long pastoral in prose and +in verse relating the early history of the Holy Family. Whether Lope was +influenced to take orders by motives of pure devotion or by reasons of +interest has been a question of speculation for scholars ever since his +time. From his works we can easily believe that both of these motives +entered into it; in fact he says as much in his correspondence with the +Duque de Sessa. Speaking of this phase of the poet's life, +Fitzmaurice-Kelly says: "It was an ill-advised move. Ticknor, indeed, +speaks of a 'Lope, no longer at an age to be deluded by his passions'; +but no such Lope is known to history. While a Familiar of the +Inquisition the true Lope wrote love-letters for the loose-living Duque +de Sessa, till at last his confessor threatened to deny him absolution. +Nor is this all: his intrigue with Marta de Navares Santoyo, wife of +Roque Hernández de Ayala, was notorious." But later, speaking of those +who may study these darker pages of Lope's career, he adds: "If they +judge by the standards of Lope's time, they will deal gently with a +miracle of genius, unchaste but not licentious; like that old Dumas, +who, in matters of gaiety, energy and strength, is his nearest modern +compeer." We may say further that Lope, with no motive to deceive or +shield himself, for he seems to have almost sought to give publicity to +his licentiousness, was faithful in the discharge of his religious +offices, evincing therein a fervor and devotion quite exemplary. Yet +neither does his gallantry nor his devotion seem to have ever halted his +pen for a moment in the years that succeeded his ordination. His +dramatic composition of this period is quite abundant and other literary +forms are not neglected.</p> + +<p>Two interesting incidents in the poet's life are never omitted by his +biographers. They are the beatification, in 1620, of San Isidro and his +canonization, two years later, with their accompanying poet "jousts," at +both of which Lope presided and assumed a leading rôle. Before this time +he was known as a great author and worshiped by the element interested +in the drama, but on both these occasions he had an opportunity to +declaim his incomparable verses and those of the other contesting poets, +revealing his majestic bearing and versatility to the great populace of +Madrid, his native city. He was thereafter its literary lion, whose very +appearance in the streets furnished an occasion for tumultuous +demonstration of affection.</p> + +<p>The last decade of the life of Lope de Vega saw him seeking no rest or +retirement behind the friendly walls of some monastic retreat, but +rather was it the most active period of his literary career. Well may we +say that he had no declining years, for he never knew rest or realized a +decline of his mental faculties. He did not devote by any means all his +time to his literary pursuits, but found time to attend faithfully to +his religious duties and to the cares of his home, for he had gathered +about him his children, Feliciana, Lope Félix and Antonia Clara, of +whom the last two and Marcela, in a convent since 1621, were the gifted +fruit of illicit loves. In 1627 he published his <i>Corona Trágica</i>, a +long religious epic written on the history of the life and fate of Mary, +Queen of Scots. This work won for him the degree of Doctor of Divinity, +conferred with other evidences of favor by Pope Urban VIII. Three years +later appeared Lope's <i>Laurel de Apolo</i>, a poem of some seven thousand +lines describing an imaginary festival given on Mount Helicon in April, +1628, by Apollo, at which he rewards the poets of merit. The work is +devoted to the praise of about three hundred contemporary poets. In 1632 +the poet published his prose romance, <i>Dorotea</i>, written in the form of +drama, but not adapted to representation on the stage. It is a very +interesting work drawn from the author's youth and styled by him as "the +posthumous child of my Muse, the most beloved of my long-protracted +life."<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a> It is most important for the light it sheds on the early years +of his life, for it is largely autobiographical. Another volume, issued +from the pen of Lope in 1634 under the title of <i>Rimas del licenciado +Tomé de Burguillos</i>, contains the mock-heroic, <i>La Gatomaquia</i>, the +highly humorous account of the love of two cats for a third. +Fitzmaurice-Kelly describes this poem as, "a vigorous and brilliant +travesty of the Italian epics, replenished with such gay wit as suffices +to keep it sweet for all time."</p> + +<p>Broken in health and disappointed in some of his fondest dreams, the +great poet was now rapidly approaching the end of his life. It is +believed that domestic disappointments and sorrows hastened greatly his +end. It would appear from some of his works that his son, Lope Félix, to +whom he dedicated the last volume mentioned above, was lost at sea the +same year, and that his favorite daughter, Antonia Clara, eloped with a +gallant at the court of Philip IV. Four days before his death Lope +composed his last work, <i>El Siglo de Oro</i>, and on August 27, 1635, after +a brief serious illness, the prince of Spanish drama and one of the +world's greatest authors, Lope Félix de Vega Carpio breathed his last in +the little home in the Calle de Francos, now the Calle de Cervantes. His +funeral, with the possible exception of that of Victor Hugo, was the +greatest ever accorded to any man of letters, for it was made the +occasion of national mourning. The funeral procession on its way to the +church of San Sebastian turned aside from its course so that the poet's +daughter, Marcela, might see from her cell window in the convent of the +Descalzadas the remains of her great father on the way to their last +resting-place.</p> + + +<p class="c top5">II. THE EARLY SPANISH THEATER AND THE DRAMA OF LOPE DE VEGA</p> + +<p>The theater of the Golden Age of Spanish letters occupies a position +unique in the history of the theaters of modern Europe, for it is +practically free from foreign influence and is largely the product of +the popular will. Like other modern theaters, however, the Spanish +theater springs directly from the Church, having its origin in the +early mysteries, in which the principal themes were incidents taken from +the lives of the saints and other events recorded in the Old and the New +Testament, and in the moralities, in which the personages were abstract +qualities of vices and virtues. These somewhat somber themes in time +failed to satisfy the popular will and gradually subjects of a more +secular nature were introduced. This innovation in England and France +was the signal for the disappearance of the sacred plays; but not so in +Spain, where they were continued several centuries, under the title of +<i>autos</i>, after they had disappeared in other parts of Europe.</p> + +<p>The beginnings of the Spanish secular theater were quite humble and most +of them have been lost in the mists of time and indifference. The +recognized founder of the modern Spanish theater appeared the same year +Columbus discovered the New World. Agustín Rojas, the actor, in his +<i>Viaje entretenido</i>, says of this glorious year: "In 1492, Ferdinand and +Isabella saw fall the last stronghold of the Moors in the surrender of +Granada, Columbus discovered America, and Juan del Encina founded the +Spanish theater." Juan del Encina was a graduate of the University of +Salamanca and lived at the time mentioned above in the household of the +Duke of Alba at Alba de Tormes. It was here that, before select +audiences, were first presented his early plays or <i>Églogas</i>. The plays +of Encina, fourteen in number, were staged and constitute the modest +beginnings of a movement that was to develop rapidly in the next two +decades. A contemporary of Juan del Encina, Fernando de Rojas, +published in 1498 his famous dramatized romance, <i>La Celestina</i>, which, +while it was not suited for representation on the stage, was a work of +great literary merit and had remarkable influence on the early drama. +About the same time a disciple of Juan del Encina, Gil Vicente, founded +the Portuguese theater and made notable contributions to Spanish +letters, for he seems to have written with equal facility in the two +idioms. Perhaps the greatest dramatic genius of the period, Bartolomé +Torres Naharro, while he wrote in Spanish, passed the greater part of +his life in Italy, where he published at Naples in 1517 an edition of +his plays entitled <i>Propaladia</i>. He, first of Spanish authors, divided +his plays into five acts, called <i>jornadas</i>, limited the number of +personages, and created a plot worthy of the name.</p> + +<p>For almost half a century after the publication of the <i>Propaladia</i> the +Spanish theater advanced but little, for this was the period when Carlos +Quinto ruled Spain and kept the national interest fixed on his military +achievements, which were for the most part outside of the peninsula. But +about 1560 there flourished in Spain probably the most important figure +in the early history of the national drama. This was the Sevillian +gold-beater, later actor and dramatic author, Lope de Rueda. The +dramatic representations before this time were doubtless limited in a +large measure to select audiences in castles and courts of noble +residences; but Lope de Rueda had as his theater the public squares and +market-places, and as his audience the great masses of the Spanish +people, who now for the first time had a chance to dictate the trend +which the national drama should take. In his rôle of manager and +playwright Lope de Rueda showed no remarkable genius, but he began a +movement which was to reach its culmination and perfection under the +leadership of no less a personage than the great Lope himself. Between +the two Lopes there lived and wrote a number of dramatic authors of +diverse merit. Lope de Rueda's work was continued by the Valencian +bookseller, Juan de Timoneda, and by his fellow actors, Alonso de la +Vega and Alonso de Cisneros. In this interim there took place a struggle +between the popular and classic schools. The former was defended by such +authors as Juan de la Cueva and Cristóbal de Virués, while the latter +was espoused by Gerónimo Bermúdez and others. The immortal Cervantes +wrote many plays in this period and claimed to favor the classic drama, +but his dramatic works are not of sufficient importance to win for him a +place in either party. Thus we find that in 1585 Spain had a divided +drama, represented on the one side by the drama of reason and proportion +fashioned after Greek and Roman models, and on the other a loosely +joined, irregular, romantic drama of adventure and intrigue, such as was +demanded by the Spanish temperament. Besides the defenders of these +schools there was an infinite variety of lesser lights who wrote all +sorts of plays from the grossest farces to the dullest Latin dramas. +Before taking up the discussion of the works of the mighty genius who +was to establish the popular drama, it is well to give a brief glance at +the people who presented plays and the places in which they were given.</p> + +<p>As has been already observed, the dramas of Juan del Encina and his +immediate successors were probably presented to limited audiences. It is +not improbable that parts were often taken by amateurs rather than by +members of regular troupes. However, at an early date there were many +strolling players who are classed in the <i>Viaje entretenido</i> in no less +than eight professional grades: (1) The <i>bululú</i>, a solitary stroller +who went from village to village reading simple pieces in public places +and living from the scanty collections taken among the audience. (2) The +<i>ñaque</i>, two players, who could perform <i>entremeses</i> and play one or two +musical instruments. (3) The <i>gangarilla</i>, group of three or four actors +of whom one was a boy to play a woman's part. They usually played a +farce or some other short play. (4) The <i>cambaleo</i> was composed of five +men and a woman and remained several days in each village. (5) The +<i>garnacha</i> was a little larger than the <i>cambaleo</i> and could represent +four plays and several autos and <i>entremeses</i>. (6) The <i>bojiganga</i> +represented as many as six <i>comedias</i> and a number of <i>autos</i> and +<i>entremeses</i>, had some approach at regular costumes, and traveled on +horseback. (7) The <i>farándula</i> was composed of from ten to fifteen +players, was well equipped and traveled with some ease. (8) The +<i>compañía</i> was the most pretentious theatrical organization composed of +thirty persons, capable of producing as many as fifty pieces and +accustomed to travel with dignity due the profession. Of still greater +simplicity were the theaters where these variously classified actors +gave their plays. In the villages and towns they were simply the plaza +or other open space in which the rude stage and paraphernalia were +temporarily set up. Quoting from Cervantes, Ticknor says of the theater +of Lope de Rueda: "The theater was composed of four benches, arranged in +a square, with five or six boards laid across them, that were thus +raised about four palms from the ground. The furniture of the theater +was an old blanket drawn aside by two cords, making what they called the +tiring-room, behind which were the musicians, who sang old ballads +without a guitar." In the larger cities such simplicity cannot be +expected in the later development of the theater, for there the interest +and resources were greater. In this respect Madrid, the capital, may be +considered as representative of the most advanced type. In that city the +plays were given in <i>corrales</i> or open spaces surrounded on all sides by +houses except the side nearest the street. By the beginning of the +seventeenth century these <i>corrales</i> were reduced to two principal +ones—the Corral de la Pacheca (on the site of the present Teatro +Español) and the Corral de la Cruz, in the street of the same name. The +windows of the houses surrounding these <i>corrales</i>, with the adjoining +rooms, formed <i>aposentos</i> which were rented to individuals and which +were entered from the houses themselves. At the end farthest from the +entrance of the <i>corral</i> was the stage, which was raised above the level +of the ground and covered by a roof. In front of the stage and around +the walls were benches, those in the latter position rising in tiers. On +the left hand and on a level with the ground was the <i>cazuela</i> or +women's gallery. The ground to the rear of the benches in front of the +stage was open and formed the "standing-room" of the theater. With the +exception of the stage, a part of the benches and the <i>aposentos</i>, the +whole was in the open air and unprotected from the weather. In such +unpretentious places the masterpieces of Lope de Vega and of many of his +successors were presented. With this environment in mind we shall +proceed to a brief review of the dramatic works of el <i>Fénix de los +ingenios</i>.</p> + +<p>Lope de Vega found the Spanish drama a mass of incongruities without +form, preponderating influence, or type, he left it in every detail a +well-organized, national drama, so perfect that, though his successors +polished it, they added nothing to its form.<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a> When or how he began +this great work, it is not certain. He says in his works that he wrote +plays as early as his eleventh year and conceived them even younger, and +we have one of his plays, <i>El Verdadero Amante</i>, written, as has been +mentioned, when he was twelve, but corrected and published many years +later. Of all his plays written before his banishment, little is known +but it is natural to suppose that they resembled in a measure the works +of predecessors, for this period must be considered the apprenticeship +of Lope. Though written for the author's pleasure, they were evidently +numerous, for Cervantes says that Lope de Vega "filled the world with +his own <i>comedias</i>, happily and judiciously planned, and so many that +they covered more than ten thousand sheets." That his merit was soon +appreciated is evident from the fact that theatrical managers were +anxious to have these early compositions and that during his banishment +he supported himself and family in Valencia by selling plays and +probably kept the best troupes of the land stocked with his works alone. +Of the number of his works the figures are almost incredible. In <i>El +Peregrino en su Patria</i>, published in 1604, he gives a list of his +plays, which up to that time numbered two hundred and nineteen; in 1609 +he says, in <i>El Arte Nuevo de hacer Comedias</i>, that the number was then +four hundred and eighty-three; in prologues or prefaces of his works +Lope tells us that he had written eight hundred plays in 1618, nine +hundred in 1619 and one thousand and seventy in 1625. In the <i>Égloga á +Claudio</i>, written in 1632, and in the concluding lines of <i>La Moza de +Cántaro</i>, revised probably the same year, he says that he is the author +of fifteen hundred comedias. In the <i>Fama Póstuma</i>, written after his +death in 1635 by his friend Montalvan, it is stated that the number of +dramatic works of Lope included eighteen hundred <i>comedias</i> and four +hundred <i>autos</i>. From the above figures it is evident that Lope composed +at times on an average a hundred <i>comedias</i> a year, and this after he +had passed his fiftieth year! Yet still more astonishing is his own +statement in regard to them:</p> + +<div class="d"> +<p> +«Y más de ciento, en horas veinte y cuatro,<br /> +Pasaron de las musas al teatro.»<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a><br /> +</p> +</div> + +<p>And it is a matter of history that he composed his well-known <i>La Noche +de San Juan</i> for the favorite, Olivares, in three days. This, in +addition to his other works, offers us a slight insight into the +wonderful fertility of the man's genius and gives reason to Cervantes +and his contemporaries for calling him "el monstruo de la naturaleza" +and "el Fénix de los ingenios."</p> + +<p>To his plays Lope de Vega has given the general name of <i>comedias</i>, +which should not be confused with the word "comedies," for the two are +not synonymous. They are divided into three acts or <i>jornadas</i> of +somewhat variable length and admit of numerous classifications. Broadly +speaking, we may divide the <i>comedias</i> into four groups: (1) <i>Comedias +de capa y espada</i>, which Lope created and which include by far the +greater number of his important works. In these plays the principal +personages are nobles and the theme is usually questions of love and +honor. (2) <i>Comedias heroicas</i>, which have royalty as the leading +characters, are lofty or tragical in sentiment, and have historical or +mythological foundation. (3) <i>Comedias de santos</i>, which represent some +incident of biblical origin or some adventure in the lives of the +saints. In them the author presents the graver themes of religion to the +people in a popular and comprehensible manner, in which levity is often +more prominent than gravity. (4) <i>Comedias de costumbres</i>, in which the +chief personages are from the lower classes and of which the language is +even lascivious and the subject treated with a liberty not encountered +in other dramas of the author. To these various classes must be added +the <i>Autos sacramentales</i>, which were written to be represented on +occasions of religious festivals. Their theme is usually popular, even +grotesque, and the representation took place in the streets.</p> + +<p>Lope de Vega took the Spanish drama as he found it, and from its better +qualities he built the national drama. He knew the unities and ignored +them in his works, preferring, as he says, to give the people what they +wished, and he laid down precepts for composition, but even these he +obeyed indifferently. Always clever, he interpreted the popular will and +gratified it. He did not make the Spanish drama so much as he permitted +it to be made in and through him, and by so doing he reconciled all +classes to himself; he was as popular with the erudite as he was with +the masses, for his plays have a variety, facility, and poetic beauty +that won the favor of all. His works abound in the inaccuracies and +obscurities that characterize hasty composition and hastier +proof-reading, but these are forgotten in the clever intrigue which is +the keynote of the Spanish drama, in the infinite variety of +versification and in the constant and never flagging interest. For over +fifty years Lope de Vega enriched the Spanish drama with the wonders of +his genius, yet from <i>El Verdadero Amante</i>, certainly in its original +form one of his earliest plays now in existence, to <i>Las Bizarrías de +Belisa</i>, written the year before his death, we find a uniformity of +vigor, resourcefulness and imagination that form a lasting monument to +his versatility and powers of invention, and amply justify his titles of +"Fénix de los ingenios" and "Monstruo de la naturaleza."</p> + + +<p class="c top5">III. LA MOZA DE CÁNTARO</p> + +<p>This interesting <i>comedia</i> was written in the last decade of the life of +Lope de Vega, in the most fertile period of his genius. Hartzenbusch is +authority for the statement that it was written towards the close of the +year 1625 and revised in 1632.<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a> It is evident that the closing lines +of it were written in 1632, for the author says in the <i>Égloga á +Claudio</i> that he had completed that year fifteen hundred comedias. As +evidence of its popularity, we have the following resumé and +appreciation from the same critic in the <i>prólogo</i> of his edition of +<i>Comedias Escogidas de Lope de Vega</i>: «Iba cayendo el sol, y acercábase +á la peripecia última, precursora del desenlace, una comedia que en un +teatro de Madrid (ó <i>corral</i>, como solía entonces decirse) representaban +cuatro galanes, dos damas, un barba, dos graciosos, dos graciosas y +otros actores de clase inferior, ante una porción de espectadores, con +sombrero calado, como quienes encima de sí no tenían otra techumbre que +la del cielo. Ya la primera dama había hecho su postrera salida con el +más rico traje de su vestuario: absorto su amante del señoril porte de +aquella mujer, que, siendo una humilde criada, sabía, sin embargo, el +pomposo guardainfante, como si en toda su vida no hubiese arrastrado +otras faldas; ciego de pasión y atropellando los respetos debidos á su +linaje, se había llegado á ella, y asiéndole fuera de sí la mano, le +había ofrecido la suya. El galán segundo se había opuesto resueltamente +á la irregular y precipitada boda; pero al oir que la supuesta Isabel +tenía por verdadero nombre el ilustre de doña María Guzmán y +Portocarrero, y era, aunque <i>moza de cántaro</i> parienta del duque de +Medina, su resistencia había desaparecido. Hecha pues una gran +reverencia muda á la novia, se adelantó el actor á la orilla del tablado +para dirigir esta breve alocución al público:</p> + +<div class="d"> +<p> +<span style="margin-left: 20%;">Aquí</span><br /> +Puso fin á esta comedia<br /> +Quien, si perdiere este pleito,<br /> +Apela á <i>Mil y Quinientas</i>.<br /> +<span class="smcap">Mil y quinientas</span> ha escrito:<br /> +Bien es que perdón merezca.<br /> +</p> +</div> + +<p>De las gradas y barandillas, de las ventanas y desvanes, de todos los +asientos, pero principalmente de los que llenaban el patio, hubo de +salir entonces, entre ruidosas palmadas, un grito unánime de admiración, +de entusiasmo y orgullo nacional justísimo. «¡Vítor, Lope!» clamaba +aquella alborazada multitud una vez y otra; «¡Viva <i>el Fénix de los +ingenios</i>! ¡Viva Lope de Vega!»<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a> And in no less laudatory terms, Elías +Zerolo says: "En ella,... agotó Lope todos los sentimientos resortes +propios de su teatro... Esta comedia es una de las más perfectas de +Lope, por lo que alcanzó en su tiempo un éxito ruidoso." In enumerating +the plays of Lope which were still well known and represented in Spain +in the nineteenth century, Gil de Zárate names <i>La Moza de Cántaro</i> +among the first,<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a> and doubtless on this authority Ticknor speaks of it +as one of the plays of Lope which "have continued to be favorites down +to our own times."<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a></p> + +<p>The "Watermaid" belongs to the largest class of Lope's plays—the class +in which he excelled—<i>comedias de capa y espada</i>. Ticknor erroneously +classes it as a comedy "founded on common life" or as styled by others +<i>comedia de costumbres</i>, but it is probable he did so without making +himself thoroughly familiar with the comedy in its full form. Zerolo is +very emphatic in attributing it to the class of <i>comedias de capa y +espada</i>, for he says: "Más que ninguna otra, reune esta obra las +circunstancias que caracterizan á las <i>comedias de capa y espada</i>, como +embozos, equívocos, etc." Were the leading character what her name +implies—a humble servant—and were the other characters of her rank, +the play might well be classed as a comedia de costumbres; but that it +belongs to the larger class is established by the fact that the intrigue +is complicated, the question of love and rank is prominent, and the +characters are of the nobility.<a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a> Any opposing irregularities in +language or action may be explained by the period represented, for the +time is that of the early years of the reign of the young monarch, +Philip IV, a brilliant though corrupt epoch of Spanish history well +worthy of a moment's notice.</p> + +<p>Philip III died in 1621, leaving the vast realm which he had inherited +from his father, the gloomy though mighty Philip II, to his son, a youth +of sixteen years, who came to the throne under the title of Philip IV. +If Philip III was ruled by Lerma and Uceda, Philip IV, in his turn, was +completely under the domination of the unprincipled Olivares, and his +accession initiated one of the most interesting and most corrupt reigns +that Spain has ever known. Philip himself was weak and pleasure-loving, +but has never been regarded as perverse, and Olivares was ambitious and +longed to rule Spain as the great Cardinal was ruling France. To achieve +this end he isolated the monarch from every possible rival and kept him +occupied with all sorts of diversions. At an early age Philip had been +married to Isabel de Bourbon, daughter of Henry IV of France, and she +was an unconscious tool in the hands of Olivares, for she was as light +and as fond of pleasures as the king. Trivial incidents in royal circles +were sufficient excuse to provide the most lavish celebrations and +expenditures, illy authorized by the depleted condition of the royal +exchequer. The external conditions of the kingdom were momentarily +favorable for such a period as that through which the country was +passing, for Spain was at peace with all the world. The Netherlands and +other continental possessions were placated by concessions or +temporarily quieted by truces, and the American possessions were +prosperous and contributed an enormous toll of wealth to the +mother-country. Madrid, with all its unsightliness, was one of the most +brilliant courts of Europe and attracted to itself the most gifted +subjects of the realm. Encouraged by the king's love of art and letters, +the great painters like Velázquez and Ribera vied with each other in +creating masterpieces for princely patrons, and great authors like Lope, +Quevedo, and Calderón sharpened their wits to please a literary public. +This cosmopolitan society furnished abundant food for observation and an +inexhaustible supply of interesting personages for the dramatist.</p> + +<p>Since Lope de Vega had no classic rules to observe and was limited in +his composition only by popular tastes, he could without offense take +his characters from whatever class of society he wished so long as his +choice was pleasing to the audience, which, it happens, was not easily +offended. Like Shakespeare, he brings upon the stage illiterate servants +to mix their rude speech and often questionable jests with the grave +and lofty or poetic utterances of their noble or royal masters. His +characters, too, were not limited to any fixed line of conduct, as long +as honor was upheld. They could be creatures of passion or impulse who +gave expression to the most violent or romantic sentiments, mingling +laughter and tears with all the artlessness of children. Therefore we +may expect the most divergent interests and the most complex +combinations of aims and actions of which the popular reason is capable +of conceiving.</p> + +<p>On the Spanish stage, woman had always had a secondary rôle, not only +because she was not fully appreciated, but also because the rôle was +usually taken by boys, for women were long prohibited from the stage. +"Lope, the expert in gallantry, in manners, in observation, placed her +in her true setting, as an ideal, as the mainspring of dramatic motive +and of chivalrous conduct."<a name="FNanchor_10_10" id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a> Doña María is a type of Spanish woman of +which history furnishes numerous parallels. Her family name had suffered +disgrace and her own father was crying out for an avenger; there was no +one else to take up the task, she eagerly took it upon herself and +punished her suitor with the death she thought he deserved. Then to +escape arrest she fled in the guise of a servant girl, which was in fact +a very natural one for her to assume, for even at the present time no +high-born young Spanish woman would dare to travel unattended and +undisguised through her native land; besides, to do so would have +revealed her identity. Once located in the capital, she becomes an +ideal Spanish servant girl, performing well the duties imposed upon her, +gossiping with those of her assumed class, breaking the heads of those +who sought to molest her, usually gay and loquacious, but, when +offended, impudent and malicious. That she does things unbecoming of her +true rank only shows how well she carries out her assumed rôle; that she +was not offensive or contrary to Spanish tastes of the times is proved +by the fact that, although she was a Guzmán and consequently a relative +of the ruling favorite, Olivares, the play did not fall under royal +censure. Her versatility and just claim to her high position are +emphasized by the ease with which she assumes her own rank at the close +of the play.</p> + +<p>Don Juan, the hero of the play, while he pales somewhat before the +brilliant, protagonistic rôle of the heroine, represents on a lesser +plane Lope's conception of the true Spanish gallant, whom the poet often +pictures under this name or that of "Fernando" and not infrequently lets +his personality show through even to the extent of revealing interesting +autobiographical details.<a name="FNanchor_11_11" id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a> That Lope did not approve entirely of the +higher social life of his time is brought out all through the play and +revealed in the hero, for the contemporaries and friends of the latter +considered him an <i>original</i>. But in him we find more nearly the common +Spanish conception of chivalry and honor.</p> + +<p>Breathing his love in poetic musings, eating out his own heart in +sleepless nights and in anxious waitings for his lady-love by the +fountain in the Prado or at the <i>lavaderos</i> along the banks of the +Manzanares, refusing wealth and spurning position gained at the price of +his love, preserving an unrivaled fidelity to his friend and kinsman, +but finally consenting to sacrifice his love for the honor of his name +and family, Don Juan is the embodiment of Spanish chivalry of all ages. +That the poet makes him love one apparently on a lower social plane +illustrates his power of discrimination and magnifies these virtues +rather than diminishes them.</p> + +<p>Don Bernardo, of whom we see but little, recalls don Diègue of +Corneille, to whom he is directly related, for Guillén de Castro is a +worthy disciple of Lope de Vega and wrote many plays, including <i>las +Mocedades del Cid</i>, in his manner, and Corneille's indebtedness to the +former is too well known to need explanation. More violent than Don +Diègue, who is restrained by the decorum of the French classic theater, +more tearful than Don Diego of <i>las Mocedades</i>, who, after a passionate +soliloquy, rather coolly tests the valor of his sons, ending by biting +the finger of "el Cid," Don Bernardo appears first upon the stage in +tears and frequently, during the only scene in which he figures, gives +way to his grief. The comparison of the three is interesting, for all +three had suffered the same insult; but before we judge Don Bernardo too +hastily, we should consider that both the other two are making their +appeals to valiant men, while he is appealing to a woman, and not +appealing for vengeance as they, but rather lamenting his hard lot. Don +Diègue and Don Diego impress us by the gravity of their appeals, while +Don Bernardo arouses our sympathy by his senility—old Spanish cavalier, +decorated with the cross of Santiago, that he is!</p> + +<p>If we make Don Juan the impersonation of Lope's idea of chivalry, we may +well interpret el Conde and Doña Ana as representing his appreciation of +his more sordid contemporaries; both are actuated by motives of interest +and are not scrupulous enough to conceal it. The poet is far too +discreet to hold either up to ridicule, yet he makes each suffer a keen +rebuff. Both are given sufficient elements of good to dismiss them at +the close with the partial realization of their desires.</p> + +<p>One character particularly local to Spanish literature is the <i>Indiano</i>. +In general usage the term is applied to those who enter Spain, coming +from the Latin-American countries, though properly it should include +perhaps only natives of the West Indies. Since an early date, however, +the term has been applied to Spaniards returning to the native land +after having made a fortune in the Americas. In the early years of the +seventeenth century, when the mines of Mexico and South America were +pouring forth their untold millions, these <i>Indianos</i> were especially +numerous in the Spanish capital, and Lope de Vega, with his usual acute +perception ready to seize upon any theme popular with the public, gave +them a prominent place in his works. Sometimes they appear as scions of +illustrious lineage, as Don Fernando and the father of Elena in <i>la +Esclava de su Galán</i>, and again they figure as the object of the poet's +contempt, as the wealthy merchant, Don Bela, in <i>la Dorotea</i>. In the +present instance the <i>Indiano</i> is a bigoted, miserly fellow who seeks, +at the least possible cost, position at the Spanish court and who +employs doña María largely for motives of interest rather than through +sympathy for her poverty-stricken condition. Later, at Madrid, he +exhibits himself in a still more unfavorable light, and ends by driving +her from his service, of which incident she gives a highly entertaining, +though little edifying, narration.</p> + +<p>The last characters in the play who need occupy our attention are Martín +and Pedro, the <i>graciosos</i>. This very Spanish personage dates, in idea, +back to the servants of the <i>Celestina</i> and to the <i>simple</i> of Torres +Naharro, but in the hands of Lope he is so developed and so omnipresent +that he is justly accredited as a creation of the great "Fénix."<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a> +Martín, the clever but impudent servant, is the leading character in +the secondary plot and the only one to whom prominence is given. He acts +as a news-gatherer for his master and, while thus occupied, he falls in +love with Leonor, who does not seem to prove for him a difficult +conquest. With characteristic Spanish liberty he advises his masters +freely and is generally heeded and mixes in everything his comments, +which, while not always free from suggestiveness, are filled with a +contagious levity. Pedro, the lackey suitor of doña María, known to him +as Isabel, is the prototype of the modern "chulo" whose traits can be +traced in his every word and action. Disappointed in his love-making, he +loses none of his characteristics of braggadocio and willingly assumes +the rôle of defender of Isabel although he himself has been maltreated +by the bellicose "moza de cántaro."</p> + +<p>Untrammeled by the unities or other dramatic conventionalities, Lope was +able in this drama, as in his others, to permit the action to develop +naturally and simply with the various vicissitudes attendant upon +every-day life and yet to weave the intricate threads of intrigue into a +complex maze perfect in detail. The leading character is introduced in +the first scene, which is followed by the long exposition of attendant +circumstances that could be as well narrated as produced upon the stage. +Thus delay and harrowing detail are avoided. The introduction of the +tragic element into the play early in the first act has a tendency to +soften its effect, especially as it has little relation to the +subsequent action. However, the mere introduction of it in the play +would probably, in the early French theater, class the drama as a +tragi-comedy. And Alexandre Hardy, the French playwright and +contemporary of Lope de Vega, who borrowed largely from the latter both +in method and detail, so styled many of his works. The scene, opening in +historic Ronda in the midst of the places made famous by the mighty +family of the Guzmáns, then moving north to an obscure town in the +Sierra-Morena, little known to the cultured atmosphere in which the play +was to be represented, and finally centering in the capital and +developing under the very eye of the audience, as it were, just as so +many tragedies and comedies, less important perhaps but no less +interesting, unfold in daily life about us, gives the play a broader +interest than it would have and doubtless contributed powerfully to its +success. The introduction of the secondary plot, affording the excuse +for the prominent place given to the <i>gracioso</i>, is a device which Lope, +like his great English contemporary, often uses as in this case with +good effect. The disguising of a lady of the highest nobility and making +her play so well the part of the lowly water-maid furnish the key to the +intrigue and would not detract from the play in the eyes of the +contemporary, following upon the reign of the pastoral and according as +it did with the tastes of the times.<a name="FNanchor_13_13" id="FNanchor_13_13"></a><a href="#Footnote_13_13" class="fnanchor">[13]</a></p> + +<p>Unlike Shakespeare, whose rare good fortune it was to establish a +language as well as found a national drama, Lope de Vega took up a +language which had been in use and which had served as a medium of +literary expression many centuries before he was born, and with it +established the Spanish drama. Here again Lope conformed to common +usage. He knew of the elegant conceits of linguistic expression and used +them sparingly in his plays, but usually his language was, like the +ideas which he expressed, the speech of the public which he sought to +please, not slighting the grandiloquent phraseology to which the Spanish +language is so well adapted. We find a good example of these different +elements in <i>La Moza de Cántaro</i> in the three sonnets of Act II, Scene +III, of which the first is in the sonorous, high-sounding, oratorical +style, the second, in the elegant conceits so common in Italian +literature of the period, and the third in the language of every-day +life. Each is well suited to the occasion and to the rôle of the +speaker. Seldom in any of his works, and never in <i>La Moza de Cántaro</i>, +does Lope descend to dialect or to slang, but rather in the pure +Castilian of his time, preferably in the Castilian of the masses, he +composes his rhythmic verses. Like some mountain stream his measures +flow, sometimes in idle prattle over pebbly beds, soon to change into +the majestic cascade, then to the whirling rapids, only to tarry soon in +the quiet pool to muse in long soliloquy, to rush on again, sullen, +quarrelsome, vehemently protesting in hoarse and discordant murmurings, +then to roll out into the bright sunshine and there to sing in lyric +accents of love and beauty. So the style like the action never settles +in dull monotony, which, be it ever so beautiful, ends by wearying the +audience. The great master put diversion into every thought and filled +the listener with rapture by the versatility and beauty of his +inimitable style.