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+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
+
+
+
+
+
+
+
+
+
+LA MOZA DE CÁNTARO
+
+POR
+
+LOPE DE VEGA
+
+_EDITED WITH INTRODUCTION AND NOTES_
+
+BY
+
+MADISON STATHERS
+
+   (_Docteur de l'Université de Grenoble_)
+   _Professor of Romance Languages in West Virginia University_
+
+COPYRIGHT, 1913,
+
+BY
+
+HENRY HOLT AND COMPANY
+
+
+
+
+PREFACE
+
+
+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 _La Moza de Cántaro_,
+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.
+
+The text has been taken completely, without any omissions or
+modifications, from the Hartzenbusch collection of _Comedias Escogidas
+de Lope de Vega_ published in the _Biblioteca de Autores Españoles_ 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.
+
+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.
+
+M. S.
+
+WEST VIRGINIA UNIVERSITY.
+
+
+
+
+INTRODUCTION
+
+I. LIFE OF LOPE DE VEGA
+
+
+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.
+
+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.
+
+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[1] 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."
+
+[Note 1: Professor Hugo Albert Rennert, in his excellent and
+exhaustive work entitled _The Life of Lope de Vega_, from which many of
+the details of this Introduction are taken, quotes at length from
+Tomillo and Pérez Pastor's _Datos Desconocidos_ the Spanish criminal
+records of the _Proceso de Lope de Vega por Libelos contra unos
+Cómicos_. In the course of the procedure much light is thrown upon this
+period of Lope's life.]
+
+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
+_Proceso de Lope de Vega por libelos contra unos Cómicos_, 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 _la Hermosura de Angélica_. 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.
+
+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, _El Verdadero Amante_, 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.
+
+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 _Arcadia_,
+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.
+
+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 _La Dragontea_, an epic poem on Sir Francis
+Drake, and _Isidro_, 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, _Jerusalén Conquistada_, an untrustworthy narration of the
+achievements of Richard Coeur-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.
+
+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, _los Pastores de Belén_, 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.
+
+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.
+
+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 _Corona Trágica_, 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 _Laurel de Apolo_, 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, _Dorotea_, 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."[2] 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 _Rimas del licenciado
+Tomé de Burguillos_, contains the mock-heroic, _La Gatomaquia_, 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."
+
+[Note 2: _Égloga á Claudio_, _Obras Sueltas_, Vol. IX, p. 367.]
+
+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, _El Siglo de Oro_, 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.
+
+
+II. THE EARLY SPANISH THEATER AND THE DRAMA OF LOPE DE VEGA
+
+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
+_autos_, after they had disappeared in other parts of Europe.
+
+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
+_Viaje entretenido_, 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 _Églogas_. 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, _La Celestina_, 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 _Propaladia_. He, first of Spanish authors, divided
+his plays into five acts, called _jornadas_, limited the number of
+personages, and created a plot worthy of the name.
+
+For almost half a century after the publication of the _Propaladia_ 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.
+
+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 _Viaje entretenido_ in no less
+than eight professional grades: (1) The _bululú_, 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
+_ñaque_, two players, who could perform _entremeses_ and play one or two
+musical instruments. (3) The _gangarilla_, 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 _cambaleo_ was composed of five
+men and a woman and remained several days in each village. (5) The
+_garnacha_ was a little larger than the _cambaleo_ and could represent
+four plays and several autos and _entremeses_. (6) The _bojiganga_
+represented as many as six _comedias_ and a number of _autos_ and
+_entremeses_, had some approach at regular costumes, and traveled on
+horseback. (7) The _farándula_ was composed of from ten to fifteen
+players, was well equipped and traveled with some ease. (8) The
+_compañía_ 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 _corrales_ or open spaces surrounded on all sides by
+houses except the side nearest the street. By the beginning of the
+seventeenth century these _corrales_ 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 _corrales_, with the adjoining
+rooms, formed _aposentos_ which were rented to individuals and which
+were entered from the houses themselves. At the end farthest from the
+entrance of the _corral_ 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 _cazuela_ 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 _aposentos_, 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 _Fénix de los
+ingenios_.
