78 Durán, No. 379.

79 Primavera, No. 184; Durán, No. 400.

80 Primavera, No. 186; Durán, No. 402.

81 Primavera, No. 151; Durán, No. 295.

82 Primavera, No. 150; Durán, No. 294.

83

Ah! what pleasant visions haunt me
As I gaze upon the sea!
All the old romantic legends,
All my dreams, come back to me.
 
Sails of silk and ropes of sandal,
Such as gleam in ancient lore;
And the singing of the sailors,
And the answer from the shore!
 
Most of all, the Spanish ballad
Haunts me oft, and tarries long,
Of the noble Count Arnaldos
And the sailor’s mystic song.
 
Like the long waves on a sea-beach,
Where the sand as silver shines,
With a soft, monotonous cadence
Flow its unrhymed lyric lines;—
 
Telling how the Count Arnaldos,
With his hawk upon his hand,
Saw a fair and stately galley,
Steering onward to the land;—
 
How he heard the ancient helmsman
Chant a song so wild and clear,
That the sailing sea-bird slowly
Poised upon the mast to hear,
 
Till his soul was full of longing,
And he cried with impulse strong,—
‘Helmsman! for the love of heaven,
Teach me, too, that wondrous song!’
 
‘Wouldst thou,’ so the helmsman answered,
‘Learn the secret of the sea?
Only those who brave its dangers
Comprehend its mystery!’

84 Primavera, No. 153; Durán, No. 286.

85 Depping, IV., No. 19, p. 418:—

À coger el trebol, Damas!
La mañana de san Juan,
À coger el trebol, Damas!
Que despues no avrà lugar.

86 Primavera, No. 124; Durán, No. 8.

87 Durán, No. 1808.

88 Primavera, No. 125; Durán, No. 300.

89 Romancero general (Madrid, 1604), p. 407v.

90 Durán, No. 1454.

91 Durán, No. 292.

92 Ibid., No. 274.

93 Primavera, No. 116; Durán, No. 1446.

94 Primavera, No. 147; Durán, No. 351.

95 Primavera, No. 142; Durán, No. 1459.

96 Primavera, No. 131; Durán, No. 255.

97 Primavera, No. 163; Durán, No. 365.

98 XV. Romances. (Ordenólos R. Foulché-Delbosc.) Barcelona [1907].

99 Los Lunes de El Imparcial (9 de Julio de 1906): ‘El peor enemigo de Cervantes.’

100 The present lecture was first delivered at the University of Pennsylvania, Philadelphia, on November 25, 1907.

101 Yet Quinault had already adapted El galán fantasma under the title of Le Fantôme amoureux, which is the source of Sir William Lower’s Amorous Fantasme (1660), and there are other French imitations by Quinault, Scarron, and Thomas Corneille. Calderón was popular in Italy. As early as 1654, Cardinal Giulio Rospigliosi (afterwards Clement IX.) based on No siempre lo peor es cierto the libretto of Dal male il bene, which was set to music by Antonio Maria Abbatini and Marco Marazzoli. In 1656 El mayor monstruo los celos was arranged for the Italian stage by Giacinto Andrea Cicognini, who afterwards produced many other adaptations of Calderón’s plays: see an interesting and learned article by Dr. Arturo Farinelli in Cultura Española (Madrid, February 1907), pp. 123-127.

102 If Calderón be really the author of the sainete entitled El Labrador Gentilhombre printed at the end of Hado y divisa de Leonido y Marfisa, he had evidently read Molière’s Bourgeois gentilhomme. But the authorship of this sainete is uncertain.

103 Most Spaniards who ridicule Calderón for using hipogrifo accentuate the word wrongly in speech and writing. Hipógrifo is a mistake; the word is not a palabra esdrújula, as may be seen from Lope de Vega’s use of it in La Gatomaquia (silva vii.):—

Que vemos en Orlando el hipogrifo,
monstruo compuesto de caballo y grifo.

Calderón himself gives it as a palabra llana in his auto entitled La lepra de Constantino. For other examples, see Rufino José Cuervo, Apuntaciones críticas sobre el lenguaje bogotano con frecuente referencia al de los países de Hispano-América. Quinta edición (Paris, 1907), pp. 11-12.

104 Pedro Jozé Suppico de Moraes, Collecção politica de apothegmas, ou ditos agudos, e sentenciosos (Coimbra, 1761), Parte 1., pp. 337-338.

105 Zamora’s arrangement of Calderón’s auto entitled El pleito matrimonial was played at the Príncipe theatre in Madrid on the Feast of Corpus Christi, 1762.

106 Philip IV. is usually described as a man of artistic tastes, but the evidence does not altogether support this view. For instance, on February 18, 1637, at a poetical improvisation in the Buen Retiro, Philip set Calderón and Vélez de Guevara the following subjects:—(1) ‘Why is Jupiter always painted with a fair beard?’ (2) ‘Why are the waiting-women at Court called mondongas, though they do not sell mondongo (black-pudding)?’ Time did not improve Philip. Some twenty years later, according to Barrionuevo, Philip arranged that women only should attend a certain performance at the theatre, and gave instructions that they should leave off their guardain-fantes on this occasion. His idea was to be present with the Queen, and (from a spot where he could see without being observed) watch the effect when a hundred mice were suddenly let out of mice-traps in the casuela and patio—‘which, if it takes place, will be worth seeing, and a diversion for Their Majesties.’ Owing (apparently) to remonstrances which reached him, Philip was compelled to abandon the project, but his intention gives the measure of his refinement. See an instructive article, entitled Los Jardines del Buen Retiro, by Sr. D. Rodrigo Amador de los Rios in La España Moderna (January 1905); and the Arisos de D. Jerónimo to de Barrionuevo (1654-1658) edited by Sr. D. Antonio Paz y Mélia (Madrid, 892-93), vol. ii, p. 308.

107 It may be worth noting that the date of Pereda’s birth is wrongly given in all the books of reference, and he himself was mistaken on the point. He was born on February 6, 1833, and not—as he thought—on February 7, 1834.

INDEX