</p> + +<p>One of the secrets of Lope's influence over his contemporaries is to be +found in his versification. Ticknor says that no meter of which the +language was susceptible escaped him. And in his dramatic composition we +find as much variety in this respect as in any other. In <i>el Arte nuevo +de hacer Comedias</i>, he says: "The versification should be carefully +accommodated to the subject treated. The <i>décimas</i> are suited for +complaints; the sonnet is fitting for those who are in expectation; the +narrations require <i>romances</i>, although they shine most brilliantly in +octaves; tercets are suitable for matters grave, and for love-scenes the +<i>redondilla</i> is the fitting measure."<a name="FNanchor_14_14" id="FNanchor_14_14"></a><a href="#Footnote_14_14" class="fnanchor">[14]</a> These various rimes, except +the tercet, are found in <i>La Moza de Cántaro</i>, but in this rule, as in +others which he prescribes, Lope does not follow his own precepts. The +<i>redondilla</i> is far more common than any other, though the <i>romance</i> is +frequently used. Most of the plays of Lope contain sonnets, and they +vary in number from one to five or even seven: in the present instance +we have the medium of three. The <i>décima</i> is used in four passages and +the <i>octava</i> in two.<a name="FNanchor_15_15" id="FNanchor_15_15"></a><a href="#Footnote_15_15" class="fnanchor">[15]</a> The widely varied scheme of versification is as +follows:</p> + +<table summary="act_1" cellspacing="1" cellpadding="1"> +<tr><td colspan="2" align="center"><br />ACT I<br /> </td></tr> +<tr><td align="right">1-176</td><td style="padding-left:10%;">Redondillas</td></tr> +<tr><td align="right">177-260</td><td style="padding-left:10%;">Romances.</td></tr> +<tr><td align="right">261-296</td><td style="padding-left:10%;">Redondillas.</td></tr> +<tr><td align="right">297-372</td><td style="padding-left:10%;">Romances.</td></tr> +<tr><td align="right">373-704</td><td style="padding-left:10%;">Redondillas.</td></tr> +<tr><td align="right">705-744</td><td style="padding-left:10%;">Décimas.</td></tr> +<tr><td align="right">745-824</td><td style="padding-left:10%;">Redondillas.</td></tr> +<tr><td align="right">825-914</td><td style="padding-left:10%;">Romances.</td></tr> +<tr><td colspan="2" align="center"><br />ACT II<br /> </td></tr> +<tr><td align="right">915-1062</td><td style="padding-left:10%;">Redondillas.</td></tr> +<tr><td align="right">1063-1076</td><td style="padding-left:10%;">Soneto.</td></tr> +<tr><td align="right">1077-1088</td><td style="padding-left:10%;">Redondillas.</td></tr> +<tr><td align="right">1089-1102</td><td style="padding-left:10%;">Soneto.</td></tr> +<tr><td align="right">1103-1106</td><td style="padding-left:10%;">Redondilla.</td></tr> +<tr><td align="right">1107-1120</td><td style="padding-left:10%;">Soneto.</td></tr> +<tr><td align="right">1121-1236</td><td style="padding-left:10%;">Redondillas.</td></tr> +<tr><td align="right">1237-1280</td><td style="padding-left:10%;">Décimas.</td></tr> +<tr><td align="right">1281-1452</td><td style="padding-left:10%;">Romances.</td></tr> +<tr><td align="right">1453-1668</td><td style="padding-left:10%;">Redondillas.</td></tr> +<tr><td align="right">1669-1788</td><td style="padding-left:10%;">Romances.</td></tr> +<tr><td align="right">1789-1836</td><td style="padding-left:10%;">Redondillas.</td></tr> +<tr><td colspan="2" align="center"><br />ACT III<br /> </td></tr> +<tr><td align="right">1837-1896</td><td style="padding-left:10%;">Redondillas.</td></tr> +<tr><td align="right">1897-1984</td><td style="padding-left:10%;">Octavas.</td></tr> +<tr><td align="right">1985-2052</td><td style="padding-left:10%;">Redondillas.</td></tr> +<tr><td align="right">2053-2112</td><td style="padding-left:10%;">Décimas.</td></tr> +<tr><td align="right">2113-2226</td><td style="padding-left:10%;">Romances.</td></tr> +<tr><td align="right">2227-2374</td><td style="padding-left:10%;">Redondillas.</td></tr> +<tr><td align="right">2375-2422</td><td style="padding-left:10%;">Octavas.</td></tr> +<tr><td align="right">2423-2478</td><td style="padding-left:10%;">Redondillas.</td></tr> +<tr><td align="right">2479-2558</td><td style="padding-left:10%;">Décimas.</td></tr> +<tr><td align="right">2562-2693</td><td style="padding-left:10%;">Romances.</td></tr> +</table> + +<hr /> + +<h3 class="top15"><a name="BIBLIOGRAPHY" id="BIBLIOGRAPHY"></a>BIBLIOGRAPHY</h3> + + +<p class="h"><i>Biblioteca de Autores Españoles</i> desde la formación del lenguaje hasta +nuestros días, 71 vols., Madrid, 1849-1880. The references to this +extensive work are usually made by means of the titles of the separate +volumes. Particularly is this true of the references to the dramas of +Lope de Vega, which, under the title of <i>Comedias Escogidas de Lope de +Vega</i>, include volumes 24, 34, 41, 52 of the work.</p> + +<p class="h"><i>Obras Escogidas de Frey Lope Félix de Vega Carpio</i>, con prólogo y notas +por Elías Zerolo, Paris, 1886, Vol. III.</p> + +<p class="h"><i>La Moza de Cántaro</i>, Comedia en cinco actos por Lope Félix de Vega +Carpio y refundida por Don Cándido María Trigueros, Valencia, 1803.</p> + +<p class="h"><i>La Moza de Cántaro</i>, Comedia en cinco actos por Lope Félix de Vega +Carpio y refundida por Don Cándido María Trigueros, con anotaciones, +Londres (about 1820).</p> + +<p class="h"><i>Obras Sueltas de Lope de Vega</i>, colección de las obras sueltas, assi en +prosa, como en verso, 21 vols., Madrid, 1776-1779.</p> + +<p class="h"><i>Handbuch der Spanischen Litteratur</i>, von Ludwig Lemcke, 3 vols., +Leipzig, 1855.</p> + +<p class="h"><i>Diccionario Enciclopédico hispano-americano</i> de literatura, ciencias y +artes, 26 vols., Barcelona, 1887-1899.</p> + +<p class="h"><i>Grand Dictionnaire Universel</i>, par Pierre Larousse, 17 vols., Paris.</p> + +<p class="h"><i>Manual elemental de gramática histórica española</i>, por R. Menéndez +Pidal, Madrid, 1905.</p> + + +<p class="h top5"><span class="smcap">Fitzmaurice-Kelly</span>, <i>A History of Spanish Literature</i>, New York and +London, 1898.</p> + +<p><span class="smcap">Ticknor</span>, <i>History of Spanish Literature</i>, 3 vols., 5th ed., Boston, +1882.</p> + +<p class="h"><span class="smcap">Espino</span>, <i>Ensayo histórico-crítico del Teatro español</i>, Cádiz, 1876.</p> + +<p class="h">J. A. <span class="smcap">Symonds</span>, <i>Renaissance in Italy</i>, 2 vols., New York, 1888.</p> + +<p class="h">A. <span class="smcap">Gassier</span>, <i>Le Théâtre Espagnol</i>, Paris, 1898.</p> + +<p class="h">H. A. <span class="smcap">Rennert</span>, <i>The Life of Lope de Vega</i>, Glasgow, 1904.</p> + +<p class="h"><span class="smcap">Havelock Ellis</span>, <i>The Soul of Spain</i>, Boston, 1909.</p> + +<p class="h"><span class="smcap">Martin Hume</span>, <i>The Court of Philip IV</i>, London, 1907.</p> + +<p class="ind"><span class="smcap">NOTE</span>.—The last three works mentioned are especially recommended for +collateral reading in the study of <i>La Moza de Cántaro</i>.</p> + + + +<hr class="top15" /> +<h2><a name="LA_MOZA_DE_CANTARO" id="LA_MOZA_DE_CANTARO"></a>LA MOZA DE CÁNTARO</h2> +<hr /> + +<h3><a name="PERSONAS" id="PERSONAS"></a>PERSONAS</h3> + + +<table summary="personas" cellspacing="0" cellpadding="2"> +<tr><td><span class="smcap">El Conde</span></td><td style="border-left:solid 1px black;"> </td></tr> +<tr><td><span class="smcap">Don Juan</span></td><td style="border-left:solid 1px black;"><i>galanes</i></td></tr> +<tr><td><span class="smcap">Don Diego</span></td><td style="border-left:solid 1px black;"> </td></tr> +<tr><td><span class="smcap">Fulgencio</span></td><td style="border-left:solid 1px black;"> </td></tr> +<tr><td colspan="2"><span class="smcap">Don Bernardo</span>, <i>viejo</i></td></tr> +<tr><td><span class="smcap">Pedro</span></td><td style="border-left:solid 1px black;"> </td></tr> +<tr><td><span class="smcap">Martín</span></td><td style="border-left:solid 1px black;"><i>lacayos</i></td></tr> +<tr><td><span class="smcap">Lorenzo</span></td><td style="border-left:solid 1px black;"> </td></tr> +<tr><td><span class="smcap">Bernal</span></td><td style="border-left:solid 1px black;"> </td></tr> +<tr><td colspan="2"><span class="smcap">Doña María</span>, <i>dama</i></td></tr> +<tr><td colspan="2"><span class="smcap">Doña Ana</span>, <i>viuda</i></td></tr> +<tr><td><span class="smcap">Lüisa</span></td><td style="border-left:solid 1px black;"> </td></tr> +<tr><td><span class="smcap">Leonor</span></td><td style="border-left:solid 1px black;"><i>criadas</i></td></tr> +<tr><td><span class="smcap">Juana</span></td><td style="border-left:solid 1px black;"> </td></tr> +<tr><td colspan="2"><span class="smcap">Un Alcaide</span></td></tr> +<tr><td colspan="2"><span class="smcap">Un Indiano</span></td></tr> +<tr><td colspan="2"><span class="smcap">Un Mesonero</span></td></tr> +<tr><td colspan="2"><span class="smcap">Un Mozo de Mulas</span></td></tr> +<tr><td colspan="2"><span class="smcap">Músicos</span>.—<span class="smcap">Lacayos</span></td></tr> +<tr><td colspan="2"><span class="smcap">Acompañamiento</span></td></tr> +</table> + + + +<p class="c"><i>La escena es en Ronda,<a name="FNanchor_a_a" id="FNanchor_a_a"></a><a href="#Footnote_a_a" class="fnanchor">[a]</a> +en Adamuz y Madrid</i></p> + +<div class="top15" style="border:solid 2px black;padding:1%;"> +<p>Transcriber's note:<br />Clicking on the line's number will take you to the section of notes +pertaining to that line.<br />Clicking on the note's number will return you to the particular +line.</p></div> + +<h2 class="top15"><a name="ACTO_PRIMERO" id="ACTO_PRIMERO"></a>ACTO PRIMERO</h2> + +<p class="c">Sala en casa de don Bernardo, en Ronda.</p> + + +<h3 class="top5"><a name="ESCENA_PRIMERA1" id="ESCENA_PRIMERA1"></a>ESCENA PRIMERA</h3> + +<p class="c"><span class="smcap">Doña María</span> <i>y</i> <span class="smcap">Lüisa</span>, <i>con unos papeles</i></p> + +<div class="d"> + +<p class="n">LUISA</p> + +<p> +Es cosa lo que ha pasado<br /> <a name="line_1" id="line_1"></a><a href="#note_1"><span class="linenum">1</span></a><br /> +Para morirse de risa.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +¿Tantos papeles, Lüisa,<br /> +Esos Narcisos te han dado?<br /> +</p> + +<p class="n">LUISA</p> + +<p> +¿Lo que miras dificultas? <a name="line_5" id="line_5"></a><a href="#note_1"><span class="linenum">5</span></a><br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +¡Bravo amor, brava fineza!<br /> +</p> + +<p class="n">LUISA</p> + +<p> +No sé si te llame alteza<br /> +Para darte estas consultas.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Á señoría te inclina,<br /> +Pues entre otras partes graves, <a name="line_10" id="line_10"></a><a href="#note_10"><span class="linenum">10</span></a><br /> +Tengo deudo, como sabes,<br /> +Con el duque de Medina.<br /> +</p> + +<p class="n">LUISA</p> + +<p> +Es título la belleza<br /> +Tan alto, que te podría<br /> +Llamar muy bien señoría, <a name="line_15" id="line_15"></a><a href="#note_16"><span class="linenum">15</span></a><br /> +Y aspirar, Señora, á alteza.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +¡Lindamente me conoces!<br /> +Dasme por la vanidad.<br /> +</p> + +<p class="n">LUISA</p> + +<p> +No es lisonja la verdad,<br /> +Ni las digo, así te goces. <a name="line_20" id="line_20"></a><a href="#note_21"><span class="linenum">20</span></a><br /> +No hay en Ronda ni en Sevilla<br /> +Dama como tú.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p class="indstart"> +Yo creo,<br /> +Lüisa, tu buen deseo.<br /> +</p> + +<p class="n">LUISA</p> + +<p> +Tu gusto me maravilla.<br /> +Á ninguno quieres bien. <a name="line_25" id="line_25"></a><a href="#note_29"><span class="linenum">25</span></a><br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Todos me parecen mal.<br /> +</p> + +<p class="n">LUISA</p> + +<p> +Arrogancia natural<br /> +Te obliga á tanto desdén.—<br /> +Éste es de don Luis.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p class="indstart"> +Lo leo<br /> +Sólo por cumplir contigo. <a name="line_30" id="line_30"></a><a href="#note_29"><span class="linenum">30</span></a><br /> +</p> + +<p class="n">LUISA</p> + +<p> +Yo soy de su amor testigo.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Y yo de que es necio y feo.<br /> +<br /> +(<i>Lee.</i>) «Considerando conmigo á solas,<br /> +señora doña María...»<br /> +<br /> +No leo. (<i>Rompe el papel.</i>)<br /> +</p> + +<p class="n">LUISA</p> + +<p> +¿Por qué?<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p class="indstart"> +¿No ves<br /> +Que comienza alguna historia,<br /> +Ó que quiere en la memoria <a name="line_35" id="line_35"></a><a href="#note_35"><span class="linenum">35</span></a><br /> +De la muerte hablar después?<br /> +</p> + +<p class="n">LUISA</p> + +<p> +Éste es de don Pedro.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p class="indstart"> +Muestra.<br /> +</p> + +<p class="n">LUISA</p> + +<p> +Yo te aseguro que es tal,<br /> +Que no te parezca mal.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +¡Bravos rasgos! ¡Pluma diestra! <a name="line_40" id="line_40"></a><a href="#note_40"><span class="linenum">40</span></a><br /> +<br /> +(<i>Lee.</i>) «Con hermoso, si bien severo,<br /> +no dulce, apacible sí rostro, señora<br /> +mía, mentida vista me miró vuestro<br /> +desdén, absorto de toda humanidad, rígido<br /> +empero, y no con lo brillante solícito,<br /> +que de candor celeste clarifica vuestra<br /> +faz, la hebdómada pasada.»<br /> +<br /> +¿Qué receta es ésta, di? (<i>Rómpele</i>.)<br /> +Qué médico te la dió?<br /> +</p> + +<p class="n">LUISA</p> + +<p> +Pues ¿no entiendes culto?<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p class="indstart"> +¿Yo?<br /> +¿Habla de aciértame aquí?<br /> +</p> + +<p class="n">LUISA</p> + +<p> +Hazte boba, por tu vida. <a name="line_45" id="line_45"></a><a href="#note_44"><span class="linenum">45</span></a><br /> +¿Puede nadie ser discreto<br /> +Sin que envuelva su conceto<br /> +En invención tan lucida?<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +¿Ésta es lucida invención?<br /> +Ahora bien, ¿hay más papel? <a name="line_50" id="line_50"></a><a href="#note_44"><span class="linenum">50</span></a><br /> +</p> + +<p class="n">LUISA</p> + +<p> +El de don Diego, que en él<br /> +Se cifra la discreción.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +(<i>Lee.</i>) «Si yo fuera tan dichoso como<br /> +vuestra merced hermosa, hecho estaba<br /> +el partido.»<br /> +<br /> +¿Qué es partido? No prosigo. (<i>Rómpele.</i>)<br /> +</p> + +<p class="n">LUISA</p> + +<p> +¿Qué nada te ha de agradar?<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Pienso que quiere jugar <a name="line_55" id="line_55"></a><a href="#note_54"><span class="linenum">55</span></a><br /> +Á la pelota conmigo.<br /> +Lüisa, en resolución,<br /> +Yo no tengo de querer<br /> +Hombre humano.<br /> +</p> + +<p class="n">LUISA</p> + +<p class="indstart"> +¿Qué has de hacer,<br /> +Si todos como éstos son? <a name="line_60" id="line_60"></a><a href="#note_58"><span class="linenum">60</span></a><br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Estarme sola en mi casa.<br /> +Venga de Flandes mi hermano,<br /> +Pues siendo tan rico, en vano<br /> +Penas inútiles pasa.<br /> +Cásese, y déjeme á mí <a name="line_65" id="line_65"></a><a href="#note_64"><span class="linenum">65</span></a><br /> +Mi padre; que yo no veo<br /> +Dónde aplique mi deseo<br /> +De cuantos andan aquí,<br /> +Codiciosos de su hacienda;<br /> +Que, si va á decir verdad, <a name="line_70" id="line_70"></a><a href="#note_70"><span class="linenum">70</span></a><br /> +No quiere mi vanidad<br /> +Que cosa indigna le ofenda.<br /> +Nací con esta arrogancia.<br /> +No me puedo sujetar,<br /> +Si es sujetarse el casar. <a name="line_75" id="line_75"></a><a href="#note_79"><span class="linenum">75</span></a><br /> +</p> + +<p class="n">LUISA</p> + +<p> +Hombres de mucha importancia<br /> +Te pretenden.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p class="indstart"> +Ya te digo<br /> +Que ninguno es para mí.<br /> +</p> + +<p class="n">LUISA</p> + +<p>Pues ¿has de vivir ansí?</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +¿Tan mal estaré conmigo? <a name="line_80" id="line_80"></a><a href="#note_79"><span class="linenum">80</span></a><br /> +Joyas y galas ¿no son<br /> +Los polos de las mujeres?<br /> +Si á mí me sobran, ¿qué quieres?<br /> +</p> + +<p class="n">LUISA</p> + +<p> +¡Qué terrible condición!<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Necia estás. No he de casarme. <a name="line_85" id="line_85"></a><a href="#note_79"><span class="linenum">85</span></a><br /> +</p> + +<p class="n">LUISA</p> + +<p> +Si tu padre ha dado el sí,<br /> +¿Qué piensas hacer de ti?<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +¿Puede mi padre obligarme<br /> +Á casar sin voluntad?<br /> +</p> + +<p class="n">LUISA</p> + +<p> +Ni tú tomarte licencia <a name="line_90" id="line_90"></a><a href="#note_92"><span class="linenum">90</span></a><br /> +Para tanta inobediencia.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +La primera necedad<br /> +Dicen que no es de temer,<br /> +Sino las que van tras ella,<br /> +Pretendiendo deshacella. <a name="line_95" id="line_95"></a><a href="#note_95"><span class="linenum">95</span></a><br /> +</p> + +<p class="n">LUISA</p> + +<p> +Los padres obedecer<br /> +Es mandamiento de Dios.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +¿Ya llegas á predicarme?<br /> +</p> + +<p class="n">LUISA</p> + +<p> +Nuño acaba de avisarme<br /> +Que estaban juntos los dos... <a name="line_100" id="line_100"></a><a href="#note_95"><span class="linenum">100</span></a><br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +¿Quién?<br /> +</p> + +<p class="n">LUISA</p> + +<p class="indstart"> +Mi señor y don Diego.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +¿Qué importa que hablando estén,<br /> +Si no me parece bien,<br /> +Y le desengaño luego?<br /> +</p> + +<p class="n">LUISA</p> + +<p> +Y don Luis ¿no es muy galán? <a name="line_105" id="line_105"></a><a href="#note_107"><span class="linenum">105</span></a><br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Tal salud tengas, Lüisa.<br /> +Muchas se casan aprisa,<br /> +Que á llorar despacio van.<br /> +</p> + +<p class="n">LUISA</p> + +<p> +Ésa es dicha, y no elección;<br /> +Que mirado y escogido <a name="line_110" id="line_110"></a><a href="#note_107"><span class="linenum">110</span></a><br /> +Salió malo algún marido,<br /> +Y otros sin ver, no lo son.<br /> +Que si son por condiciones<br /> +Los hombres buenos ó malos,<br /> +Muchas que esperan regalos, <a name="line_115" id="line_115"></a><a href="#note_107"><span class="linenum">115</span></a><br /> +Encuentran malas razones.<br /> +Pero en don Pedro no creo<br /> +Que haya más que desear.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Sí hay, Lüisa...<br /> +</p> + +<p class="n">LUISA</p> + +<p class="indstart"> +¿Qué?<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p class="indstart"> +No hallar<br /> +Á mi lado hombre tan feo. <a name="line_120" id="line_120"></a><a href="#note_121"><span class="linenum">120</span></a><br /> +</p> + +<p class="n">LUISA</p> + +<p> +Mil bienes me dicen dél,<br /> +Y tú sola dél te ríes.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Lüisa, no me porfíes;<br /> +Que éste es don Pedro el Cruel.<br /> +</p> + +<p class="n">LUISA</p> + +<p> +Tu desdén me maravilla. <a name="line_125" id="line_125"></a><a href="#note_124"><span class="linenum">125</span></a><br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Pues ten por cierta verdad<br /> +Que es rey de la necedad,<br /> +Como el otro de Castilla.<br /> +</p> + +<p class="n">LUISA</p> + +<p> +Don Diego está confiado;<br /> +Joyas te ha hecho famosas. <a name="line_130" id="line_130"></a><a href="#note_133"><span class="linenum">130</span></a><br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +¿Joyas?<br /> +</p> + +<p class="n">LUISA</p> + +<p class="indstart"> +Y galas costosas;<br /> +Hasta coche te ha comprado.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Don Diego de noche y coche.<br /> +</p> + +<p class="n">LUISA</p> + +<p> +¡De noche un gran caballero!<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Mas ¡ay Dios! que no le quiero <a name="line_135" id="line_135"></a><a href="#note_138"><span class="linenum">135</span></a><br /> +Para don Diego de noche.<br /> +Otra le goce, Lüisa,<br /> +No yo. ¡De noche visiones!<br /> +</p> + +<p class="n">LUISA</p> + +<p> +Oigo unas tristes razones.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Volvióse en llanto la risa. <a name="line_140" id="line_140"></a><a href="#note_138"><span class="linenum">140</span></a><br /> +¿No es éste mi padre?<br /> +</p> + +<p class="n">LUISA</p> + +<p class="indstart"> +Él es.<br /> +</p> +</div> + + +<h3 class="top15"><a name="ESCENA_II" id="ESCENA_II"></a>ESCENA II</h3> + +<p class="c"><span class="smcap">Don Bernardo</span>, <i>de hábito de Santiago, con un lienzo en los +ojos</i>.—<span class="smcap">Dichas</span></p> + +<div class="d"> +<p class="n">DON BERNARDO</p> + +<p>¡Ay de mí!</p> + +<p class="n">DOÑA MARÍA</p> + +<p class="indstart"> +Señor, ¿qué es esto?<br /> +Vos llorando y descompuesto,<br /> +¡Y yo no estoy á esos pies!<br /> +¿Qué tenéis, padre y señor, <a name="line_145" id="line_145"></a><a href="#note_138"><span class="linenum">145</span></a><br /> +Mi solo y único bien?<br /> +</p> + +<p class="n">DON BERNARDO</p> + +<p> +Vergüenza de que me ven<br /> +Venir vivo y sin honor.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p>¿Cómo sin honor?</p> + +<p class="n">DON BERNARDO</p> + +<p class="indstart"> +No sé.<br /> +Déjame, por Dios, María. <a name="line_150" id="line_150"></a><a href="#note_138"><span class="linenum">150</span></a><br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Siendo vos vida en la mía,<br /> +¿Cómo dejaros podré?<br /> +¿Habéis acaso caído?<br /> +Que los años muchos son.<br /> +</p> + +<p class="n">DON BERNARDO</p> + +<p> +Cayó toda la opinión <a name="line_155" id="line_155"></a><a href="#note_138"><span class="linenum">155</span></a><br /> +Y nobleza que he tenido.<br /> +No es de los hombres llorar;<br /> +Pero lloro un hijo mío<br /> +Que está en Flandes, de quien fío<br /> +Que me supiera vengar. <a name="line_160" id="line_160"></a><a href="#note_138"><span class="linenum">160</span></a><br /> +Siendo hombre, llorar me agrada;<br /> +Porque los viejos, María,<br /> +Somos niños desde el día<br /> +Que nos quitamos la espada.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Sin color, y el alma en calma, <a name="line_165" id="line_165"></a><a href="#note_138"><span class="linenum">165</span></a><br /> +Os oigo, padre y señor;<br /> +Mas ¿qué mucho sin color,<br /> +Si ya me tenéis sin alma?<br /> +¿Qué había de hacer mi hermano?<br /> +¿De quién os ha de vengar? <a name="line_170" id="line_170"></a><a href="#note_138"><span class="linenum">170</span></a><br /> +</p> + +<p class="n">DON BERNARDO</p> + +<p>Hija, ¿quiéresme dejar?</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Porfías, Señor, en vano.<br /> +Antes de llorar se causa<br /> +La excusa, pero no agora;<br /> +Que siempre quiere el que llora <a name="line_175" id="line_175"></a><a href="#note_174"><span class="linenum">175</span></a><br /> +Que le pregunten la causa.<br /> +</p> + +<p class="n">DON BERNARDO</p> + +<p> +Don Diego me habló, María...<br /> +Contigo casarse intenta...<br /> +Respondíle que tu gusto<br /> +Era la primer licencia, <a name="line_180" id="line_180"></a><a href="#note_180"><span class="linenum">180</span></a><br /> +Y la segunda del Duque.<br /> +Escribí, fué la respuesta<br /> +No como yo la esperaba;<br /> +Que darte dueño quisieran<br /> +Estas canas, que me avisan <a name="line_185" id="line_185"></a><a href="#note_188"><span class="linenum">185</span></a><br /> +De que ya mi fin se cerca.<br /> +Puse la carta en el pecho,<br /> +Lugar que es bien que le deba;<br /> +Que llamarme deudo el Duque<br /> +Fué de esta cruz encomienda. <a name="line_190" id="line_190"></a><a href="#note_188"><span class="linenum">190</span></a><br /> +Vino á buscarme don Diego<br /> +Á la Plaza (¡nunca fuera<br /> +Esta mañana á la Plaza!),<br /> +Y con humilde apariencia<br /> +Me preguntó si tenía <a name="line_195" id="line_195"></a><a href="#note_192"><span class="linenum">195</span></a><br /> +(Aunque con alguna pena)<br /> +Carta de Sanlúcar. Yo<br /> +Le respondí que tuviera<br /> +Á dicha poder servirle:<br /> +Breve y bastante respuesta. <a name="line_200" id="line_200"></a><a href="#note_197"><span class="linenum">200</span></a><br /> +Dijo que el Duque sabía<br /> +Su calidad y nobleza;<br /> +Que le enseñase la carta,<br /> +Ó que era mía la afrenta<br /> +De la disculpa engañosa. <a name="line_205" id="line_205"></a><a href="#note_197"><span class="linenum">205</span></a><br /> +Yo, por quitar la sospecha,<br /> +Saqué la carta del pecho,<br /> +Y turbado leyó en ella<br /> +Estas razones, María.—<br /> +Quien tal mostró, que tal tenga.— <a name="line_210" id="line_210"></a><a href="#note_198"><span class="linenum">210</span></a><br /> +<br /> +«Muy honrado caballero<br /> +Es don Diego; pero sea<br /> +El que ha de ser vuestro yerno<br /> +Tal, que al hábito os suceda<br /> +Como á vuestra noble casa.» <a name="line_215" id="line_215"></a><a href="#note_198"><span class="linenum">215</span></a><br /> +<br /> +Entonces don Diego, vuelta<br /> +La color en nieve, dice,<br /> +Y de ira y cólera tiembla:<br /> +«Tan bueno soy como el Duque.»<br /> +Yo con ira descompuesta <a name="line_220" id="line_220"></a><a href="#note_228"><span class="linenum">220</span></a><br /> +Respondo: «Los escuderos,<br /> +Aunque muy hidalgos sean,<br /> +No hacen comparación<br /> +Con los príncipes; que es necia.<br /> +Desdecíos, ó le escribo <a name="line_225" id="line_225"></a><a href="#note_228"><span class="linenum">225</span></a><br /> +Á don Alonso que venga<br /> +Desde Flandes á mataros.»<br /> +Aquí su mano soberbia...<br /> +Pero prosigan mis ojos<br /> +Lo que no puede la lengua. <a name="line_230" id="line_230"></a><a href="#note_231"><span class="linenum">230</span></a><br /> +Déjame; que tantas veces<br /> +Una afrenta se renueva,<br /> +Cuantas el que la recibe<br /> +Á el que la ignora la cuenta.<br /> +Herrado traigo, María, <a name="line_235" id="line_235"></a><a href="#note_231"><span class="linenum">235</span></a><br /> +El rostro con cinco letras,<br /> +Esclavo soy de la infamia,<br /> +Cautivo soy de la afrenta.<br /> +El eco sonó en el alma;<br /> +Que si es la cara la puerta, <a name="line_240" id="line_240"></a><a href="#note_236"><span class="linenum">240</span></a><br /> +Han respondido los ojos,<br /> +Viendo que llaman en ella.<br /> +Alcé el báculo... Dijeron<br /> +Que lo alcancé... no lo creas;<br /> +Que mienten á el afrentado, <a name="line_245" id="line_245"></a><a href="#note_245"><span class="linenum">245</span></a><br /> +Pensando que le consuelan.<br /> +Prendióle allí la justicia,<br /> +Y preso en la cárcel queda:<br /> +¡Pluguiera á Dios que la mano<br /> +Desde hoy estuviera presa! <a name="line_250" id="line_250"></a><a href="#note_252"><span class="linenum">250</span></a><br /> +¡Ay, hijo del alma mía!<br /> +¡Ay, Alonso! ¡Si estuvieras<br /> +En Ronda! Pero ¿qué digo?<br /> +Mejor es que yo me pierda.<br /> +Salid, lágrimas, salid... <a name="line_255" id="line_255"></a><a href="#note_252"><span class="linenum">255</span></a><br /> +Mas no es posible que puedan<br /> +Borrar afrentas del rostro,<br /> +Porque son moldes de letras,<br /> +Que aunque se aparta la mano,<br /> +Quedan en al alma impresas. (<i>Vase.</i>) <a name="line_260" id="line_260"></a><a href="#note_252"><span class="linenum">260</span></a><br /> +</p> +</div> + + +<h3 class="top15"><a name="ESCENA_III" id="ESCENA_III"></a>ESCENA III</h3> + +<p class="c"><span class="smcap">Doña María</span>, <span class="smcap">Lüisa</span></p> + +<div class="d"> +<p class="n">LUISA</p> + +<p>Fuése.</p> + +<p class="n">DOÑA MARÍA</p> + +<p class="indstart"> +Déjame de suerte<br /> +Que no pude responder.<br /> +</p> + +<p class="n">LUISA</p> + +<p> +Vé tras él; que puede ser<br /> +Que intente darse la muerte,<br /> +Viendo perdido su honor. <a name="line_265" id="line_265"></a><a href="#note_252"><span class="linenum">265</span></a><br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Bien dices: seguirle quiero;<br /> +Que no es menester acero<br /> +Adonde sobra el valor. (<i>Vanse.</i>)<br /> +</p> +</div> + + +<h3 class="top15"><a name="ESCENA_IV" id="ESCENA_IV"></a>ESCENA IV</h3> + +<p class="c">Cuarto en la cárcel de Ronda.</p> + +<p class="c"><span class="smcap">Don Diego</span>, <span class="smcap">Fulgencio</span></p> + +<div class="d"> +<p class="n">FULGENCIO</p> + +<p> +La razón es un espejo<br /> +De consejos y de avisos. <a name="line_270" id="line_270"></a><a href="#note_252"><span class="linenum">270</span></a><br /> +</p> + +<p class="n">DON DIEGO</p> + +<p> +En los casos improvisos<br /> +¿Quién puede tomar consejo?<br /> +</p> + +<p class="n">FULGENCIO</p> + +<p> +Los años de don Bernardo<br /> +Os ponen culpa, don Diego.<br /> +</p> + +<p class="n">DON DIEGO</p> + +<p>Confieso que estuve ciego. <a name="line_275" id="line_275"></a><a href="#note_252"><span class="linenum">275</span></a></p> + +<p class="n">FULGENCIO</p> + +<p> +Es don Alonso gallardo<br /> +Y gran soldado.<br /> +</p> + +<p class="n">DON DIEGO</p> + +<p class="indstart"> +Ya es hecho,<br /> +Y yo me sabré guardar.<br /> +</p> + +<p class="n">FULGENCIO</p> + +<p> +Un consejo os quiero dar<br /> +Para asegurar el pecho. <a name="line_280" id="line_280"></a><a href="#note_252"><span class="linenum">280</span></a><br /> +</p> + +<p class="n">DON DIEGO</p> + +<p>¿Cómo?</p> + +<p class="n">FULGENCIO</p> + +<p> +Que dejéis á España<br /> +Luego que salgáis de aquí.<br /> +</p> + +<p class="n">DON DIEGO</p> + +<p>¿Á España, Fulgencio?</p> + +<p class="n">FULGENCIO</p> + +<p class="indstart"> +Sí;<br /> +Porque será loca hazaña<br /> +Que á don Alonso esperéis; <a name="line_285" id="line_285"></a><a href="#note_252"><span class="linenum">285</span></a><br /> +Que, fuera de la razón<br /> +Que él tiene en esta ocasión,<br /> +Pocos amigos tendréis.<br /> +Toda Ronda os pone culpa.<br /> +</p> + +<p class="n">DON DIEGO</p> + +<p> +Claro está, soy desdichado... <a name="line_290" id="line_290"></a><a href="#note_252"><span class="linenum">290</span></a><br /> +Pues el haberme afrentado<br /> +Era bastante disculpa.<br /> +</p> + +<p class="n">FULGENCIO</p> + +<p> +Mostraros la carta fué<br /> +Yerro de un hombre mayor.<br /> +</p> + +<p class="n">DON DIEGO</p> + +<p> +En los lances del honor <a name="line_295" id="line_295"></a><a href="#note_252"><span class="linenum">295</span></a><br /> +¿Quién hay que seguro esté?<br /> +</p> + +<p class="n">FULGENCIO</p> + +<p> +El tiempo suele curar<br /> +Las cosas irremediables.<br /> +</p> + +</div> + +<h3 class="top15"><a name="ESCENA_V" id="ESCENA_V"></a>ESCENA V</h3> + +<p class="c"><span class="smcap">El Alcaide de la Cárcel</span>, <i>con barba y bastón</i>.—<span class="smcap">Dichos</span></p> + +<div class="d"> +<p class="n">ALCAIDE (<i>á don Diego</i>)</p> + +<p> +Una mujer está aquí<br /> +Que quiere hablaros.<br /> +</p> + +<p class="n">DON DIEGO</p> + +<p class="indstart"> +Dejadme, <a name="line_300" id="line_300"></a><a href="#note_301"><span class="linenum">300</span></a><br /> +Fulgencio, si sois servido.<br /> +</p> + +<p class="n">FULGENCIO</p> + +<p>Á veros vendré á la tarde. (<i>Vase</i>.)</p> + +<p class="n">ALCAIDE</p> + +<p> +Llegó á la puerta cubierta;<br /> +Pedíle que se destape,<br /> +Y dijo que no quería. <a name="line_305" id="line_305"></a><a href="#note_301"><span class="linenum">305</span></a><br /> +Parecióme de buen talle<br /> +Y cosa segura; en fin,<br /> +Gustó de que la acompañe<br /> +Á vuestro aposento.<br /> +</p> + +<p class="n">DON DIEGO</p> + +<p class="indstart"> +Que entre<br /> +La decid, y perdonadme; <a name="line_310" id="line_310"></a><a href="#note_310"><span class="linenum">310</span></a><br /> +Que es persona principal,<br /> +Si es quien pienso.<br /> +</p> + +<p class="n">ALCAIDE</p> + +<p class="indstart"> +En casos tales<br /> +Se muestra el amor. (<i>Vase.</i>)<br /> +<br /> +(<i>Dentro.</i> Entrad.)<br /> +</p> +</div> + + +<h3 class="top15"><a name="ESCENA_VI" id="ESCENA_VI"></a>ESCENA VI</h3> + +<p class="c"><span class="smcap">Doña María</span>, <i>cubierta con su manto</i>.—<span class="smcap">Don Diego</span>.</p> + +<div class="d"> +<p class="n">DON DIEGO</p> + +<p> +¡Sola, mi señora, á hablarme,<br /> +Y en parte tan desigual <a name="line_315" id="line_315"></a><a href="#note_310"><span class="linenum">315</span></a><br /> +De vuestra persona y traje!<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Dan ocasión los sucesos<br /> +Para desatinos tales.<br /> +</p> + +<p class="n">DON DIEGO</p> + +<p> +Descubríos, por mi vida,<br /> +Advirtiendo que no hay nadie <a name="line_320" id="line_320"></a><a href="#note_310"><span class="linenum">320</span></a><br /> +Que aquí pueda conoceros.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p>Yo soy.</p> + +<p class="n">DON DIEGO</p> + +<p class="indstart">Pues ¡vos en la cárcel!</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +El amor que me debéis<br /> +Desta manera me trae;<br /> +Que agradecida del vuestro, <a name="line_325" id="line_325"></a><a href="#note_324"><span class="linenum">325</span></a><br /> +Me fuerza á que me declare.<br /> +Á pediros perdón vengo,<br /> +Y á que no pase adelante<br /> +Este rigor, pues el medio<br /> +De hacer estas amistades <a name="line_330" id="line_330"></a><a href="#note_337"><span class="linenum">330</span></a><br /> +Es el casarnos los dos;<br /> +Que cuando á saber alcance<br /> +Don Alonso que soy vuestra,<br /> +No tendrá de qué quejarse.<br /> +Con esto venganzas cesan, <a name="line_335" id="line_335"></a><a href="#note_337"><span class="linenum">335</span></a><br /> +Que suelen en las ciudades<br /> +Engendrar bandos, de quien<br /> +Tan tristes sucesos nacen.<br /> +Vos quedaréis con la honra<br /> +Que es justo y que Ronda sabe, <a name="line_340" id="line_340"></a><a href="#note_324"><span class="linenum">340</span></a><br /> +Satisfecho el señor Duque,<br /> +Desenojado mi padre,<br /> +Y yo con tan buen marido,<br /> +Que pueda mi casa honrarse<br /> +Y don Alonso mi hermano. <a name="line_345" id="line_345"></a><a href="#note_324"><span class="linenum">345</span></a><br /> +</p> + +<p class="n">DON DIEGO</p> + +<p> +¿Quién pudiera sino un ángel,<br /> +Señora doña María,<br /> +Hacer tan presto las paces?<br /> +Vuestro gran entendimiento,<br /> +Y divino en esta parte, <a name="line_350" id="line_350"></a><a href="#note_354"><span class="linenum">350</span></a><br /> +Ha dado el mejor remedio<br /> +Que pudiera imaginarse.<br /> +No le había más seguro,<br /> +Y sobre seguro, fácil,<br /> +Para que todos quedemos <a name="line_355" id="line_355"></a><a href="#note_354"><span class="linenum">355</span></a><br /> +Honrados cuando me case.<br /> +No será mucha licencia<br /> +Que á el altar dichoso abrace,<br /> +Sagrado de mis deseos,<br /> +Donde está amor por imagen, <a name="line_360" id="line_360"></a><a href="#note_362"><span class="linenum">360</span></a><br /> +Pues ya decís que sois mía.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Quien supo determinarse<br /> +Á ser vuestra, no habrá cosa<br /> +Que á vuestro gusto dilate.<br /> +Confirmaré lo que digo <a name="line_365" id="line_365"></a><a href="#note_362"><span class="linenum">365</span></a><br /> +Con los brazos.—Muere, infame.<br /> +<br /> +(<i>Al abrazarle, saca una daga y dale con<br /> +ella.</i>)<br /> +</p> + +<p class="n">DON DIEGO</p> + +<p>¡Jesus! ¡Muerto soy! ¡Traición!</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +¡En canas tan venerables<br /> +Pusiste la mano, perro!<br /> +Pues estas hazañas hacen <a name="line_370" id="line_370"></a><a href="#note_362"><span class="linenum">370</span></a><br /> +Las mujeres varoniles.<br /> +Yo salgo.—¡Cielo, ayudadme! (<i>Vase.</i>)<br /> +</p> +</div> + + +<h3 class="top15"><a name="ESCENA_VII" id="ESCENA_VII"></a>ESCENA VII</h3> + +<p class="c">Fulgencio.—Don Diego, <i>moribundo</i></p> + +<div class="d"> + +<p class="n">FULGENCIO</p> + +<p> +Paréceme que he sentido<br /> +Una voz, y que salió<br /> +Esta mujer que aquí entró <a name="line_375" id="line_375"></a><a href="#note_362"><span class="linenum">375</span></a><br /> +(Que no sin sospecha ha sido)<br /> +Más turbada y descompuesta<br /> +Que piden casos de amor.—<br /> +No fué vano mi temor.<br /> +¡Don Diego!... ¿Qué sangre es ésta? <a name="line_380" id="line_380"></a><a href="#note_362"><span class="linenum">380</span></a><br /> +</p> + +<p class="n">DON DIEGO</p> + +<p> +Matóme doña María,<br /> +La hija de don Bernardo.<br /> +</p> + +<p class="n">FULGENCIO</p> + +<p> +¡Alcaide! ¡Gente! ¿Qué aguardo?<br /> +<br /> +(<i>Ap.</i> Mas cosa injusta sería<br /> +Ocasionar su prisión. <a name="line_385" id="line_385"></a><a href="#note_362"><span class="linenum">385</span></a><br /> +Esperar que salga quiero;<br /> +Que esto ya es hecho.)<br /> +</p> + +<p class="n">DON DIEGO</p> + +<p class="indstart"> +Yo muero<br /> +Con razón, aunque á traición.<br /> +Muy justa venganza ha sido,<br /> +Por fiarme de mujer. <a name="line_390" id="line_390"></a><a href="#note_362"><span class="linenum">390</span></a><br /> +Mas no la dejéis prender.<br /> +</p> + +<p class="n">FULGENCIO</p> + +<p> +Yo pienso que habrá salido.<br /> +Pero ¿por qué no queréis<br /> +Que la prendan?<br /> +</p> + +<p class="n">DON DIEGO</p> + +<p class="indstart"> +Ha vengado<br /> +Las canas de un padre honrado. <a name="line_395" id="line_395"></a><a href="#note_362"><span class="linenum">395</span></a><br /> +Esto en viéndole diréis...<br /> +Y que yo soy, cuanto á mí,<br /> +Su yerno, pues se casó<br /> +Conmigo, aunque me mató<br /> +Cuando los brazos la dí. <a name="line_400" id="line_400"></a><a href="#note_362"><span class="linenum">400</span></a><br /> +Con esto vuelvo á su fama<br /> +Lo que afrentarla pudiera.<br /> +</p> + +<p class="n">FULGENCIO</p> + +<p> +Toda la cárcel se altera.<br /> +Quiero buscar esta dama.<br /> +<br /> +(<i>Se lleva á don Diego.</i>)<br /> +</p> + +</div> + +<h3 class="top15"><a name="ESCENA_VIII" id="ESCENA_VIII"></a>ESCENA VIII</h3> + +<p class="c">Una calle de Madrid.</p> + +<p class="c"><span class="smcap">El Conde</span>, <span class="smcap">Don Juan</span></p> + +<div class="d"> + +<p class="n">CONDE</p> + +<p> +¡Hermosa viuda, don Juan! <a name="line_405" id="line_405"></a><a href="#note_409"><span class="linenum">405</span></a><br /> +No he visto cosa más bella.<br /> +</p> + +<p class="n">DON JUAN</p> + +<p> +Con razón, Conde, por ella<br /> +Esos desmayos os dan.<br /> +</p> + +<p class="n">CONDE</p> + +<p> +¿Hay tal gracia de monjil?