+
+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.[3] 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, _El Verdadero Amante_, 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 _comedias_, 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 _El
+Peregrino en su Patria_, 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 _El Arte Nuevo de hacer Comedias_, 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 _Égloga á
+Claudio_, written in 1632, and in the concluding lines of _La Moza de
+Cántaro_, revised probably the same year, he says that he is the author
+of fifteen hundred comedias. In the _Fama Póstuma_, written after his
+death in 1635 by his friend Montalvan, it is stated that the number of
+dramatic works of Lope included eighteen hundred _comedias_ and four
+hundred _autos_. From the above figures it is evident that Lope composed
+at times on an average a hundred _comedias_ a year, and this after he
+had passed his fiftieth year! Yet still more astonishing is his own
+statement in regard to them:
+
+      «Y más de ciento, en horas veinte y cuatro,
+      Pasaron de las musas al teatro.»[4]
+
+And it is a matter of history that he composed his well-known _La Noche
+de San Juan_ 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."
+
+[Note 3: Lope was by no means unaware of his important influence on
+the Spanish theater. In his _Epístola á Don Antonio de Mendoza_ he
+evinces it in the following lines:
+
+      Necesidad y yo partiendo á medias
+      el estado de versos mercantiles,
+      pusimos en estilo las Comedias.
+      Yo las saqué de sus principios viles,
+      engendrando en España más Poetas,
+      que hay en los ayres átomos sutiles.
+
+_Obras Sueltas_, vol. I, p. 285.
+
+]
+
+[Note 4: _Obras Sueltas_, Vol. IX, p. 368.]
+
+To his plays Lope de Vega has given the general name of _comedias_,
+which should not be confused with the word "comedies," for the two are
+not synonymous. They are divided into three acts or _jornadas_ of
+somewhat variable length and admit of numerous classifications. Broadly
+speaking, we may divide the _comedias_ into four groups: (1) _Comedias
+de capa y espada_, 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) _Comedias heroicas_, which have royalty as the leading
+characters, are lofty or tragical in sentiment, and have historical or
+mythological foundation. (3) _Comedias de santos_, 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) _Comedias de costumbres_, 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 _Autos sacramentales_, 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.
+
+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 _El Verdadero Amante_, certainly in its original
+form one of his earliest plays now in existence, to _Las Bizarrías de
+Belisa_, 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."
+
+
+III. LA MOZA DE CÁNTARO
+
+This interesting _comedia_ 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.[5] It is evident that the closing lines
+of it were written in 1632, for the author says in the _Égloga á
+Claudio_ 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 _prólogo_ of his edition of
+_Comedias Escogidas de Lope de Vega_: «Iba cayendo el sol, y acercábase
+á la peripecia última, precursora del desenlace, una comedia que en un
+teatro de Madrid (ó _corral_, 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 _moza de cántaro_ 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:
+
+                      Aquí
+      Puso fin á esta comedia
+      Quien, si perdiere este pleito,
+      Apela á _Mil y Quinientas_.
+      MIL Y QUINIENTAS ha escrito:
+      Bien es que perdón merezca.
+
+[Note 5: 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 _Partes_ 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 _Comedias de Diferentes
+Autores_, Vol. XXXVII, Valencia, 1646, but it is not certain or even
+probable that this is the first time it was published.]
+
+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 _el Fénix de los
+ingenios_! ¡Viva Lope de Vega!»[6] 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 _La Moza de Cántaro_
+among the first,[7] 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."[8]
+
+[Note 6: The sun was setting and a _comedia_ was approaching its
+last phase, precursor of the denouement. It was presented in a theater
+of Madrid (or _corral_ as it was then called) by four gallants, two
+ladies, an old man, two _graciosos_, two _graciosas_, 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:
+
+                        Aquí
+      Puso fin á esta comedia
+      Quien, si perdiere este pleito,
+      Apela á _Mil y Quinientas_.
+      MIL Y QUINIENTAS ha escrito:
+      Bien es que perdón merezca.