<br /> +Que es de azabache, repara, <a name="line_410" id="line_410"></a><a href="#note_409"><span class="linenum">410</span></a><br /> +Imagen, menos la cara<br /> +Y manos, que son marfil.<br /> +</p> + +<p class="n">DON JUAN</p> + +<p> +Vos tenéis un gran sugeto<br /> +Para versos.<br /> +</p> + +<p class="n">CONDE</p> + +<p> +No he pensado<br /> +Meterme en ese cuidado; <a name="line_415" id="line_415"></a><a href="#note_413"><span class="linenum">415</span></a><br /> +Que pienso andar más discreto.<br /> +</p> + +<p class="n">DON JUAN</p> + +<p>¿Cómo?</p> + +<p class="n">CONDE</p> + +<p class="indstart"> +Remitirme á el oro,<br /> +Que es excelente poeta.<br /> +</p> + +<p class="n">DON JUAN</p> + +<p> +Dicen que es rica y discreta:<br /> +Guardadle más el decoro. <a name="line_420" id="line_420"></a><a href="#note_413"><span class="linenum">420</span></a><br /> +</p> + +<p class="n">CONDE</p> + +<p>¿Fué vuestro criado allá?</p> + +<p class="n">DON JUAN</p> + +<p> +Con una criada habló,<br /> +Y á estas horas pienso yo<br /> +Que bien informado está.<br /> +</p> + +<p class="n">CONDE</p> + +<p> +Mejor entre sus iguales <a name="line_425" id="line_425"></a><a href="#note_413"><span class="linenum">425</span></a><br /> +Suele hablar más libremente<br /> +Este género de gente.<br /> +</p> +</div> + + +<h3 class="top15"><a name="ESCENA_IX" id="ESCENA_IX"></a>ESCENA IX</h3> + +<p class="c"><span class="smcap">Martín</span>.—<span class="smcap">Dichos</span></p> + +<div class="d"> + +<p class="n">DON JUAN</p> + +<p>¿Qué hay, Martín? Contento sales.</p> + +<p class="n">MARTÍN</p> + +<p>Servir á el Conde deseo.</p> + +<p class="n">CONDE</p> + +<p>Yo estimo tu buen amor. <a name="line_430" id="line_430"></a><a href="#note_413"><span class="linenum">430</span></a></p> + +<p class="n">MARTÍN</p> + +<p> +Hablé con la tal Leonor,<br /> +Como si fuera en mi empleo,<br /> +Estando en larga oración<br /> +La retórica lacaya,<br /> +Y ella, á manera de maya, <a name="line_435" id="line_435"></a><a href="#note_413"><span class="linenum">435</span></a><br /> +Serena toda facción.<br /> +Díjela que me tenía<br /> +Sin alma Leonor la bella;<br /> +Que hacía un mes que la huella<br /> +De sus chinelas seguía; <a name="line_440" id="line_440"></a><a href="#note_441"><span class="linenum">440</span></a><br /> +Y que bailando en el río<br /> +De la castañeta al son,<br /> +Me entró por el corazón<br /> +Y por toda el alma el brío.<br /> +Cuando ya la tuve tierna, <a name="line_445" id="line_445"></a><a href="#note_441"><span class="linenum">445</span></a><br /> +Pregunté la condición<br /> +De su ama, y la razón<br /> +De estado que la gobierna.<br /> +Dijo que era principal,<br /> +Con deudos de gran valor, <a name="line_450" id="line_450"></a><a href="#note_441"><span class="linenum">450</span></a><br /> +Y que tenía su honor,<br /> +Desde que enviudó, cabal.<br /> +Que era rica y entendida,<br /> +Y no de su casa escasa,<br /> +Si bien no entraba en su casa <a name="line_455" id="line_455"></a><a href="#note_441"><span class="linenum">455</span></a><br /> +Ni aun sombra de alma nacida.<br /> +Que el parecer recatada<br /> +Era todo su cuidado,<br /> +Y díjome que había estado<br /> +Sólo dos meses casada; <a name="line_460" id="line_460"></a><a href="#note_441"><span class="linenum">460</span></a><br /> +Porque su noble marido,<br /> +De enamorado, murió.<br /> +</p> + +<p class="n">CONDE</p> + +<p> +No envidio la muerte yo,<br /> +La causa sí.<br /> +</p> + +<p class="n">DON JUAN</p> + +<p class="indstart"> +Necio ha sido,<br /> +Pues tanto tiempo tenía. <a name="line_465" id="line_465"></a><a href="#note_441"><span class="linenum">465</span></a><br /> +</p> + +<p class="n">MARTÍN</p> + +<p> +Poca edad y mucho amor,<br /> +Toda la vida, Señor,<br /> +Remiten á solo un día.<br /> +</p> + +<p class="n">CONDE</p> + +<p> +¿Cómo trae tan pequeñas<br /> +Tocas?<br /> +</p> + +<p class="n">DON JUAN</p> + +<p class="indstart">Más hermosa está. <a name="line_470" id="line_470"></a><a href="#note_441"><span class="linenum">470</span></a></p> + +<p class="n">MARTÍN</p> + +<p> +Porque las largas son ya<br /> +Para beatas y dueñas.<br /> +Y las cortas en la corte<br /> +No se traen sin ocasión.<br /> +</p> + +<p class="n">CONDE</p> + +<p> +¿Qué ocasión dará razón <a name="line_475" id="line_475"></a><a href="#note_441"><span class="linenum">475</span></a><br /> +Que para disculpa importe?<br /> +</p> + +<p class="n">MARTÍN</p> + +<p> +Muriósele á una casada<br /> +Su marido, y no quedó<br /> +Muy triste, pues le envolvió,<br /> +Como si fuera pescada, <a name="line_480" id="line_480"></a><a href="#note_482"><span class="linenum">480</span></a><br /> +En un pedazo de anjeo;<br /> +Y sin que cumpliese manda,<br /> +Con largas tocas de Holanda<br /> +Salió vertiendo poleo<br /> +En un reverendo coche. <a name="line_485" id="line_485"></a><a href="#note_485"><span class="linenum">485</span></a><br /> +Pero el muerto, mal contento,<br /> +Del sepulcro á su aposento<br /> +Se trasladó aquella noche,<br /> +Y díjole: «¡Vos Holanda,<br /> +Y yo anjeo, picarona! <a name="line_490" id="line_490"></a><a href="#note_485"><span class="linenum">490</span></a><br /> +¿No mereció mi persona<br /> +Una sábana más blanda?»<br /> +Esto diciendo, el difunto<br /> +En las tocas se envolvió,<br /> +Y el anjeo le dejó: <a name="line_495" id="line_495"></a><a href="#note_485"><span class="linenum">495</span></a><br /> +Ocasión desde aquel punto<br /> +Con que sin tocas las veo;<br /> +Y cuerdo temor ha sido,<br /> +Porque no vuelva el marido<br /> +Á dejarlas el anjeo. <a name="line_500" id="line_500"></a><a href="#note_485"><span class="linenum">500</span></a><br /> +</p> + +<p class="n">CONDE</p> + +<p> +Cuanto la licencia alargas,<br /> +La obligación disimulas.<br /> +</p> + +<p class="n">MARTÍN</p> + +<p> +Señor, en dueñas y en mulas<br /> +Están bien las tocas largas.<br /> +</p> + +<p class="n">CONDE</p> + +<p> +Mucha honestidad promete, <a name="line_505" id="line_505"></a><a href="#note_485"><span class="linenum">505</span></a><br /> +Y es decoro justo y santo.<br /> +</p> + +<p class="n">MARTÍN</p> + +<p> +Una viuda con un manto<br /> +Es obispo con roquete.<br /> +Fuera de esto, aquel estar<br /> +Siempre en una misma acción <a name="line_510" id="line_510"></a><a href="#note_485"><span class="linenum">510</span></a><br /> +No mueve la inclinación<br /> +Que el traje suele obligar.<br /> +Ver siempre de una manera<br /> +Á una mujer es cansarse.<br /> +</p> + +<p class="n">CONDE</p> + +<p>Pues ¿puede el rostro mudarse? <a name="line_515" id="line_515"></a><a href="#note_519"><span class="linenum">515</span></a></p> + +<p class="n">MARTÍN</p> + +<p> +Pues ¿no se muda y altera,<br /> +Mudando el traje, el semblante?<br /> +</p> + +<p class="n">DON JUAN</p> + +<p> +Conde, Martín dice bien;<br /> +Porque el varïar tan bien<br /> +Da novedad á el amante. <a name="line_520" id="line_520"></a><a href="#note_521"><span class="linenum">520</span></a><br /> +</p> + +<p class="n">MARTÍN</p> + +<p> +De mi condición advierte<br /> +Que me pudren las pinturas,<br /> +Porque siempre las figuras<br /> +Están de una misma suerte.<br /> +¿Qué es ver levantar la espada <a name="line_525" id="line_525"></a><a href="#note_522"><span class="linenum">525</span></a><br /> +En una tapicería<br /> +Á un hombre, que en todo un día<br /> +No ha dado una cuchillada?<br /> +Qué es ver á Susana estar<br /> +Entre dos viejos desnuda, <a name="line_530" id="line_530"></a><a href="#note_529"><span class="linenum">530</span></a><br /> +Y que ninguno se muda<br /> +Á defender ni á forzar?<br /> +Linda cosa es la mudanza<br /> +Del traje.<br /> +</p> + +<p class="n">CONDE</p> + +<p class="indstart"> +La viuda, en fin,<br /> +¿Es conversable, Martín? <a name="line_535" id="line_535"></a><a href="#note_529"><span class="linenum">535</span></a><br /> +</p> + +<p class="n">MARTÍN</p> + +<p> +No me quitó la esperanza,<br /> +Si entráis con algún enredo;<br /> +Que dice que da lugar<br /> +Que la puedan visitar.<br /> +</p> + +<p class="n">CONDE</p> + +<p>Yo le buscaré, si puedo. <a name="line_540" id="line_540"></a><a href="#note_541"><span class="linenum">540</span></a></p> + +<p class="n">DON JUAN</p> + +<p> +Como visto no te hubiera,<br /> +Fácil remedio se hallara.<br /> +</p> + +<p class="n">CONDE</p> + +<p> +Si en que me ha visto repara,<br /> +Fingirme enojarla fuera.<br /> +Llama; que yo he prevenido <a name="line_545" id="line_545"></a><a href="#note_545"><span class="linenum">545</span></a><br /> +Con que me pueda creer.<br /> +</p> + +<p class="n">DON JUAN</p> + +<p>No lo echemos á perder.</p> + +<p class="n">CONDE</p> + +<p>No puedo estar más perdido. (<i>Vanse.</i>)</p> +</div> + + +<h3 class="top15"><a name="ESCENA_X" id="ESCENA_X"></a>ESCENA X</h3> + +<p class="c"><i>Sala en casa de doña Ana</i>.</p> + + +<p class="c"><span class="smcap">El Conde</span>, <span class="smcap">Don Juan</span>, <span class="smcap">Martín</span>; <i>y luego</i>, <span class="smcap">Doña Ana</span>, <i>de viuda</i>; <span class="smcap">Leonor</span> <i>y</i> +<span class="smcap">Juana</span></p> + +<div class="d"> + +<p class="n">MARTÍN</p> + +<p> +Ya te ha visto: á verte sale.<br /> +No le has parecido mal. <a name="line_550" id="line_550"></a><a href="#note_547"><span class="linenum">550</span></a><br /> +</p> + +<p class="n">CONDE</p> + +<p> +¿Hay jazmín, rosa y cristal<br /> +Que á la viudilla se iguale?<br /> +<br /> +(<i>Salen doña Ana, de viuda, Leonor y Juana.</i>)<br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p> +Novedad me ha parecido;<br /> +Vueseñoría perdone.<br /> +</p> + +<p class="n">CONDE</p> + +<p> +No hay novedad que no abone <a name="line_555" id="line_555"></a><a href="#note_547"><span class="linenum">555</span></a><br /> +El deseo que he tenido<br /> +De serviros, si yo fuese,<br /> +Para que no os cause enojos,<br /> +Tan dichoso en vuestros ojos,<br /> +Que serviros mereciese. <a name="line_560" id="line_560"></a><a href="#note_547"><span class="linenum">560</span></a><br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p>Leonor, sillas.</p> + +<p class="n">MARTÍN (<i>ap. á don Juan</i>)</p> + +<p> +No va mal,<br /> +Pues piden sillas.<br /> +</p> + +<p class="n">DON JUAN</p> + +<p class="indstart"> +Martín,<br /> +La viudilla es serafín<br /> +De perlas y de coral.<br /> +</p> + +<p class="n">MARTÍN</p> + +<p>¿Agrádate á ti también? <a name="line_565" id="line_565"></a><a href="#note_547"><span class="linenum">565</span></a><br /></p> + +<p class="n">DON JUAN</p> + +<p> +Á esa pregunta responde<br /> +Que está enamorado el Conde,<br /> +Y yo no.<br /> +</p> + +<p class="n">MARTÍN</p> + +<p class="indstart">Dices muy bien.</p> + +<p class="n">DOÑA ANA</p> + +<p>¿Quién es este caballero?</p> + +<p class="n">CONDE</p> + +<p>Mi primo don Juan.</p> + +<p class="n">DOÑA ANA</p> + +<p class="indstart"> +Señor, <a name="line_570" id="line_570"></a><a href="#note_576"><span class="linenum">570</span></a><br /> +Perdonad.<br /> +</p> + +<p class="n">DON JUAN</p> + +<p class="indstart"> +No ha sido error.<br /> +Hablad; que estorbar no quiero.<br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p> +Vos no podéis estorbar,<br /> +Ni aquí tendréis ocasión.<br /> +</p> + +<p class="n">DON JUAN</p> + +<p>No lo mandéis.</p> + +<p class="n">DOÑA ANA</p> + +<p class="indstart">Es razón. <a name="line_575" id="line_575"></a><a href="#note_576"><span class="linenum">575</span></a></p> + +<p class="n">DON JUAN</p> + +<p>No me tengo de sentar.</p> + +<p class="n">DOÑA ANA</p> + +<p>Ahora bien, yo no porfío.</p> + +<p class="n">DON JUAN</p> + +<p>Decísme que necio soy.</p> + +<p class="n">CONDE</p> + +<p>Oidme.</p> + +<p class="n">DOÑA ANA</p> + +<p>Oyéndoos estoy.</p> + +<p class="n">DON JUAN</p> + +<p>Por lo mismo me desvío. <a name="line_580" id="line_580"></a><a href="#note_576"><span class="linenum">580</span></a></p> + +<p class="n">CONDE</p> + +<p> +Señora, aunque os he mirado<br /> +Mil veces sin conoceros,<br /> +Antes que viniera á veros<br /> +Tuve de veros cuidado.<br /> +Vuestro esposo, que Dios tiene, <a name="line_585" id="line_585"></a><a href="#note_587"><span class="linenum">585</span></a><br /> +Era mi amigo: jugamos<br /> +Una noche; comenzamos<br /> +Por una rifa, que viene<br /> +Á ser, como en los amores,<br /> +La tercera que concierta, <a name="line_590" id="line_590"></a><a href="#note_587"><span class="linenum">590</span></a><br /> +Ó á lo menos que dispierta<br /> +El gusto á los jugadores.<br /> +Perdió, picóse, sacó<br /> +Unos escudos, y luego,<br /> +Terciando mi primo el juego, <a name="line_595" id="line_595"></a><a href="#note_595"><span class="linenum">595</span></a><br /> +Cuatro sortijas perdió.<br /> +Mas vamos á lo que importa.<br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p> +Esas sortijas eché<br /> +Menos: pesadumbre fué<br /> +(Tan mal amor se reporta), <a name="line_600" id="line_600"></a><a href="#note_595"><span class="linenum">600</span></a><br /> +Porque vine á sospechar<br /> +Que á alguna dama las dió.<br /> +</p> + +<p class="n">DON JUAN (<i>ap. á Martín</i>)</p> + +<p>Bien la mentira salió.</p> + +<p class="n">MARTÍN</p> + +<p> +¿Hay cosa como atinar<br /> +Las sortijas que faltaron? <a name="line_605" id="line_605"></a><a href="#note_595"><span class="linenum">605</span></a><br /> +</p> + +<p class="n">DON JUAN</p> + +<p>Hay dichosos en mentir.</p> + +<p class="n">MARTÍN</p> + +<p> +Á cuantas supe decir,<br /> +Con el hurto me pescaron.<br /> +No he mentido sin que luego<br /> +No se me echase de ver. <a name="line_610" id="line_610"></a><a href="#note_595"><span class="linenum">610</span></a><br /> +</p> + +<p class="n">CONDE</p> + +<p> +Así se vino á encender<br /> +Con esta pérdida el juego,<br /> +Que perdió seis mil ducados<br /> +Sobre palabra segura,<br /> +De que tengo una escritura. <a name="line_615" id="line_615"></a><a href="#note_595"><span class="linenum">615</span></a><br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p> +Más enredos y cuidados<br /> +Que días vivió conmigo<br /> +Don Sebastián me dejó.<br /> +¿Seis mil ducados?<br /> +</p> + +<p class="n">CONDE</p> + +<p class="indstart"> +Si yo<br /> +Basto, que soy quien lo digo, <a name="line_620" id="line_620"></a><a href="#note_595"><span class="linenum">620</span></a><br /> +Y los testigos presentes.<br /> +</p> + +<p class="n">MARTÍN</p> + +<p> +Al firmarla estuve allí<br /> +Tan presente como aquí.<br /> +</p> + +<p class="n">DON JUAN (<i>ap. á Martín</i>)</p> + +<p>¡Con qué desvergüenza mientes!</p> + +<p class="n">MARTÍN</p> + +<p> +¡Qué gracia! El buen mentidor <a name="line_625" id="line_625"></a><a href="#note_595"><span class="linenum">625</span></a><br /> +Ha de ser, señor don Juan,<br /> +Descarado á lo truhán,<br /> +Y libre á lo historiador.<br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p> +Pensé que vueseñoría<br /> +Me venía hacer merced. <a name="line_630" id="line_630"></a><a href="#note_595"><span class="linenum">630</span></a><br /> +</p> + +<p class="n">CONDE</p> + +<p> +Que os he de servir creed;<br /> +Que ésa fué la intención mía.<br /> +No os dé pena la escritura,<br /> +Puesto que fué de mayor;<br /> +Que no tiene mal fiador <a name="line_635" id="line_635"></a><a href="#note_634"><span class="linenum">635</span></a><br /> +La paga en vuestra hermosura.<br /> +</p> + +<p class="n">MARTÍN (<i>ap. á don Juan</i>)</p> + +<p> +¿Hay oficial de escritorios<br /> +Que encaje el marfil ansí?<br /> +</p> + +<p class="n">DON JUAN</p> + +<p> +En amando, para mí<br /> +Son los engaños notorios. <a name="line_640" id="line_640"></a><a href="#note_638"><span class="linenum">640</span></a><br /> +</p> + +<p class="n">MARTÍN</p> + +<p>¿Amor se funda en engaños?</p> + +<p class="n">DON JUAN</p> + +<p> +Primero que el amor fueron;<br /> +Pues desde que ellos nacieron,<br /> +El mundo cuenta sus daños.<br /> +</p> + +<p class="n">CONDE</p> + +<p> +Si yo, Señora, creyera <a name="line_645" id="line_645"></a><a href="#note_638"><span class="linenum">645</span></a><br /> +Cobrar la deuda de vos,<br /> +Sin conocernos los dos,<br /> +Por otro estilo pudiera.<br /> +No vengo sino á ofreceros<br /> +Cuanto tengo y cuanto soy, <a name="line_650" id="line_650"></a><a href="#note_638"><span class="linenum">650</span></a><br /> +Con que pagado me voy,<br /> +Y aun deudor de solo veros.<br /> +Sólo os suplico me deis<br /> +Licencia de visitaros,<br /> +Si fuere parte á obligaros <a name="line_655" id="line_655"></a><a href="#note_655"><span class="linenum">655</span></a><br /> +Confesar que me debéis,<br /> +No dineros, sino amor.<br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p> +Yo quedo tan obligada,<br /> +Como deudora y pagada<br /> +De vuestro heroico valor. <a name="line_660" id="line_660"></a><a href="#note_655"><span class="linenum">660</span></a><br /> +</p> + +<p class="n">CONDE</p> + +<p>Bésoos las manos.</p> + +<p class="n">DOÑA ANA</p> + +<p class="indstart"> +El cielo<br /> +Os guarde.<br /> +</p> + +<p class="n">CONDE</p> + +<p class="indstart">¿Vendré?</p> + +<p class="n">DOÑA ANA</p> + +<p class="indstart"> +Venid.<br /> +<br /> +(<i>Vase el Conde.</i>)<br /> +</p> +</div> + + +<h3 class="top15"><a name="ESCENA_XI" id="ESCENA_XI"></a>ESCENA XI</h3> + +<p class="c"><span class="smcap">Doña Ana</span>, <span class="smcap">Don Juan</span>, <span class="smcap">Leonor</span>, <span class="smcap">Juana</span>, <span class="smcap">Martín</span></p> + +<div class="d"> + +<p class="n">DOÑA ANA</p> + +<p>¡Ah, señor don Juan! Oid.</p> + +<p class="n">MARTÍN (<i>ap.</i>)</p> + +<p>Cayó el pez en el anzuelo.</p> + +<p class="n">DON JUAN</p> + +<p>¿En qué os sirvo?</p> + +<p class="n">DOÑA ANA</p> + +<p class="indstart"> +Bien sé yo <a name="line_665" id="line_665"></a><a href="#note_664"><span class="linenum">665</span></a><br /> +Que todo aquesto es mentira.<br /> +</p> + +<p class="n">DON JUAN</p> + +<p> +Y yo sé que el Conde os mira;<br /> +Esto de la deuda no.<br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p> +¡Mala entrada de galán,<br /> +Entrar mintiendo!<br /> +</p> + +<p class="n">DON JUAN</p> + +<p class="indstart"> +Señora, <a name="line_670" id="line_670"></a><a href="#note_666"><span class="linenum">670</span></a><br /> +Mi primo el Conde os adora.<br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p> +Id con Dios, señor don Juan;<br /> +Que yerra el Conde en traeros.<br /> +</p> + +<p class="n">DON JUAN</p> + +<p>¿Desacredítole yo?</p> + +<p class="n">DOÑA ANA</p> + +<p> +Cuando el Conde me miró, <a name="line_675" id="line_675"></a><a href="#note_666"><span class="linenum">675</span></a><br /> +Me dió ocasión de quereros.<br /> +</p> + +<p class="n">DON JUAN</p> + +<p> +Aunque deudos, nos preciamos<br /> +Mucho más de ser amigos,<br /> +Aunque envidias ni enemigos<br /> +No quieren que lo seamos. <a name="line_680" id="line_680"></a><a href="#note_666"><span class="linenum">680</span></a><br /> +Queredle bien; que merece,<br /> +Señora, que lo queráis.<br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p> +Lo que por él negociáis,<br /> +Al Conde desfavorece.<br /> +</p> + +<p class="n">DON JUAN</p> + +<p> +Voy; que en la carroza aguarda. <a name="line_685" id="line_685"></a><a href="#note_666"><span class="linenum">685</span></a><br /> +Dad licencia que os visite,<br /> +Y que yo lo solicite.<br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p>Si vuelve con vos, ya tarda.</p> + +<p class="n">DON JUAN</p> + +<p> +Tanto favor da á entender<br /> +Que por él queréis honrarme. <a name="line_690" id="line_690"></a><a href="#note_666"><span class="linenum">690</span></a><br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p> +Por vos quiero yo obligarme<br /> +Para que me vuelva á ver.<br /> +</p> + +<p class="n">DON JUAN</p> + +<p>Todo se lo digo ansí.</p> + +<p class="n">DOÑA ANA</p> + +<p>Yo os tengo por más discreto.</p> + +<p class="n">DON JUAN</p> + +<p>¿Volverá el Conde en efeto? <a name="line_695" id="line_695"></a><a href="#note_695"><span class="linenum">695</span></a></p> + +<p class="n">DOÑA ANA</p> + +<p> +No sin vos, y con vos sí.<br /> +<br /> +<span style="margin-left: 18%;">(<i>Vanse don Juan y Martín.</i>)</span><br /> +</p> +</div> + + +<h3 class="top15"><a name="ESCENA_XII" id="ESCENA_XII"></a>ESCENA XII</h3> + +<p class="c"><span class="smcap">Doña Ana</span>, <span class="smcap">Leonor</span>, <span class="smcap">Juana</span></p> +<div class="d"> + +<p class="n">LEONOR</p> + +<p> +Mucho le has favorecido,<br /> +Para ser la vez primera.<br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p> +Cuando él me favoreciera,<br /> +Mi favor lo hubiera sido; <a name="line_700" id="line_700"></a><a href="#note_699"><span class="linenum">700</span></a><br /> +Mas no me quiso entender:<br /> +Tomo la amistad del Conde.<br /> +</p> + +<p class="n">JUANA</p> + +<p> +Agora tibio responde.<br /> +Aun no ha llegado á querer.<br /> +</p> + +<p class="n">DOÑA ANA (<i>para sí</i>)</p> + +<p> +Necio pensamiento mío, <a name="line_705" id="line_705"></a><a href="#note_666"><span class="linenum">705</span></a><br /> +Que en tal locura habéis dado,<br /> +Volved atrás, afrentado<br /> +De ver tan necio desvío.<br /> +Yo, que de tantos me río,<br /> +¡Ruego, pretendo, provoco! <a name="line_710" id="line_710"></a><a href="#note_666"><span class="linenum">710</span></a><br /> +Pensamiento, poco á poco,<br /> +No diga el honor que pierdo<br /> +Que sois con desdenes cuerdo,<br /> +Ya que quisistes ser loco.<br /> +Dieron los ojos en ver, <a name="line_715" id="line_715"></a><a href="#note_714"><span class="linenum">715</span></a><br /> +Puesto que en lugar sagrado,<br /> +Al hombre más recatado<br /> +De mirar y de entender;<br /> +Mas, ya que ha venido á ser<br /> +Provocado á desafío, <a name="line_720" id="line_720"></a><a href="#note_714"><span class="linenum">720</span></a><br /> +Responde tan necio y frío,<br /> +Que me pide que á otro quiera:<br /> +Mirad ¡quién tal os dijera,<br /> +Triste pensamiento mío!<br /> +En vano estoy descansando <a name="line_725" id="line_725"></a><a href="#note_714"><span class="linenum">725</span></a><br /> +Con daros disculpa á vos;<br /> +Mas tengámosla los dos,<br /> +Vos amando y yo pensando;<br /> +Porque de pensar amando<br /> +Lo que puede resultar, <a name="line_730" id="line_730"></a><a href="#note_714"><span class="linenum">730</span></a><br /> +Viene el alma á sospechar<br /> +Lo que imaginó del ver;<br /> +Porque no hubiera querer<br /> +Si no hubiera imaginar.<br /> +Que no queráis os advierto <a name="line_735" id="line_735"></a><a href="#note_714"><span class="linenum">735</span></a><br /> +Hombre tan fino y helado,<br /> +Que por lo helado me ha dado<br /> +Tristes memorias del muerto.<br /> +Pero si á cogerle acierto<br /> +Con mirar y con rogar... <a name="line_740" id="line_740"></a><a href="#note_745"><span class="linenum">740</span></a><br /> +Guárdese pues de llegar;<br /> +Que, agraviada una mujer,<br /> +Quiere hasta que ve querer,<br /> +Por vengarse en olvidar. (<i>Vanse.</i>)<br /> +</p> +</div> + + +<h3 class="top15"><a name="ESCENA_XIII" id="ESCENA_XIII"></a>ESCENA XIII</h3> + +<p class="c">Patio de un mesón de Adamuz.</p> + +<p class="c"><span class="smcap">Un Indiano</span>, <i>y</i> <span class="smcap">un Mozo de Mulas</span>; <i>después</i>, <span class="smcap">un Mesonero</span></p> + +<div class="d"> + +<p class="n">INDIANO</p> + +<p> +Pasaremos de Adamuz, <a name="line_745" id="line_745"></a><a href="#note_745"><span class="linenum">745</span></a><br /> +Si este recado nos dan.<br /> +</p> + +<p class="n">MOZO</p> + +<p> +Por eso dice el refrán:<br /> +«Adamuz, pueblo sin luz.»<br /> +Mas mira que desde aquí<br /> +Comienza Sierra-Morena. <a name="line_750" id="line_750"></a><a href="#note_750"><span class="linenum">750</span></a><br /> +</p> + +<p class="n">INDIANO</p> + +<p> +Tú las jornadas ordena;<br /> +Eso no corre por mí.<br /> +<br /> +<span style="margin-left: 18%;">(<i>Sale el Mesonero.</i>)</span><br /> +</p> + +<p class="n">MESONERO</p> + +<p>Bien venidos, caballeros.</p> + +<p class="n">INDIANO</p> + +<p>Pues, huésped, ¿qué hay que comer?</p> + +<p class="n">MESONERO</p> + +<p> +Desde hoy á el amanecer <a name="line_755" id="line_755"></a><a href="#note_750"><span class="linenum">755</span></a><br /> +Dos mozos, seis perdigueros<br /> +Vienen con un perdigón,<br /> +De que estoy desesperado.<br /> +</p> + +<p class="n">INDIANO</p> + +<p>Para mí basta.</p> + +<p class="n">MESONERO</p> + +<p> +Ha llegado<br /> +Á hurtaros la bendición <a name="line_760" id="line_760"></a><a href="#note_750"><span class="linenum">760</span></a><br /> +Una mujer que le tiene.<br /> +</p> + +<p class="n">INDIANO</p> + +<p> +Y cuando yo le tuviera,<br /> +Por ser mujer se le diera.<br /> +¿Viene sola?<br /> +</p> + +<p class="n">MESONERO</p> + +<p class="indstart">Sola viene.</p> + +<p class="n">INDIANO</p> + +<p>¡Sola! ¿De qué calidad? <a name="line_765" id="line_765"></a><a href="#note_768"><span class="linenum">765</span></a></p> + +<p class="n">MESONERO</p> + +<p> +Pobre, y de brío gallarda;<br /> +Porque en un rocín de albarda<br /> +(El término perdonad)<br /> +Como un soldado venía.<br /> +Ella propria se apeó, <a name="line_770" id="line_770"></a><a href="#note_770"><span class="linenum">770</span></a><br /> +Le ató y de comer le dió<br /> +Con despejo y bizarría.<br /> +Volvíla á mirar y ví<br /> +Que un arcabuz arrimaba.<br /> +</p> + +<p class="n">INDIANO</p> + +<p>¿Que es tan brava?</p> + +<p class="n">MESONERO</p> + +<p class="indstart"> +Aunque es tan brava, <a name="line_775" id="line_775"></a><a href="#note_770"><span class="linenum">775</span></a><br /> +Os aseguro de mí<br /> +Que más su cara temiera<br /> +Que su arcabuz.<br /> +</p> + +<p class="n">INDIANO</p> + +<p class="indstart"> +¿Habéis sido<br /> +Galán?<br /> +</p> + +<p class="n">MESONERO</p> + +<p> +Bien me han parecido.<br /> +Ya pasó la primavera, <a name="line_780" id="line_780"></a><a href="#note_770"><span class="linenum">780</span></a><br /> +Y estamos en el estío:<br /> +Así los años se van.<br /> +</p> + +<p class="n">INDIANO</p> + +<p>¿Qué traje trae?</p> + +<p class="n">MESONERO</p> + +<p class="indstart"> +Un gabán<br /> +Que cubre el traje, no el brío;<br /> +Un sombrero razonable... <a name="line_785" id="line_785"></a><a href="#note_770"><span class="linenum">785</span></a><br /> +Todo de poco valor;<br /> +Al fin, parece, Señor,<br /> +De buena suerte y afable,<br /> +Menos aquel arcabuz.<br /> +</p> + +<p class="n">INDIANO</p> + +<p>¿Es ésta?</p> + +<p class="n">MESONERO</p> + +<p class="indstart">La misma es. <a name="line_790" id="line_790"></a><a href="#note_793"><span class="linenum">790</span></a></p> + +</div> + +<h3 class="top15"><a name="ESCENA_XIV" id="ESCENA_XIV"></a>ESCENA XIV</h3> + +<p class="c"><span class="smcap">Doña María</span>, <i>con sombrero, gabán y un arcabuz</i>.—<span class="smcap">Dichos</span></p> + +<div class="d"> +<p class="n">DOÑA MARÍA (<i>ap.</i>)</p> + +<p> +Temerosa voy, después<br /> +Que he entrado por Adamuz,<br /> +Por ser camino real,<br /> +Á que nunca me atreví;<br /> +Si bien desde que salí, <a name="line_795" id="line_795"></a><a href="#note_793"><span class="linenum">795</span></a><br /> +Ha sido el ánimo igual<br /> +Al peligro que he tenido.<br /> +¡Ay, padre, y cuánto dolor<br /> +Me da el verte sin favor,<br /> +Si no es que el Duque lo ha sido! <a name="line_800" id="line_800"></a><a href="#note_793"><span class="linenum">800</span></a><br /> +Suelen faltar los amigos<br /> +En la mejor ocasión;<br /> +Mas ¡ay! que tus años son<br /> +Los mayores enemigos.<br /> +Los de mi hermano pudieran <a name="line_805" id="line_805"></a><a href="#note_793"><span class="linenum">805</span></a><br /> +Suplir los tuyos, Señor,<br /> +Aunque no para tu honor<br /> +Más que mis manos hicieran.<br /> +Yo cumplí su obligación;<br /> +Mas defenderte no puedo, <a name="line_810" id="line_810"></a><a href="#note_813"><span class="linenum">810</span></a><br /> +Por no acrecentar el miedo<br /> +De mi muerte ó mi prisión.<br /> +Al fin, bien está lo hecho.<br /> +¿De qué me lamento en vano?<br /> +¡Traidor don Diego! ¡Á un anciano <a name="line_815" id="line_815"></a><a href="#note_813"><span class="linenum">815</span></a><br /> +Con una cruz en el pecho!...<br /> +Así para quien se atreve<br /> +Á las edades ancianas;<br /> +Que es atreverse á unas canas<br /> +Violar un templo de nieve. <a name="line_820" id="line_820"></a><a href="#note_824"><span class="linenum">820</span></a><br /> +Pero la mano piadosa<br /> +Del cielo quiere que espante<br /> +Á un Holofernes gigante<br /> +Una Judit valerosa.<br /> +</p> + +<p class="n">INDIANO (<i>á doña María</i>)</p> + +<p> +Como suelen los caminos <a name="line_825" id="line_825"></a><a href="#note_824"><span class="linenum">825</span></a><br /> +Dar licencia á los que pasan<br /> +Para entretener las horas,<br /> +Que por ellos son tan largas,<br /> +Á preguntaros me atrevo<br /> +Si lo ha de ser la jornada, <a name="line_830" id="line_830"></a><a href="#note_835"><span class="linenum">830</span></a><br /> +Ó por ventura tenéis<br /> +Cerca de aquí vuestra casa.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p>No soy, Señor, desta tierra.</p> + +<p class="n">INDIANO</p> + +<p> +Como os ví sola, pensaba<br /> +Que érades de alguna aldea <a name="line_835" id="line_835"></a><a href="#note_835"><span class="linenum">835</span></a><br /> +De aquesta fértil comarca.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +No, Señor; que yo nací<br /> +De esa parte de Granada,<br /> +Y á servir en ella vine;<br /> +Que cuando los padres faltan <a name="line_840" id="line_840"></a><a href="#note_838"><span class="linenum">840</span></a><br /> +En tierna edad á los pobres,<br /> +No tienen otra esperanza.<br /> +No se cansó mi fortuna,<br /> +Pues cuando contenta estaba<br /> +Del buen dueño que tenía, <a name="line_845" id="line_845"></a><a href="#note_838"><span class="linenum">845</span></a><br /> +Persona de órdenes sacras,<br /> +Le llevó también la muerte,<br /> +Que para mayor mudanza<br /> +Me dió ocasión, como veis.<br /> +</p> + +<p class="n">INDIANO</p> + +<p>Y ¿dónde vais?</p> + +<p class="n">DOÑA MARÍA</p> + +<p class="indstart"> +Siempre hablaba <a name="line_850" id="line_850"></a><a href="#note_838"><span class="linenum">850</span></a><br /> +Esta persona que digo,<br /> +Con notables alabanzas<br /> +De la corte y de Madrid:<br /> +Yo pues, á quien ya faltaba<br /> +Dueño, con algún deseo <a name="line_855" id="line_855"></a><a href="#note_838"><span class="linenum">855</span></a><br /> +Que de ver grandeza tanta<br /> +Nació con mi condición,<br /> +Determiné de dar traza<br /> +De ir á servir á la corte.<br /> +Y una vez determinada, <a name="line_860" id="line_860"></a><a href="#note_838"><span class="linenum">860</span></a><br /> +Lo que viviendo tenía<br /> +El buen cura (que Dios haya)<br /> +Para su regalo y gusto,<br /> +Arcabuz, rocín de caza<br /> +Y este gabán, tomé luego, <a name="line_865" id="line_865"></a><a href="#note_868"><span class="linenum">865</span></a><br /> +Y voy con notables ansias<br /> +De ver lo que alaban todos.<br /> +</p> + +<p class="n">MOZO</p> + +<p> +El camino de Granada<br /> +No es éste.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p class="indstart"> +Decís muy bien;<br /> +Mas vine por ver si estaba <a name="line_870" id="line_870"></a><a href="#note_868"><span class="linenum">870</span></a><br /> +En Córdoba un deudo mío.<br /> +</p> + +<p class="n">INDIANO</p> + +<p> +¡Determinación extraña<br /> +De una mujer!<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p class="indstart">Soy mujer.</p> + +<p class="n">INDIANO</p> + +<p> +Decís muy bien, eso basta.<br /> +Yo voy también á Madrid: <a name="line_875" id="line_875"></a><a href="#note_876"><span class="linenum">875</span></a><br /> +Traigo jornada más larga,<br /> +Porque vengo de las Indias;<br /> +Que pocas veces descansa<br /> +El ánimo de los hombres<br /> +Aunque sobre el oro y plata. <a name="line_880" id="line_880"></a><a href="#note_876"><span class="linenum">880</span></a><br /> +Y si allá habéis de servir,<br /> +Porque me dicen que tarda<br /> +El premio á las pretensiones<br /> +Que la ocupación dilata,<br /> +Casa tengo de poner: <a name="line_885" id="line_885"></a><a href="#note_882"><span class="linenum">885</span></a><br /> +Si en el camino os agrada<br /> +Mi trato, servidme á mí.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +El cielo por vos me ampara.<br /> +Desde hoy soy criada vuestra,<br /> +Y creed que soy criada <a name="line_890" id="line_890"></a><a href="#note_882"><span class="linenum">890</span></a><br /> +Que os excusaré de muchas.<br /> +</p> + +<p class="n">MOZO (<i>áp.</i>)</p> + +<p>Convertirse quiere en ama.</p> + +<p class="n">DOÑA MARÍA</p> + +<p>No habrá cosa que no sepa.</p> + +<p class="n">MOZO</p> + +<p> +Y yo salgo á la fianza;<br /> +Que la buena habilidad <a name="line_895" id="line_895"></a><a href="#note_882"><span class="linenum">895</span></a><br /> +Se le conoce en la cara.<br /> +</p> + +<p class="n">INDIANO</p> + +<p> +Hanme dicho que en la corte<br /> +Hay ocasiones que gastan<br /> +Inútilmente la hacienda,<br /> +Y yo querría guardarla; <a name="line_900" id="line_900"></a><a href="#note_882"><span class="linenum">900</span></a><br /> +Que cuesta mucho adquirirla.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +La familia es excusada<br /> +Donde hay tanta confusión,<br /> +Pues no se repara en nada.<br /> +Yo sola basto á serviros: <a name="line_905" id="line_905"></a><a href="#note_882"><span class="linenum">905</span></a><br /> +No habrá cosa que no haga,<br /> +De cuantas haciendas tiene<br /> +El gobierno de una casa.<br /> +</p> + +<p class="n">INDIANO</p> + +<p> +Pues partamos en comiendo,<br /> +Y fiad de mí la paga. <a name="line_910" id="line_910"></a><a href="#note_915"><span class="linenum">910</span></a><br /> +</p> + +<p class="n">DOÑA MARÍA (<i>áp.</i>)</p> + +<p> +¡Ay fortuna! ¿dónde llevas<br /> +Una mujer desdichada?<br /> +Pero no fueras fortuna,<br /> +Á saber en lo que paras.<br /> +</p> +</div> + + +<h2 class="top15"><a name="ACTO_SEGUNDO" id="ACTO_SEGUNDO"></a>ACTO SEGUNDO</h2> + +<p class="c">Sala en casa de doña Ana.</p> + + + +<h3 class="top15"><a name="ESCENA_PRIMERA2" id="ESCENA_PRIMERA2"></a>ESCENA PRIMERA</h3> + +<p class="c"><span class="smcap">El Conde</span>, <span class="smcap">Don Juan</span></p> + +<div class="d"> + +<p class="n">DON JUAN</p> + +<p> +Compiten con sus virtudes <a name="line_915" id="line_915"></a><a href="#note_915"><span class="linenum">915</span></a><br /> +Sus gracias y perfecciones.<br /> +</p> + +<p class="n">CONDE</p> + +<p> +¿Que tantas persecuciones,<br /> +Visitas, solicitudes,<br /> +Celos, desvelos, requiebros,<br /> +Tengan por premio su olvido, <a name="line_920" id="line_920"></a><a href="#note_920"><span class="linenum">920</span></a><br /> +Hasta verme convertido,<br /> +De Amadís, en Beltenebros?<br /> +No he visto tales aceros.<br /> +</p> + +<p class="n">DON JUAN</p> + +<p> +Conde, no habéis de cansaros;<br /> +Que el estado de estimaros <a name="line_925" id="line_925"></a><a href="#note_920"><span class="linenum">925</span></a><br /> +Ya es principio de quereros.<br /> +</p> + +<p class="n">CONDE</p> + +<p> +Á los principios me estoy<br /> +Á el cabo de tres semanas.<br /> +¿Adonde, esperanzas vanas,<br /> +Con este imposible voy? <a name="line_930" id="line_930"></a><a href="#note_920"><span class="linenum">930</span></a><br /> +</p> + +<p class="n">DON JUAN</p> + +<p> +Todas son penas posibles,<br /> +Pues que sin celos amáis.<br /> +</p> + +<p class="n">CONDE</p> + +<p> +¡Ay, ojos, celos me dais,<br /> +Aunque celos invisibles!<br /> +Quéjase de amor doña Ana, <a name="line_935" id="line_935"></a><a href="#note_920"><span class="linenum">935</span></a><br /> +Y á mí no me tiene amor:<br /> +Esto es celos en rigor.<br /> +</p> + +<p class="n">DON JUAN</p> + +<p>¿Por qué, si es sospecha vana?</p> + +<p class="n">CONDE</p> + +<p> +Es celos lo que imagino;<br /> +Que no es celos lo que sé: <a name="line_940" id="line_940"></a><a href="#note_920"><span class="linenum">940</span></a><br /> +Cosa que pienso que fué,<br /> +Y que en mi daño adivino.<br /> +</p> + +</div> + +<h3 class="top15"><a name="ESCENA_II2" id="ESCENA_II2"></a>ESCENA II</h3> + +<p class="c"><span class="smcap">Martín</span>.—<span class="smcap">Dichos</span></p> + +<div class="d"> + +<p class="n">MARTÍN</p> + +<p> +Por poco tuviera calma<br /> +La nave de tu deseo.<br /> +Entro, y á doña Ana veo, <a name="line_945" id="line_945"></a><a href="#note_951"><span class="linenum">945</span></a><br /> +Venus de marfil con alma.<br /> +¿Cómo te podré pintar<br /> +De la suerte que la ví?<br /> +Cultas musas, dadme aquí<br /> +Un ramo blanco de azahar <a name="line_950" id="line_950"></a><a href="#note_951"><span class="linenum">950</span></a><br /> +De las huertas de Valencia<br /> +Ó jardines de Sevilla.<br /> +Comience una zapatilla<br /> +De la Vera de Plasencia,<br /> +Porque entremos por la basa <a name="line_955" id="line_955"></a><a href="#note_954"><span class="linenum">955</span></a><br /> +Á esta coluna de nieve,<br /> +Agentado azul, pie breve,<br /> +Que de tres puntos no pasa.<br /> +</p> + +<p class="n">CONDE</p> + +<p>¿Tres puntos? Necio, repara...</p> + +<p class="n">MARTÍN</p> + +<p> +Pues lo digo, yo lo sé: <a name="line_960" id="line_960"></a><a href="#note_960"><span class="linenum">960</span></a><br /> +Puntos son que de aquel pie<br /> +Los tomara por la cara.<br /> +</p> + +<p class="n">DON JUAN</p> + +<p>¿Cómo lo viste?</p> + +<p class="n">MARTÍN</p> + +<p class="indstart"> +Un manteo<br /> +Esta licencia me dió,<br /> +Donde cuanto supo obró <a name="line_965" id="line_965"></a><a href="#note_960"><span class="linenum">965</span></a><br /> +La riqueza y el aseo.<br /> +Pero pidió los chapines<br /> +Porque mirarla me vió,<br /> +Y entre las cintas metió<br /> +Cinco pares de jazmines. <a name="line_970" id="line_970"></a><a href="#note_971"><span class="linenum">970</span></a><br /> +</p> + +<p class="n">DON JUAN</p> + +<p> +De escarpines presumí,<br /> +Según anda el algodón.<br /> +</p> + +<p class="n">MARTÍN</p> + +<p> +Ésos paragambas son;<br /> +Que á cierta dama que ví<br /> +Con cañafístolas tales, <a name="line_975" id="line_975"></a><a href="#note_973"><span class="linenum">975</span></a><br /> +Que se pudiera, aunque bellas,<br /> +Purgar su galán con ellas<br /> +Por drogas medicinales,<br /> +Pregunté si era importante<br /> +Traer damas delicadas <a name="line_980" id="line_980"></a><a href="#note_975"><span class="linenum">980</span></a><br /> +Las pantorrillas preñadas.<br /> +Y con risueño semblante<br /> +Me dijo: «No es gentileza;<br /> +Pero cosa no ha de haber<br /> +En una honrada mujer <a name="line_985" id="line_985"></a><a href="#note_975"><span class="linenum">985</span></a><br /> +Que se note por flaqueza.»<br /> +</p> + +<p class="n">CONDE</p> + +<p>¡Linda disculpa!</p> + +<p class="n">DON JUAN</p> + +<p class="indstart">Extremada.</p> + +<p class="n">MARTÍN</p> + +<p> +La ropa de levantar,<br /> +Con tanto fino alamar,<br /> +Era una colcha bordada. <a name="line_990" id="line_990"></a><a href="#note_975"><span class="linenum">990</span></a><br /> +Finalmente, no quería<br /> +Salir, por no verte ansí;<br /> +Pero como yo la ví<br /> +Que para ti se vestía,<br /> +Por no estar siempre en el traje <a name="line_995" id="line_995"></a><a href="#note_975"><span class="linenum">995</span></a><br /> +De trájico embajador,<br /> +Porfié, y saldrá, Señor,<br /> +Si la haces pleito homenaje<br /> +De sola conversación,<br /> +Como quedó concertado. <a name="line_1000" id="line_1000"></a><a href="#note_1009"><span class="linenum">1000</span></a><br /> +</p> + +<p class="n">CONDE</p> + +<p> +¡Qué ejercicio tan cansado<br /> +Para mi loca afición!<br /> +</p> + +<p class="n">DON JUAN</p> + +<p> +Música y versos quedaron<br /> +Para esta noche de acuerdo.<br /> +</p> + +<p class="n">CONDE</p> + +<p> +En tenerme por tan cuerdo <a name="line_1005" id="line_1005"></a><a href="#note_1009"><span class="linenum">1005</span></a><br /> +Muchos locos la engañaron.<br /> +</p> +</div> + + +<h3 class="top15"><a name="ESCENA_III2" id="ESCENA_III2"></a>ESCENA III</h3> + +<p class="c"><span class="smcap">Doña Ana</span>, <i>en hábito galán</i>; <span class="smcap">Juana</span>, <span class="smcap">Músicos</span>.—<span class="smcap">Dichos</span></p> + +<div class="d"> + +<p class="n">DOÑA ANA</p> + +<p> +No dirá vueseñoría<br /> +Que no le fían el talle.<br /> +</p> + +<p class="n">CONDE</p> + +<p> +Quien tan bien puede fialle,<br /> +Agravio á los dos haría: <a name="line_1010" id="line_1010"></a><a href="#note_1009"><span class="linenum">1010</span></a><br /> +Á vos por seguridad,<br /> +Y á mí por justo deseo.<br /> +¡Gracias á amor, que en vos veo<br /> +Señas de más amistad!<br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p> +Siéntese vueseñoría; <a name="line_1015" id="line_1015"></a><a href="#note_1009"><span class="linenum">1015</span></a><br /> +Que no le quiero galán<br /> +Esta noche, que nos dan<br /> +La música y la poesía<br /> +Los sugetos que han de hacer<br /> +Un rato conversación. <a name="line_1020" id="line_1020"></a><a href="#note_1009"><span class="linenum">1020</span></a><br /> +</p> + +<p class="n">CONDE</p> + +<p> +Dice mi imaginación<br /> +Que no quiere más de ver.<br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p> +Señor don Juan, ¿no os sentáis?—<br /> +¡Qué esquivo primo tenéis! (<i>Al Conde.</i>)<br /> +</p> + +<p class="n">DON JUAN</p> + +<p> +La culpa que me ponéis, <a name="line_1025" id="line_1025"></a><a href="#note_1009"><span class="linenum">1025</span></a><br /> +Para disculpa me dais;<br /> +Pero quiero obedeceros.<br /> +</p> + +<p class="n">CONDE</p> + +<p>Canten, y hablemos yo y vos.</p> + +<p class="n">DOÑA ANA</p> + +<p> +Y los tres, porque los dos<br /> +No parezcamos groseros. <a name="line_1030" id="line_1030"></a><a href="#note_1038"><span class="linenum">1030</span></a><br /> +</p> + +<p>MÚSICOS. (<i>Cantan.</i>)</p> + +<p> +<i>¿De qué sirve, ojos serenos,<br /> +Que no me miréis jamás?<br /> +De que yo padezca más,<br /> +Y no de que os quiera menos.</i><br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p> +No me agrada que á los ojos <a name="line_1035" id="line_1035"></a><a href="#note_1038"><span class="linenum">1035</span></a><br /> +Llamen serenos.<br /> +</p> + +<p class="n">CONDE</p> + +<p class="indstart"> +¿Por qué,<br /> +Si el cielo, cuando se ve<br /> +Libre de azules enojos,<br /> +Se llama así?<br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p class="indstart"> +En una dama<br /> +No apruebo vuestro argumento, <a name="line_1040" id="line_1040"></a><a href="#note_1042"><span class="linenum">1040</span></a><br /> +Si es el alma el movimiento<br /> +Que á cuantos los miran llama,<br /> +Y si al cielo en su azul velo<br /> +La serenidad cuadró,<br /> +Á el sol y á la luna no, <a name="line_1045" id="line_1045"></a><a href="#note_1042"><span class="linenum">1045</span></a><br /> +Que son los ojos del cielo;<br /> +Porque éstos siempre se mueven.<br /> +</p> + +<p class="n">CONDE</p> + +<p> +Perdonad á la canción<br /> +No ser de vuestra opinión:<br /> +Tanto los versos se atreven. <a name="line_1050" id="line_1050"></a><a href="#note_1052"><span class="linenum">1050</span></a><br /> +</p> + +<p class="n">DON JUAN</p> + +<p> +Díganse á varios sugetos,<br /> +Como quedó concertado.<br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p>Comience el Conde.</p> + +<p class="n">CONDE</p> + +<p class="indstart"> +He buscado<br /> +En vuestro loor seis concetos.<br /> +Oid.<br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p class="ind"> +No por vida mía; <a name="line_1055" id="line_1055"></a><a href="#note_1052"><span class="linenum">1055</span></a><br /> +Escritos me los daréis.<br /> +</p> + +<p class="n">CONDE</p> + +<p>No sea, pues no queréis.</p> + +<p class="n">DOÑA ANA</p> + +<p> +Emplead vuestra poesía<br /> +Adonde más partes haya.<br /> +</p> + +<p class="n">CONDE</p> + +<p> +Pues oid, si sois servida, <a name="line_1060" id="line_1060"></a><a href="#note_1062"><span class="linenum">1060</span></a><br /> +Un soneto á la venida<br /> +Del inglés á Cádiz.<br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p class="indstart">Vaya.</p> + +<p class="n">CONDE</p> + +<p> +Atrevióse el inglés, de engaño armado<br /> +Porque al león de España vió en el nido,<br /> +Las uñas en el ámbar, y vestido, <a name="line_1065" id="line_1065"></a><a href="#note_1062"><span class="linenum">1065</span></a><br /> +En vez de pieles, del tusón dorado.<br /> +<br /> +Con débil caña, no con fresno herrado,<br /> +Vió á Marte en forma de español Cupido,<br /> +Volar y herir en el jinete, herido<br /> +Del acicate en púrpura bañado. <a name="line_1070" id="line_1070"></a><a href="#note_1066"><span class="linenum">1070</span></a><br /> +<br /> +Armó cien naves y emprendió la falda<br /> +De España asir por las arenas solas<br /> +Del mar, cuyo cristal ciñe esmeralda;<br /> +<br /> +Mas viendo en las colunas españolas<br /> +La sombra del león, volvió la espalda, <a name="line_1075" id="line_1075"></a><a href="#note_1068"><span class="linenum">1075</span></a><br /> +Sembrando las banderas por las olas.<br /> +</p> + +<p class="n">DON JUAN</p> + +<p>¡Levantó la pluma el vuelo!</p> + +<p class="n">DOÑA ANA</p> + +<p>¡Gran soneto á toda ley!</p> + +<p class="n">DON JUAN</p> + +<p>¡Qué bien pinta á nuestro rey!</p> + +<p class="n">DOÑA ANA</p> + +<p>Mejor le ha pintado el cielo. <a name="line_1080" id="line_1080"></a><a href="#note_1076"><span class="linenum">1080</span></a></p> + +<p class="n">MARTÍN</p> + +<p>¡Gran soneto!</p> + +<p class="n">CONDE</p> + +<p> +No le he dado,<br /> +Porque no estoy dél contento.—<br /> +Decid vos.<br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p class="indstart"> +¡Qué atrevimiento!<br /> +Donde vos habéis hablado!<br /> +</p> + +<p class="n">DON JUAN</p> + +<p>Excusad tales excusas. <a name="line_1085" id="line_1085"></a><a href="#note_1086"><span class="linenum">1085</span></a></p> + +<p class="n">DOÑA ANA</p> + +<p>¿Mas qué os ha de causar risa?</p> + +<p class="n">CONDE</p> + +<p>Hablad, divina poetisa.</p> + +<p class="n">MARTÍN</p> + +<p>Silencio; que hablan las musas.</p> + +<p class="n">DOÑA ANA</p> + +<p> +Amaba Filis á quien no la amaba,<br /> +Y á quien la amaba ingrata aborrecía; <a name="line_1090" id="line_1090"></a><a href="#note_1086"><span class="linenum">1090</span></a><br /> +Hablaba á quien jamás la respondía,<br /> +Sin responder jamás á quien la hablaba.<br /> +<br /> +Seguía á quien huyendo la dejaba,<br /> +Dejaba á quien amando la seguía;<br /> +Por quien la despreciaba se perdía, <a name="line_1095" id="line_1095"></a><a href="#note_1089"><span class="linenum">1095</span></a><br /> +Y á el perdido por ella despreciaba.<br /> +<br /> +Concierta, amor, si ya posible fuere,<br /> +Desigualdad que tu poder infama:<br /> +Muera quien vive, y vivirá quien muere.<br /> +<br /> +Da hielo á hielo, amor, y llama á llama, <a name="line_1100" id="line_1100"></a><a href="#note_1110"><span class="linenum">1100</span></a><br /> +Porque pueda querer á quien la quiere<br /> +Ó pueda aborrecer á quien desama.<br /> +</p> + +<p class="n">CONDE</p> + +<p> +Vos os podéis alabar;<br /> +Que nadie puede, Señora.<br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p>Hablará don Juan agora. <a name="line_1105" id="line_1105"></a><a href="#note_1110"><span class="linenum">1105</span></a></p> + +<p class="n">DON JUAN</p> + +<p> +Dejádmele imaginar.<br /> +<br /> +<span style="margin-left: 5%;">Una moza de cántaro y del río,</span><br /> +Más limpia que la plata que en él lleva,<br /> +Recién herrada de chinela nueva,<br /> +Honor del devantal, reina del brío; <a name="line_1110" id="line_1110"></a><a href="#note_1110"><span class="linenum">1110</span></a><br /> +<span style="margin-left: 5%;">Con manos de marfil, con señorío,</span><br /> +Que no hay tan gran Señor que se le atreva,<br /> +Pues donde lava, dice amor que nieva,<br /> +Es alma ilustre al pensamiento mío.<br /> +<span style="margin-left: 5%;">Por estrella, por fe, por accidente,</span> <a name="line_1115" id="line_1115"></a><a href="#note_1110"><span class="linenum">1115</span></a><br /> +Viéndola henchir el cántaro, en despojos<br /> +Rendí la vida á el brazo trasparente;<br /> +<span style="margin-left: 5%;">Y, envidiosos del agua mis enojos,</span><br /> +Dije: «¿Por qué la coges de la fuente,<br /> +Si la tienes, más cerca, de mis ojos?» <a name="line_1120" id="line_1120"></a><a href="#note_1126"><span class="linenum">1120</span></a><br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p>¡Malos versos!</p> + +<p class="n">DON JUAN</p> + +<p class="indstart">No sé más.</p> + +<p class="n">DOÑA ANA</p> + +<p> +Un caballero discreto<br /> +¿Escribe á tan vil sugeto?<br /> +No lo creyera jamás.<br /> +</p> + +<p class="n">CONDE</p> + +<p>Tiene doña Ana razón. <a name="line_1125" id="line_1125"></a><a href="#note_1126"><span class="linenum">1125</span></a></p> + +<p class="n">DON JUAN</p> + +<p> +Si hubiérades visto el brío<br /> +Del nuevo sugeto mío,<br /> +La hermosura y discreción,<br /> +Dijérades que tenía<br /> +Tanta razón de querer, <a name="line_1130" id="line_1130"></a><a href="#note_1133"><span class="linenum">1130</span></a><br /> +Que no supe encarecer<br /> +Lo menos que merecía.<br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p> +Si es disfrazar vuestra dama,<br /> +Como suelen los poetas,<br /> +Por tratar cosas secretas <a name="line_1135" id="line_1135"></a><a href="#note_1133"><span class="linenum">1135</span></a><br /> +Sin ofensa de su fama,<br /> +Está bien; pero si no,<br /> +Bajo pensamiento ha sido.<br /> +</p> + +<p class="n">DON JUAN</p> + +<p> +Ninguna cosa he fingido,<br /> +Ni tengo la culpa yo; <a name="line_1140" id="line_1140"></a><a href="#note_1145"><span class="linenum">1140</span></a><br /> +Porque no lejos de aquí<br /> +Vive la hermosa Isabel,<br /> +Por quien el amor cruel<br /> +Hace estos lances en mí.<br /> +Sirve á un indiano, que viene <a name="line_1145" id="line_1145"></a><a href="#note_1145"><span class="linenum">1145</span></a><br /> +Á la corte á pretender.<br /> +No sé qué puede querer<br /> +Quien tanta riqueza tiene.<br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p>Á tal sugeto ¡tal fe!</p> + +<p class="n">DON JUAN</p> + +<p> +La que me ha muerto y rendido, <a name="line_1150" id="line_1150"></a><a href="#note_1145"><span class="linenum">1150</span></a><br /> +Moza de cántaro ha sido,<br /> +Moza de cántaro fué.<br /> +En él este amor bebí,<br /> +Todo me abrasó con él;<br /> +Ella fué Sirena, y él <a name="line_1155" id="line_1155"></a><a href="#note_1145"><span class="linenum">1155</span></a><br /> +El mar en que me perdí.<br /> +Con él veneno me ha dado,<br /> +Con él me mató.<br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p class="indstart"> +Si fuera<br /> +Martín quien eso dijera,<br /> +Estuviera disculpado; <a name="line_1160" id="line_1160"></a><a href="#note_1145"><span class="linenum">1160</span></a><br /> +Pero ¡un caballero, un hombre<br /> +Como vos!...<br /> +</p> + +<p class="n">DON JUAN</p> + +<p class="indstart"> +No es elección<br /> +Amor; diferentes son<br /> +Los efetos de su nombre.<br /> +Es desde el cabello al pie <a name="line_1165" id="line_1165"></a><a href="#note_1145"><span class="linenum">1165</span></a><br /> +Tan bizarra y aliñosa,<br /> +Que no es tan limpia la rosa,<br /> +Por más que al alba lo esté.<br /> +Tiene un grave señorío<br /> +En medio desta humildad, <a name="line_1170" id="line_1170"></a><a href="#note_1145"><span class="linenum">1170</span></a><br /> +Que aumenta su honestidad<br /> +Y no deshace su brío.<br /> +Finalmente, yo no ví<br /> +Dama que merezca amor<br /> +Con más fe, con más rigor. <a name="line_1175" id="line_1175"></a><a href="#note_1145"><span class="linenum">1175</span></a><br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p> +Advertid que estoy yo aquí,<br /> +Y toca en descortesía<br /> +Tan necio encarecimiento.<br /> +</p> + +<p class="n">DON JUAN</p> + +<p> +Yo he dicho mi pensamiento<br /> +Sin pensar que os ofendía. <a name="line_1180" id="line_1180"></a><a href="#note_1186"><span class="linenum">1180</span></a><br /> +</p> + +<p class="n">CONDE</p> + +<p>No os levantéis. ¿Dónde vais?</p> + +<p class="n">DOÑA ANA</p> + +<p>Corrida me voy.</p> + +<p class="n">DON JUAN</p> + +<p class="indstart">¿Por qué?<br /> +Sin ofensa vuestra hablé.</p> + +<p class="n">DOÑA ANA</p> + +<p> +Si cosas bajas amáis,<br /> +No las igualéis conmigo. <a name="line_1185" id="line_1185"></a><a href="#note_1186"><span class="linenum">1185</span></a><br /> +<br /> +(<i>Vanse doña Ana y Juana.</i>)<br /> +</p> +</div> + + +<h3 class="top15"><a name="ESCENA_IV2" id="ESCENA_IV2"></a>ESCENA IV</h3> + +<p class="c"><span class="smcap">El Conde</span>, <span class="smcap">Don Juan</span>, <span class="smcap">Martín</span>; <i>después</i>, <span class="smcap">Juana</span></p> + +<div class="d"> + +<p class="n">CONDE</p> + +<p>¡Por Dios, que tiene razón!</p> + +<p class="n">MARTÍN</p> + +<p>Cesó la conversación.</p> + +<p class="n">DON JUAN</p> + +<p>¡Porque lo que siento digo!</p> + +<p class="n">CONDE</p> + +<p> +Decir que no visteis dama<br /> +Como ella, ¿no ha sido error? <a name="line_1190" id="line_1190"></a><a href="#note_1186"><span class="linenum">1190</span></a><br /> +</p> + +<p class="n">DON JUAN</p> + +<p> +¿Error?<br /> +<br /> +(<i>Sale Juana.</i>)<br /> +</p> + +<p class="n">JUANA</p> + +<p class="indstart"> +Conde, mi señor,<br /> +Entrad: mi señora os llama.<br /> +</p> + +<p class="n">CONDE (<i>á don Juan</i>)</p> + +<p> +Ella me quiere decir<br /> +Que no os traiga más conmigo.<br /> +</p> + +<p class="n">DON JUAN</p> + +<p> +Si lo tiene por castigo, <a name="line_1195" id="line_1195"></a><a href="#note_1186"><span class="linenum">1195</span></a><br /> +No apelo de no venir.<br /> +<span style="margin-left: 18%;">(<i>Vanse el Conde y Juana.</i>)</span><br /> +Di á el Conde que á verla fuí,<br /> +<span style="margin-left: 18%;">(<i>Á Martín.</i>)</span><br /> +Ésa que á doña Ana enfada.<br /> +</p> + +<p class="n">MARTÍN</p> + +<p>Tú ¿quieres lo que te agrada?</p> + +<p class="n">DON JUAN</p> + +<p>Sí, Martín, mil veces sí. <a name="line_1200" id="line_1200"></a><a href="#note_1186"><span class="linenum">1200</span></a></p> + +<p class="n">MARTÍN</p> + +<p> +Pues quiérela si la quieres;<br /> +Que tal vez agrada un prado<br /> +Más que un jardín cultivado,<br /> +Y al fin todas son mujeres. (<i>Vanse.</i>)<br /> +</p> +</div> + + +<h3 class="top15"><a name="ESCENA_V2" id="ESCENA_V2"></a>ESCENA V</h3> + +<p class="c">Calle.</p> + +<p class="c"><span class="smcap">Doña María</span>, <i>en hábito humilde y devantal</i>; <span class="smcap">El Indiano</span>, <i>siguiéndola</i>.</p> + +<div class="d"> +<p class="n">DOÑA MARÍA</p> + +<p> +<i>Advierta vuestra merced <a name="line_1205" id="line_1205"></a><a href="#note_1186"><span class="linenum">1205</span></a><br /> +Que si esto adelante pasa, No estoy un<br /> +hora en su casa.</i><br /> +</p> + +<p class="n">INDIANO</p> + +<p> +(<i>Ap.</i> Pensamiento, detened<br /> +El paso; que hay honra aquí.)<br /> +Palabra, Isabel, te doy <a name="line_1210" id="line_1210"></a><a href="#note_1186"><span class="linenum">1210</span></a><br /> +Que no seré desde hoy<br /> +Importuno como fuí.<br /> +Desprecia en fin tu belleza<br /> +Y ese donaire apacible;<br /> +Que ya sé que es imposible <a name="line_1215" id="line_1215"></a><a href="#note_1186"><span class="linenum">1215</span></a><br /> +Mudar la naturaleza. (<i>Vase.</i>)<br /> +</p> + +</div> + +<h3 class="top15"><a name="ESCENA_VI2" id="ESCENA_VI2"></a>ESCENA VI</h3> + +<div class="d"> + +<p class="n">DOÑA MARÍA</p> + +<p> +Tiempos de mudanzas llenos,<br /> +Y de firmezas jamás,<br /> +Que ya de menos á más,<br /> +Y ya vais de más á menos, <a name="line_1220" id="line_1220"></a><a href="#note_1186"><span class="linenum">1220</span></a><br /> +¿Cómo en tan breve distancia,<br /> +Para tanto desconsuelo,<br /> +Habéis humillado á el suelo<br /> +Mi soberbia y arrogancia?<br /> +El desprecio que tenía <a name="line_1225" id="line_1225"></a><a href="#note_1231"><span class="linenum">1225</span></a><br /> +De cuantas cosas miraba,<br /> +Las galas que desechaba,<br /> +Los papeles que rompía;<br /> +El no haber de quien pensase<br /> +Que mi mano mereciese, <a name="line_1230" id="line_1230"></a><a href="#note_1231"><span class="linenum">1230</span></a><br /> +Por servicios que me hiciese,<br /> +Por años que me obligase;<br /> +Toda aquella bizarría<br /> +Que como sueño pasó,<br /> +Á tanta humildad llegó, <a name="line_1235" id="line_1235"></a><a href="#note_1231"><span class="linenum">1235</span></a><br /> +Que por mí decir podría:<br /> +<i>Aprended, flores, de mí<br /> +Lo que va de ayer á hoy;<br /> +Que ayer maravilla fuí,<br /> +Y hoy sombra mía aun no soy.</i> <a name="line_1240" id="line_1240"></a><a href="#note_1231"><span class="linenum">1240</span></a><br /> +Flores, que á la blanca aurora<br /> +Con tal belleza salís,<br /> +Que soberbias competís<br /> +Con el mismo sol que os dora,<br /> +Toda la vida es un hora: <a name="line_1245" id="line_1245"></a><a href="#note_1231"><span class="linenum">1245</span></a><br /> +Como vosotras me ví,<br /> +Tan arrogante salí;<br /> +Sucedió la noche al día:<br /> +Mirad la desdicha mía,<br /> +<i>Aprended, flores, de mí.</i> <a name="line_1250" id="line_1250"></a><a href="#note_1252"><span class="linenum">1250</span></a><br /> +Maravilla solía ser<br /> +De toda la Andalucía;<br /> +Ó maravilla ó María,<br /> +Ya no soy la que era ayer.<br /> +Flores, no os deis á entender <a name="line_1255" id="line_1255"></a><a href="#note_1252"><span class="linenum">1255</span></a><br /> +Que no seréis lo que soy,<br /> +Pues hoy en estado estoy,<br /> +Que si en ayer me contemplo,<br /> +Conoceréis por mi ejemplo<br /> +<i>Lo que va de ayer á hoy.</i> <a name="line_1260" id="line_1260"></a><a href="#note_1262"><span class="linenum">1260</span></a><br /> +No desvanezca al clavel<br /> +La púrpura, ni á el dorado<br /> +La corona, ni al morado<br /> +Lirio el hilo de oro en él;<br /> +No te precies de cruel, <a name="line_1265" id="line_1265"></a><a href="#note_1266"><span class="linenum">1265</span></a><br /> +Manutisa carmesí,<br /> +Ni por el color turquí,<br /> +Bárbara violeta, ignores<br /> +Tu fin, contemplando, flores,<br /> +<i>Que ayer maravilla fuí.</i> <a name="line_1270" id="line_1270"></a><a href="#note_1266"><span class="linenum">1270</span></a><br /> +De esta loca bizarría<br /> +Quedaréis desengañadas<br /> +Cuando con manos heladas<br /> +Os cierre la noche fría.<br /> +Maravilla ser solía; <a name="line_1275" id="line_1275"></a><a href="#note_1266"><span class="linenum">1275</span></a><br /> +Pero ya lástima doy;<br /> +Que de extremo á extremo voy,<br /> +Y desde ser á no ser,<br /> +Pues sol me llamaba ayer,<br /> +<i>Y hoy sombra mía aun no soy.</i> <a name="line_1280" id="line_1280"></a><a href="#note_1282"><span class="linenum">1280</span></a><br /> +</p> +</div> + + +<h3 class="top15"><a name="ESCENA_VII2" id="ESCENA_VII2"></a>ESCENA VII</h3> + +<p class="c"><span class="smcap">Don Juan</span>.—<span class="smcap">Doña María</span></p> + +<div class="d"> + +<p class="n">DON JUAN</p> + +<p> +Dicha he tenido, por Dios.—<br /> +Isabel, ¿adónde bueno?<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +¿Adónde bueno, Isabel?<br /> +Adonde hallase un requiebro.<br /> +¿Pensáis que no tengo yo <a name="line_1285" id="line_1285"></a><a href="#note_1282"><span class="linenum">1285</span></a><br /> +Mi poco de entendimiento?<br /> +</p> + +<p class="n">DON JUAN</p> + +<p> +Bien conozco que no ignoras<br /> +Tanto; que á veces sospecho<br /> +Que finges lo que no entiendes.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Lo que no quiero no entiendo. <a name="line_1290" id="line_1290"></a><a href="#note_1291"><span class="linenum">1290</span></a><br /> +Pero á la fe que me admira<br /> +Que un caballero tan cuerdo<br /> +Y tan galán como vos<br /> +Humille sus pensamientos<br /> +Á una mujer como yo. <a name="line_1295" id="line_1295"></a><a href="#note_1291"><span class="linenum">1295</span></a><br /> +¿Sois pobre?<br /> +</p> + +<p class="n">DON JUAN</p> + +<p class="indstart"> +Pues ¿á qué efeto<br /> +Me preguntas si soy pobre?<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Porque si os falta dinero<br /> +Para pretensiones altas,<br /> +No tengo por mal acuerdo <a name="line_1300" id="line_1300"></a><a href="#note_1300"><span class="linenum">1300</span></a><br /> +Requebrar lo que, á la cuenta<br /> +Del entendimiento vuestro,<br /> +Os costará zapatillas,<br /> +Ligas, medias y un sombrero<br /> +Para el río con su banda, <a name="line_1305" id="line_1305"></a><a href="#note_1305"><span class="linenum">1305</span></a><br /> +Avantal de lienzo grueso,<br /> +Chinelas ya sin virillas<br /> +(Que solía en otro tiempo<br /> +En los pies de las mujeres<br /> +La plata barrer el suelo), <a name="line_1310" id="line_1310"></a><a href="#note_1306"><span class="linenum">1310</span></a><br /> +Castañetas, cintas, tocas;<br /> +Que para últimos empleos<br /> +De las damas, fondo en ángel,<br /> +No hay plata en el alto cerro<br /> +Del Potosí, perlas ni oro <a name="line_1315" id="line_1315"></a><a href="#note_1314"><span class="linenum">1315</span></a><br /> +En los orientales reinos.<br /> +Más pienso que os costarían<br /> +Las randas de un telarejo<br /> +Que una legión de fregonas.<br /> +</p> + +<p class="n">DON JUAN</p> + +<p> +No juzgaras mis deseos <a name="line_1320" id="line_1320"></a><a href="#note_1314"><span class="linenum">1320</span></a><br /> +Por el camino que dices,<br /> +Si te dijera el espejo<br /> +El despejo de tu talle.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +¿Espejo y despejo? ¡Bueno!<br /> +Ya con cuidado me habláis, <a name="line_1325" id="line_1325"></a><a href="#note_1324"><span class="linenum">1325</span></a><br /> +Porque en efeto os parezco<br /> +Mujer que os puedo entender.<br /> +Pues yo os prometo que puedo;<br /> +Pero el estar enseñada<br /> +Á oir vocablos groseros <a name="line_1330" id="line_1330"></a><a href="#note_1324"><span class="linenum">1330</span></a><br /> +De un indiano miserable:<br /> +«Vé por esto, vuelve presto,<br /> +Esto guisa, aquello deja,<br /> +¿Limpiaste aquel ferreruelo?<br /> +Vé por nieve, trae carbón, <a name="line_1335" id="line_1335"></a><a href="#note_1324"><span class="linenum">1335</span></a><br /> +Esto está sin sal, aquello<br /> +Sin agrio, llama á ese esclavo,<br /> +Éste lava, y dame un lienzo,<br /> +¿Cómo gastas tanta azúcar?<br /> +Para madrugar me acuesto, <a name="line_1340" id="line_1340"></a><a href="#note_1341"><span class="linenum">1340</span></a><br /> +Despiértame de mañana,<br /> +Pon la mesa, luego vuelvo;»<br /> +Y otras cosas de este porte<br /> +Me han quitado el sentimiento<br /> +De otras razones más grandes, <a name="line_1345" id="line_1345"></a><a href="#note_1341"><span class="linenum">1345</span></a><br /> +No porque no las entiendo.<br /> +En efeto ¿qué queréis?<br /> +</p> + +<p class="n">DON JUAN</p> + +<p>Que me quieras en efeto.</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +¡Bien aforrada razón,<br /> +Y bien dicha para presto! <a name="line_1350" id="line_1350"></a><a href="#note_1349"><span class="linenum">1350</span></a><br /> +Bien digo yo que pensáis<br /> +Que á mi corto entendimiento<br /> +Importan resoluciones,<br /> +Atajos, y no rodeos.<br /> +Pues levantad el lenguaje; <a name="line_1355" id="line_1355"></a><a href="#note_1349"><span class="linenum">1355</span></a><br /> +Que, como dicen los negros,<br /> +El ánima tengo blanca,<br /> +Aunque mal vestido el cuerpo.<br /> +Habladme como quien sois.<br /> +</p> + +<p class="n">DON JUAN</p> + +<p> +Yo, Isabel, así lo creo; <a name="line_1360" id="line_1360"></a><a href="#note_1349"><span class="linenum">1360</span></a><br /> +Porque, pensando en tu oficio,<br /> +Tal vez el respeto pierdo;<br /> +Pero en mirando á tu cara,<br /> +Vuelvo á tenerte respeto.<br /> +Mas no te debe enojar <a name="line_1365" id="line_1365"></a><a href="#note_1349"><span class="linenum">1365</span></a><br /> +Que te diga mi deseo;<br /> +Que sólo son por el fin<br /> +Todos los actos perfectos.<br /> +¿Qué dirás deste lenguaje?<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Que, aunque es el término honesto, <a name="line_1370" id="line_1370"></a><a href="#note_1349"><span class="linenum">1370</span></a><br /> +No me agrada la intención<br /> +De la suerte que la entiendo.<br /> +Conmigo (á lo que imagino)<br /> +Tomáis la espada á lo diestro.<br /> +Tiré, desviasteis, huí; <a name="line_1375" id="line_1375"></a><a href="#note_1349"><span class="linenum">1375</span></a><br /> +Y acometiéndome al pecho,<br /> +Herida de conclusión<br /> +Formó vuestro pensamiento.<br /> +Pues no, mi señor, por vida<br /> +De los dos, porque no quiero <a name="line_1380" id="line_1380"></a><a href="#note_1349"><span class="linenum">1380</span></a><br /> +Que, asiendo la guarnición,<br /> +Engañéis mi honesto celo.<br /> +Esténse quedas las manos,<br /> +Y aun los pensamientos quedos;<br /> +Que no seremos amigos <a name="line_1385" id="line_1385"></a><a href="#note_1349"><span class="linenum">1385</span></a><br /> +En no siendo el trato honesto.<br /> +</p> + +<p class="n">DON JUAN</p> + +<p> +Como das, Isabel mía,<br /> +(¿Mía dije? ¡Ay Dios! que miento)<br /> +En pensar que por ser pobre<br /> +Te busco, te sigo y ruego, <a name="line_1390" id="line_1390"></a><a href="#note_1349"><span class="linenum">1390</span></a><br /> +Dilatas á mis verdades<br /> +El justo agradecimiento.<br /> +Pues yo te juro, Isabel,<br /> +Que por quererte, desprecio<br /> +La más hermosa mujer, <a name="line_1395" id="line_1395"></a><a href="#note_1349"><span class="linenum">1395</span></a><br /> +Donaire y entendimiento<br /> +Que tiene aqueste lugar;<br /> +Porque más estimo y precio<br /> +Un listón de tus chinelas<br /> +Que las perlas de su cuello. <a name="line_1400" id="line_1400"></a><a href="#note_1404"><span class="linenum">1400</span></a><br /> +Más precio en tus blancas manos<br /> +Ver aquel cántaro puesto,<br /> +Á la fuente del Olvido<br /> +Pedirle cristal deshecho;<br /> +Y ver que á tu dulce risa <a name="line_1405" id="line_1405"></a><a href="#note_1404"><span class="linenum">1405</span></a><br /> +Deciende el agua riyendo,<br /> +Envidiosa la que cae<br /> +De fuera á la que entra dentro;<br /> +Y ver cómo se da prisa<br /> +El agua á henchirle de presto, <a name="line_1410" id="line_1410"></a><a href="#note_1410"><span class="linenum">1410</span></a><br /> +Por ir contigo á tu casa,<br /> +En tus brazos ó en tus pechos,<br /> +Que ver como cierta dama<br /> +Baja en su coche soberbio,<br /> +Asiendo verdes cortinas <a name="line_1415" id="line_1415"></a><a href="#note_1417"><span class="linenum">1415</span></a><br /> +Por dar diamantes los dedos,<br /> +Ó asoma por el estribo<br /> +Los rizos de los cabellos<br /> +En las uñas de un descanso,<br /> +Que á tantos sirvió de anzuelo. <a name="line_1420" id="line_1420"></a><a href="#note_1417"><span class="linenum">1420</span></a><br /> +Yo me contento que digas,<br /> +Dulce Isabel: «¡Yo te quiero!»<br /> +Que también quiero yo el alma;<br /> +No todo el amor es cuerpo.<br /> +¿Qué respondes, ojos míos? <a name="line_1425" id="line_1425"></a><a href="#note_1417"><span class="linenum">1425</span></a><br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Á ojos míos yo no puedo<br /> +Responder ninguna cosa,<br /> +Porque decís que son vuestros.<br /> +Á lo de la voluntad,<br /> +Pienso que licencia tengo; <a name="line_1430" id="line_1430"></a><a href="#note_1417"><span class="linenum">1430</span></a><br /> +Y así, pues alma queréis,<br /> +Digo (porque os vais con esto)<br /> +Que el primer hombre sois vos<br /> +Á quien amor agradezco.<br /> +</p> + +<p class="n">DON JUAN</p> + +<p>¿No más, Isabel?</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +¿Es poco? <a name="line_1435" id="line_1435"></a><a href="#note_1439"><span class="linenum">1435</span></a><br /> +Pues vaya por contrapeso<br /> +Que no me desagradáis.<br /> +</p> + +<p class="n">DON JUAN</p> + +<p>¿No más, Isabel?</p> + +<p class="n">DOÑA MARÍA</p> + +<p class="indstart"> +¿Qué es esto?<br /> +Conténtese, ó quitaréle<br /> +Lo que le he dado primero. <a name="line_1440" id="line_1440"></a><a href="#note_1439"><span class="linenum">1440</span></a><br /> +</p> + +<p class="n">DON JUAN</p> + +<p> +¿Podré tomarte una mano?<br /> +Aunque por Dios que la temo,<br /> +Después que la ví tan diestra<br /> +Esgrimir el blanco acero.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Pues vos no me conocéis: <a name="line_1445" id="line_1445"></a><a href="#note_1439"><span class="linenum">1445</span></a><br /> +Por Dios que algún hombre he muerto<br /> +Aquí donde me miráis.<br /> +</p> + +<p class="n">DON JUAN</p> + +<p>Con los ojos, yo lo creo.</p> + +<p class="n">DOÑA MARÍA</p> + +<p>Idos; que viene mi amo.</p> + +<p class="n">DON JUAN</p> + +<p>¿Dónde esta tarde te espero? <a name="line_1450" id="line_1450"></a><a href="#note_1439"><span class="linenum">1450</span></a></p> + +<p class="n">DOÑA MARÍA</p> + +<p>En la fuente, á lo lacayo.</p> + +<p class="n">DON JUAN</p> + +<p>Logre tu donaire el cielo. (<i>Vase.</i>)</p> +</div> + + +<h3 class="top15"><a name="ESCENA_VIII2" id="ESCENA_VIII2"></a>ESCENA VIII</h3> + +<p class="c"><span class="smcap">Leonor</span>.—<span class="smcap">Doña María</span></p> + +<div class="d"> +<p class="n">LEONOR</p> + +<p>Isabel...</p> + +<p class="n">DOÑA MARÍA</p> + +<p class="indstart">Leonor amiga...</p> + +<p class="n">LEONOR</p> + +<p>¿Con éste hablabas?</p> + +<p class="n">DOÑA MARÍA</p> + +<p class="indstart">¿Pues bien?</p> + +<p class="n">LEONOR</p> + +<p>¿Qué se hizo tu desdén? <a name="line_1455" id="line_1455"></a><a href="#note_1455"><span class="linenum">1455</span></a></p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Un amor honesto obliga.<br /> +Y te aseguro de mí<br /> +Que es mucho tenelle amor.<br /> +</p> + +<p class="n">LEONOR</p> + +<p> +Su talle, ingenio y valor<br /> +Habrán hecho riza en ti. <a name="line_1460" id="line_1460"></a><a href="#note_1455"><span class="linenum">1460</span></a><br /> +Que lo merece confieso;<br /> +Pero en la desigualdad<br /> +No puede haber amistad.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Los elementos por eso<br /> +No tienen paz y sosiego: <a name="line_1465" id="line_1465"></a><a href="#note_1460"><span class="linenum">1465</span></a><br /> +El agua á la tierra oprime,<br /> +El aire á el agua, y reprime<br /> +La fuerza del aire el fuego.<br /> +Mas como él me quiere á mí<br /> +No más de para querer, <a name="line_1470" id="line_1470"></a><a href="#note_1460"><span class="linenum">1470</span></a><br /> +¿Qué pierdo en corresponder?<br /> +</p> + +<p class="n">LEONOR</p> + +<p>Mucho.</p> + +<p class="n">DOÑA MARÍA</p> + +<p class="indstart">¿Cómo?</p> + +<p class="n">LEONOR</p> + +<p class="indstart">Mucho.</p> + +<p class="n">DOÑA MARÍA</p> + +<p class="indstart">Di.</p> + +<p class="n">LEONOR</p> + +<p>Adora mi ama en él.</p> + +<p class="n">DOÑA MARÍA</p> + +<p>¿Quién te lo ha dicho?</p> + +<p class="n">LEONOR</p> + +<p class="indstart"> +Yo y Juana<br /> +Lo vemos, y á ella con gana <a name="line_1475" id="line_1475"></a><a href="#note_1477"><span class="linenum">1475</span></a><br /> +De casamiento, Isabel.<br /> +Por eso, si no envidaste,<br /> +Descarta y quédate en dos.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p>¿Sábeslo bien?</p> + +<p class="n">LEONOR</p> + +<p class="indstart">Sí, por Dios.</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Tarde, Leonor, me avisaste; <a name="line_1480" id="line_1480"></a><a href="#note_1477"><span class="linenum">1480</span></a><br /> +No porque pueda alabarse<br /> +Del más mínimo favor,<br /> +Sino por tenerle amor,<br /> +Que no es fácil de olvidarse.<br /> +Necia fuí en imaginar <a name="line_1485" id="line_1485"></a><a href="#note_1477"><span class="linenum">1485</span></a><br /> +Que un don Juan tan entonado<br /> +Para mí estaba guardado.<br /> +</p> + +<p class="n">LEONOR</p> + +<p> +Un hombre te quiero dar<br /> +Compañero de otro mío,<br /> +Bravo, pero no cruel, <a name="line_1490" id="line_1490"></a><a href="#note_1493"><span class="linenum">1490</span></a><br /> +Que puede ser, Isabel,<br /> +De cuantas profesan brío.<br /> +No pone codo en la puente<br /> +Hombre de tales aceros,<br /> +Ni han visto los lavaderos <a name="line_1495" id="line_1495"></a><a href="#note_1493"><span class="linenum">1495</span></a><br /> +Más alentado valiente.<br /> +Ama en tu misma región.<br /> +¿Quién te mete con don Juanes?<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p>Tu ama ¿trata en galanes?</p> + +<p class="n">LEONOR</p> + +<p> +De honesta conversación <a name="line_1500" id="line_1500"></a><a href="#note_1510"><span class="linenum">1500</span></a><br /> +De un conde que la visita,<br /> +Le nacieron los antojos.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +¡Quién la ve tan baja de ojos<br /> +Á la señora viudita!<br /> +</p> + +<p class="n">LEONOR</p> + +<p> +Hermana, enviudó ha dos meses, <a name="line_1505" id="line_1505"></a><a href="#note_1510"><span class="linenum">1505</span></a><br /> +Viénele grande la cama.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p>Y en fin ¿le quiere tu ama?</p> + +<p class="n">LEONOR</p> + +<p>Como si juntos los vieses.</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Vé por el cántaro, y vamos<br /> +Al Prado.<br /> +</p> + +<p class="n">LEONOR</p> + +<p> +Á Pedro verás; <a name="line_1510" id="line_1510"></a><a href="#note_1510"><span class="linenum">1510</span></a><br /> +Que se quedan siempre atrás<br /> +Él y Martín de sus amos. (<i>Vase.</i>)<br /> +</p> + +</div> + +<h3 class="top15"><a name="ESCENA_IX2" id="ESCENA_IX2"></a>ESCENA IX</h3> + +<div class="d"> + +<p class="n">DOÑA MARÍA</p> + +<p> +Á mis graves desconsuelos<br /> +Solo faltaba este amor,<br /> +Á este amor este rigor, <a name="line_1515" id="line_1515"></a><a href="#note_1510"><span class="linenum">1515</span></a><br /> +Á este rigor estos celos.<br /> +¿No me bastaba tener,<br /> +Para no ser conocida,<br /> +Este género de vida,<br /> +Sino á quien quieren querer? <a name="line_1520" id="line_1520"></a><a href="#note_1520"><span class="linenum">1520</span></a><br /> +Pero andar en competencia,<br /> +Moza de cántaro en fin,<br /> +Cristalino serafín,<br /> +Con vos, será impertinencia.<br /> +Mejor es ser lo que soy, <a name="line_1525" id="line_1525"></a><a href="#note_1520"><span class="linenum">1525</span></a><br /> +Pues que no soy lo que fuí:<br /> +Aprended, flores, de mí<br /> +Lo que vá de ayer á hoy. (<i>Vase.</i>)<br /> +</p> +</div> + + +<h3 class="top15"><a name="ESCENA_X2" id="ESCENA_X2"></a>ESCENA X</h3> + +<p class="c">Prado con una fuente.</p> + + +<p><span class="smcap">Martín</span>, <span class="smcap">Pedro</span></p> + +<div class="d"> + +<p class="n">PEDRO</p> + +<p>Y ¿que tiene tan buen talle?</p> + +<p class="n">MARTÍN</p> + +<p> +Esto me dijo Leonor, <a name="line_1530" id="line_1530"></a><a href="#note_1527"><span class="linenum">1530</span></a><br /> +Y que es la moza mejor<br /> +Que tiene toda la calle.<br /> +Es una perla, un asombro;<br /> +Rinden parias á su brío<br /> +Cuantas llevan ropa á el río <a name="line_1535" id="line_1535"></a><a href="#note_1527"><span class="linenum">1535</span></a><br /> +Y llevan cántaro en hombro.<br /> +Es mujer que este don Juan,<br /> +Primo del Conde mi dueño,<br /> +Pierde por hablarla el sueño,<br /> +Desmayos de amor le dan. <a name="line_1540" id="line_1540"></a><a href="#note_1543"><span class="linenum">1540</span></a><br /> +De la suerte la pasea<br /> +Que á la dama de más partes;<br /> +Pero en estos Durandartes<br /> +Poco el pensamiento emplea.<br /> +De noche la viene á ver, <a name="line_1545" id="line_1545"></a><a href="#note_1543"><span class="linenum">1545</span></a><br /> +Y anda el pobre caballero,<br /> +De su cántaro escudero,<br /> +Sin dormir y sin comer.<br /> +Sirve á un caballero indiano<br /> +Tan cuidado, que consiente <a name="line_1550" id="line_1550"></a><a href="#note_1552"><span class="linenum">1550</span></a><br /> +Que vaya y venga á la fuente;<br /> +Puesto que le culpo en vano,<br /> +Porque pienso que ella gusta<br /> +De salir, por ver y hablar<br /> +(Que á mozas deste lugar <a name="line_1555" id="line_1555"></a><a href="#note_1552"><span class="linenum">1555</span></a><br /> +Mucho el no salir disgusta),<br /> +Á jabonar y á lavar<br /> +Á los pilares, á el río.<br /> +</p> + +<p class="n">PEDRO</p> + +<p> +En fin, es moza de brío,<br /> +Y que puede descuidar <a name="line_1560" id="line_1560"></a><a href="#note_1552"><span class="linenum">1560</span></a><br /> +De camisas y valonas<br /> +Á un hombre de mi talante.<br /> +</p> + +<p class="n">MARTÍN</p> + +<p> +Lleva, en saliendo, delante<br /> +Más pretendientes personas<br /> +Que un oidor ó presidente. <a name="line_1565" id="line_1565"></a><a href="#note_1552"><span class="linenum">1565</span></a><br /> +</p> + +<p class="n">PEDRO</p> + +<p> +Si yo la moza poseo,<br /> +Luego habrá despolvoreo<br /> +De todo amor pretendiente:<br /> +Á ellos de cuchilladas<br /> +Y á ella de muchas coces. <a name="line_1570" id="line_1570"></a><a href="#note_1552"><span class="linenum">1570</span></a><br /> +Ya mi cólera conoces.<br /> +</p> + +<p class="n">MARTÍN</p> + +<p>No la has visto ¿y ya te enfadas?</p> + +<p class="n">PEDRO</p> + +<p>Gente de un coche se apea.</p> + +<p class="n">MARTÍN</p> + +<p>Con ellos viene don Juan.</p> + +<p class="n">PEDRO</p> + +<p> +¡Por vida del alazán, <a name="line_1575" id="line_1575"></a><a href="#note_1552"><span class="linenum">1575</span></a><br /> +Que no es la viudilla fea!<br /> +</p> +</div> + + +<h3 class="top15"><a name="ESCENA_XI2" id="ESCENA_XI2"></a>ESCENA XI</h3> + +<p class="c"><span class="smcap">Doña Ana</span>, <span class="smcap">Juana</span>, <span class="smcap">Don Juan</span>.—<span class="smcap">Dichos</span></p> + +<div class="d"> + +<p class="n">DON JUAN</p> + +<p> +Por el coche os conocí,<br /> +Y luego al Conde avisé,<br /> +Que en la carroza dejé<br /> +Harto envidioso de mí. <a name="line_1580" id="line_1580"></a><a href="#note_1552"><span class="linenum">1580</span></a><br /> +Vine á ver lo que mandáis;<br /> +Que apearos no habrá sido<br /> +Sin causa.<br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p class="indstart"> +Causa he tenido;<br /> +Que siempre vos me la dais.<br /> +Quiero venir á la fuente, <a name="line_1585" id="line_1585"></a><a href="#note_1552"><span class="linenum">1585</span></a><br /> +Porque sé que es el lugar<br /> +Adonde os tengo de hallar,<br /> +Y donde sois pretendiente.<br /> +</p> + +<p class="n">DON JUAN</p> + +<p> +¡Buen oficio me habéis dado!<br /> +Ó de bestia ó de aguador. <a name="line_1590" id="line_1590"></a><a href="#note_1552"><span class="linenum">1590</span></a><br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p> +Conociendo vuestro humor,<br /> +Señor don Juan, he pensado<br /> +Venir por agua también.—<br /> +Muestra ese búcaro, Juana.<br /> +</p> + +<p class="n">DON JUAN</p> + +<p> +Dado habéis esta mañana, <a name="line_1595" id="line_1595"></a><a href="#note_1552"><span class="linenum">1595</span></a><br /> +Filos, Señora, al desdén.<br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p> +Deseando enamoraros,<br /> +Moza de cántaro soy,<br /> +Por agua á la fuente voy.<br /> +</p> + +<p class="n">DON JUAN</p> + +<p>Tenéos...</p> + +<p class="n">DOÑA ANA</p> + +<p class="indstart">Quiero agradaros. <a name="line_1600" id="line_1600"></a><a href="#note_1552"><span class="linenum">1608</span></a></p> + +<p class="n">DON JUAN</p> + +<p> +Es el cántaro pequeño,<br /> +Templará poco el rigor<br /> +Á los enfermos de amor.<br /> +</p> + +</div> + +<h3 class="top15"><a name="ESCENA_XII2" id="ESCENA_XII2"></a>ESCENA XII</h3> + +<p class="c"><span class="smcap">Doña María</span> <i>y</i> <span class="smcap">Leonor</span>, <i>con sus cántaros</i>.—<span class="smcap">Dichos</span></p> + +<div class="d"> + +<p class="n">DOÑA MARÍA (<i>á Leonor</i>)</p> + +<p> +Esto me dijo mi dueño;<br /> +Que en el patio de palacio, <a name="line_1605" id="line_1605"></a><a href="#note_1608"><span class="linenum">1605</span></a><br /> +Archivo de novedades,<br /> +Ya mentiras, ya verdades,<br /> +Como pasean de espacio,<br /> +Lo contaba mucha gente.<br /> +</p> + +<p class="n">LEONOR</p> + +<p> +Y ¿que esa mujer mató <a name="line_1610" id="line_1610"></a><a href="#note_1608"><span class="linenum">1610</span></a><br /> +Á el que á su padre afrentó?<br /> +¡Bravo corazón!<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p class="indstart"> +Valiente.<br /> +Dijo que había pedido<br /> +La parte pesquisidor,<br /> +Y que á el Rey nuestro señor <a name="line_1615" id="line_1615"></a><a href="#note_1608"><span class="linenum">1615</span></a><br /> +(Cuya vida al cielo pido),<br /> +Consultaron este caso,<br /> +Y que no quiso que fuese<br /> +Quien pesadumbre le diese.<br /> +</p> + +<p class="n">LEONOR</p> + +<p> +No fué la piedad acaso, <a name="line_1620" id="line_1620"></a><a href="#note_1608"><span class="linenum">1620</span></a><br /> +Si el padre estaba inocente.<br /> +¿Y nunca más pareció<br /> +Esa dama que mató<br /> +Á el caballero insolente?<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +De eso no me dijo nada. <a name="line_1625" id="line_1625"></a><a href="#note_1608"><span class="linenum">1625</span></a><br /> +Yo estoy contenta de ver<br /> +(Que en efeto soy mujer)<br /> +Que la hubiese tan honrada.<br /> +</p> + +<p class="n">LEONOR</p> + +<p> +¿Dijo el nombre que tenía?<br /> +Que me alegra á mí también. <a name="line_1630" id="line_1630"></a><a href="#note_1608"><span class="linenum">1630</span></a><br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +No sé si me acuerdo bien...<br /> +Aunque sí: doña María.<br /> +</p> + +<p class="n">MARTÍN</p> + +<p> +Aquí están dos escuderos<br /> +Para las dos.<br /> +</p> + +<p class="n">LEONOR</p> + +<p> +Isabel,<br /> +Este mozazo es aquel <a name="line_1635" id="line_1635"></a><a href="#note_1608"><span class="linenum">1635</span></a><br /> +Que te dije.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p class="indstart">¡Oh, caballeros!...</p> + +<p class="n">MARTÍN (<i>á Pedro</i>)</p> + +<p> +Llega, no estés vergonzoso;<br /> +Llega y habla.<br /> +</p> + +<p class="n">PEDRO</p> + +<p> +Estoy mirando<br /> +Á Isabel, y contemplando<br /> +Su talle y su rostro hermoso. <a name="line_1640" id="line_1640"></a><a href="#note_1608"><span class="linenum">1640</span></a><br /> +Téngame vuesamerced<br /> +Por suyo desde esta tarde.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p>(<i>Ap.</i> ¡Qué buen hombrón!) Dios le guarde.</p> + +<p class="n">PEDRO (<i>ap.</i>)</p> + +<p> +Cayó la daifa en la red.<br /> +Ya está perdida por mí. <a name="line_1645" id="line_1645"></a><a href="#note_1649"><span class="linenum">1645</span></a><br /> +</p> + +<p class="n">DOÑA MARÍA (<i>ap.</i>)</p> + +<p> +Con pocos de éstos pudiera<br /> +Conducir una galera<br /> +Á la China, desde aquí,<br /> +Don Fadrique de Toledo.<br /> +</p> + +<p class="n">PEDRO</p> + +<p>Pido mano, doy turrón. <a name="line_1650" id="line_1650"></a><a href="#note_1649"><span class="linenum">1650</span></a></p> + +<p class="n">DOÑA MARÍA</p> + +<p> +¿Mas que lleva un mojicón,<br /> +Hombrón, si no se está quedo?<br /> +</p> + +<p class="n">PEDRO</p> + +<p> +¡Por el agua de la mar,<br /> +Que tiene valor la hembra!<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p>Pues no sabe dónde siembra. <a name="line_1655" id="line_1655"></a><a href="#note_1649"><span class="linenum">1655</span></a></p> + +<p class="n">PEDRO</p> + +<p> +(<i>Ap.</i> Á el primer encuentro azar.)<br /> +¡Voto á tus ojos serenos,<br /> +Isabel, porque te asombres,<br /> +Que me mate con mil hombres,<br /> +Y esto será lo de menos! <a name="line_1660" id="line_1660"></a><a href="#note_1649"><span class="linenum">1660</span></a><br /> +Ablándate, serafín.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p>Déjeme, no me zabuque.</p> + +<p class="n">PEDRO</p> + +<p> +Aquí en la esquina del Duque<br /> +Hay turrón.—Vamos, Martín.<br /> +</p> + +<p class="n">MARTÍN</p> + +<p> +Vamos, y gasta; que luego <a name="line_1665" id="line_1665"></a><a href="#note_1668"><span class="linenum">1665</span></a><br /> +Estará como algodón.<br /> +</p> + +<p class="n">PEDRO</p> + +<p> +Sí, mas ¡coz y mordiscón!...<br /> +Parece rocín gallego.<br /> +<span style="margin-left: 18%;">(<i>Vanse Martín y Pedro.</i>)</span><br /> +</p> +</div> + + + +<h3 class="top15"><a name="ESCENA_XIII2" id="ESCENA_XIII2"></a>ESCENA XIII</h3> + +<p class="c"><span class="smcap">Doña Ana</span>, <span class="smcap">Don Juan</span>, <span class="smcap">Doña María</span>, <span class="smcap">Leonor</span>, <span class="smcap">Juana</span></p> + +<div class="d"> + +<p class="n">DOÑA ANA</p> + +<p> +Quedo, no os pongáis delante;<br /> +Que ya he visto por las señas <a name="line_1670" id="line_1670"></a><a href="#note_1668"><span class="linenum">1670</span></a><br /> +Que es aquélla vuestra dama.<br /> +</p> + +<p class="n">JUANA</p> + +<p> +Pues Leonor viene con ella,<br /> +¿Quién duda que es Isabel?<br /> +Fuera de que no tuviera<br /> +Ninguna aquel talle y brío. <a name="line_1675" id="line_1675"></a><a href="#note_1668"><span class="linenum">1675</span></a><br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p> +Disculpa tiene en quererla<br /> +El señor don Juan.<br /> +</p> + +<p class="n">JUANA</p> + +<p class="indstart"> +La moza<br /> +En otro traje pudiera<br /> +Hacer á cualquiera dama<br /> +Pesadumbre y competencia. <a name="line_1680" id="line_1680"></a><a href="#note_1681"><span class="linenum">1680</span></a><br /> +</p> + +<p class="n">DON JUAN</p> + +<p>¿Es todo por darme vaya?</p> + +<p class="n">DOÑA ANA</p> + +<p> +Quisiérala ver más cerca.<br /> +Dígale vuesamerced<br /> +Que está aquí una dama enferma,<br /> +Que se le antoja beber <a name="line_1685" id="line_1685"></a><a href="#note_1681"><span class="linenum">1685</span></a><br /> +Por la cantarilla nueva;<br /> +Que no irá de mala gana.<br /> +</p> + +<p class="n">DON JUAN</p> + +<p>Sólo por serviros fuera.</p> + +<p class="n">DOÑA MARÍA</p> + +<p>¡Ay, Leonor!</p> + +<p class="n">LEONOR</p> + +<p>¿Qué?</p> + +<p class="n">DOÑA MARÍA</p> + +<p class="indstart"> +Tu señora<br /> +Y aquél mi galán con ella. <a name="line_1690" id="line_1690"></a><a href="#note_1681"><span class="linenum">1690</span></a><br /> +</p> + +<p class="n">LEONOR</p> + +<p>Parece que te has turbado.</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Por poco se me cayera<br /> +El cántaro de las manos.<br /> +</p> + +<p class="n">DON JUAN (<i>á doña María</i>)</p> + +<p> +Aquella señora os ruega<br /> +Que la deis un poco de agua. <a name="line_1695" id="line_1695"></a><a href="#note_1696"><span class="linenum">1695</span></a><br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +De buena gana la diera<br /> +Á ella el agua, y á vos<br /> +Con el cántaro.<br /> +</p> + +<p class="n">DON JUAN</p> + +<p class="indstart"> +No seas<br /> +Necia.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Llevádsela vos,<br /> +Y de vuestra mano beba. <a name="line_1700" id="line_1700"></a><a href="#note_1696"><span class="linenum">1700</span></a><br /> +</p> + +<p class="n">DON JUAN</p> + +<p> +Mira que en público estamos,<br /> +Y las mujeres discretas<br /> +No hacen cosas indignas.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Iré porque nadie entienda<br /> +Que me da celos á mí.— <a name="line_1705" id="line_1705"></a><a href="#note_1708"><span class="linenum">1705</span></a><br /> +<span style="margin-left: 18%;">(<i>Llégase á doña Ana.</i>)</span><br /> + +Vuesamerced beba, y crea<br /> +Que quisiera que este barro<br /> +Fuera cristal de Venecia;<br /> +Pero serálo en tocando<br /> +Esas manos y esas perlas. <a name="line_1710" id="line_1710"></a><a href="#note_1708"><span class="linenum">1710</span></a><br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p>Beberé, porque he caído.</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Si el agua el susto sosiega,<br /> +Beba; que todos caeremos,<br /> +Si no en el daño, en la cuenta.<br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p>Yo he bebido.</p> + +<p class="n">DOÑA MARÍA</p> + +<p class="indstart">Y yo también. <a name="line_1715" id="line_1715"></a><a href="#note_1714"><span class="linenum">1715</span></a></p> + +<p class="n">DOÑA ANA (<i>ap.</i>)</p> + +<p>Yo pesares.</p> + +<p class="n">DOÑA MARÍA (<i>ap.</i>)</p> + +<p class="indstart">Yo sospechas.</p> + +<p class="n">DOÑA ANA</p> + +<p>¡Qué caliente!</p> + +<p class="n">DOÑA MARÍA</p> + +<p class="indstart"> +Vuestras manos<br /> +De nieve servir pudieran.<br /> +</p> + +<p class="n">DOÑA ANA (<i>á Juana</i>)</p> + +<p>Haz que llegue el coche.</p> + +<p class="n">JUANA (<i>llamando</i>)</p> + +<p class="indstart">¡Ah, Hernando!</p> + +<p class="n">DOÑA ANA</p> + +<p>¡Buena moza!</p> + +<p class="n">DOÑA MARÍA</p> + +<p class="indstart"> +Buena sea <a name="line_1720" id="line_1720"></a><a href="#note_1723"><span class="linenum">1720</span></a><br /> +Su vida.<br /> +<span style="margin-left: 18%;">(<i>Vanse doña Ana y Juana.</i>)</span><br /> +</p> + +</div> + +<h3 class="top15"><a name="ESCENA_XIV2" id="ESCENA_XIV2"></a>ESCENA XIV</h3> + +<p class="c"><span class="smcap">Doña María</span>, <span class="smcap">Don Juan</span>, <span class="smcap">Leonor</span></p> + +<div class="d"> + +<p class="n">DOÑA MARÍA</p> + +<p> +¿No la acompaña?<br /> +¡Mal galán! ¿Así se queda?<br /> +</p> + +<p class="n">DON JUAN</p> + +<p>Á darte satisfaciones.</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Estoy yo tan satisfecha,<br /> +Que será gastar palabras. <a name="line_1725" id="line_1725"></a><a href="#note_1723"><span class="linenum">1725</span></a><br /> +</p> + +<p class="n">DON JUAN</p> + +<p> +Mira, Isabel, que esto es fuerza,<br /> +Y que bien sabe Leonor<br /> +(Dejo aparte mi fineza)<br /> +Que el Conde sirve á doña Ana.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Cántaro, tened paciencia; <a name="line_1730" id="line_1730"></a><a href="#note_1723"><span class="linenum">1730</span></a><br /> +Vais y venís á la fuente:<br /> +Quien va y viene siempre á ella,<br /> +¿De qué se espanta, si el asa<br /> +Ó la frente se le quiebra?<br /> +Sois barro, no hay que fiar. <a name="line_1735" id="line_1735"></a><a href="#note_1737"><span class="linenum">1735</span></a><br /> +Mas ¿quién, cántaro, os dijera<br /> +Que no os volviérades plata<br /> +En tal boca, en tales perlas?<br /> +Pero lo que es barro humilde,<br /> +En fin, por barro se queda. <a name="line_1740" id="line_1740"></a><a href="#note_1737"><span class="linenum">1740</span></a><br /> +No volváis más á la fuente,<br /> +Porque estoy segura y cierta<br /> +Que no es bien que vos hagáis<br /> +Á los coches competencia.<br /> +</p> + +<p class="n">DON JUAN</p> + +<p> +¿Qué dices? Mira, Isabel, <a name="line_1745" id="line_1745"></a><a href="#note_1737"><span class="linenum">1745</span></a><br /> +Que sin culpa me condenas.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Yo con mi cántaro hablo;<br /> +Si es mío, ¿de qué se queja?<br /> +Váyase vuesamerced,<br /> +Mire que el coche se aleja. <a name="line_1750" id="line_1750"></a><a href="#note_1737"><span class="linenum">1750</span></a><br /> +</p> + +<p class="n">DON JUAN</p> + +<p> +Iréme desesperado,<br /> +Pues haces cosas como éstas,<br /> +Sabiendo que Leonor sabe<br /> +Que no es posible que quiera<br /> +Eso de que tienes celos. (<i>Vase.</i>) <a name="line_1755" id="line_1755"></a><a href="#note_1737"><span class="linenum">1755</span></a><br /> +</p> +</div> + + +<h3 class="top15"><a name="ESCENA_XV2" id="ESCENA_XV2"></a>ESCENA XV</h3> + +<p class="c"><span class="smcap">Doña María</span>, <span class="smcap">Leonor</span></p> +<div class="d"> + +<p class="n">LEONOR</p> + +<p> +Necia estás. ¿Por qué le dejas<br /> +Que se vaya con disgusto?<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Leonor, el alma me lleva;<br /> +Que los celos me han picado.<br /> +Pero no seré yo necia <a name="line_1760" id="line_1760"></a><a href="#note_1737"><span class="linenum">1760</span></a><br /> +En querer desigualdades,<br /> +Aunque me abrase y me muera.<br /> +No he de ver más á don Juan.<br /> +¡Esto faltaba á mis penas!<br /> +</p> + +<p class="n">LEONOR</p> + +<p> +¡Buen lance habemos echado! <a name="line_1765" id="line_1765"></a><a href="#note_1737"><span class="linenum">1765</span></a><br /> +Tú desesperada quedas,<br /> +Y mi ama va perdida.<br /> +</p> + +</div> + +<h3 class="top15"><a name="ESCENA_XVI2" id="ESCENA_XVI2"></a>ESCENA XVI</h3> + +<p class="c"><span class="smcap">Pedro</span>, <span class="smcap">Martín</span>.—<span class="smcap">Dichas</span></p> + +<div class="d"> + +<p class="n">PEDRO</p> + +<p> +Como dos soldados juegan:<br /> +Perdí el turrón y el dinero.<br /> +</p> + +<p class="n">MARTÍN</p> + +<p> +Cosas la corte sustenta, <a name="line_1770" id="line_1770"></a><a href="#note_1737"><span class="linenum">1770</span></a><br /> +Que no sé cómo es posible.<br /> +¡Quién ve tantas diferencias<br /> +De personas y de oficios,<br /> +Vendiendo cosas diversas!<br /> +Bolos, bolillos, bizcochos, <a name="line_1775" id="line_1775"></a><a href="#note_1737"><span class="linenum">1775</span></a><br /> +Turrón, castañas, muñecas,<br /> +Bocados de mermelada,<br /> +Letuarios y conservas;<br /> +Mil figurillas de azúcar,<br /> +Flores, rosarios, rosetas, <a name="line_1780" id="line_1780"></a><a href="#note_1782"><span class="linenum">1780</span></a><br /> +Rosquillas y mazapanes,<br /> +Aguardiente, y de canela;<br /> +Calendarios, relaciones,<br /> +Pronósticos, obras nuevas,<br /> +Y á <i>Don Alvaro de Luna</i>, <a name="line_1785" id="line_1785"></a><a href="#note_1785"><span class="linenum">1785</span></a><br /> +Mantenedor destas fiestas.<br /> +Mas quedo; que están aquí.<br /> +</p> + +<p class="n">PEDRO</p> + +<p> +¡Oigan! ¿De qué es la tristeza?<br /> +¿No estaba alegre esta moza?<br /> +¡Qué pensativas están! <a name="line_1790" id="line_1790"></a><a href="#note_1782"><span class="linenum">1790</span></a><br /> +</p> + +<p class="n">MARTÍN</p> + +<p> +Pienso que andaba don Juan<br /> +Acechando una carroza.<br /> +</p> + +<p class="n">PEDRO</p> + +<p> +Quien te me enojó, Isabel,<br /> +Que con lágrimas lo pene:<br /> +Hágote voto solene <a name="line_1795" id="line_1795"></a><a href="#note_1782"><span class="linenum">1795</span></a><br /> +Que pueden doblar por él.<br /> +Vuelve, Isabel, esos ojos;<br /> +Que no soy yo por lo menos<br /> +Quien á tus ojos serenos<br /> +Quitó luz y puso enojos. <a name="line_1800" id="line_1800"></a><a href="#note_1782"><span class="linenum">1800</span></a><br /> +¿Quién tan bárbara y cruel,<br /> +Á tu hermosura atrevido,<br /> +Causa de tu enojo ha sido?<br /> +¿Quién te me enojó, Isabel?<br /> +No es posible que tuviese <a name="line_1805" id="line_1805"></a><a href="#note_1782"><span class="linenum">1805</span></a><br /> +Noticia de mi rigor,<br /> +Sin que luego de temor<br /> +Súbitamente muriese.<br /> +Quien te enojó, ¿vida tiene?<br /> +¿Que donde estoy, vivo esté? <a name="line_1810" id="line_1810"></a><a href="#note_1817"><span class="linenum">1810</span></a><br /> +Dime quién es; que yo haré<br /> +Que con lágrimas lo pene.<br /> +Dime cómo y de qué suerte<br /> +Que le mate se te antoja,<br /> +Porque en sacando la hoja, <a name="line_1815" id="line_1815"></a><a href="#note_1817"><span class="linenum">1815</span></a><br /> +Soy guadaña de la muerte.<br /> +Si el Cid á su lado viene,<br /> +Gigote de hombres haré,<br /> +Y de que lo cumpliré<br /> +Hágote voto solene. <a name="line_1820" id="line_1820"></a><a href="#note_1817"><span class="linenum">1820</span></a><br /> +Si yo me enojo en Madrid<br /> +Con quien á ti te ha enojado,<br /> +Haz cuenta que se ha tocado<br /> +La tumba en Valladolid.<br /> +Porque en diciendo, Isabel, <a name="line_1825" id="line_1825"></a><a href="#note_1824"><span class="linenum">1825</span></a><br /> +Que he de matalle, está muerto.<br /> +No hay que esperar, porque es cierto<br /> +Que pueden doblar por él.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p>Ven, Leonor; vamos á casa.</p> + +<p class="n">LEONOR</p> + +<p>Triste vas.</p> + +<p class="n">DOÑA MARÍA</p> + +<p class="indstart">Perdida estoy. <a name="line_1830" id="line_1830"></a><a href="#note_1824"><span class="linenum">1830</span></a></p> + +<p class="n">PEDRO</p> + +<p>¿Así se va?</p> + +<p class="n">DOÑA MARÍA</p> + +<p class="indstart">Así me voy.</p> + +<p class="n">PEDRO</p> + +<p>Pues cuénteme lo que pasa.</p> + +<p class="n">DOÑA MARÍA</p> + +<p>No quiero.</p> + +<p class="n">PEDRO</p> + +<p class="indstart">Tendréla.</p> + +<p class="n">DOÑA MARÍA</p> + +<p class="indstart">Tome.</p> + +<p class="n">PEDRO</p> + +<p>¡Ay!</p> + +<p class="n">MARTÍN</p> + +<p class="indstart">¿Qué fué?</p> + +<p class="n">PEDRO</p> + +<p class="indstart">Tamborilada.</p> + +<p class="n">LEONOR</p> + +<p>¿Dístele, Isabel?</p> + +<p class="n">DOÑA MARÍA</p> + +<p class="indstart"> +No es nada. <a name="line_1835" id="line_1835"></a><a href="#note_1836"><span class="linenum">1835</span></a><br /> +Pregúntale si le come.<br /> +</p> +</div> + + +<h2 class="top15"><a name="ACTO_TERCERO" id="ACTO_TERCERO"></a>ACTO TERCERO</h2> + + + +<h3 class="top15"><a name="ESCENA_PRIMERA3" id="ESCENA_PRIMERA3"></a>ESCENA PRIMERA</h3> + +<p class="c"><span class="smcap">Pedro</span>, <span class="smcap">Bernal</span>, <span class="smcap">Martín</span> <i>y</i> <span class="smcap">Lorenzo</span>, <i>dentro</i></p> + +<div class="d"> +<p class="n">PEDRO</p> + +<p>¡Fuera digo! No haya más.</p> + +<p class="n">LORENZO</p> + +<p>¡Ay, que me ha descalabrado!</p> + +<p class="n">MARTÍN</p> + +<p>Con el cántaro le ha dado.</p> + +<p class="n">BERNAL</p> + +<p>¡Lavado, Lorenzo, vas! <a name="line_1840" id="line_1840"></a><a href="#note_1837"><span class="linenum">1840</span></a></p> + +<p class="n">LORENZO</p> + +<p>Esto ¿se puede sufrir?</p> + +<p class="n">PEDRO</p> + +<p>Llévale á curar, Bernal.</p> + +<p class="n">LORENZO</p> + +<p>¡Vive Cristo, que la tal!... (<i>Salen.</i>)</p> + +<p class="n">MARTÍN</p> + +<p>No lo acabes de decir.</p> + +<p class="n">PEDRO</p> + +<p> +No queda lacayo en ser <a name="line_1845" id="line_1845"></a><a href="#note_1844"><span class="linenum">1845</span></a><br /> +Donde esta mujer está.<br /> +</p> + +<p class="n">MARTÍN</p> + +<p>Bravas bofetadas da.</p> + +<p class="n">PEDRO</p> + +<p>Dos mozas azotó ayer.</p> + +<p class="n">BERNAL</p> + +<p>¡Ea, ea! Que no es nada.</p> + +</div> + +<h3 class="top15"><a name="ESCENA_II3" id="ESCENA_II3"></a>ESCENA II</h3> + +<p class="c"><span class="smcap">Doña María</span>, <span class="smcap">Leonor</span>.—<span class="smcap">Dichos</span></p> + +<div class="d"> + +<p class="n">DOÑA MARÍA</p> + +<p> +¡Pícaro! ¿Pellizco á mí? <a name="line_1850" id="line_1850"></a><a href="#note_1844"><span class="linenum">1850</span></a><br /> +¡Fuera, digo!<br /> +</p> + +<p class="n">LEONOR</p> + +<p class="indstart">¿Estás en ti?</p> + +<p class="n">LORENZO</p> + +<p> +¡Á mí, Isabel, cantarada!<br /> +¡Voto á el hijo de la mar!<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p>Llegue el lacayo gallina.</p> + +<p class="n">PEDRO</p> + +<p>Daga trae en la pretina. <a name="line_1855" id="line_1855"></a><a href="#note_1854"><span class="linenum">1855</span></a></p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Y aun enseñada á matar.<br /> +Llegue el barbado, y daréle<br /> +Dos mohadas á la usanza<br /> +De mi tierra, por la panza,<br /> +Y hará el puñal lo que suele. <a name="line_1860" id="line_1860"></a><a href="#note_1858"><span class="linenum">1860</span></a><br /> +</p> + +<p class="n">LORENZO</p> + +<p>¡Mataréla!</p> + +<p class="n">PEDRO</p> + +<p> +Estoy aquí<br /> +Á pagar de mi dinero.<br /> +</p> + +<p class="n">LORENZO</p> + +<p> +Pues con él haberlas quiero,<br /> +Aunque es mujer para mí.<br /> +</p> + +<p class="n">PEDRO</p> + +<p>¡Miente!</p> + +<p class="n">LORENZO</p> + +<p class="indstart">Véngase conmigo. <a name="line_1865" id="line_1865"></a><a href="#note_1858"><span class="linenum">1865</span></a> +<br /> +<span style="margin-left: 25%;">(<i>Vanse los hombres.</i>)</span></p> +</div> + + +<h3 class="top15"><a name="ESCENA_III3" id="ESCENA_III3"></a>ESCENA III</h3> + +<p class="c"><span class="smcap">Doña María</span>, <span class="smcap">Leonor</span></p> + +<div class="d"> + +<p class="n">LEONOR</p> + +<p>¡Buenos van, desafiados!</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +¡Qué diferentes cuidados<br /> +Me da, Leonor, mi enemigo!<br /> +</p> + +<p class="n">LEONOR</p> + +<p>¿No le has visto más?</p> + +<p class="n">DOÑA MARÍA</p> + +<p class="indstart">Ayer.</p> + +<p class="n">LEONOR</p> + +<p> +Alegre quisiera hallarte, <a name="line_1870" id="line_1870"></a><a href="#note_1863"><span class="linenum">1870</span></a><br /> +Porque te alcanzara parte<br /> +De mi contento y placer.<br /> +Ya Martín se determina,<br /> +Y nos queremos casar:<br /> +Mira que nos has de honrar, <a name="line_1875" id="line_1875"></a><a href="#note_1863"><span class="linenum">1875</span></a><br /> +Y que has de ser la madrina.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Estoy desacomodada<br /> +Del indiano; que si no,<br /> +Yo lo hiciera: aquí me dió<br /> +Su casa una amiga honrada, <a name="line_1880" id="line_1880"></a><a href="#note_1863"><span class="linenum">1880</span></a><br /> +Donde de prestado estoy.<br /> +</p> + +<p class="n">LEONOR</p> + +<p> +Mi Señora te dará<br /> +Vestidos: vamos allá;<br /> +Que pienso que ha de ser hoy.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p>Tendré vergüenza de vella. <a name="line_1885" id="line_1885"></a><a href="#note_1863"><span class="linenum">1885</span></a></p> + +<p class="n">LEONOR</p> + +<p> +Anda; que te quiere bien,<br /> +Y sé que tiene también<br /> +Gusto de que hables con ella.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Vamos, y de aquí á tu casa Te diré lo que pasó <a name="line_1890" id="line_1890"></a><a href="#note_1863"><span class="linenum">1890</span></a><br /> +En el río.<br /> +</p> + +<p class="n">LEONOR</p> + +<p> +No fuí yo;<br /> +Que mujer que ya se casa,<br /> +Ha de mostrar más recato<br /> +Del que solía tener.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Es achaque; voy por ver <a name="line_1895" id="line_1895"></a><a href="#note_1863"><span class="linenum">1895</span></a><br /> +Aquel caballero ingrato.<br /> +Fuimos Teresa, Juana y Catalina,<br /> +El sábado, Leonor, á Manzanares:<br /> +Si bien yo melancólica y mohina<br /> +De darme este don Juan tantos pesares. <a name="line_1900" id="line_1900"></a><a href="#note_1901"><span class="linenum">1900</span></a><br /> +De tu dueño las partes imagina;<br /> +Que cuando en su valor, Leonor, repares,<br /> +Presumirás, pues no me he vuelto loca,<br /> +Que soy muy necia ó mi afición es poca.<br /> +Tomé el jabón con tanto desvarío <a name="line_1905" id="line_1905"></a><a href="#note_1901"><span class="linenum">1905</span></a><br /> +Para lavar de un bárbaro despojos,<br /> +Que hasta los paños me llevaba el río,<br /> +Mayor con la creciente de mis ojos.<br /> +Cantaban otras con alegre brío,<br /> +Y yo, Leonor, lloraba mis enojos: <a name="line_1910" id="line_1910"></a><a href="#note_1911"><span class="linenum">1910</span></a><br /> +Lavaba con lo mesmo que lloraba,<br /> +Y al aire de suspiros lo enjugaba.<br /> +Bajaba el sol al agua trasparente,<br /> +Y, el claro rostro en púrpura bañado,<br /> +Las nubes ilustraba de occidente <a name="line_1915" id="line_1915"></a><a href="#note_1911"><span class="linenum">1915</span></a><br /> +De aquel vario color tornasolado;<br /> +Cuando, despierta ya del accidente,<br /> +Saqué la ropa, y de uno y otro lado,<br /> +Asiendo los extremos, la torcimos,<br /> +Y á entapizar los tendederos fuimos. <a name="line_1920" id="line_1920"></a><a href="#note_1920"><span class="linenum">1920</span></a><br /> +Quedando pues por los menudos ganchos<br /> +Las camisas y sábanas tendidas,<br /> +Salieron cuatro mozas de sus ranchos,<br /> +En todo la ribera conocidas;<br /> +Luego, de angostos pies y de hombros anchos, <a name="line_1925" id="line_1925"></a><a href="#note_1920"><span class="linenum">1925</span></a><br /> +Bigotes altos, perdonando vidas,<br /> +Cuatro mozos: no hablé; que fuera mengua,<br /> +Estando triste el alma, hablar la lengua.<br /> +Tocó, Leonor, Juanilla el instrumento<br /> +Que con cuadrada forma en poco pino, <a name="line_1930" id="line_1930"></a><a href="#note_1929"><span class="linenum">1930</span></a><br /> +Despide alegre cuanto humilde acento,<br /> +Cubierto de templado pergamino;<br /> +Á cuyo son, que retumbaba el viento,<br /> +Cantaba de un ingenio peregrino,<br /> +En seguidillas, con destreza extraña, <a name="line_1935" id="line_1935"></a><a href="#note_1929"><span class="linenum">1935</span></a><br /> +Pensamientos que envidia Italia á España.<br /> +Bailaron luego hilando castañetas<br /> +Lorenza y Justa y un galán barbero<br /> +Que mira á Inés, haciendo más corvetas<br /> +Que el Conde ayer en el caballo overo. <a name="line_1940" id="line_1940"></a><a href="#note_1929"><span class="linenum">1940</span></a><br /> +¡Oh celos! todos sois venganza y tretas,<br /> +Pues porque ví bajar el caballero<br /> +Que adora de tu dueño la belleza,<br /> +No le quise alegrar con mi tristeza.<br /> +Entré en el baile con desgaire y brío, <a name="line_1945" id="line_1945"></a><a href="#note_1929"><span class="linenum">1945</span></a><br /> +Que, admirándole ninfas y mozuelos,<br /> +«¡Vítor!» dijeron, celebrando el mío:<br /> +Y era que amor bailaba con los celos.<br /> +Estando en esto, el contrapuesto río<br /> +Se mueve á ver dos ángeles, dos cielos, <a name="line_1950" id="line_1950"></a><a href="#note_1951"><span class="linenum">1950</span></a><br /> +Que á la Casa del Campo (Dios los guarde)<br /> +Iban á ser auroras por la tarde.<br /> +¿No has visto á el agua, al súbito granizo<br /> +Esparcirse el ganado en campo ameno<br /> +Ó volar escuadrón espantadizo <a name="line_1955" id="line_1955"></a><a href="#note_1951"><span class="linenum">1955</span></a><br /> +De las palomas, en oyendo el trueno?<br /> +Pues de la misma suerte se deshizo<br /> +El cerco bailador, de amantes lleno,<br /> +En oyendo que honraban la campaña<br /> +Felipe y Isabel, gloria de España. <a name="line_1960" id="line_1960"></a><a href="#note_1960"><span class="linenum">1960</span></a><br /> +¿No has visto en un jardín de varias flores<br /> +La primavera en cuadros retratada,<br /> +Que por la variedad de las colores,<br /> +Aun no tienen color determinada,<br /> +Y en medio ninfas provocando amores? <a name="line_1965" id="line_1965"></a><a href="#note_1963"><span class="linenum">1965</span></a><br /> +Pues así se mostraba dilatada<br /> +La escuadra hermosa de las damas bellas,<br /> +Flores las galas y las ninfas ellas.<br /> +Yo, que estaba arrobada, les decía<br /> +Á los reyes de España: «Dios os guarde, <a name="line_1970" id="line_1970"></a><a href="#note_1963"><span class="linenum">1970</span></a><br /> +Y extienda vuestra heroica monarquía<br /> +Del clima helado á el que se abrasa y arde;»<br /> +Cuando veo que dice: «Isabel mía,»<br /> +Á mi lado don Juan; y tan cobarde<br /> +Me hallé á los ecos de su voz, que luego <a name="line_1975" id="line_1975"></a><a href="#note_1963"><span class="linenum">1975</span></a><br /> +Fué hielo el corazón, las venas fuego.<br /> +«Traidor, respondo, tus iguales mira;<br /> +Que yo soy una pobre labradora.»<br /> +Y diciendo y haciendo, envuelta en ira,<br /> +Sigo la puente, y me arrepiento agora: <a name="line_1980" id="line_1980"></a><a href="#note_1963"><span class="linenum">1980</span></a><br /> +Verdad es que le siento que suspira<br /> +Tal vez desde la noche hasta el aurora;<br /> +Mas recelo, si va á decir verdades,<br /> +Lo que se sigue á celos y amistades. (<i>Vanse.</i>)<br /> +</p> +</div> + + +<h3 class="top15"><a name="ESCENA_IV3" id="ESCENA_IV3"></a>ESCENA IV</h3> + +<p class="c">Sala en casa de doña Ana.</p> + +<p class="c"><span class="smcap">Doña María</span>, <span class="smcap">Leonor</span>; <i>después</i>, <span class="smcap">Doña Ana</span> <i>y</i> <span class="smcap">Juana</span></p> + +<div class="d"> + +<p class="n">LEONOR</p> + +<p> +Á mi casa hemos llegado: <a name="line_1985" id="line_1985"></a><a href="#note_1963"><span class="linenum">1985</span></a><br /> +Después, que no puedo agora,<br /> +Porque viene mi Señora,<br /> +Te diré lo que ha pasado<br /> +Por los celos en los dos.<br /> +<br /> +(<i>Salen doña Ana y Juana.</i>)<br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p>¿Ésta dices?</p> + +<p class="n">JUANA</p> + +<p>Ésta es. <a name="line_1990" id="line_1990"></a><a href="#note_1963"><span class="linenum">1990</span></a></p> + +<p class="n">DOÑA MARÍA</p> + +<p>Dadme, Señora, los pies.</p> + +<p class="n">DOÑA ANA</p> + +<p> +Isabel, guárdela Dios.<br /> +¿Qué se ofrece por acá?<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Quiéreme hacer su madrina<br /> +Leonor, que no me imagina <a name="line_1995" id="line_1995"></a><a href="#note_1963"><span class="linenum">1995</span></a><br /> +Desacomodada ya.<br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p>¿No está ya con el indiano?</p> + +<p class="n">DOÑA MARÍA</p> + +<p>No, Señora.</p> + +<p class="n">DOÑA ANA</p> + +<p class="indstart">Pues ¿por qué?</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Cierto atrevimiento fué,<br /> +De hombre al fin; pero fué en vano. <a name="line_2000" id="line_2000"></a><a href="#note_2003"><span class="linenum">2000</span></a><br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p>¿Cómo, cómo, por mi vida?</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Pudiera estar satisfecho<br /> +De mi honor y de mi pecho:<br /> +De mi honor por bien nacida,<br /> +De mi pecho porque, habiendo <a name="line_2005" id="line_2005"></a><a href="#note_2003"><span class="linenum">2005</span></a><br /> +Entrado por los balcones<br /> +Una noche tres ladrones,<br /> +Que ya le estaban pidiendo<br /> +Las llaves, tomé su espada,<br /> +Y aunque ya se defendieron, <a name="line_2010" id="line_2010"></a><a href="#note_2003"><span class="linenum">2010</span></a><br /> +Por la ventana salieron,<br /> +Y esto á pura cuchillada.<br /> +Pero obligándole á amor<br /> +Lo que pudiera á respeto,<br /> +Me llamó una noche, á efeto <a name="line_2015" id="line_2015"></a><a href="#note_2003"><span class="linenum">2015</span></a><br /> +De no respetar mi honor.<br /> +Que le descalzase fué<br /> +La invención: llego á su cama,<br /> +Donde sentado me llama,<br /> +Y humilde le descalcé. <a name="line_2020" id="line_2020"></a><a href="#note_2003"><span class="linenum">2020</span></a><br /> +Pero echándome los brazos,<br /> +Tan descortés procedió,<br /> +Que á arrojarle me obligó<br /> +Donde le hiciera pedazos.<br /> +Mas de aquellos desatinos <a name="line_2025" id="line_2025"></a><a href="#note_2003"><span class="linenum">2025</span></a><br /> +Sus zapatos me vengaron,<br /> +Cuyas voces despertaron<br /> +La mitad de los vecinos.<br /> +Y aunque culpando el rigor,<br /> +Poniéndose de por medio, <a name="line_2030" id="line_2030"></a><a href="#note_2003"><span class="linenum">2030</span></a><br /> +Celebraron el remedio<br /> +Para quitarle el amor.<br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p> +Notable debes de ser.<br /> +Cierto que te tengo amor.<br /> +</p> + +<p class="n">JUANA</p> + +<p> +Es el servicio mejor <a name="line_2035" id="line_2035"></a><a href="#note_2003"><span class="linenum">2035</span></a><br /> +Y la más limpia mujer<br /> +De cuantas andan aquí.<br /> +Ruégale que esté contigo.<br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p> +¿No querrás estar conmigo,<br /> +Isabel?<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p>Señora, sí. <a name="line_2040" id="line_2040"></a><a href="#note_2044"><span class="linenum">2040</span></a></p> + +<p class="n">DOÑA ANA</p> + +<p>¿Qué sabes hacer?</p> + +<p class="n">DOÑA MARÍA</p> + +<p class="indstart"> +Lavar,<br /> +Masar, cocer y traer<br /> +Agua.<br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p class="indstart">¿No sabrás coser?</p> + +<p class="n">DOÑA MARÍA</p> + +<p>Bien sé coser y labrar.</p> + +<p class="n">DOÑA ANA</p> + +<p> +Pues eso será mejor. <a name="line_2045" id="line_2045"></a><a href="#note_2044"><span class="linenum">2045</span></a><br /> +Manto y tocas te daré.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Señora, yo no sabré<br /> +Servir de dueña de honor.<br /> +Éste es un hábito agora<br /> +De cierta desdicha mía, <a name="line_2050" id="line_2050"></a><a href="#note_2044"><span class="linenum">2050</span></a><br /> +Que vos sabréis algún día. (<i>Vase.</i>)<br /> +</p> + +<p class="n">JUANA</p> + +<p>Aquí está don Juan, Señora.</p> +</div> + + +<h3 class="top15"><a name="ESCENA_V3" id="ESCENA_V3"></a>ESCENA V</h3> + +<p class="c"><span class="smcap">Don Juan</span>, <span class="smcap">Martín</span>.—<span class="smcap">Doña Ana</span>, <span class="smcap">Leonor</span>, <span class="smcap">Juana</span></p> + +<div class="d"> + +<p class="n">DON JUAN</p> + +<p> +Siempre soy embajador.<br /> +El Conde os pide licencia,<br /> +Y dice que de su ausencia <a name="line_2055" id="line_2055"></a><a href="#note_2044"><span class="linenum">2055</span></a><br /> +Fué causa vuestro rigor;<br /> +Que tratáis tan mal su amor,<br /> +Que ya toma por partido,<br /> +En la caza divertido,<br /> +Solicitar á su daño <a name="line_2060" id="line_2060"></a><a href="#note_2044"><span class="linenum">2060</span></a><br /> +Una manera de engaño<br /> +Que á los dos parezca olvido:<br /> +Á vos excusando el veros,<br /> +Y á él, Señora, el cansaros.<br /> +Pero no quiere engañaros <a name="line_2065" id="line_2065"></a><a href="#note_2044"><span class="linenum">2065</span></a><br /> +Ni olvidarse de quereros:<br /> +Visitaros y ofenderos<br /> +Es fuerza para serviros.<br /> +Esto me manda deciros:<br /> +Mirad si le dais licencia; <a name="line_2070" id="line_2070"></a><a href="#note_2044"><span class="linenum">2070</span></a><br /> +Que le cuesta vuestra ausencia<br /> +Cuantos instantes, suspiros.<br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p> +Vos venís en ocasión<br /> +Que os he hecho un gran servicio:<br /> +Á lo menos es indicio <a name="line_2075" id="line_2075"></a><a href="#note_2044"><span class="linenum">2075</span></a><br /> +De ésta mi loca pasión.<br /> +Mirad en qué obligación<br /> +Os pone el haber traído<br /> +Á mi casa quien ha sido<br /> +Lo que tanto habéis amado; <a name="line_2080" id="line_2080"></a><a href="#note_2044"><span class="linenum">2080</span></a><br /> +Que os quiero ver obligado,<br /> +Pues no puedo agradecido.<br /> +Volved los ojos, veréis<br /> +Á Isabel, que viene aquí,<br /> +No para servirme á mí, <a name="line_2085" id="line_2085"></a><a href="#note_2044"><span class="linenum">2085</span></a><br /> +Sino á que vos la mandéis;<br /> +Que no quiero que os canséis<br /> +En buscarla en fuente ó prado.<br /> +Mirad si estáis obligado,<br /> +Y cómo he sabido hacer <a name="line_2090" id="line_2090"></a><a href="#note_2044"><span class="linenum">2090</span></a><br /> +Que vos me vengáis á ver,<br /> +No como hasta aquí, forzado.<br /> +</p> + +<p class="n">DON JUAN</p> + +<p> +De vuestra queja os prometo<br /> +Que es el Conde, mi señor,<br /> +La causa, cuyo valor <a name="line_2095" id="line_2095"></a><a href="#note_2044"><span class="linenum">2095</span></a><br /> +Únicamente respeto;<br /> +Porque ¿cuál hombre discreto<br /> +No conociera y amara<br /> +De vuestra belleza rara<br /> +La divina perfección, <a name="line_2100" id="line_2100"></a><a href="#note_2044"><span class="linenum">2100</span></a><br /> +Y el discurso á la razón,<br /> +Y á vos el alma negara?<br /> +Con esto la puse en quien<br /> +La misma desigualdad<br /> +Disculpe la voluntad, <a name="line_2105" id="line_2105"></a><a href="#note_2109"><span class="linenum">2105</span></a><br /> +Para no quereros bien.<br /> +Mas no me pidáis que os den<br /> +Gracias de haberla traído<br /> +Mis ojos; que antes ha sido<br /> +Para no poderla ver, <a name="line_2110" id="line_2110"></a><a href="#note_2109"><span class="linenum">2110</span></a><br /> +Pues testigo habéis de ser,<br /> +Y yo menos atrevido.<br /> +</p> + +</div> + +<h3 class="top15"><a name="ESCENA_VI3" id="ESCENA_VI3"></a>ESCENA VI</h3> + +<p class="c"><span class="smcap">El Conde</span>.—<span class="smcap">Dichos</span></p> + +<div class="d"> + +<p class="n">CONDE</p> + +<p> +Tanto la licencia tarda,<br /> +Que sin ella vengo á veros.<br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p> +Conde, mi señor, disculpa. <a name="line_2115" id="line_2115"></a><a href="#note_2109"><span class="linenum">2115</span></a><br /> +De ausencia de tanto tiempo.—<br /> +Llega una silla, Isabel.<br /> +</p> + +<p class="n">DON JUAN</p> + +<p> +Aquí me estaban riñendo<br /> +Tu ausencia.<br /> +</p> + +<p class="n">CONDE</p> + +<p class="indstart"> +¡Buena criada!<br /> +Y nueva; que no me acuerdo <a name="line_2120" id="line_2120"></a><a href="#note_2109"><span class="linenum">2120</span></a><br /> +Haberla visto otra vez.<br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p> +¡Buena cara, gentil cuerpo!<br /> +¿No es muy linda?<br /> +</p> + +<p class="n">CONDE</p> + +<p class="indstart">¡Sí, por Dios!</p> + +<p class="n">DOÑA ANA</p> + +<p> +De que os agrade me huelgo;<br /> +Que es la dama de don Juan. <a name="line_2125" id="line_2125"></a><a href="#note_2109"><span class="linenum">2125</span></a><br /> +</p> + +<p class="n">CONDE</p> + +<p> +Si es así el entendimiento,<br /> +Disculpa tiene mi primo.<br /> +Verla más de espacio quiero.—<br /> +Pasad, Señora, adelante,<br /> +¿De dónde sois?<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p class="indstart"> +No sé cierto; <a name="line_2130" id="line_2130"></a><a href="#note_2131"><span class="linenum">2130</span></a><br /> +Porque ha mucho que no soy.<br /> +</p> + +<p class="n">CONDE</p> + +<p> +Partes en la moza veo,<br /> +Que en otro traje pudieran,<br /> +Con el donaire y aseo,<br /> +Dar, fuera de vuestros ojos, <a name="line_2135" id="line_2135"></a><a href="#note_2131"><span class="linenum">2135</span></a><br /> +Á muchos envidia y celos.<br /> +Mi primo es tan singular,<br /> +Que por bizarría ha puesto<br /> +Las preferencias del gusto<br /> +En tan bajos fundamentos. <a name="line_2140" id="line_2140"></a><a href="#note_2131"><span class="linenum">2140</span></a><br /> +</p> + +<p class="n">MARTÍN</p> + +<p> +Á mí responder me toca.<br /> +Perdónenme si me atrevo,<br /> +Por el honor del fregado,<br /> +La opinión del lavadero,<br /> +Del cántaro y el jabón; <a name="line_2145" id="line_2145"></a><a href="#note_2146"><span class="linenum">2145</span></a><br /> +Que más de cuatro manteos,<br /> +De ésos con esteras de oro,<br /> +Cubren algunos defetos.<br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p> +Cásase Martín agora<br /> +Con mi Leonor, y por eso <a name="line_2150" id="line_2150"></a><a href="#note_2146"><span class="linenum">2150</span></a><br /> +Siente que vueseñoría<br /> +Haga de don Juan desprecio.<br /> +</p> + +<p class="n">DON JUAN</p> + +<p>¡Dar en el pobre don Juan!</p> + +<p class="n">CONDE</p> + +<p> +Huélgome del casamiento.<br /> +Y ¿seréis vos la madrina? <a name="line_2155" id="line_2155"></a><a href="#note_2146"><span class="linenum">2155</span></a><br /> +Porque ser padrino quiero.<br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p> +No, Señor, que es Isabel;<br /> +Que pienso que ha mucho tiempo<br /> +Que ella y Leonor son amigas.<br /> +</p> + +<p class="n">CONDE</p> + +<p> +Pues tócale de derecho <a name="line_2160" id="line_2160"></a><a href="#note_2146"><span class="linenum">2160</span></a><br /> +Ser el padrino á don Juan.<br /> +</p> + +<p class="n">DON JUAN</p> + +<p> +Basta; que estáis de concierto<br /> +Todos contra mí. Pues vaya;<br /> +Que el ser el padrino aceto.<br /> +</p> + +<p class="n">CONDE</p> + +<p>¿Cómo calla la madrina? <a name="line_2165" id="line_2165"></a><a href="#note_2164"><span class="linenum">2165</span></a></p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Señor, corto entendimiento<br /> +Presto se ataja, y más donde<br /> +Hay tantos y tan discretos.<br /> +Allá en mi lugar un día<br /> +Un muchacho en un jumento <a name="line_2170" id="line_2170"></a><a href="#note_2164"><span class="linenum">2170</span></a><br /> +Llevaba una labradora,<br /> +Y perdonad, que iba en pelo.<br /> +«Hazte allá, que le maltratas,»<br /> +Iba la madre diciendo;<br /> +Y tanto hacia atrás se hizo, <a name="line_2175" id="line_2175"></a><a href="#note_2172"><span class="linenum">2175</span></a><br /> +Que dió el muchacho en el suelo.<br /> +Díjole: «¿Cómo caíste?»<br /> +Y disculpóse diciendo:<br /> +«Madre, acabóseme el asno.»<br /> +Así yo, que hablando veo <a name="line_2180" id="line_2180"></a><a href="#note_2172"><span class="linenum">2180</span></a><br /> +Á tan discretos señores,<br /> +Hago atrás mi entendimiento,<br /> +Hasta que he venido á dar<br /> +Con el silencio en el suelo.<br /> +</p> + +<p class="n">MARTÍN (<i>ap.</i>)</p> + +<p>Tomen lo que se han ganado. <a name="line_2185" id="line_2185"></a><a href="#note_2172"><span class="linenum">2185</span></a></p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Es el Conde muy discreto,<br /> +Y la señora doña Ana<br /> +Un ángel; pues yo ¿qué puedo<br /> +Decir que no sea ignorancia?<br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p> +Ahora bien, Señor, hablemos <a name="line_2190" id="line_2190"></a><a href="#note_2172"><span class="linenum">2190</span></a><br /> +De la ausencia destos días.<br /> +Ya me olvidáis, ya me quejo<br /> +De vos al pasado amor.<br /> +</p> + +<p class="n">CONDE</p> + +<p> +Negocios son, os prometo,<br /> +Que me han tenido ocupado <a name="line_2195" id="line_2195"></a><a href="#note_2172"><span class="linenum">2195</span></a><br /> +Por un notable suceso.<br /> +Mató en Ronda cierta dama<br /> +Guzmán y Portocarrero,<br /> +Cuyo padre con el duque<br /> +De Medina tiene deudo, <a name="line_2200" id="line_2200"></a><a href="#note_2172"><span class="linenum">2200</span></a><br /> +Un caballero su amante.<br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p>¿Con qué ocasión? ¿Fueron celos?</p> + +<p class="n">CONDE</p> + +<p> +Desagraviando á su padre<br /> +De un bofetón, porque el viejo<br /> +No estaba para las armas. <a name="line_2205" id="line_2205"></a><a href="#note_2172"><span class="linenum">2205</span></a><br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p>¡Gran valor!</p> + +<p class="n">DON JUAN</p> + +<p class="indstart"> +¡Valiente esfuerzo!<br /> +Diera por ver á esa dama<br /> +Toda cuanta hacienda tengo.<br /> +</p> + +<p class="n">DOÑA MARÍA (<i>ap.</i>)</p> + +<p> +Turbada estoy, encubrir<br /> +Puedo apenas lo que siento. <a name="line_2210" id="line_2210"></a><a href="#note_2172"><span class="linenum">2210</span></a><br /> +</p> + +<p class="n">CONDE</p> + +<p> +Al fin, perdonó la parte,<br /> +Poniéndose de por medio,<br /> +Entre deudos de unos y otros,<br /> +Muchos nobles caballeros.<br /> +Con esto me ha escrito el Duque, <a name="line_2215" id="line_2215"></a><a href="#note_2217"><span class="linenum">2215</span></a><br /> +Por el mismo parentesco,<br /> +Alcance el perdón del Rey;<br /> +Lo que hoy, Señora, se ha hecho.<br /> +Mándame también buscalla,<br /> +Si entre tantos extranjeros <a name="line_2220" id="line_2220"></a><a href="#note_2217"><span class="linenum">2220</span></a><br /> +Alguna nueva se hallase,<br /> +Siendo esta corte su centro.<br /> +Mirad si estoy disculpado;<br /> +Y porque me voy con esto,<br /> +Vendré, Señora, á la noche, <a name="line_2225" id="line_2225"></a><a href="#note_2217"><span class="linenum">2225</span></a><br /> +Si me dais licencia, á veros.<br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p>Id con Dios; volvé á la noche.</p> + +<p class="n">CONDE</p> + +<p> +Si haré, encanto de Babel.—<br /> +Quedáos con vuestra Isabel; (<i>Á don Juan.</i>)<br /> +Que yo me voy en el coche. <a name="line_2230" id="line_2230"></a><a href="#note_2217"><span class="linenum">2230</span></a><br /> +<br /> +(<i>Vanse el Conde, doña Ana y los criados.</i>)<br /> +</p> + +</div> + +<h3 class="top15"><a name="ESCENA_VII3" id="ESCENA_VII3"></a>ESCENA VII</h3> + +<p class="c"><span class="smcap">Doña María</span>, <span class="smcap">Don Juan</span></p> + +<div class="d"> + +<p class="n">DON JUAN</p> + +<p> +Alegre, Isabel, estás,<br /> +Que ya el cántaro dejaste,<br /> +Pues con la fe le mudaste,<br /> +Y con el alma, que es más.<br /> +Que desde que te la dí, <a name="line_2235" id="line_2235"></a><a href="#note_2236"><span class="linenum">2235</span></a><br /> +De cántaro la tenía,<br /> +Pues pienso que se decía<br /> +Este proverbio por mí.<br /> +Nunca quisiste trocar,<br /> +Cuando yo lo deseaba, <a name="line_2240" id="line_2240"></a><a href="#note_2236"><span class="linenum">2240</span></a><br /> +Al hábito que te daba<br /> +El que ya quieres dejar.<br /> +Si cuando yo te rogué,<br /> +Hábito honrado tomaras,<br /> +La voluntad disculparas, <a name="line_2245" id="line_2245"></a><a href="#note_2236"><span class="linenum">2245</span></a><br /> +Que baja en tus prendas fué.<br /> +Si el venir aquí son celos,<br /> +Pensando que así me guardas,<br /> +Son, Isabel, sombras pardas<br /> +En ofensa de tus cielos. <a name="line_2250" id="line_2250"></a><a href="#note_2236"><span class="linenum">2250</span></a><br /> +¿Qué guarda de más valor,<br /> +Isabel, que tu hermosura,<br /> +Si ella misma te asegura<br /> +Que merece tanto amor?<br /> +¡Vive Dios, que te he querido, <a name="line_2255" id="line_2255"></a><a href="#note_2236"><span class="linenum">2255</span></a><br /> +Y te quiero y te querré,<br /> +Con tanta firmeza y fe,<br /> +Que vive mi amor corrido<br /> +De no vencer tu rigor,<br /> +Siendo tú tan desigual! <a name="line_2260" id="line_2260"></a><a href="#note_2236"><span class="linenum">2260</span></a><br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Quien siente bien no habla mal;<br /> +Que para tener valor<br /> +Con que poder igualaros,<br /> +Aunque de vuestro apellido<br /> +Príncipes haya tenido <a name="line_2265" id="line_2265"></a><a href="#note_2236"><span class="linenum">2265</span></a><br /> +Italia y Francia tan raros,<br /> +Sóbrame á mí el ser mujer;<br /> +Pero si de vuestro engaño<br /> +Á los dos resulta daño,<br /> +Desengaño habrá de ser. <a name="line_2270" id="line_2270"></a><a href="#note_2236"><span class="linenum">2270</span></a><br /> +No estoy contenta de estar<br /> +Donde, con hacer mudanza<br /> +Del hábito, mi esperanza<br /> +Aspire á mejor lugar.<br /> +Ni menos estoy celosa, <a name="line_2275" id="line_2275"></a><a href="#note_2236"><span class="linenum">2275</span></a><br /> +Ni os guardo, aunque os he querido;<br /> +Que en este humilde vestido<br /> +Hay un alma generosa,<br /> +Tan soberbia y arrogante,<br /> +Que el cántaro que dejé, <a name="line_2280" id="line_2280"></a><a href="#note_2282"><span class="linenum">2280</span></a><br /> +Un cielo en mis hombros fué,<br /> +Como el que sustenta Atlante.<br /> +Yo os quiero bien, aunque soy<br /> +De naturaleza esquiva;<br /> +Pero hay otro amor que priva, <a name="line_2285" id="line_2285"></a><a href="#note_2282"><span class="linenum">2285</span></a><br /> +Por quien os dejo y me voy.<br /> +No os dé pena; que os prometo<br /> +Que no hay nieve tan helada;<br /> +Pero he nacido obligada<br /> +Á su amor y á su respeto. <a name="line_2290" id="line_2290"></a><a href="#note_2282"><span class="linenum">2290</span></a><br /> +No puedo hacer más por vos<br /> +Que decir que os he querido:<br /> +En fe de lo cual os pido,<br /> +Y del amor de los dos,<br /> +Que una cosa hagáis por mí. <a name="line_2295" id="line_2295"></a><a href="#note_2282"><span class="linenum">2295</span></a><br /> +</p> + +<p class="n">DON JUAN</p> + +<p> +¿Como ausentarte, mi bien?<br /> +Después de tanto desdén,<br /> +¿Esto merezco de ti?<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +No excuso, aunque lo sintáis,<br /> +Este camino.<br /> +</p> + +<p class="n">DON JUAN</p> + +<p class="indstart"> +Isabel, <a name="line_2300" id="line_2300"></a><a href="#note_2282"><span class="linenum">2300</span></a><br /> +¿Qué dices?<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p class="indstart"> +Que para él<br /> +Esta joya me vendáis.<br /> +Diamantes son: claro está<br /> +Que justa sospecha diera<br /> +Si á vender diamantes fuera <a name="line_2305" id="line_2305"></a><a href="#note_2282"><span class="linenum">2305</span></a><br /> +Mujer que á la fuente va;<br /> +Que con lo que ella valiere,<br /> +Podré á mi casa llegar.<br /> +</p> + +<p class="n">DON JUAN</p> + +<p> +Cuando pensaba esperar,<br /> +Quiere amor que desespere. <a name="line_2310" id="line_2310"></a><a href="#note_2282"><span class="linenum">2310</span></a><br /> +¡Notable desdicha mía!<br /> +¡Tristes nuevas! ¿Quién amó<br /> +Con la fortuna que yo?<br /> +Mas ¿quién, sino yo, podía?<br /> +Tened la joya y la mano, <a name="line_2315" id="line_2315"></a><a href="#note_2315"><span class="linenum">2315</span></a><br /> +Que entrambas diamantes son,<br /> +Si es la mina un corazón<br /> +Tan firme como tirano;<br /> +Que cuando forzosa sea<br /> +Vuestra partida, no soy <a name="line_2320" id="line_2320"></a><a href="#note_2315"><span class="linenum">2320</span></a><br /> +Hombre tan vil...<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p class="indstart"> +Si no os doy<br /> +La joya, don Juan, no crea<br /> +Vuestro pecho liberal<br /> +Obligarme con dinero;<br /> +Que, pues de vos no lo quiero, <a name="line_2325" id="line_2325"></a><a href="#note_2315"><span class="linenum">2325</span></a><br /> +Bien creeréis que me está mal.<br /> +¡Oh, qué habréis imaginado<br /> +De cosas, después que visteis<br /> +La joya! Aunque no tuvisteis<br /> +Culpa de haberlas pensado, <a name="line_2330" id="line_2330"></a><a href="#note_2315"><span class="linenum">2330</span></a><br /> +Pues yo os he dado ocasión.<br /> +</p> + +<p class="n">DON JUAN</p> + +<p> +Cuando yo, Isabel, pensara<br /> +Tal bajeza, imaginara<br /> +Prendas que más altas son<br /> +De las que tenéis, bastantes <a name="line_2335" id="line_2335"></a><a href="#note_2315"><span class="linenum">2335</span></a><br /> +Á abonaros; cuando fuera<br /> +Hurto, mayor le creyera,<br /> +Si fueran almas, diamantes.<br /> +Algo sospecho encubierto,<br /> +Isabel; y en duda igual, <a name="line_2340" id="line_2340"></a><a href="#note_2342"><span class="linenum">2340</span></a><br /> +Que sois mujer principal<br /> +Tengo por mayor acierto.<br /> +Que desde el punto que os ví<br /> +Con el cántaro, Isabel,<br /> +Echó amor suertes en él <a name="line_2345" id="line_2345"></a><a href="#note_2347"><span class="linenum">2345</span></a><br /> +Para vos y para mí.<br /> +Vos salisteis diferente<br /> +De lo que aquí publicáis,<br /> +Y yo sin dicha si os vais,<br /> +Para que yo muera ausente. <a name="line_2350" id="line_2350"></a><a href="#note_2349"><span class="linenum">2350</span></a><br /> +¿Quién sois, hermosa Isabel?<br /> +Porque cántaro y diamantes<br /> +Son dos cosas muy distantes;<br /> +Que hay mucha bajeza en él,<br /> +Y en vos mucho entendimiento, <a name="line_2355" id="line_2355"></a><a href="#note_2349"><span class="linenum">2355</span></a><br /> +Mucha hermosura y valor,<br /> +Mucho respeto al honor,<br /> +Que es más encarecimiento.<br /> +La verdad se encubre en vano;<br /> +Que como al que ayer traía <a name="line_2360" id="line_2360"></a><a href="#note_2349"><span class="linenum">2360</span></a><br /> +Guantes de ámbar, otro día,<br /> +Le quedó oliendo la mano;<br /> +Así, quien señora fué,<br /> +Trae aquel olor consigo,<br /> +Aunque del ámbar que digo, <a name="line_2365" id="line_2365"></a><a href="#note_2349"><span class="linenum">2365</span></a><br /> +Reliquias muestre por fe.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +No os canséis en prevenciones;<br /> +Que yo no os he de engañar.<br /> +</p> +</div> + + +<h3 class="top15"><a name="ESCENA_VIII3" id="ESCENA_VIII3"></a>ESCENA VIII</h3> + +<p class="c"><span class="smcap">Leonor.</span>—<span class="smcap">Dichos</span></p> + +<div class="d"> + +<p class="n">LEONOR</p> + +<p> +¿Cuándo piensas acabar,<br /> +Isabel, tantas razones? <a name="line_2370" id="line_2370"></a><a href="#note_2349"><span class="linenum">2370</span></a><br /> +Vente á vestir y á vestirme;<br /> +Que mi señora te llama.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p>Voy á ponerme de dama.</p> + +<p class="n">DON JUAN</p> + +<p>¿Volverás?</p> + +<p class="n">DOÑA MARÍA</p> + +<p class="indstart">Á despedirme.<br /> +<span style="margin-left: 18%;">(<i>Vanse los dos.</i>)</span></p> + +</div> + + +<h3 class="top15"><a name="ESCENA_IX3" id="ESCENA_IX3"></a>ESCENA IX</h3> + +<div class="d"> + +<p class="n">DON JUAN</p> + +<p> +¿Qué confusión es ésta que levanta <a name="line_2375" id="line_2375"></a><a href="#note_2349"><span class="linenum">2375</span></a><br /> +Amor en mis sentidos nuevamente,<br /> +Que á tales pensamientos adelanta<br /> +Mi dulce cuanto bárbaro accidente?<br /> +Así el cautivo en la cadena canta,<br /> +Así engañado se entretiene, ausente, <a name="line_2380" id="line_2380"></a><a href="#note_2349"><span class="linenum">2380</span></a><br /> +De vanas esperanzas, que algún día<br /> +Verá la patria en que vivir solía.<br /> +No con menos temor, menos sosiego,<br /> +Tímido ruiseñor su esposa llama,<br /> +Á quien el plomo en círculos de fuego <a name="line_2385" id="line_2385"></a><a href="#note_2349"><span class="linenum">2385</span></a><br /> +Quitó la amada vida en verde rama,<br /> +Que mi confuso pensamiento ciego<br /> +En noche obscura los engaños ama,<br /> +Esperando que llegue con el día<br /> +La muerta luz de la esperanza mía. <a name="line_2390" id="line_2390"></a><a href="#note_2349"><span class="linenum">2390</span></a><br /> +Mas ¿cómo puede haber tales engaños?<br /> +Cómo pensar mi amor que la belleza<br /> +No puede haber nacido en viles paños,<br /> +Si pudo la fealdad en la nobleza?<br /> +Así, para mayores desengaños, <a name="line_2395" id="line_2395"></a><a href="#note_2349"><span class="linenum">2395</span></a><br /> +Mostró por variedad naturaleza<br /> +De un espino la flor candida, hermosa,<br /> +Y vestida de púrpura la rosa.<br /> +Que darme yo á entender que la hermosura<br /> +Que ví llevar un cántaro á la fuente, <a name="line_2400" id="line_2400"></a><a href="#note_2399"><span class="linenum">2400</span></a><br /> +Por engastar el barro en nieve pura<br /> +Del cristal de una mano trasparente,<br /> +No pudo proceder de sangre obscura,<br /> +Y nacer entendida humildemente,<br /> +Es vano error, pues siempre amando veo <a name="line_2405" id="line_2405"></a><a href="#note_2399"><span class="linenum">2405</span></a><br /> +Calificar bajezas el deseo.<br /> +Pues ¿quién será Isabel, locura mía,<br /> +Con hermosura y prendas celestiales?<br /> +¡Oh! ¿cuándo resistió tanta porfía<br /> +La bajeza de humildes naturales? <a name="line_2410" id="line_2410"></a><a href="#note_2399"><span class="linenum">2410</span></a><br /> +No ha de pasar sin que lo sepa el día.<br /> +Industrias hay; y si por dicha iguales<br /> +Somos los dos, como mi amor desea,<br /> +Tu cántaro, Isabel, mi dote sea.<br /> +No te pienses partir, si por ventura <a name="line_2415" id="line_2415"></a><a href="#note_2399"><span class="linenum">2415</span></a><br /> +No lo quieres fingir para matarme;<br /> +Que ya no tiene estado mi locura<br /> +Que yo pueda perderte y tú dejarme;<br /> +Que si tienes nobleza y hermosura,<br /> +Del cántaro por armas pienso honrarme; <a name="line_2420" id="line_2420"></a><a href="#note_2420"><span class="linenum">2420</span></a><br /> +Que con el premio con que ya se trata,<br /> +Amor le volverá de barro en plata. (<i>Vase.</i>)<br /> +</p> +</div> + + +<h3 class="top15"><a name="ESCENA_X3" id="ESCENA_X3"></a>ESCENA X</h3> + +<p class="c">Calle.</p> + +<p class="c"><span class="smcap">Martín</span>, <span class="smcap">Pedro</span></p> + +<div class="d"> + +<p class="n">PEDRO</p> + +<p> +Martín, en esta ocasión<br /> +Me habéis desfavorecido:<br /> +Quejoso estoy y ofendido. <a name="line_2425" id="line_2425"></a><a href="#note_2422"><span class="linenum">2425</span></a><br /> +</p> + +<p class="n">MARTÍN</p> + +<p> +Pedro, no tenéis razón;<br /> +Que el Conde gusta que sea<br /> +Padrino con Isabel.<br /> +</p> + +<p class="n">PEDRO</p> + +<p> +Ensancharáse con él Cuando á su lado se vea. <a name="line_2430" id="line_2430"></a><a href="#note_2422"><span class="linenum">2430</span></a><br /> +Yo sé que si<br /> +me casara, Padrino os hiciera á vos.<br /> +</p> + +<p class="n">MARTÍN</p> + +<p>Yo no pude más, por Dios.</p> + +<p class="n">PEDRO</p> + +<p> +Pedro ¿también no la honrara?<br /> +¿No tengo cueras y sayos, <a name="line_2435" id="line_2435"></a><a href="#note_2422"><span class="linenum">2435</span></a><br /> +Capas, calzas, que por yerro<br /> +Quedaron en su destierro<br /> +Vinculadas en lacayos?<br /> +Pues ¡por el agua de Dios,<br /> +Aunque poca me ha cabido, <a name="line_2440" id="line_2440"></a><a href="#note_2438"><span class="linenum">2440</span></a><br /> +Que soy yo tan bien nacido!...<br /> +</p> + +<p class="n">MARTÍN</p> + +<p> +¿Quién pudiera como vos<br /> +Honrarme con Isabel?<br /> +</p> + +<p class="n">PEDRO</p> + +<p> +¿Hay hidalgo en Mondoñedo<br /> +Que pueda, como yo puedo, <a name="line_2445" id="line_2445"></a><a href="#note_2440"><span class="linenum">2445</span></a><br /> +Volver la silla á el dosel?<br /> +</p> + +<p class="n">MARTÍN</p> + +<p> +Dejad el enojo ya;<br /> +Y pues que sois entendido,<br /> +Decidme si acierto ha sido<br /> +Casarme.<br /> +</p> + +<p class="n">PEDRO</p> + +<p> +Pues claro está; <a name="line_2450" id="line_2450"></a><a href="#note_2446"><span class="linenum">2450</span></a><br /> +Que es muy honrada Leonor,<br /> +Aunque pide más caudal<br /> +La talega de la sal,<br /> +Que anda el tiempo á el rededor.<br /> +Mas queriendo el Conde bien <a name="line_2455" id="line_2455"></a><a href="#note_2452"><span class="linenum">2455</span></a><br /> +Á doña Ana, por Leonor<br /> +Os hará siempre favor,<br /> +Y ella ayudará también<br /> +De su parte á vuestra casa.<br /> +</p> + +<p class="n">MARTÍN</p> + +<p>Pues con eso pasaremos. <a name="line_2460" id="line_2460"></a><a href="#note_2452"><span class="linenum">2460</span></a></p> + +<p class="n">PEDRO</p> + +<p>¿Quién queréis que convidemos?</p> + +<p class="n">MARTÍN</p> + +<p> +No lo excusa quien se casa.<br /> +Á Rodríguez lo primero,<br /> +Á Galindo y á Butrón,<br /> +Á Lorenzo y á Ramón, <a name="line_2465" id="line_2465"></a><a href="#note_2452"><span class="linenum">2465</span></a><br /> +Y á Pierres, buen compañero.<br /> +</p> + +<p class="n">PEDRO</p> + +<p> +Haced llevar un menudo;<br /> +Que no hay hueso que dejar.<br /> +</p> + +<p class="n">MARTÍN</p> + +<p>Eso es darles de cenar.</p> + +<p class="n">PEDRO</p> + +<p> +En esta ocasión no dudo <a name="line_2470" id="line_2470"></a><a href="#note_2468"><span class="linenum">2470</span></a><br /> +De que tendrán los señores<br /> +Arriba gran colación.<br /> +</p> + +<p class="n">MARTÍN</p> + +<p> +Por allá conservas son<br /> +Y confites de colores.<br /> +</p> + +<p class="n">PEDRO</p> + +<p> +Lobos de marca mayor <a name="line_2475" id="line_2475"></a><a href="#note_2468"><span class="linenum">2475</span></a><br /> +Tendremos en cantidad.<br /> +</p> + +<p class="n">MARTÍN</p> + +<p> +Pedro, ésa es enfermedad<br /> +Que no ha menester doctor. (<i>Vanse.</i>)<br /> +</p> +</div> + + +<h3 class="top15"><a name="ESCENA_XI3" id="ESCENA_XI3"></a>ESCENA XI</h3> + +<p class="c">Sala en casa de doña Ana.</p> + +<p class="c"><span class="smcap">Doña Ana</span>, <span class="smcap">Don Juan</span></p> + +<div class="d"> + +<p class="n">DON JUAN</p> + +<p> +Yo pienso que es condición,<br /> +Y no amor, vuestra porfía. <a name="line_2480" id="line_2480"></a><a href="#note_2468"><span class="linenum">2480</span></a><br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p> +Y ¿quién sin amor podía<br /> +Sufrir tanta sinrazón?<br /> +</p> + +<p class="n">DON JUAN</p> + +<p> +No es sinrazón la ocasión<br /> +Que me fuerza á no querer<br /> +Lo que del Conde ha de ser. <a name="line_2485" id="line_2485"></a><a href="#note_2468"><span class="linenum">2485</span></a><br /> +</p> +</div> + + +<h3 class="top15"><a name="ESCENA_XII3" id="ESCENA_XII3"></a>ESCENA XII</h3> + +<p class="c"> +<span class="smcap"> +El Conde</span>, +<i>que se queda escuchando sin que le +vean</i>.—<span class="smcap"> +Dichos</span>.</p> + +<div class="d"> + +<p class="n">CONDE (<i>ap.</i>)</p> + +<p> +Necios celos me han traído<br /> +De un deudo amigo fingido<br /> +Y de una ingrata mujer.<br /> +</p> + +<p class="n">DON JUAN</p> + +<p> +Cuando no os quisiera bien<br /> +El Conde, mil almas fueran <a name="line_2490" id="line_2490"></a><a href="#note_2468"><span class="linenum">2490</span></a><br /> +Las que estos ojos os dieran.<br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p>¡Oh, mal haya el Conde, amén!</p> + +<p class="n">CONDE (<i>ap.</i>)</p> + +<p> +Don Juan la muestra desdén,<br /> +Y ella á don Juan solicita.<br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p> +Con oro en mármol escrita <a name="line_2495" id="line_2495"></a><a href="#note_2468"><span class="linenum">2495</span></a><br /> +Tiene el amor una ley,<br /> +Que como absoluto rey,<br /> +No hay traición que no permita.<br /> +Demás, que esto no es traición;<br /> +Que nunca yo quise al Conde. <a name="line_2500" id="line_2500"></a><a href="#note_2468"><span class="linenum">2500</span></a><br /> +</p> + +<p class="n">CONDE (<i>ap.</i>)</p> + +<p> +En lo que agora responde<br /> +Conoceré su intención.<br /> +</p> + +<p class="n">DON JUAN</p> + +<p> +Ninguna loca afición<br /> +Que se haya visto ni escrito,<br /> +Ha disculpado el delito <a name="line_2505" id="line_2505"></a><a href="#note_2468"><span class="linenum">2505</span></a><br /> +Del amigo; que el valor<br /> +Es resistir á el amor,<br /> +Y vencer á el apetito.<br /> +Que yo con vos me casara<br /> +Es sin duda, si pudiera. <a name="line_2510" id="line_2510"></a><a href="#note_2468"><span class="linenum">2510</span></a><br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p> +Y ¿si el Conde lo quisiera,<br /> +Y aun él mismo os lo mandara?<br /> +</p> + +<p class="n">DON JUAN</p> + +<p> +Entonces es cosa clara;<br /> +Mas cierta podéis estar<br /> +Que no me lo ha de mandar. <a name="line_2515" id="line_2515"></a><a href="#note_2468"><span class="linenum">2515</span></a><br /> +Y así, me voy; que no quiero<br /> +Dar á tan gran caballero<br /> +Ni sospecha ni pesar.<br /> +</p> + +<p class="n">CONDE</p> + +<p>Detente.</p> + +<p class="n">DON JUAN</p> + +<p class="indstart"> +Si habéis oído<br /> +Lo que ya sospecho aquí, <a name="line_2520" id="line_2520"></a><a href="#note_2468"><span class="linenum">2520</span></a><br /> +Pienso que estaréis de mí<br /> +Seguro y agradecido.<br /> +</p> + +<p class="n">CONDE</p> + +<p> +Todo lo tengo entendido;<br /> +Y si por quereros bien<br /> +Trata mi amor con desdén <a name="line_2525" id="line_2525"></a><a href="#note_2468"><span class="linenum">2525</span></a><br /> +Doña Ana, no ha sido culpa,<br /> +Porque sois vos la disculpa,<br /> +Y mi desdicha también.<br /> +Dice que sabe de mí<br /> +Que os mandaré que os caséis: <a name="line_2530" id="line_2530"></a><a href="#note_2534"><span class="linenum">2530</span></a><br /> +Dice bien, y vos lo haréis,<br /> +Porque yo os lo mando así.<br /> +Que á saber, cuando la ví,<br /> +Que os tenía tanto amor,<br /> +No la amara; aunque en rigor <a name="line_2535" id="line_2535"></a><a href="#note_2534"><span class="linenum">2535</span></a><br /> +Fué engañado pensamiento<br /> +Que con tal entendimiento<br /> +No escogiese lo mejor.<br /> +</p> + +<p class="n">DON JUAN</p> + +<p> +Aunque á Alejandro imitéis<br /> +En darme lo que estimáis, <a name="line_2540" id="line_2540"></a><a href="#note_2534"><span class="linenum">2540</span></a><br /> +Ni como Apeles me halláis,<br /> +Ni enamorado me veis,<br /> +Ni vos mandarme podéis<br /> +Que sea lo que no fuí;<br /> +Pues cuando pudiera aquí <a name="line_2545" id="line_2545"></a><a href="#note_2534"><span class="linenum">2545</span></a><br /> +Ser lo que no puede ser,<br /> +No quisiera yo querer<br /> +Á quien os deja por mí.<br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p> +Quedo, quedo; que no soy<br /> +Tan del Conde, que me dé, <a name="line_2550" id="line_2550"></a><a href="#note_2539"><span class="linenum">2550</span></a><br /> +Ni tan de don Juan, que esté<br /> +Menos contenta ayer que hoy.<br /> +Libre, á mí misma me doy,<br /> +Y daré luego, si quiero,<br /> +Á un honrado caballero <a name="line_2555" id="line_2555"></a><a href="#note_2539"><span class="linenum">2555</span></a><br /> +Mujer y cien mil ducados,<br /> +Sin suegros y sin cuñados,<br /> +Que es otro tanto dinero.<br /> +</p> +</div> + + +<h3 class="top15"><a name="ESCENA_XIII3" id="ESCENA_XIII3"></a>ESCENA XIII</h3> + +<p class="c"><span class="smcap">Doña María</span>, <i>de madrina y muy bizarra, con</i> <span class="smcap">Leonor</span>, <i>de la mano</i>; +<span class="smcap">Martín</span>, <span class="smcap">Pedro</span>, <span class="smcap">Lorenzo</span>, <span class="smcap">Bernal</span> <i>y</i> <span class="smcap">otros Lacayos</span>, <i>muy galanes</i>; +<span class="smcap">acompañamiento de Mujeres de la boda</span>, <span class="smcap">Músicos</span>.</p> + + +<div class="d"> + +<p>MÚSICOS (<i>cantan</i>)</p> + +<p> +<i>En la villa de Madrid<br /> +Leonor y Martín se casan: +Corren toros y juegan cañas.</i><a name="line_2560" id="line_2560"></a><a href="#note_2559"><span class="linenum">2560</span></a><br /> +</p> + +<p class="n">MARTÍN</p> + +<p>¡Mala letra para novios!</p> + +<p class="n">PEDRO</p> + +<p>Pues ¿no os agrada la letra?</p> + +<p class="n">MARTÍN</p> + +<p> +Correr toros y casarme<br /> +Paréceme á los que llevan <a name="line_2565" id="line_2565"></a><a href="#note_2561"><span class="linenum">2565</span></a><br /> +Pronósticos para el año<br /> +Dos meses antes que venga.<br /> +</p> + +<p class="n">CONDE</p> + +<p> +Gallarda viene la novia;<br /> +Pero quien no conociera<br /> +Á Isabel, imaginara, <a name="line_2570" id="line_2570"></a><a href="#note_2562"><span class="linenum">2570</span></a><br /> +Viéndola grave y compuesta,<br /> +Que era mujer principal.<br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p> +Juzgarse puede por ella<br /> +Cuánto las galas importan,<br /> +Cuánto adorna la riqueza. <a name="line_2575" id="line_2575"></a><a href="#note_2567"><span class="linenum">2575</span></a><br /> +</p> + +<p class="n">CONDE</p> + +<p>¡Qué perdido está don Juan!</p> + +<p class="n">DOÑA ANA</p> + +<p>¡Qué admirado la contempla!</p> + +<p class="n">CONDE</p> + +<p> +Por Dios, que tiene disculpa<br /> +De estimarla y de quererla;<br /> +Que la gravedad fingida <a name="line_2580" id="line_2580"></a><a href="#note_2567"><span class="linenum">2580</span></a><br /> +Parece tan verdadera,<br /> +Que, á no conocerla yo<br /> +Y saber sus bajas prendas,<br /> +Hiciera un alto conceto<br /> +De su gallarda presencia. <a name="line_2585" id="line_2585"></a><a href="#note_2567"><span class="linenum">2585</span></a><br /> +</p> + +<p class="n">DON JUAN</p> + +<p> +(<i>Para sí.</i> Amor, si en esta mujer<br /> +No está oculta la nobleza,<br /> +La calidad y la sangre<br /> +Que por lo exterior se muestra,<br /> +¿Qué es lo que quiso sin causa <a name="line_2590" id="line_2590"></a><a href="#note_2567"><span class="linenum">2590</span></a><br /> +Hacer la naturaleza,<br /> +Pues pudiendo en un cristal<br /> +Guarnecido de oro y piedras,<br /> +Puso en un vaso de barro<br /> +Alma tan ilustre y bella? <a name="line_2595" id="line_2595"></a><a href="#note_2567"><span class="linenum">2595</span></a><br /> +Yo estoy perdido y confuso,<br /> +Doña Ana celosa de ella,<br /> +El Conde suspenso, hurtando<br /> +Á su gravedad respuesta.<br /> +Ella se parte mañana, <a name="line_2600" id="line_2600"></a><a href="#note_2567"><span class="linenum">2600</span></a><br /> +Diamantes me da que venda;<br /> +¿Qué tienen que ver diamantes<br /> +Con la fingida bajeza?<br /> +Pues ¿he de quedar así,<br /> +Amor, sin alma y sin ella? <a name="line_2605" id="line_2605"></a><a href="#note_2567"><span class="linenum">2605</span></a><br /> +¿No alcanza el ingenio industria?<br /> +No suele en dudosas pruebas,<br /> +Por las inciertas mentiras,<br /> +Hallarse verdades ciertas?<br /> +Ahora bien; no ha de partirse <a name="line_2610" id="line_2610"></a><a href="#note_2567"><span class="linenum">2610</span></a><br /> +Isabel sin que se entienda<br /> +Si en exteriores tan graves<br /> +Hay algún alma secreta.)<br /> +Conde, el más alto poder<br /> +Que reconoce la tierra, <a name="line_2615" id="line_2615"></a><a href="#note_2567"><span class="linenum">2615</span></a><br /> +El cetro, la monarquía,<br /> +La corona, la grandeza<br /> +Del mayor rey de los hombres,<br /> +Todas las historias cuentan,<br /> +Todos los sabios afirman, <a name="line_2620" id="line_2620"></a><a href="#note_2567"><span class="linenum">2620</span></a><br /> +Todos los ejemplos muestran<br /> +Que es amor; pues siendo así,<br /> +Y que ninguno lo niega,<br /> +Que yo por amor me case,<br /> +Que yo por amor me pierda, <a name="line_2625" id="line_2625"></a><a href="#note_2567"><span class="linenum">2625</span></a><br /> +No es justo que á nadie admire,<br /> +Pues cuantos viven confiesan<br /> +Que es amor una pasión<br /> +Incapaz de resistencia.<br /> +Yo no soy mármol, si bien <a name="line_2630" id="line_2630"></a><a href="#note_2641"><span class="linenum">2630</span></a><br /> +No soy yo quien me gobierna;<br /> +Que obedecen á Isabel<br /> +Mis sentidos y potencias.<br /> +Cuando esto en público digo,<br /> +No quiero que nadie pueda <a name="line_2635" id="line_2635"></a><a href="#note_2641"><span class="linenum">2635</span></a><br /> +Contradecirme el casarme,<br /> +Pues hoy me caso con ella.<br /> +Sed testigos que le doy<br /> +La mano.<br /> +</p> + +<p class="n">CONDE</p> + +<p class="indstart">¿Qué furia es ésta?</p> + +<p class="n">DOÑA ANA</p> + +<p>Loco se ha vuelto don Juan.<a name="line_2640" id="line_2640"></a><a href="#note_2641"><span class="linenum">2640</span></a></p> + +<p class="n">CONDE</p> + +<p> +¡Vive Dios, que si es de veras,<br /> +Que antes os quite la vida<br /> +Que permitir tal bajeza!<br /> +¡Hola! Criados, echad<br /> +Esta mujer hechicera <a name="line_2645" id="line_2645"></a><a href="#note_2641"><span class="linenum">2645</span></a><br /> +Por un corredor, matadla.<br /> +</p> + +<p class="n">DON JUAN</p> + +<p> +Ninguno, infames, se atreva;<br /> +Que le daré de estocadas.<br /> +</p> + +<p class="n">CONDE</p> + +<p> +Un hombre de vuestras prendas<br /> +¡Quiere infamar su linaje! <a name="line_2650" id="line_2650"></a><a href="#note_2641"><span class="linenum">2650</span></a><br /> +</p> + +<p class="n">DON JUAN</p> + +<p> +¡Ay Dios! Su bajeza es cierta,<br /> +Pues calla en esta ocasión.<br /> +Ya no es posible que pueda<br /> +Ser más de lo que parece.<br /> +</p> + +<p class="n">CONDE</p> + +<p> +¿Con cien mil ducados deja <a name="line_2655" id="line_2655"></a><a href="#note_2641"><span class="linenum">2655</span></a><br /> +Un hombre loco mujer,<br /> +Que me casara con ella,<br /> +Si amor me hubiera tenido?<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Quedo, Conde; que me pesa<br /> +De que me deis ocasión <a name="line_2660" id="line_2660"></a><a href="#note_2641"><span class="linenum">2660</span></a><br /> +De hablar.<br /> +</p> + +<p class="n">DON JUAN (<i>ap.</i>)</p> + +<p class="indstart"> +¡Ay Dios! ¡Si ya llega<br /> +Algún desengaño mío!<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +No está la boda tan hecha<br /> +Como os parece, Señor;<br /> +Porque falta que yo quiera. <a name="line_2665" id="line_2665"></a><a href="#note_2641"><span class="linenum">2665</span></a><br /> +Para igualar a don Juan,<br /> +¿Bastaba ser vuestra deuda<br /> +Y del duque de Medina?<br /> +</p> + +<p class="n">CONDE</p> + +<p>Bastaba, si verdad fuera.</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +¿Quién fué la dama de Ronda <a name="line_2670" id="line_2670"></a><a href="#note_2641"><span class="linenum">2670</span></a><br /> +Que mató, por la defensa<br /> +De su padre, un caballero,<br /> +Cuyo perdón se concierta<br /> +Por vos, y que vos buscáis?<br /> +</p> + +<p class="n">CONDE</p> + +<p> +Doña María, á quien deban <a name="line_2675" id="line_2675"></a><a href="#note_2679"><span class="linenum">2675</span></a><br /> +Respeto cuantas historias<br /> +Y hechos de mujeres cuentan.<br /> +</p> + +<p class="n">DOÑA MARÍA</p> + +<p> +Pues yo soy doña María,<br /> +Que por andar encubierta...<br /> +</p> + +<p class="n">DON JUAN</p> + +<p> +No prosigas relaciones, <a name="line_2680" id="line_2680"></a><a href="#note_2679"><span class="linenum">2680</span></a><br /> +Porque son personas necias,<br /> +Que en noche de desposados<br /> +Hasta las doce se quedan.<br /> +Dame tu mano y tus brazos.<br /> +</p> + +<p class="n">MARTÍN</p> + +<p> +Leonor, á escuras nos dejan. <a name="line_2685" id="line_2685"></a><a href="#note_2679"><span class="linenum">2685</span></a><br /> +Los padrinos son los novios.<br /> +</p> + +<p class="n">DOÑA ANA</p> + +<p> +Justo será que lo sean<br /> +El Conde y doña Ana.<br /> +</p> + +<p class="n">CONDE</p> + +<p class="indstart"> +Aquí<br /> +Puso fin á la comedia<br /> +Quien, si perdiere este pleito, <a name="line_2690" id="line_2690"></a><a href="#note_2691"><span class="linenum">2690</span></a><br /> +<i>Apela á Mil y Quinientas</i>.<br /> +Mil y quinientas ha escrito:<br /> +Bien es que perdón merezca.<br /> +</p> + +</div> + +<hr /> + +<h2 class="top15"><a name="NOTES" id="NOTES"></a>NOTES<br /> </h2> + + +<p class="c"><a name="notes_1" id="notes_1"></a>ACT I</p> + +<p class="ind"><a name="Footnote_a_a" id="Footnote_a_a"></a><a href="#FNanchor_a_a"><span class="label">a. </span></a><b>Ronda.</b> A city of about 20,000 in Southern Spain, founded by the Romans +and occupied for many centuries by the Moors. On account of its history +and its natural beauty it is one of the most interesting cities in +Spain.</p> + +<p class="ind"><a name="note_1" id="note_1"></a><a href="#line_1">1.</a> <b>Es cosa... de risa</b>, <i>It is enough to make one die of laughter.</i></p> + +<p class="ind"><a name="note_3" id="note_3"></a><a href="#line_1">3.</a> <b>Lüisa</b>, spelled with the dieresis for metrical reasons.</p> + +<p class="ind"><a name="note_4" id="note_4"></a><a href="#line_1">4.</a> <b>Narcisos.</b> Now a common noun and written with a small letter. In +origin the word is derived from the mythological character, Narcissus, +the son of the river Cephissus and the nymph Liriope. He was insensible +to the charms of all the nymphs, who at last appealed to Nemesis for +revenge. She made him fall in love with his own image reflected in a +fountain; because he could not grasp it he longed for death and, +according to Ovid, was metamorphosed into the flower which bears his +name. A century before Lope it had evidently not yet passed into such +common usage, for in the <i>Celestina</i> we read: "Por fe tengo que no era +tan hermoso aquel gentil Narciso, que se enamoró de su propia figura +cuando se vido en las aguas de la fuente." (<i>Novelistas Anteriores á +Cervantes</i>, p. 25.)</p> + +<p class="ind"><a name="note_8" id="note_8"></a><a href="#line_5">8.</a> <b>consultas</b> are reports or advice submitted to a ruler, hence the use +of <i>alteza</i>.</p> + +<p class="ind"><a name="note_10" id="note_10"></a><a href="#line_10">10.</a> <b>entre otras partes.</b> The Parisian edition of 1886, for no evident +reason, reads, entre otros partes.</p> + +<p class="ind"><a name="note_12" id="note_12"></a><a href="#line_10">12.</a> <b>el duque de Medina.</b> Gaspar Alonzo de Guzmán, duque de +Medina-Sidonia, was a relative of Olivares and head of the great house +of Guzmán of which the prime minister was a descendant through a younger +branch. He was immensely wealthy and enjoyed high favor at court during +the first years of the reign of Philip IV. Later, as governor of +Andalusia, he conceived the idea of establishing a separate kingdom, as +his brother-in-law, Juan de Braganza, had done in Portugal in 1640. His +plans were discovered and as punishment and humiliation he was compelled +to challenge the king of Portugal to a duel for the aid the latter was +to give to the projected uprising in Andalusia. He made the journey to +the Portuguese border only to find that Braganza had ignored his +challenge. Covered with ridicule by the affair he passed the rest of his +life in obscurity and disgrace. At the time Lope de Vega was writing <i>La +Moza de Cántaro</i> he seems to have been seeking the favor of Olivares and +therefore made the leading character of the play a relative of the +favorite and the Duque de Medina-Sidonia.</p> + +<p class="ind"><a name="note_16" id="note_16"></a><a href="#line_15">16.</a> <b>Señora</b> is now regularly written in such cases with a small letter, +as well as similar titles hereafter encountered in the play.</p> + +<p class="ind"><a name="note_17" id="note_17"></a><a href="#line_15">17.</a> <b>Lindamente... vanidad</b>, <i>You know my weakness! You are trying to +flatter me.</i></p> + +<p class="ind"><a name="note_21" id="note_21"></a><a href="#line_20">21.</a> <b>Sevilla</b>, the metropolis of Andalusia and a city always noted for the +beauty of its women.</p> + +<p class="ind"><a name="note_29" id="note_29"></a><a href="#line_25">29.</a> <b>Éste.</b> Supply <i>papel</i> as suggested by line 3.</p> + +<p class="ind"><a name="note_35" id="note_35"></a><a href="#line_35">35.</a> <b>quiere en la memoria de la muerte</b>, etc., that is, after he has died +for her.</p> + +<p class="ind"><a name="note_40" id="note_40"></a>After <a href="#line_35">40.</a> <b>Con hermoso</b>, etc. The author evidently intends to make the +suitor write a wordy letter void of clear meaning, and that he is +striking a blow at the then popular literary affectation known as +<i>culteranismo</i> is indicated beyond a doubt by the word <i>culto</i> in line +43. A comparison of the passage with Cervantes' celebrated quotation +from Feliciano de Silva, "La razón de la sinrazón" is interesting. (See +<i>Don Quijote</i>, Part I, Chap. I.) A possible translation of the letter is +as follows: "With fair though stern, not sweet, yet placid countenance, +lady mine, appearances deceiving you, there gazed at me last week your +disdain, imbued with all benevolence and yet rigid, and withal its +brilliancy not solicitous, (benevolence) which with celestial candor +illumines your face."</p> + +<p class="ind"><a name="note_44" id="note_44"></a><a href="#line_40">44.</a> <b>¿Habla de aciértame aquí?</b> The imperative is used here as a noun +after the preposition and the verse is approximately equivalent to the +expression "Habla de alguna adivinanza aquí?"</p> + +<p class="ind"><a name="note_54" id="note_54"></a><a href="#line_50">54.</a> <b>¿Qué nada te ha de agradar?</b> <i>Can nothing please you?</i></p> + +<p class="ind"><a name="note_58" id="note_58"></a><a href="#line_55">58.</a> <b>Yo no tengo de querer.</b> <i>Tener de</i> is used here where we should now +expect <i>haber de</i> or <i>tener que</i>.</p> + +<p class="ind"><a name="note_62" id="note_62"></a><a href="#line_60">62.</a> <b>Flandes.</b> In the time of Lope de Vega Spain held the Netherlands and +constantly maintained a large force there.</p> + +<p class="ind"><a name="note_64" id="note_64"></a><a href="#line_60">64.</a> Zerolo's edition has a comma instead of a period at the end of this +line. Either punctuation makes good sense.</p> + +<p class="ind"><a name="note_66" id="note_66"></a><a href="#line_65">66.</a> <b>que yo... aquí</b>, <i>for of all those who appear here I do not see one +to whom I should direct my favor</i>.</p> + +<p class="ind"><a name="note_70" id="note_70"></a><a href="#line_70">70.</a> <b>si va á decir verdad</b>, <i>if the truth be told</i>.</p> + +<p class="ind"><a name="note_79" id="note_79"></a><a href="#line_75">79.</a> <b>ansí</b>, middle Spanish and archaic form of <i>así</i>. Cf. the French +<i>ainsi</i>.</p> + +<p class="ind"><a name="note_92" id="note_92"></a><a href="#line_90">92.</a> <b>La primera necedad</b>, etc., <i>They say that the greatest folly is not +the one to be feared, but those which follow it seeking to undo it.</i></p> + +<p class="ind"><a name="note_95" id="note_95"></a><a href="#line_95">95.</a> <b>deshacella</b>=<i>deshacerla</i>. In earlier Spanish verse the assimilation +of the r of the infinitive is quite common.</p> + +<p class="ind"><a name="note_107" id="note_107"></a><a href="#line_105">107.</a> <b>Muchas se casan aprisa</b>, etc. Compare the English proverb of similar +purport, "Marry in haste and repent at leisure."</p> + +<p class="ind"><a name="note_121" id="note_121"></a><a href="#line_120">121.</a> <b>dél</b>=<i>de él</i>. A contraction no longer approved by the Spanish +Academy.</p> + +<p class="ind"><a name="note_124" id="note_124"></a><a href="#line_120">124.</a> <b>Pedro el Cruel</b> (1334-1369) was proclaimed king of Castile at +Seville in 1350 after the death of his father, Alphonso XI. He early +became infatuated with María de Padilla, but was made to marry against +his will Blanche de Bourbon whom he immediately put aside. Pedro then +plunged into a career of crime seldom equaled in Spanish history. +Several times he was dethroned but always succeeded in regaining the +scepter. He was finally killed by his own brother, Henry of Trastamare, +at Montiel. Pedro's meritorious works were his successful efforts to +break down the feudal aristocracy and his encouragement of arts, +commerce and industry.</p> + +<p class="ind"><a name="note_133" id="note_133"></a><a href="#line_130">133.</a> <b>Don Diego de noche y coche.</b> The implication is that don Diego is +one who would woo his lady love at night and under the cover of a +carriage rather than in the more open and approved manner of a gentleman +of his rank. In spite of the brilliant example of the king, horsemanship +was becoming a lost art and in a complaint of a member of the Cortes, +addressed to the king, the subject is treated as follows: "The art of +horsemanship is dying out, and those who ought to be mounted crowd, six +or eight of them together, in a coach, talking to wenches rather than +learning how to ride. Very different gentlemen, indeed, will they grow +up who have all their youth been lolling about in coaches instead of +riding." (Martin Hume, <i>The Court of Philip IV</i>, p. 130.) There is also +a flower called <i>dondiego de noche</i>, and the author may have intended to +make also a subtle play on words between this and the more suggestive +meaning.</p> + +<p class="ind"><a name="note_138" id="note_138"></a><a href="#line_135">138.</a> <b>De noche visiones.</b> "Thoughts of him at night give me the +nightmare!"</p> + +<p>Stage directions: <b>hábito de Santiago:</b> The order of Santiago is one of +the oldest and most distinguished of all the Spanish military orders. It +is said to have been approved by the Pope in 1175 and had during the +middle ages great military power. The right to confer it is now vested +in the crown of Spain. The badge is a red enamel cross, in the form of a +sword with a scallop-shell at the junction of the arms.</p> + +<p class="ind"><a name="note_174" id="note_174"></a><a href="#line_170">174.</a> <b>agora</b>, archaic and poetic word, synonym of <i>ahora</i> which is of +similar origin. <i>Hac hora > agora</i> and <i>ad horam > ahora</i>.</p> + +<p class="ind"><a name="note_180" id="note_180"></a><a href="#line_180">180.</a> <b>primer licencia.</b> The apocapation of the feminine of the adjective +<i>primero</i> is not admissible in modern Spanish.</p> + +<p class="ind"><a name="note_181" id="note_181"></a><a href="#line_180">181.</a> <b>Duque</b>, that is, the Duque de Medina. See v. 12 and note.</p> + +<p class="ind"><a name="note_188" id="note_188"></a><a href="#line_185">188.</a> <b>Lugar... deba</b>, <i>A place which is certainly its due.</i></p> + +<p class="ind"><a name="note_192" id="note_192"></a><a href="#line_190">192.</a> <b>la Plaza</b> mentioned here is evidently the Plaza de la Ciudad, which +is the center of the ancient part of the city.</p> + +<p class="ind"><a name="note_197" id="note_197"></a><a href="#line_195">197.</a> <b>Sanlúcar</b> (de Barrameda) is an important and interesting seaport +town at the mouth of the Guadalquivir. It was taken from the Moors in +1264 and occupied a prominent position during the 15th and 16th +centuries. Columbus sailed from this point in 1498 on his third voyage +to the New World. Lope makes Sanlúcar the scene of part of his <i>Nuevo +Mundo descubierto por Cristóbal Colón</i> and mentions it in a number of +his other plays.</p> + +<p class="ind"><a name="note_198" id="note_198"></a><a href="#line_195">198.</a> <b>Le respondí</b>, etc. Don Bernardo's reply was intended to reveal +delicately to the lover that his suit was not favored by the Duke.</p> + +<p class="ind"><a name="note_228" id="note_228"></a><a href="#line_225">228.</a> <b>Aquí su mano soberbia...</b> For an analogous situation compare Guillen +de Castro's <i>las Mocedades del Cid</i> and its French counterpart, +Corneille's <i>le Cid</i>.</p> + +<p class="ind"><a name="note_231" id="note_231"></a><a href="#line_230">231.</a> <b>que tantas veces</b>, etc., <i>because an insult is renewed as many times +as he who receives it tells it to him who ignores it</i>.</p> + +<p class="ind"><a name="note_236" id="note_236"></a><a href="#line_235">236.</a> <b>con cinco letras</b>, that is, the five fingers of the hand which had +left its imprint on his face.</p> + +<p class="ind"><a name="note_245" id="note_245"></a><a href="#line_245">245.</a> <b>á el afrentado</b>. Not a little laxity in the observance of the rule +for the contraction of the preposition and the definite article is to be +noted throughout the play.</p> + +<p class="ind"><a name="note_252" id="note_252"></a><a href="#line_250">252.</a> It is to be observed in a number of instances in the text that the +initial exclamation and interrogation marks are often omitted before +exclamations and interrogations if they follow other similar +constructions.</p> + +<p class="ind"><a name="note_301" id="note_301"></a><a href="#line_300">301.</a> <b>si sois servido</b>, <i>if you please</i>.</p> + +<p class="ind"><a name="note_310" id="note_310"></a><a href="#line_310">310.</a> <b>La decid.</b> Modern usage generally requires the object after the +imperative in such a case as this, but the license may occur in poetry.</p> + +<p class="ind"><a name="note_324" id="note_324"></a><a href="#line_320">324.</a> <b>Desta</b>=<i>De esta</i>.</p> + +<p class="ind"><a name="note_337" id="note_337"></a><a href="#line_335">337.</a> <b>quien.</b> Translate in the plural. Concerning this doubtful usage we +have the following from one of the best known modern authorities: "En el +siglo XIV caía ya en desuso <i>qui</i>, por inútil duplicado de <i>quien</i>; éste +en el siglo XVI se creó un plural: <i>quienes</i>, que aunque calificado de +inelegante por Ambrosio de Salazar en 1622, se generalizó, si bien aun +hoy día se dice alguna vez 'los pocos ó muchos de <i>quien</i> ha tenido que +valerse.'" (Menéndez Pidal, <i>Manual elemental de gramática histórica +española</i>, p. 176.)</p> + +<p class="ind"><a name="note_354" id="note_354"></a><a href="#line_350">354.</a> <b>Y sobre seguro, fácil</b>, <i>And besides sure, easy.</i> The assonance of +final unaccented <i>i</i> with final unaccented <i>e</i> is permissible.</p> + +<p class="ind"><a name="note_362" id="note_362"></a><a href="#line_360">362.</a> <b>Quien supo</b>, etc., <i>If anyone could determine to be yours there can +be nothing to put off your pleasure.</i></p> + +<p class="ind"><a name="note_409" id="note_409"></a><a href="#line_405">409.</a> <b>¿Hay tal gracia de monjil?</b> <i>Is there anything so graceful in +widow's weeds? monjil</i>, "mourning garments."</p> + +<p class="ind"><a name="note_413" id="note_413"></a><a href="#line_410">413.</a> <b>sugeto</b>=<i>sujeto</i>.</p> + +<p class="ind"><a name="note_441" id="note_441"></a><a href="#line_440">441.</a> <b>el río.</b> The Manzanares, a stream which rises in the Sierra de +Guadarrama and flows by Madrid, emptying into the Jarama, which in turn +flows into the Tajo a short distance east of Toledo. In the eyes of the +<i>madrileños</i> this stream assumes importance which its size scarcely +merits. Its banks have been the scene of festivities from the early days +of the city to the present time. In the time of Lope de Vega the banks +of the Manzanares and its dry bed were, as a place for promenading, in +the same class as the Prado, the Plaza Mayor and the Calle Mayor, and +during the great heat of summer the populace of all classes sought +refuge here. Lope makes frequent reference to the stream in many of his +works.</p> + +<p class="ind"><a name="note_477" id="note_477"></a><a href="#line_475">477.</a> <b>Muriósele á una casada</b>, <i>A woman's husband died.</i></p> + +<p class="ind"><a name="note_482" id="note_482"></a><a href="#line_480">482.</a> <b>Y sin que</b>, etc., <i>And without fulfilling the obsequies</i> (<i>as +requested</i>). <i>Manda</i>, lit., "legacy, bequest"; but <i>cumplir la manda</i>, +"to observe the religious rites (according to the will of the +deceased)."</p> + +<p class="ind"><a name="note_484" id="note_484"></a><a href="#line_480">484.</a> <b>vertiendo poleo</b>, <i>putting on airs</i>. <i>Poleo</i>, "strutting gait, +pompous style."</p> + +<p class="ind"><a name="note_485" id="note_485"></a><a href="#line_485">485.</a> <b>reverendo coche</b>, <i>elegant carriage</i>. <i>Reverendo</i>, lit., "worthy of +reverence," but here fam., "worthy of a prelate." Many of the higher +clergy formerly lived in princely style.</p> + +<p class="ind"><a name="note_499" id="note_499"></a><a href="#line_495">499.</a> <b>Porque no vuelva el marido</b>, <i>Lest the husband might return.</i></p> + +<p class="ind"><a name="note_519" id="note_519"></a><a href="#line_515">519.</a> <b>variar</b>, in Zerolo's edition, is <i>varïar</i>, as it should be in order +to fill out the verse.</p> + +<p class="ind"><a name="note_521" id="note_521"></a><a href="#line_520">521.</a> <b>De mi condición</b>, etc. An interesting parallel to the idea of this +passage is found in the following from Voltaire: "Il m'a toujours paru +évident que le violent Achille, l'épée nue, et ne se battant point, +vingt héros dans la même attitude comme des personnages de tapisserie, +Agamemnon, roi des rois, n'imposant à personnes, immobile dans le +tumulte, formeraient un spectacle assez semblable au cercle de la reine +en cire colorée par Benoît." ("Art dramatique" in the <i>Dictionnaire +Philosophique</i>.)</p> + +<p class="ind"><a name="note_522" id="note_522"></a><a href="#line_520">522.</a> <b>Que me pudren</b>, etc., <i>That paintings vex me.</i> Note peculiar sense +of pudrir.</p> + +<p class="ind"><a name="note_529" id="note_529"></a><a href="#line_525">529.</a> <b>Susana.</b> In the thirteenth chapter of Daniel is narrated the story +of Susanna, the beautiful wife of Joachim, of whom two old men, judges +during the Babylonian captivity, were enamored. They surprised her one +day in her bath in the garden and, because she repelled their advances, +testified that they had found her with a young man. She was condemned to +death, but on the way to her execution Daniel intervened and by a clever +ruse succeeded in convicting the two old men of bearing false witness. +They were put to death and the innocence of Susanna proclaimed. The +story has furnished a theme for many painters and from it many notable +works have been produced, of which several existed in the time of Lope +de Vega. In the <i>Obras Sueltas</i>, vol. IV, p. 450, there is a sonnet, <i>Á +una Tabla de Susana</i>, which begins:</p> + +<div class="d"> +<p> +Tu que la tabla de Susana miras,<br /> +Si del retrato la verdad ignoras,<br /> +La historia santa justamente adoras,<br /> +La retratada injustamente admiras.<br /> +</p> + +</div> + +<p class="ind"><a name="note_541" id="note_541"></a><a href="#line_540">541.</a> <b>Como visto</b>, etc., <i>If she had not seen you an excuse would be easy +to find.</i></p> + +<p class="ind"><a name="note_545" id="note_545"></a><a href="#line_545">545.</a> <b>Llama.</b> From this word it would seem that this part of the play is +enacted in front of the house of doña Ana.</p> + +<p class="ind"><a name="note_547" id="note_547"></a><a href="#line_545">547.</a> <b>No lo echemos á perder</b>, <i>Let us not spoil it.</i></p> + +<p class="ind"><a name="note_576" id="note_576"></a><a href="#line_575">576.</a> <b>No me tengo de sentar</b>, <i>I must not sit down.</i> Cf. v. 58 and note.</p> + +<p class="ind"><a name="note_587" id="note_587"></a><a href="#line_585">587.</a> <b>comenzamos... jugadores</b>, <i>we begin by a 'rifa,' which results, as +in a love-affair, that it is the third party who starts the game or at +least arouses the interest of the players</i>. The word <i>rifa</i> is usually +used in the sense of the English word "raffle" or "auction," as for +example the <i>baile de rifa</i> narrated in Alarcón's <i>El Niño de la Bola</i>, +but Lope seems to use it here referring to a game of cards. It is used +as a term at cards in Portuguese. The same word from another source +means a "quarrel"; the author evidently had them both in mind and makes +a play upon them.</p> + +<p class="ind"><a name="note_595" id="note_595"></a><a href="#line_595">595.</a> <b>Terciando mi primo el juego</b>, <i>My cousin being the third party in +the game.</i></p> + +<p class="ind"><a name="note_634" id="note_634"></a><a href="#line_630">634.</a> <b>Puesto que fué de mayor</b>, <i>Since it was by one who had attained his +majority.</i></p> + +<p class="ind"><a name="note_638" id="note_638"></a><a href="#line_635">638.</a> <b>Que encaje el marfil ansí</b>, <i>Who is as clever. Encajar el marfil</i>, +"to manipulate, falsify." A possible proverbial reference to the +corruption among government department employees of the time.</p> + +<p class="ind"><a name="note_655" id="note_655"></a><a href="#line_655">655.</a> <b>Si fuere parte á obligaros</b>, <i>If it will be sufficient to oblige +you.</i></p> + +<p class="ind"><a name="note_664" id="note_664"></a><a href="#line_660">664.</a> <b>Cayó el pez en el anzuelo</b>, <i>The fish has been hooked.</i></p> + +<p class="ind"><a name="note_666" id="note_666"></a><a href="#line_665">666.</a> <b>aquesto</b>=<i>esto</i>. The old form is used now only in poetry.</p> + +<p class="ind"><a name="note_695" id="note_695"></a><a href="#line_695">695.</a> <b>efeto</b>=<i>efecto</i>.</p> + +<p class="ind"><a name="note_699" id="note_699"></a><a href="#line_695">699.</a> <b>Cuando él... sido</b>, <i>If he should have favored me my favor would +have been so</i> (i.e. too great).</p> + +<p class="ind"><a name="note_714" id="note_714"></a><a href="#line_710">714.</a> <b>quisistes</b>=<i>quisisteis</i>. The obsolete form continued in general +usage up to the 17th century and was still used by Calderón, though a +grammar gave the modern form as early as 1555. See Menéndez Pidal's +<i>Manual elemental de gramática histórica española</i>, pp. 189, 190.</p> + +<p class="ind"><a name="note_745" id="note_745"></a><a href="#line_745">745.</a> <b>Adamuz</b> is a town of about five thousand inhabitants, situated in +the mountains twenty-five miles northeast of Cordova in the midst of a +prosperous olive-growing country. It has a church, three schools, two +inns, an Ayuntamiento and two religious communities. There is a local +tradition to the effect that Adamuz, several centuries ago, boasted of a +population of about twenty thousand and was one of the important centers +of the Sierra Morena, and that it was swept by an epidemic which carried +away almost the entire population. However, nothing exists in the +archives of the Ayuntamiento to confirm or deny the tradition. (For all +the information concerning the town and its vicinity, the editor is +indebted to the kindness of the Reverend Señor José Melendo, curate of +Adamuz.)</p> + +<p class="ind"><a name="note_748" id="note_748"></a><a href="#line_745">748.</a> <b>Adamuz, pueblo sin luz.</b> This refrain is not now current in the +place and its origin cannot be definitely determined. It may be a +reflection upon the state of intelligence of the inhabitants of the town +and a pure creation of the poet, but rather would it seem to be due to +the natural features of the town, for it is situated in a fold of the +mountains.</p> + +<p class="ind"><a name="note_750" id="note_750"></a><a href="#line_750">750.</a> <b>Sierra-Morena</b> is a mountainous region extending from east to west +from the head waters of the Guadalquivir to the Portuguese border. It is +mentioned in many of the Spanish romances and is assured of immortality +as the scene of some of the adventures of the "ingenioso hidalgo" Don +Quijote.</p> + +<p class="ind"><a name="note_768" id="note_768"></a><a href="#line_765">768.</a> <b>El término perdonad.</b> The innkeeper regarded the <i>indiano</i> as a +person of distinction and offers apology for mentioning in his presence +anything so lowly as a <i>caballo de alabarda</i>, "nag, hack."</p> + +<p class="ind"><a name="note_770" id="note_770"></a><a href="#line_770">770.</a> <b>propria</b>=<i>propia</i>.</p> + +<p class="ind"><a name="note_793" id="note_793"></a><a href="#line_790">793.</a> <b>camino real.</b> A good road now extends from Cordova to Adamuz, but it +does not cross the Sierra Morena. If such a royal highway from Andalusia +to Madrid ever existed it has long since disappeared and given place to +the railways and the important "carretera" which extends up the +Guadalquivir and through the Puerto de Despeñaperros.</p> + +<p class="ind"><a name="note_813" id="note_813"></a><a href="#line_810">813.</a> <b>Bien está lo hecho</b>, <i>What is done is well done.</i></p> + +<p class="ind"><a name="note_824" id="note_824"></a><a href="#line_820">824.</a> <b>Holofernes... Judit.</b> The comparison suggested is based upon the +story related in the Book of Judith of the Bible. Judith determined to +free the children of Israel from the invading Assyrians under the +leadership of Holofernes and for this purpose went to the camp of +Holofernes who received her kindly and celebrated her coming with +feasting. When he was sufficiently under the influence of wine she cut +off his head and carried it back with her to her own people who pursued +the leaderless and disorganized Assyrians and gained a complete victory +over them.</p> + +<p class="ind"><a name="note_835" id="note_835"></a><a href="#line_835">835.</a> <b>érades</b>=<i>erais</i>. This obsolete form of the verb was often used by +Lope de Vega and his contemporaries. It is from the Latin <i>eratis</i>. (See +Menéndez Pidal, <i>Manual elemental de gramática histórica española</i>, +paragraph 107, I.)</p> + +<p class="ind"><a name="note_838" id="note_838"></a><a href="#line_835">838.</a> <b>Granada</b>, the most historic city of Southern Spain and the last +stronghold of the Moors.</p> + +<p class="ind"><a name="note_868" id="note_868"></a><a href="#line_865">868.</a> <b>El camino de Granada</b>, etc. The more probable route from Granada to +the capital would have taken her some distance east of Adamuz.</p> + +<p class="ind"><a name="note_876" id="note_876"></a><a href="#line_875">876.</a> <b>Traigo jornada más larga</b>, <i>I am making a longer journey.</i> Besides +its common meanings <i>traer</i> has that of "to be occupied in making, to +have on one's hands." <i>Jornada</i> usually means "day's journey," cf. +French <i>étape</i>, but it is also used in the sense of a "journey" more or +less long.</p> + +<p class="ind"><a name="note_877" id="note_877"></a><a href="#line_875">877.</a> <b>vengo de las Indias.</b> Hence the name "Indiano," which may mean that +one is a native of the Indies or simply a Spaniard who is returning from +there after having made his fortune. The term has a depreciative meaning +also, and then is an equivalent of our <i>nouveaux riches</i>, for which we +in turn are indebted to the French. (See Introduction.)</p> + +<p class="ind"><a name="note_882" id="note_882"></a><a href="#line_880">882.</a> <b>Porque me dicen</b>, etc., <i>Because they tell me that the realization +of one's pretensions which one's occupation puts off, is slow in +arriving, I am going to set up a household.</i></p> + + +<p class="c top5"><a name="notes_2" id="notes_2"></a>ACT II</p> + +<p class="ind"><a name="note_915" id="note_915"></a><a href="#line_915">917.</a> <b>Que tantas persecuciones</b>, etc. Supply some introductory +interrogative expression like "Can it be" or "Do you believe."</p> + +<p class="ind"><a name="note_920" id="note_920"></a><a href="#line_920">922.</a> <b>De Amadís, en Beltenebros.</b> <i>Amadís de Gaula</i> is the title of an old +romance of uncertain authorship. The oldest text of which we have record +was in Spanish or Portuguese prose, and the most interesting part of it +is attributed to the Portuguese, Joham de Lobeira. The incident referred +to by Lope occurred in the early years of the career of Amadís, hero of +the story. After a youth filled with adventure, he meets and falls in +love with Oriana, daughter of Lisuarte, king of Great Britain, who +returns his affection. A short time afterwards Amadís is freed from a +perilous situation by a young girl named Briolania, who herself is +suffering captivity. He then promises to return and deliver her. Having +been successful in a number of other adventures, he sets out, with the +tearful consent of Oriana, to rescue Briolania. After his departure on +this mission, Oriana is erroneously informed that Amadís loves +Briolania; mad with anger and despair, she sends him a letter saying +that all is ended between them. Amadís, having avenged Briolania's +wrongs, receives Oriana's letter and, overcome by grief, retires to a +hermitage on a rock in the sea, where he receives the name of +Beltenebros, which Southey translates as the "Fair Forlorn." Afterwards +Oriana, undeceived, seeks a reconciliation with Amadís, and their +happiness is at length realized. Amadís has remained the type of the +constant lover who comes into the possession of the object of his +affections only after adventures and difficulties without number.</p> + +<p class="ind"><a name="note_951" id="note_951"></a><a href="#line_950">951.</a> <b>Valencia</b> is an important seaport town on the Mediterranean with a +population of about 160,000. The city is picturesquely situated on the +banks of the Guadalaviar in the midst of a luxuriant tropical nature. +Valencia was formerly the capital of a kingdom of the same name and has +played an important rôle in Spanish history since the time when the +Romans occupied the peninsula. During the Moorish occupation it was a +worthy rival of Seville, with which it is here mentioned. The gardens of +Valencia have always been justly celebrated for their beauty, and Lope +well knew this, for during his exile in Valencia he himself had a +garden in which, as he tells us in several of his works, he passed many +pleasant hours.</p> + +<p class="ind"><a name="note_954" id="note_954"></a><a href="#line_950">954.</a> <b>Vera de Plasencia</b> is a small town northwest of Zaragoza, situated +in the desolate Llano de Plasencia. Lope must have sojourned there at +some time or have had more than a passing interest in the place, for in +his <i>Epístola á D. Michael de Solis</i> he writes:</p> + +<div class="d"> +<p> +Si fuera por la Vera de Plasencia<br /> +Á buscar primavera al jardín mío,<br /> +Hallara tu Leonor en competencia.<br /> +<span style="margin-left: 4em;"><i>Obras Sueltas</i>, vol. I, p. 268.</span><br /> +</p> +</div> + +<p class="ind"><a name="note_960" id="note_960"></a><a href="#line_960">960.</a> <b>Pues lo digo</b>, etc. In the Valencia edition Martin says:</p> + +<div class="d"> +<p> +Quando lo digo lo sé.<br /> +Tres puntos del que los vé<br /> +Que no son puntos de vara:<br /> +Puntos, que puedo decir,<br /> +Según en su condición,<br /> +Que tres en un punto son:<br /> +Ver, desear, y morir.<br /> +</p> +</div> + +<p>The sense of the passage seems to turn on the words <i>punto</i> and <i>cara</i>. +A <i>punto</i> or "point" is one twelfth of the antiquated French line and +one one hundred and forty-fourth of an inch. By a comparison of the two +editions it is clear that there is a play on this word. <i>Cara</i> is +probably a typographical error for <i>vara</i>, but it may be used here in a +related sense to the archaic <i>á primera cara</i>, which was the equivalent +of <i>á primera vista</i>. Therefore the sense of ll. 961-2 is: "That is the +size that one would take of that foot with a measure," or "That is the +size that one would take by a glimpse of that foot."</p> + +<p class="ind"><a name="note_971" id="note_971"></a><a href="#line_970">971.</a> <b>De escarpines presumí</b>, etc. The consonance of <i>escarpines</i> is with +<i>jazmines</i>, but the contrast is with <i>chapines</i> above. The <i>chapín</i> was +a heavy low shoe or sandal better suited to the use of servants, while +the <i>escarpín</i> was an elegant thin-soled, shoe or slipper, and often +with cloth top as the following verse seems to indicate. Here the sense +is not very apparent and may involve some colloquialism of the time. The +passage may be freely translated: "I thought you were speaking of +<i>escarpines</i>, since the distinction depends only upon (the height of) +the cotton (top)."</p> + +<p class="ind"><a name="note_973" id="note_973"></a><a href="#line_970">973.</a> <b>paragambas.</b> An obsolete or colloquial word made up of the +preposition <i>para</i>, or possibly of a form of the verb <i>parar</i>, "parry +off, protect," and the obsolete substantive <i>gamba</i>, the equivalent of +<i>pierna</i>. It was evidently applied to some covering of the leg, as a +gaiter or boot. In the Valencia edition it appears as two words, <i>para +gambas</i>.</p> + +<p class="ind"><a name="note_974" id="note_974"></a><a href="#line_970">974.</a> <b>á cierta dama</b> depends upon <i>pregunté</i>.</p> + +<p class="ind"><a name="note_975" id="note_975"></a><a href="#line_975">975.</a> <b>cañafístolas</b>=<i>cañafístulas</i>. The word seems to have the idea of +something indicated but not named, and here may have the sense of +"ridiculous adornments." It is still used colloquially as the +approximate equivalent of the English "thingumajig" or "thingumbob." +That the author intends it to have something of its true meaning, +"purgative," is indicated by the next few lines of the text.</p> + +<p class="ind"><a name="note_1009" id="note_1009"></a><a href="#line_1005">1009.</a> <b>fialle</b>, see v. 95 and note.</p> + +<p class="ind"><a name="note_1038" id="note_1038"></a><a href="#line_1035">1038.</a> <b>azules enojos</b>, <i>dark clouds</i>. Lit. "blue wrath."</p> + +<p class="ind"><a name="note_1042" id="note_1042"></a><a href="#line_1040">1042.</a> <b>á cuantos los miran</b>. <i>Los</i> refers to <i>ojos</i> mentioned above. The +period at the end of the line must be a typographical error, for the +sense seems to favor a comma. The two subordinate clauses introduced by +<i>si</i> and connected by y do not require as much separation as is afforded +by a period.</p> + +<p class="ind"><a name="note_1052" id="note_1052"></a><a href="#line_1050">1052.</a> <b>Como quedó concertado.</b> Note the repetition of line 1000. Lope is +given to repetitions in his works, but this is perhaps the only verse in +the play which he has unconsciously repeated.</p> + +<p class="ind"><a name="note_1062" id="note_1062"></a><a href="#line_1060">1062.</a> <b>inglés á Cádiz.</b> "Año de 1625." (Note by Hartzenbusch.) The +incident referred to is the irrational attack upon Cadiz by the English +fleet under Sir Edward Cecil in October, 1625. The English were +ignominiously defeated and the Spanish encouraged to continue an unequal +struggle.</p> + +<p class="ind"><a name="note_1066" id="note_1066"></a><a href="#line_1065">1066.</a> <b>tusón dorado.</b> The name of a celebrated order of knighthood founded +in 1429 by Philip the Good, Duke of Burgundy and the Netherlands. It +originally consisted of thirty-one knights and was self-perpetuating, +but Philip II absorbed the nominating power. In 1713 Charles VI moved +the order to Vienna, but this action was contested by the Spanish and +the dispute was settled by dividing the order between the two countries.</p> + +<p class="ind"><a name="note_1067" id="note_1067"></a><a href="#line_1065">1067.</a> <b>Con débil caña</b>, etc. "En la edición antigua de la comedia: <i>Con +débil caña, con freno herrado.</i>" (Note by Hartzenbusch.)</p> + +<p class="ind"><a name="note_1068" id="note_1068"></a><a href="#line_1065">1068.</a> <b>Marte... Cupido</b>, <i>Mars</i>, the god of war, <i>Cupid</i>, the god of love.</p> + +<p class="ind"><a name="note_1076" id="note_1076"></a><a href="#line_1075">1076.</a> <b>Sembrando.</b> "En la <i>Corona trágica</i> se lee <i>sembrando</i>; en la +edición antigua de la comedia, <i>tendidas</i>."(Note by Hartzenbusch.) The +sonnet is found also in the <i>Obras Sueltas</i>, vol. IV, p. 500, under the +title, <i>Á la Venida de los Ingleses á Cádiz</i>. Hartzenbusch speaks of it +as though it appeared in the <i>Corona trágica</i>, but his note is +misleading, for it really is found in a collection of <i>Poesías varias</i> +in the volume stated which begins with the <i>Corona trágica</i>.</p> + +<p class="ind"><a name="note_1086" id="note_1086"></a><a href="#line_1085">1086.</a> <b>Mas qué os</b>, etc. More exact punctuation would place the initial +interrogation after <i>mas</i> and before <i>qué</i>.</p> + +<p class="ind"><a name="note_1089" id="note_1089"></a><a href="#line_1085">1089.</a> <b>Filis.</b> In Greek mythology Phyllis, disappointed because her lover, +Demophon, did not return at the time appointed for their marriage, put +an end to her life. According to one account she was changed after death +into an almond-tree without leaves. But when Demophon, on his return, +embraced the tree, it put forth leaves, so much was it affected by the +presence of the lover. To the mythological Phyllis, however, Lope is +indebted only for the name. To him "Filis" was a more material being in +the person of Elena Osorio, daughter of a theatrical manager and a +married woman. During the early part of the period 1585-1590 he +dedicated to her some of his most beautiful love-ballads, and in the +latter part, when he turned against her and was exiled from Madrid and +Castile, he continued to address poems to her, but now filled with +bitter complaints. (See Introduction.) The fact that he mentions her +name here in a play written in the later years of his life is of +interest; either he wrote the sonnet in his earlier years and used it +here, or it would seem that the poet's mind reverts to his youthful +follies. But in one of the last works written just before his death Lope +speaks of his daughter, Antonia Clara, under the name of "Filis," which +has given rise to some confusion. "Phyllis," moreover, is a very common +name in pastoral poems in the 16th and 17th centuries.</p> + +<p class="ind"><a name="note_1110" id="note_1110"></a><a href="#line_1110">1110.</a> <b>devantal</b>=<i>delantal</i>.</p> + +<p class="ind"><a name="note_1126" id="note_1126"></a><a href="#line_1125">1126.</a> <b>hubiérades... Dijérades</b>=<i>hubierais... Dijerais</i>. Cf. v. 835 and +note.</p> + +<p class="ind"><a name="note_1133" id="note_1133"></a><a href="#line_1130">1133.</a> <b>Si es disfrazar</b>, etc. In the pastorals the author usually +disguised personages of distinction in the garb of shepherds and +shepherdesses. These compositions were very popular in Spain during the +sixteenth and early seventeenth centuries.</p> + +<p class="ind"><a name="note_1145" id="note_1145"></a><a href="#line_1145">1145.</a> <b>que viene... á pretender</b>, <i>who comes to court to make +pretensions</i>. <i>Pretender</i> also means "to sue for place, seek position" +and might be here "to seek favor at court."</p> + +<p class="ind"><a name="note_1153" id="note_1153"></a><a href="#line_1150">1153.</a> <b>En él este amor bebí.</b> Here as well as in the following line <i>él</i> +refers to <i>cántaro</i>.</p> + +<p class="ind"><a name="note_1155" id="note_1155"></a><a href="#line_1155">1155.</a> <b>Sirena.</b> The Sirens were fabulous mythological monsters, half bird +and half woman, which were supposed to inhabit reefs near the island of +Capri and lure sailors to their death by the sweetness of their song.</p> + +<p class="ind"><a name="note_1186" id="note_1186"></a><a href="#line_1185">1186.</a> <b>que tiene razón</b>, <i>indeed she is quite right</i>. Zerolo's edition has +<i>que</i> instead of <i>qué</i> of the Hartzenbusch edition, and it is clearly +the author's intent.</p> + +<p class="ind"><a name="note_1231" id="note_1231"></a><a href="#line_1230">1231.</a> <b>Por servicios que me hiciese</b>, etc., <i>Whatever services he did me, +however many years he put me under obligation.</i></p> + +<p>1237-40. Observe that one of these verses concludes each of the +following stanzas or <i>décimas</i>. Such a verse is called the <i>pie de +décima</i>.</p> + +<p class="ind"><a name="note_1252" id="note_1252"></a><a href="#line_1250">1252.</a> <b>Andalucía</b> forms one of the most important and romantic of Spain's +ancient divisions and still occupies a unique position in the life and +character of the Spanish people. Geographically it occupies almost the +whole of the south of Spain.</p> + +<p class="ind"><a name="note_1262" id="note_1262"></a><a href="#line_1260">1262.</a> <b>dorado</b>, a yellow flower.</p> + +<p class="ind"><a name="note_1266" id="note_1266"></a><a href="#line_1265">1266.</a> <b>Manutisa</b> is usually written <i>minutisa</i>.</p> + +<p class="ind"><a name="note_1282" id="note_1282"></a><a href="#line_1280">1282.</a> <b>Adónde bueno</b>=<i>Qué tal.</i> There is also a sense of motion as +indicated by verse 1284, but it is difficult to give a concise +translation. Freely expressed we may offer: "Whither bound, my pretty +maid?"</p> + +<p class="ind"><a name="note_1291" id="note_1291"></a><a href="#line_1290">1291.</a> <b>Pero... admira</b>, <i>But on my word I am astonished.</i></p> + +<p class="ind"><a name="note_1300" id="note_1300"></a><a href="#line_1300">1300.</a> <b>No tengo por mal acuerdo requebrar</b>, etc., <i>I do not consider it +ill-advised to enumerate</i>, etc. <i>Requebrar</i> usually means "to flatter," +but it also means "to break in small pieces," hence "to give in detail" +or "to enumerate."</p> + +<p class="ind"><a name="note_1303" id="note_1303"></a><a href="#line_1300">1303.</a> <b>Os costará</b>, etc. The sense of the verb is plural unless we take it +as impersonal and supply an infinitive construction after it.</p> + +<p class="ind"><a name="note_1305" id="note_1305"></a><a href="#line_1305">1305.</a> <b>Para el río.</b> This expression is out of its natural order and might +well be set off by commas. The sense is: "A hat with its band for going +to the river."</p> + +<p class="ind"><a name="note_1306" id="note_1306"></a><a href="#line_1305">1306.</a> <b>Avantal</b>=<i>delantal</i>. Cf. v. 1110 and note.</p> + +<p class="ind"><a name="note_1307" id="note_1307"></a><a href="#line_1305">1307.</a> <b>virillas.</b> In addition to its usual meaning, <i>vira</i>, or <i>virilla</i>, +is used to denote the border around the top of the shoe, which is its +meaning in the present instance.</p> + +<p class="ind"><a name="note_1314" id="note_1314"></a><a href="#line_1310">1314.</a> <b>No hay plata... Potosí.</b> Potosí is a city of Bolivia situated on +the Cerro de Potosí at an altitude of thirteen thousand feet. The Cerro +de Potosí is said to have produced up to the present time over three +billion dollars in silver. The first mine was opened there in 1545, and +the year of Lope's birth, 1562, a royal mint was established in the city +of Potosí to coin the output of the mines. Small wonder is it then that +the Spaniards still refer to the city in proverb as a synonym for great +riches. Lope mentions it in several of his other dramas.</p> + +<p class="ind"><a name="note_1324" id="note_1324"></a><a href="#line_1320">1324.</a> Compare this speech of doña María with that of Areusa in the +<i>Celestina</i> against the exacting duties of servants. (See <i>Biblioteca de +Autores Españoles</i>, vol. III, p. 43.)</p> + +<p class="ind"><a name="note_1341" id="note_1341"></a><a href="#line_1340">1341.</a> <b>de mañana</b>, <i>early in the morning</i>.</p> + +<p class="ind"><a name="note_1349" id="note_1349"></a><a href="#line_1345">1349.</a> <b>Bien aforrada razón</b>, etc. In this reply of doña María we see not a +little of the <i>précieux</i> spirit which in the same century became so +popular in France. A man must not proceed "brutally" to a declaration of +love at the very beginning, but by interminable flatteries and conceits +lead up to such a declaration, and even then must not expect the object +of his devotion to yield at once to his cleverly conceived pleadings.</p> + +<p class="ind"><a name="note_1404" id="note_1404"></a><a href="#line_1400">1404.</a> <b>cristal deshecho</b> refers to the running water of the fountain.</p> + +<p class="ind"><a name="note_1410" id="note_1410"></a><a href="#line_1410">1410.</a> <b>henchirle.</b> The antecedent of <i>le</i> is <i>cántaro</i>.</p> + +<p class="ind"><a name="note_1417" id="note_1417"></a><a href="#line_1415">1417.</a> <b>Ó asoma por el estribo</b>, etc., <i>Or shows through the doorway of the +carriage her curls on the hooks of a 'rest.'</i> In modern usage when +applied to the parts of a carriage <i>estribo</i> means the "step" but in the +text it is used apparently as the equivalent of <i>portezuela</i>. <i>Descanso</i> +seems to have been at the time a device used in women's head-dress, such +as was represented some years later by Velázquez in his famous portrait +of Mariana de Austria, which now hangs in the Prado Museum at Madrid.</p> + +<p class="ind"><a name="note_1439" id="note_1439"></a><a href="#line_1435">1439.</a> <b>Conténtese ó quitaréle.</b> Observe the change from the second person +to the third in this verse and the following one.</p> + +<p class="ind"><a name="note_1455" id="note_1455"></a><a href="#line_1455">1455.</a> <b>¿Qué se hizo tu desdén?</b> <i>What has become of your pride?</i></p> + +<p class="ind"><a name="note_1460" id="note_1460"></a><a href="#line_1460">1460.</a> <b>Habrán hecho riza en ti</b>, <i>Have probably done you a great injury. +Hacer riza</i>, "to cause disaster or slaughter."</p> + +<p class="ind"><a name="note_1477" id="note_1477"></a><a href="#line_1475">1477.</a> <b>si no envidaste</b>, etc., <i>if you have not staked any money, lay down +your hand and remain apart</i>. Leonor applies here the terms of a game of +cards when speaking of the love-affairs of doña María.</p> + +<p class="ind"><a name="note_1493" id="note_1493"></a><a href="#line_1490">1493.</a> <b>No pone codo en la puente</b>, etc., a reference to the custom of the +idlers and braggarts lounging in public places and seeking trouble or +offering defiance to every passer-by.</p> + +<p class="ind"><a name="note_1495" id="note_1495"></a><a href="#line_1495">1495.</a> <b>los lavaderos.</b> The banks of the Manzanares immediately in the rear +of the Royal Palace have long been the public <i>lavaderos</i> or +washing-places of the city of Madrid, and every day acres of network of +lines are covered with drying linen. It is here naturally that the +gallants of the lower classes go to meet their sweethearts, and scenes +such as we have portrayed later in the play are of frequent occurrence. +Cf. note on verse 441.</p> + +<p class="ind"><a name="note_1510" id="note_1510"></a><a href="#line_1510">1510.</a> <b>Prado</b>, formerly, as its name implies, a meadow on the outskirts of +Madrid and later converted into a magnificent <i>paseo</i> between the Buen +Retiro palace and the city proper. The house of Lope de Vega still +stands in the narrow Calle de Cervantes, a short distance from the +Prado, and the poet often mentions this celebrated <i>paseo</i> in his works. +The name is frequently used to refer to the famous art-gallery located +there.</p> + +<p class="ind"><a name="note_1520" id="note_1520"></a><a href="#line_1520">1520.</a> <b>quien</b>, cf. 1. 337 and note.</p> + +<p class="ind"><a name="note_1527" id="note_1527"></a><a href="#line_1525">1527-8</a>. <b>Aprended... hoy.</b> Note the repetition of 11. 1237-8.</p> + +<p class="ind"><a name="note_1543" id="note_1543"></a><a href="#line_1540">1543.</a> <b>Durandartes.</b> In Spanish ballads Durandarte is the name of one of +the twelve peers who fought with Roland at Roncesvalles. In the +<i>Romancero General</i> the adventures and death of the knight are narrated. +Steadfast to death in his affections for his beloved Belerma, he gives +utterance to his lamentations in the famous old ballad beginning with +the following lines:</p> + +<div class="d"> +<p> +¡O Belerma! ¡O Belerma!<br /> +Por mi mal fuiste engendrada,<br /> +Que siete años te serví<br /> +Sin de ti alcanzar nada;<br /> +Agora que me querías<br /> +Muero yo en esta batalla.<br /> +</p> +</div> + +<p class="ind">Durandarte was the cousin of the knight Montesinos who gave his name to +the celebrated cave of la Mancha, visited by don Quijote, whose +adventures in this connection are narrated in <i>Don Quijote</i>, Part II, +Chapters XXII and XXIII. Cervantes calls Durandarte the "flor y espejo +de los caballeros enamorados" and probably Lope is indebted to his great +contemporary for the word, which he uses in the sense of <i>lances de +amor</i>.</p> + +<p class="ind"><a name="note_1552" id="note_1552"></a><a href="#line_1550">1552.</a> <b>Puesto que</b>, etc. The Valencia edition has here instead of this +verse: <i>Con todo, no he de culpalle.</i></p> + +<p class="ind"><a name="note_1608" id="note_1608"></a><a href="#line_1605">1608.</a> <b>de espacio</b>=<i>despacio</i>.</p> + +<p class="ind"><a name="note_1649" id="note_1649"></a><a href="#line_1645">1649.</a> <b>Don Fadrique de Toledo</b>, son of the Duke of Alba and descendant of +the great soldier, Alba, was one of Spain's greatest naval commanders. +In 1625 he destroyed the Dutch fleet off Gibraltar. Writing this play, +as he may have been, with the acclamations of the great victory ringing +in his ears, it was quite natural that Lope should honor the hero in his +drama and at the same time add to the popularity of his work. Later in +1634 don Fadrique de Toledo fell into disfavor or incurred the jealousy +of the Count-Duke Olivares and was cast into prison.</p> + +<p class="ind"><a name="note_1668" id="note_1668"></a><a href="#line_1665">1668.</a> <b>rocín gallego.</b> The <i>gallegos</i>, or inhabitants of Galicia, are a +sober, industrious people, but have throughout Spain a reputation for +ignorance and stupidity; so they have long been made the butt of +malicious gibes and jests by their more volatile fellow-countrymen. In +the Valencia edition this verse and the preceding one are rendered in a +manner to give a clearer meaning:</p> + +<div class="d"> +<p> +En la coz y mordiscón<br /> +Parece rocín gallego.<br /> +</p> +</div> + +<p class="ind"><a name="note_1681" id="note_1681"></a><a href="#line_1680">1681.</a> <b>Es... vaya</b>, <i>Is all that to tease me?</i></p> + +<p class="ind"><a name="note_1696" id="note_1696"></a><a href="#line_1695">1696.</a> <b>diera</b> is used here in the double sense of "give" and "strike."</p> + +<p class="ind"><a name="note_1708" id="note_1708"></a><a href="#line_1705">1708.</a> <b>cristal de Venecia.</b> Early in the middle ages Venice was a center +for the manufacture of glass. The industry was at its height in the 15th +and 16th centuries, but gradually declined until it ceased in the 18th, +only to be revived about the middle of the 19th century. Since then +Venice has retaken her position as the European center for artistic +creations in glass. Near the close of the 13th century the factories +were moved outside the city to the island of Murano, where they are at +the present time.</p> + +<p class="ind"><a name="note_1714" id="note_1714"></a><a href="#line_1710">1714.</a> <b>Si no</b>, etc., <i>If not in harm, in the realization.</i>—<b>Caer en la +cuenta</b>, <i>to understand, realize</i>.</p> + +<p class="ind"><a name="note_1723" id="note_1723"></a><a href="#line_1720">1723.</a> <b>satisfaciones</b> is now written <i>satisfacciones</i>.</p> + +<p>1733-4. The language of these two verses is drawn from the popular +proverbs: "Tantas veces va el cántaro á la fuente, alguna se quiebra," +and "Tantas veces va el cántaro á la fuente, que deja el asa ó la +frente." Doña María uses parts of each of these forms.</p> + +<p class="ind"><a name="note_1737" id="note_1737"></a><a href="#line_1735">1737.</a> <b>volviérades</b>=<i>volvierais</i>. See v. 835 and note.</p> + +<p class="ind"><a name="note_1782" id="note_1782"></a><a href="#line_1780">1782.</a> <b>de canela</b>, that is, <i>agua de canela</i>.</p> + +<p class="ind"><a name="note_1785" id="note_1785"></a><a href="#line_1785">1785.</a> <b>Don Alvaro de Luna</b>, a Spanish courtier, born about 1388, was, in +his youth, a page at the court of John II, whose favor he later enjoyed +to a high degree. He was made Constable of Castile in 1423 and a few +years later grand master of the order of Santiago—a double distinction +never enjoyed by any other man. He afterwards fell a victim of a +conspiracy of the Spanish feudal grandees and was executed at Valladolid +in 1453. His life and achievements became a popular theme for Spanish +authors, and doubtless much of interest written concerning him has been +lost. The <i>romances</i> relating to don Alvaro de Luna which have come down +to us concern his fall and execution, and some of them are favorites of +beggars who sing in the streets of Spanish cities. It is evidently to a +<i>romancero</i> or collection of these poems that reference is made by Lope.</p> + +<p class="ind"><a name="note_1817" id="note_1817"></a><a href="#line_1815">1817.</a> <b>el Cid.</b> Rodrigo Ruy Diaz de Bivar (1040-1099), called "el Cid +Campeador," is the great national hero of Spain. From the numerous +accounts, real and fictitious, of his achievements we learn that he was +a great warrior who fought sometimes with the Moors, sometimes with the +Spaniards, and that at last as a soldier of fortune he seized Valencia +and until his death successfully defied the two great rivals of his +time, the Spaniards and the Moors. His life has served as a theme for +numerous literary masterpieces, especially the Old Spanish <i>Cantar de +mio Cid</i>. Lope de Vega treats of his fall in his play entitled el +<i>Milagro por los Celos</i>.</p> + +<p class="ind"><a name="note_1818" id="note_1818"></a><a href="#line_1815">1818.</a> <b>gigote</b>=<i>jigote</i>.</p> + +<p class="ind"><a name="note_1824" id="note_1824"></a><a href="#line_1820">1824.</a> <b>Valladolid</b>, an interesting city of Northern Spain and the seat of +an important university. Valladolid has figured prominently in Spanish +history for many centuries, for it was long the favorite residence of +the Spanish sovereigns. Early in the reign of Philip III the seat of +government was again transferred to that city, but was returned to +Madrid in 1606.</p> + +<p class="ind"><a name="note_1836" id="note_1836"></a><a href="#line_1835">1836.</a> <b>si le come</b>, <i>if he likes it</i>. <i>Comer</i>, lit. "to eat."</p> + + +<p class="c top5"><a name="notes_3" id="notes_3"></a>ACT III</p> + +<p class="ind"><a name="note_1837" id="note_1837"></a><a href="#line_1835">1837.</a> <b>No haya más</b>, <i>Let that be the end of it.</i></p> + +<p class="ind"><a name="note_1844" id="note_1844"></a><a href="#line_1840">1844.</a> <b>No lo acabes de decir</b>, <i>Don't go any farther.</i></p> + +<p class="ind"><a name="note_1854" id="note_1854"></a><a href="#line_1850">1854.</a> <b>Llegue el lacayo gallina</b>, <i>Let the chicken-hearted lackey come +on.</i></p> + +<p class="ind"><a name="note_1858" id="note_1858"></a><a href="#line_1855">1858.</a> <b>mohadas</b>=<i>mojadas</i>, coll., <i>knife-thrusts</i>.</p> + +<p class="ind"><a name="note_1863" id="note_1863"></a><a href="#line_1860">1863.</a> <b>Pues con él haberlas quiero</b>, <i>Well I am willing to have it out +with him.</i></p> + +<p class="ind"><a name="note_1901" id="note_1901"></a><a href="#line_1900">1901.</a> <b>dueño</b> is regularly used in its present sense when referring to a +woman as well as to a man. The feminine <i>dueña</i> has the same meaning, +but more commonly means <i>house-keeper</i> or <i>chaperon</i>.</p> + +<p class="ind"><a name="note_1911" id="note_1911"></a><a href="#line_1910">1911.</a> <b>mesmo</b>=<i>mismo</i>.</p> + +<p class="ind"><a name="note_1920" id="note_1920"></a><a href="#line_1920">1920.</a> Cf. v. 1495 and note.</p> + +<p class="ind"><a name="note_1929" id="note_1929"></a><a href="#line_1925">1929.</a> <b>Tocó... el instrumento</b>, etc. The reference is evidently to the +<i>bandurría</i> which in its ancient form was a very popular musical +instrument for such occasions as the one here described. Compare the +description of it with its direct descendant, the modern banjo.</p> + +<p class="ind"><a name="note_1951" id="note_1951"></a><a href="#line_1950">1951.</a> <b>Casa del Campo</b>, commonly written <i>Casa de Campo</i>, is a large royal +park immediately in the rear of the royal palace and grounds and on the +other side of the Manzanares, which is here spanned by the Puente del +Rey.</p> + +<p class="ind"><a name="note_1960" id="note_1960"></a><a href="#line_1960">1960.</a> <b>Felipe y Isabel</b>, that is, Philip IV of Spain and his first wife, +Isabel de Bourbon, daughter of Henry IV, king of France. (See +Introduction.) Observe that modern Spanish would require "Felipe e +Isabel."</p> + +<p class="ind"><a name="note_1963" id="note_1963"></a><a href="#line_1960">1963.</a> <b>las colores.</b> <i>Color</i> is now almost limited in usage to the +masculine, but Lope, like other authors of the 16th and 17th centuries, +used it indifferently in the masculine and in the feminine.</p> + +<p class="ind"><a name="note_2003" id="note_2003"></a><a href="#line_2000">2003.</a> <b>pecho</b>, <i>courage</i>.</p> + +<p class="ind"><a name="note_2044" id="note_2044"></a><a href="#line_2040">2044.</a> <b>labrar</b>, <i>embroider</i>.</p> + +<p class="ind"><a name="note_2109" id="note_2109"></a><a href="#line_2105">2109.</a> <b>que antes ha sido</b>, etc., <i>for rather has it been so that I cannot +see her</i>.</p> + +<p class="ind"><a name="note_2131" id="note_2131"></a><a href="#line_2130">2131.</a> <b>Porque ha mucho que no soy</b>, <i>Because I have not been there for a +long time.</i> There is perhaps a play upon <i>ser</i>, "to exist" in this +verse.</p> + +<p class="ind"><a name="note_2146" id="note_2146"></a><a href="#line_2145">2146.</a> <b>Que más de cuatro manteos</b>, etc., <i>That more than a few</i> (lit. +"four") <i>of those mantles of yours with fabrics of gold cover many +defects.</i></p> + +<p class="ind"><a name="note_2164" id="note_2164"></a><a href="#line_2160">2164.</a> <b>aceto</b>=<i>acepto</i>.</p> + +<p class="ind"><a name="note_2172" id="note_2172"></a><a href="#line_2170">2172.</a> <b>en pelo</b>, <i>bareback</i>. With mock respect doña María asks pardon for +using in the presence of people well-bred a term as commonplace as <i>en +pelo</i>. Cf. v. 769 and note.</p> + +<p class="ind"><a name="note_2217" id="note_2217"></a><a href="#line_2215">2217.</a> <b>Alcance</b>, the present subjunctive with the conjunction <i>que</i> +omitted.</p> + +<p class="ind"><a name="note_2236" id="note_2236"></a><a href="#line_2235">2236.</a> <b>De cántaro la tenía</b>=<i>Tenía el alma de cántaro. Alma de cántaro</i> is +a colloquial term nearly equivalent to our "harebrained fellow."</p> + +<p class="ind"><a name="note_2238" id="note_2238"></a><a href="#line_2235">2238.</a> <b>proverbio</b>, that is, the proverbial use of <i>cántaro</i> in the +expression <i>alma de cántaro</i>.</p> + +<p class="ind"><a name="note_2282" id="note_2282"></a><a href="#line_2280">2282.</a> <b>Atlante</b>, a name usually applied to masculine figures in Greek +architecture, which, like the female caryatides, take the place of +columns. The reference here seems to be to the mythological Atlas, from +which word we have the architectural term <i>Atlante</i>. The author used it +in the same sense in one of his sonnets:</p> + +<div class="d"> +<p> +Igualará la pluma á la grandeza,<br /> +Y el Parnaso de vos favorecido<br /> +Tendrá en su frente el cielo como Atlante.<br /> +<span style="margin-left: 4em;"><i>Obras Sueltas</i>, vol. IV, p. 277.</span><br /> +</p> + +</div> + +<p>But Lope knew it in its more exact architectural sense and apparently +uses it so in the following lines:</p> + +<div class="d"> +<p> +Y otras del reino importantes,<br /> +Que siendo en ellos atlantes,<br /> +Serán rayos de Archidona.<br /> +<span style="margin-left: 4em;"><i>La Estrella de Sevilla</i>, Act I, Scene IV.</span><br /> +</p> +</div> + +<p class="ind"><a name="note_2315" id="note_2315"></a><a href="#line_2315">2315.</a> <b>Tened.</b> Note the change from the less formal second person singular +as soon as don Juan suspects doña María to be above the servant class.</p> + +<p class="ind"><a name="note_2342" id="note_2342"></a><a href="#line_2340">2342.</a> In Zerolo's edition there is a comma at the end of this verse +instead of a period, which is clearly the more correct punctuation.</p> + +<p class="ind"><a name="note_2347" id="note_2347"></a><a href="#line_2345">2347.</a> <b>Vos salisteis diferente</b>, <i>Your origin has been different.</i></p> + +<p class="ind"><a name="note_2349" id="note_2349"></a><a href="#line_2345">2349.</a> <b>Y yo sin dicha</b>=<i>Y yo salí sin dicha</i>.</p> + +<p>2360 and ff. Compare the similar sentiment expressed by the author in +<i>el Cuerdo en su casa</i>, Act II, Scene XXIV:</p> + +<div class="d"> +<p> +El que nació para humilde,<br /> +Mal puede ser caballero.<br /> +<span style="letter-spacing: 10px;">..............</span> +<br /> +Haya quien are y quien cave;<br /> +Siempre el vaso al licor sabe.<br /> +</p> +</div> + +<p class="ind"><a name="note_2399" id="note_2399"></a><a href="#line_2395">2399.</a> <b>Que darme yo á entender</b>, <i>For me to assume</i>.</p> + +<p class="ind"><a name="note_2420" id="note_2420"></a><a href="#line_2420">2420.</a> <b>por armas</b>, <i>as a coat of arms</i>.</p> + +<p class="ind"><a name="note_2422" id="note_2422"></a><a href="#line_2420">2422.</a> In the Valencia edition this passage is identical except that it +continues through one more <i>octava</i>.</p> + +<p class="ind"><a name="note_2438" id="note_2438"></a><a href="#line_2435">2438.</a> <b>Vinculadas en lacayos</b>, <i>Handed down from lackey to lackey. +Vincular</i>, "to entail, continue, perpetuate."</p> + +<p class="ind"><a name="note_2440" id="note_2440"></a><a href="#line_2440">2440.</a> <b>Aunque poca me ha cabido</b>, <i>Although little has fallen to my +share.</i></p> + +<p class="ind"><a name="note_2444" id="note_2444"></a><a href="#line_2440">2444.</a> <b>Mondoñedo</b>, a town in Galicia, northeast of Lugo, with a population +of about 12,000. This region has been particularly prolific in noble +houses and among them is that of Lope de Vega. He mentions the fact in +<i>el Premio de bien hablar</i>, when he makes don Juan say:</p> + +<div class="d"> +<p> +Nací en Madrid, aunque son<br /> +En Galicia los solares<br /> +De mi nacimiento noble,<br /> +De mis abuelos y padres.<br /> +Para noble nacimiento<br /> +Hay en España tres partes:<br /> +Galicia, Vizcaya, Asturias,<br /> +Ó ya montañas se llamen.—<br /> +</p> +</div> + +<p class="ind"><a name="note_2446" id="note_2446"></a><a href="#line_2445">2446.</a> <b>Volver la silla á el dosel</b>, <i>Conduct himself better on occasions +of ceremony.</i> The origin of the expression is explained in the following +note in the London edition of the play: "Alude á la costumbre de estar +en los actos públicos la silla del rey vuelta hacia el dosel siempre que +S. M. no la ocupa. Así se mantuvo la silla real en las Cortes +Extraordinarias de Cádiz y Madrid todo el tiempo que Fernando VII estuvo +preso en Francia."</p> + +<p class="ind"><a name="note_2452" id="note_2452"></a><a href="#line_2450">2452.</a> <b>Aunque pide</b>, etc., <i>Although the sack of salt requires greater +fortune.</i> A probable reference to the high cost of living and +particularly to the high price of salt, of which Olivares made a +government monopoly in 1631, the year previous to the revision or +appearance of the play.</p> + +<p class="ind"><a name="note_2468" id="note_2468"></a><a href="#line_2465">2468.</a> <b>Que no hay hueso que dejar</b>, <i>For nothing must be omitted.</i> Lit. +"For not a bone must be left out".</p> + +<p class="ind"><a name="note_2534" id="note_2534"></a><a href="#line_2530">2534.</a> <b>Que á saber</b>, <i>For if I had known.</i></p> + +<p class="ind"><a name="note_2539" id="note_2539"></a><a href="#line_2535">2539.</a> <b>Aunque á Alejandro</b>, etc. Apelles was a famous Greek painter in the +time of Philip and Alexander. His renown may be imagined, since the +three cities, Colophon, Ephesus and Cos, claimed to be his birthplace. +He spent, however, the greater part of his life in the Macedonian court, +where he was very popular. Many anecdotes were told of Alexander and +Apelles which show the intimate relations of the two and among which is +the one referred to in the text. Apelles had painted Campaspe, also +called Pancaste, the favorite of Alexander, undraped, and had fallen in +love with her. The generous monarch learning of it yielded her up to the +painter. This picture is said to have been the famous Venus Anadyomene. +At the time of the first representation of the play, the author must +have had Apelles fresh in mind, for about that date he cites another +anecdote of the painter in his dedication of <i>Amor secreto hasta Zelos</i>, +and mentions him several times in miscellaneous verse of the period.</p> + +<p class="ind"><a name="note_2549" id="note_2549"></a><a href="#line_2545">2549-50</a>. <b>que no soy tan del Conde</b>, <i>I do not belong so much to the +Count.</i></p> + +<p class="ind"><a name="note_2559" id="note_2559"></a><a href="#line_2555">2559-61</a>. These three lines are disconnected and are not adjusted either +to the rime scheme of the preceding verses or to that of the following. +They may be part of a popular song of the day.</p> + +<p class="ind"><a name="note_2561" id="note_2561"></a><a href="#line_2560">2561.</a> <b>juegan cañas.</b> Cane tourneys were modern adaptations of the +medieval tilts or jousts, in which the contestants were mounted on +horseback but armed only with reeds. The contests were made up of +several features which permitted the participants to exhibit their skill +in horsemanship. They were popular in the first part of the reign of +Philip IV, for the king encouraged them and even took part in them +himself.</p> + +<p class="ind"><a name="note_2562" id="note_2562"></a><a href="#line_2560">2562.</a> <b>¡Mala letra para novios!</b> The reference finds its full expression +in a rime of coarse sentiment which recounts the immediate fortunes +attending the <i>novio</i> who dreams of bulls.</p> + +<p class="ind"><a name="note_2567" id="note_2567"></a><a href="#line_2565">2567.</a> <b>Dos meses.</b> Cf. v. 2146 and note.</p> + +<p class="ind"><a name="note_2641" id="note_2641"></a><a href="#line_2640">2641.</a> <b>¡Vive Dios, que si... bajeza!</b> <i>By heavens, if this be true I shall +kill you rather than permit such a disgrace.</i></p> + +<p class="ind"><a name="note_2679" id="note_2679"></a><a href="#line_2675">2679.</a> <b>por andar encubierta</b>, <i>in order to remain in disguise</i>.</p> + +<p class="ind"><a name="note_2685" id="note_2685"></a><a href="#line_2685">2685.</a> <b>á escuras</b>=<i>á oscuras</i>.</p> + +<p class="ind"><a name="note_2691" id="note_2691"></a><a href="#line_2690">2691.</a> Compare this with the following lines from the <i>Égloga á Claudio</i>:</p> + +<div class="d"> +<p> +<i>Mil y quinientas fabulas</i> admira,<br /> +Que la mayor el numero parece,<br /> +Verdad que desmerece<br /> +Por parecer mentira,<br /> +Pues más de ciento en horas veintiquatro<br /> +Passaron de las Musas al Teatro.<br /> +<span style="margin-left: 15%;"><i>Obras Sueltas</i>, vol. IX, p. 368.</span><br /> +</p> +</div> + + +<hr style="width: 50%;" /> +<h3 class="top15">NEW SPANISH SERIES</h3> + +<p class="ind">Under the general Editorship of Professor J. D. M. <span class="smcap">Ford</span> of Harvard +University.</p> + + +<p class="h"><b>A Brief History of Spanish Literature.</b> By J. D. M. <span class="smcap">Ford</span>. [<i>In +preparation.</i>]</p> + +<p class="h"><b>Alarcón (Ruiz de): Las Paredes Oyen.</b> Edited by <span class="smcap">Caroline Bourland</span>, Smith +College. [<i>In preparation.</i>]</p> + +<p class="h"><b>Ayala: Consuelo.</b> Edited by A. M. <span class="smcap">Espinosa</span>, Stanford University. 60 +cents.</p> + +<p class="h"><b>Calderón: El Mágico Prodigioso.</b> Edited by A. F. <span class="smcap">Kuersteiner</span>, Indiana +University. [<i>In preparation.</i>]</p> + +<p class="h"><b>Calderón: El Alcalde de Zalamea.</b> Edited by B. P. <span class="smcap">Bourland</span>, Adelbert +College. [<i>In preparation.</i>]</p> + +<p class="h"><b>Cervantes: Novelas Ejemplares. (Selections.)</b> Edited by H. A. <span class="smcap">Rennert</span>, +University of Pennsylvania. [<i>In preparation.</i>]</p> + +<p class="h"><b>Hartzenbusch: La Coja y el Encogido.</b> Edited by J. <span class="smcap">Geddes</span>, Jr., Boston +University. 60 cents.</p> + +<p class="h"><b>Hills and Morley's Modern Spanish Lyrics.</b> Edited by E. C. <span class="smcap">Hills</span>, +Colorado College, and S. G. <span class="smcap">Morley</span>, University of Colorado.</p> + +<p class="h"><b>Ibáñez (Blasco): La Barraca.</b> Edited, with vocabulary, by R. H. <span class="smcap">Keniston</span>. +90 cents.</p> + +<p class="h"><b>Lope de Vega: Amar sin saber á quien.</b> Edited by <span class="smcap">Milton A. Buchanan</span>, +University of Toronto, and <span class="smcap">Bernard Franzen-Swedelius</span>, McMaster +University. 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Notes with each exercise and a +vocabulary, viii+144 pp. 16mo. 75 cents.</p> + +<p class="h"><b>Schilling's Spanish Grammar.</b><br /> +Translated and edited by <span class="smcap">Frederick Zagel</span>. 340 pp. 12mo. $1.10.</p> + + +<p class="h"><span class="smcap">Schilling's Don Basilio.</span><br /> +Translated and edited by <span class="smcap">Frederick Zagel</span>. A guide to Spanish +conversation and correspondence, vii+156 pp. 12mo. $1.00.</p> + + + +<hr /> +<h2>SPANISH READERS AND TEXTS.</h2> + + +<p class="h"><b>Alarcón: El Sombrero de Tres Picos.</b> Edited, with introduction, notes, +and vocabulary, by <span class="smcap">Benjamin P. Bourland</span>, Professor in Adelbert College. +xvi+250 pp. 16mo. 90 cents.</p> + +<p class="ind">This story is the most characteristically +Spanish of all Alarcón's writings, and in many respects his best work. +This edition is designed to make it accessible as a text to college +classes of the second or third semester.</p> + +<p class="h"><b>Becquer: Selected Works.</b> Edited, with notes and a vocabulary, by <span class="smcap">Fonger +De Haan</span>, Professor in Bryn Mawr College. [<i>In preparation.</i>] Text of the +above, without notes and vocabulary. 232 pp 12mo. 50 cents.</p> + +<p class="h"><b>Caballero: La Familia de Alvareda.</b> New edition from new plates, with +introduction, notes and vocabulary by <span class="smcap">Percy B. Burnet</span>, Kansas City (Mo.) +Manual Training High School. 200 pp. 16mo. 75 cents.</p> + +<p class="h"><b>Hills's Spanish Tales for Beginners.</b> By E. C. <span class="smcap">Hills</span>, Professor of +Romance Languages in Colorado College. With notes and vocabulary. 298 +pp. 16mo. $1.10.</p> + +<p class="ind">In selecting the stories, three objects have been kept in view: (1) That +they have literary merit, (2) that they be interesting and be not too +difficult in language and thought, and (3) that they portray modern +Spanish life.</p> + +<p class="h"><b>Ramsey's Elementary Spanish Reader.</b> By M. M. <span class="smcap">Ramsey</span>. With original +illustrations and a vocabulary. x+240 pp. 16mo. $1.00.</p> +<p class="ind">A very easy and carefully graded reading-book meant to accompany the early stages of the +study.</p> + +<p class="h"><b>Tirso de Molina: Don Gil de las Calzas Verdes.</b> With introduction, notes, +and vocabulary by <span class="smcap">Benjamin P. Bourland</span>, Professor in Adelbert College, +xxvii+198 pp. 16mo. 75 cents.</p> + +<p class="ind">This edition is designed for the use of college students in their third +or fourth semester of Spanish study.</p> + + + +<hr /> +<h2>MODERN LANGUAGE DICTIONARIES</h2> + + +<p class="h"><b>Bellows's German Dictionary</b> 806 pp. 12mo. Retail price, $1.75. On the +same general plan as Bellows's French Dictionary (Larger type edition). +See below.</p> + +<p class="h"><b>Whitney's Compendious German and English Dictionary</b> viii+538+ii+362 pp. +8vo. Retail price, $1.50. Arranges definitions in historical order, +prints cognates in heavy type, gives brief etymologies.</p> + +<p class="h"><b>Gasc's Student's French and English Dictionary</b> 600+586 pp. 12mo. Retail +price, $1.50. Comprehensive, inexpensive. Popular with students.</p> + +<p class="h"><b>Gasc's Pocket French and English Dictionary</b> x+647 pp. 18mo. $1.00.</p> + +<p class="h"><b>Gasc's Library French and English Dictionary</b> 956 pp. 8vo. $4.00.</p> + +<p class="ind">An expansion of the larger of the foregoing dictionaries, comparing +favorably both for completeness and convenience with any French and +English dictionary extant.</p> + +<p class="h"><b>Gasc's Concise Dictionary of the French and English Languages</b> 941 pp. +16mo. Retail price, $1.25.</p> + +<p class="h">Abridged from the foregoing. The most complete of the portable +dictionaries.</p> + +<p class="h"><b>Gasc's Little Gem French and English Dictionary</b> 279 pp. Vest-pocket +format. Cloth, 50c. Leather, $1.00.</p> + +<p class="h"><b>Bellows's French and English Pocket Dictionary</b> 605 pp. 32mo. Roan tuck, +$2.55. Morocco tuck, $3.10.</p> + +<p class="ind">French-English and English-French on same page; gender shown by +distinguishing types; verb-forms at a glance; liaison marked; hints on +pronunciation, customs, and usage; rich in idiomatic and colloquial +renderings in both languages; tables and maps. Carefully printed from +type specially cast.</p> + +<p class="h"><b>Bellows's French Dictionary. Larger Type</b> 689 pp. 12mo. Retail price, +$1.50.</p> +<p class="ind">Revised and enlarged. Larger type. For the use of students. +Retains all the features and devices of the Pocket Dictionary except the +maps.</p> + +<p class="h"><b>Edgren and Burnet's French and English Dictionary</b> 1252 pp. 8vo. Retail +price, $1.50.</p> +<p class="ind">Gives pronunciation and etymologies, with date of first +occurrence of each word. Scholarly and practical.</p> + +<p class="h"><b>Edgren's Italian and English Dictionary</b> viii+1028 pp. 8vo. Retail price, +$3.00.</p> + + +<div class="footnotes top15"> + +<h3><a name="FOOTNOTES" id="FOOTNOTES"></a>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> Professor Hugo Albert Rennert, in his excellent and +exhaustive work entitled <i>The Life of Lope de Vega</i>, from which many of +the details of this Introduction are taken, quotes at length from +Tomillo and Pérez Pastor's <i>Datos Desconocidos</i> the Spanish criminal +records of the <i>Proceso de Lope de Vega por Libelos contra unos +Cómicos</i>. In the course of the procedure much light is thrown upon this +period of Lope's life.</p></div> + +<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> <i>Égloga á Claudio</i>, <i>Obras Sueltas</i>, Vol. IX, p. 367.</p></div> + +<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> Lope was by no means unaware of his important influence on +the Spanish theater. In his <i>Epístola á Don Antonio de Mendoza</i> he +evinces it in the following lines: +</p> + +<div class="d"> +<p><br /> +Necesidad y yo partiendo á medias<br /> +el estado de versos mercantiles,<br /> +pusimos en estilo las Comedias.<br /> +Yo las saqué de sus principios viles,<br /> +engendrando en España más Poetas,<br /> +que hay en los ayres átomos sutiles.<br /> +<span style="margin-left: 4em;"><i>Obras Sueltas</i>, vol. I, p. 285.</span><br /> +</p></div></div> + +<div class="footnote"><p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> <i>Obras Sueltas</i>, Vol. IX, p. 368.</p></div> + +<div class="footnote"><p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> I have not been able to verify on what foundation +Hartzenbusch bases the statement that the play was written first in +1625. It is true that several historical events which took place about +that year are alluded to in the work in a way to indicate that they were +fresh in the mind of the author, but they do not offer conclusive proof. +It does not appear in the twenty-five <i>Partes</i> or collections of Lope's +dramas, and it is doubtful if it was published in any regular edition +during the poet's life. In a note, Act II, Scene III, Hartzenbusch +mentions "la edición antigua de la comedia," but does not specify to +what edition he refers. The play appears in <i>Comedias de Diferentes +Autores</i>, Vol. XXXVII, Valencia, 1646, but it is not certain or even +probable that this is the first time it was published.</p></div> + +<div class="footnote"><p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> The sun was setting and a <i>comedia</i> was approaching its +last phase, precursor of the denouement. It was presented in a theater +of Madrid (or <i>corral</i> as it was then called) by four gallants, two +ladies, an old man, two <i>graciosos</i>, two <i>graciosas</i>, and other minor +characters, before an audience with hats pulled down as those who had no +other roof above them than that of heaven. Already the leading lady had +made her last entry, decked in the richest costume of her wardrobe; her +lover, absorbed by the noble bearing of that woman who, although a +humble servant, knew, nevertheless, the pompous farthingale as if in all +her life she had not worn any other style of skirt; blind with passion +and trampling on the respect due his lineage, had approached her and, +beside himself, seizing her hand, had offered her his. The second +gallant had resolutely opposed the irregular and hasty match, but on +hearing that the supposed Isabel bore as true name the illustrious one +of Doña María Guzmán y Portocarrero and was, although a water-maid, a +relative of the Duke of Medina, his resistance had vanished. Then with a +sweeping and silent bow to the fiancée the actor approached the front of +the stage to pronounce this brief address to the public: +</p> + +<div class="d"> +<p><br /> +Aquí<br /> +Puso fin á esta comedia<br /> +Quien, si perdiere este pleito,<br /> +Apela á <i>Mil y quinientas</i>.<br /> +<span class="smcap">Mil y quinientas</span> ha escrito:<br /> +Bien es que perdón merezca.<br /> +</p> +</div> + +<p> +From the <i>gradas</i> and <i>barandillas</i>, from the windows and <i>desvanes</i>, +from all the seats, but especially from those which filled the <i>patio</i>, +there must have gone forth then amid clamorous applause a unanimous +shout of admiration, of enthusiasm, and very just national pride. +"<i>¡Vítor, Lope!</i>" shrieked that tumultuous multitude time and again. +"Long live <i>el Fénix de los ingenios</i>! Long live Lope de Vega!"</p></div> + +<div class="footnote"><p><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> See <i>Comedias Escogidas</i>, Vol. I, p. xxviii, and Gassier, +<i>Le Théâtre Espagnol</i>, p. 60.</p></div> + +<div class="footnote"><p><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> Ticknor, <i>History of Spanish Literature</i>, Vol. II, p. 275.</p></div> + +<div class="footnote"><p><a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9"><span class="label">[9]</span></a> The Ticknor collection in the Boston Public Library +contains two copies of the play; the one is entitled "La Moza de +Cántaro, comedia en cinco actos por Lope Félix de Vega Carpio y +refundida por Cándido María Trigueros, Valencia, 1803," and the other, +<i>idem</i>, "con anotaciones, Londres" (probably about 1820). These are +probably the only editions of the play with which Ticknor was familiar +when he made his classification of it, for certainly he could not +reconcile it with his definition of "comedies on common life," but he +could easily accord it with his definition of "comedias de capa y +espada." (See Ticknor's <i>History of Spanish Literature</i>, Vol. II, pp. +243 and 275.) Quoting from Lista's classification, Romualdo Alvarez +Espino says: "<i>Comedias de costumbres</i> in which are painted vices of +certain persons who, since in that epoch they could not be represented +to be of the nobility, were drawn from the dregs of the people. Perhaps +his very object in these compositions drew Lope away from the culture +and urbanity which distinguish him in others; but fortunately they are +few. Let us mention as examples <i>El rufian Castrucho</i>, <i>La Moza de +Cántaro</i>, <i>El sabio en su casa</i>, <i>La doncella Teodor</i>." (Romualdo +Alvarez Espino, <i>Ensayo Histórico Crítico del Teatro Español</i>, p. 116. +See also, Alfred Gassier, <i>Le Théâtre Espagnol</i>, p. 38.) In the broader +sense of the term, <i>comedias de costumbres</i> could easily include not +only the <i>Moza de Cántaro</i> but generally all <i>comedias de capa y +espada</i>, for true comedy is the presentation of the customs of society +in a diverting manner. However, the Spanish critics usually narrow the +class to include only the dramas of Lope which deal with the lower +strata of social life and make the error of classing the <i>Moza de +Cántaro</i> among them. This error may be explained by the fact that the +critics, especially those cited above, have probably referred directly +or indirectly to the <i>refundida</i> edition of the play which makes +prominent the part of the servants and minimizes the rôles of the +masters.</p></div> + +<div class="footnote"><p><a name="Footnote_10_10" id="Footnote_10_10"></a><a href="#FNanchor_10_10"><span class="label">[10]</span></a> Fitzmaurice-Kelly, <i>Spanish Literature</i>, p. 257.</p></div> + +<div class="footnote"><p><a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11"><span class="label">[11]</span></a> In his <i>Dorotea</i> the character Fernando is known to +present an authentic biographical account of the author's youth and +early manhood, while others of his heroes, as Don Juan in <i>el Premio de +bien hablar</i>, furnish unmistakable details.</p></div> + +<div class="footnote"><p><a name="Footnote_12_12" id="Footnote_12_12"></a><a href="#FNanchor_12_12"><span class="label">[12]</span></a> One can scarcely say that the character is purely Spanish +in origin, for servants had long been given a prominent part in dramas. +Without seeking further we may well recall the place they have in the +works of both Plautus and Terence. The early Italian comedies inherit +this character from the Latins, and it appears in most of the plays of +Ariosto, Machiavelli, and Aretino. It is found in the early Spanish +dramas, and the debt to Italy is unmistakable; for example, in <i>La +Celestina</i> the name of one of the leading servant +characters—Parmeno—is the same as appears in the three plays of +Terence: <i>Eunuchus</i>, <i>Adelphi</i>, and <i>Hecyra</i>. And in the hands of Rojas +and Naharro the type is not markedly different from the Latin and +Italian originals. It remained for Lope to perfect it and make it truly +national.</p></div> + +<div class="footnote"><p><a name="Footnote_13_13" id="Footnote_13_13"></a><a href="#FNanchor_13_13"><span class="label">[13]</span></a> Philip IV's passion for the theater was so great that he +himself, Martin Hume tells us, appeared in private theatricals upon the +stage in roles that scarcely did credit to his lofty station. Of the +young queen, Isabel de Bourbon, who may be considered as well +representing contemporary tastes, the same author says: "Not only was +she an ardent lover of the bullfight, but she would in the palace or +public theaters countenance amusements which would now be considered +coarse. Quarrels and fights between country wenches would be incited for +her to witness unsuspected; nocturnal tumults would be provoked for her +amusement in the gardens of Aranjuez or other palaces; and it is related +that, when she was in one of the grated <i>aposentos</i> of a public theater, +snakes or noxious reptiles would be secretly let loose upon the floor or +in the <i>cazuela</i>, to the confusion and alarm of the spectators, whilst +the gay, red-cheeked young Queen would almost laugh herself into fits to +see the stampede." Martin Hume, <i>The Court of Philip IV</i>, pp. 149 and +203.</p></div> + +<div class="footnote"><p><a name="Footnote_14_14" id="Footnote_14_14"></a><a href="#FNanchor_14_14"><span class="label">[14]</span></a> <i>Obras Sueltas</i>, Vol. IV, p. 415.</p></div> + +<div class="footnote"><p><a name="Footnote_15_15" id="Footnote_15_15"></a><a href="#FNanchor_15_15"><span class="label">[15]</span></a> While this is not the place to treat in detail with +Spanish versification, it may be well to define briefly the forms used +in the play which are not met with in English. The <i>redondilla</i> is +composed of four verses of seven or eight syllables each, the first +verse riming with the fourth and the second with the third. The +<i>romance</i> is composed of any number of seven or eight syllable verses, +in the even numbers of which there is a correspondence of vowel sounds +in the last two syllables, which is called <i>assonance</i>. The <i>décima</i> +consists of ten octosyllabic verses, of which generally the first rimes +with the fourth and fifth, the second with the third, the sixth with the +seventh and tenth, and the eighth with the ninth. The <i>octava</i> has eight +hendecasyllabic verses of which the first rimes with the third and +fifth, the second with the fourth and sixth, and the seventh with the +eighth.</p></div> +</div> + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of La moza de cántaro, by Lope de Vega + +*** END OF THIS PROJECT GUTENBERG EBOOK LA MOZA DE CÁNTARO *** + +***** This file should be named 23206-h.htm or 23206-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/3/2/0/23206/ + +Produced by Juliet Sutherland, Chuck Greif and the Online +Distributed Proofreading Team at http://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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