+
+From the _gradas_ and _barandillas_, from the windows and _desvanes_,
+from all the seats, but especially from those which filled the _patio_,
+there must have gone forth then amid clamorous applause a unanimous
+shout of admiration, of enthusiasm, and very just national pride.
+"_¡Vítor, Lope!_" shrieked that tumultuous multitude time and again.
+"Long live _el Fénix de los ingenios_! Long live Lope de Vega!"]
+
+[Note 7: See _Comedias Escogidas_, Vol. I, p. xxviii, and Gassier,
+_Le Théâtre Espagnol_, p. 60.]
+
+[Note 8: Ticknor, _History of Spanish Literature_, Vol. II, p. 275.]
+
+The "Watermaid" belongs to the largest class of Lope's plays--the class
+in which he excelled--_comedias de capa y espada_. Ticknor erroneously
+classes it as a comedy "founded on common life" or as styled by others
+_comedia de costumbres_, 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 _comedias de capa y
+espada_, for he says: "Más que ninguna otra, reune esta obra las
+circunstancias que caracterizan á las _comedias de capa y espada_, 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.[9] 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.
+
+[Note 9: 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,
+_idem_, "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 _History of Spanish Literature_, Vol. II, pp.
+243 and 275.) Quoting from Lista's classification, Romualdo Alvarez
+Espino says: "_Comedias de costumbres_ 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 _El rufian Castrucho_, _La Moza de
+Cántaro_, _El sabio en su casa_, _La doncella Teodor_." (Romualdo
+Alvarez Espino, _Ensayo Histórico Crítico del Teatro Español_, p. 116.
+See also, Alfred Gassier, _Le Théâtre Espagnol_, p. 38.) In the broader
+sense of the term, _comedias de costumbres_ could easily include not
+only the _Moza de Cántaro_ but generally all _comedias de capa y
+espada_, 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 _Moza de
+Cántaro_ 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 _refundida_ edition of the play which makes
+prominent the part of the servants and minimizes the rôles of the
+masters.]
+
+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.
+
+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.
+
+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."[10] 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.
+
+[Note 10: Fitzmaurice-Kelly, _Spanish Literature_, p. 257.]
+
+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.[11] 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 _original_. But in him we find more nearly the common
+Spanish conception of chivalry and honor.
+
+[Note 11: In his _Dorotea_ 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 _el Premio de
+bien hablar_, furnish unmistakable details.]
+
+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 _lavaderos_ 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.
+
+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 _las
+Mocedades del Cid_, 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 _las Mocedades_, 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!
+
+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.
+
+One character particularly local to Spanish literature is the _Indiano_.
+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 _Indianos_ 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 _la
+Esclava de su Galán_, and again they figure as the object of the poet's
+contempt, as the wealthy merchant, Don Bela, in _la Dorotea_. In the
+present instance the _Indiano_ 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.
+
+The last characters in the play who need occupy our attention are Martín
+and Pedro, the _graciosos_. This very Spanish personage dates, in idea,
+back to the servants of the _Celestina_ and to the _simple_ 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."[12]
+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."
+
+[Note 12: 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 _La
+Celestina_ the name of one of the leading servant
+characters--Parmeno--is the same as appears in the three plays of
+Terence: _Eunuchus_, _Adelphi_, and _Hecyra_. 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.]
+
+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 _gracioso_, 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.[13]
+
+[Note 13: 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 _aposentos_ of a public theater,
+snakes or noxious reptiles would be secretly let loose upon the floor or
+in the _cazuela_, 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, _The Court of Philip IV_, pp. 149 and
+203.]
+
+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 _La Moza de Cántaro_ 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 _La Moza de Cántaro_,
+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.
+
+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 _el Arte nuevo
+de hacer Comedias_, he says: "The versification should be carefully
+accommodated to the subject treated. The _décimas_ are suited for
+complaints; the sonnet is fitting for those who are in expectation; the
+narrations require _romances_, although they shine most brilliantly in
+octaves; tercets are suitable for matters grave, and for love-scenes the
+_redondilla_ is the fitting measure."[14] These various rimes, except
+the tercet, are found in _La Moza de Cántaro_, but in this rule, as in
+others which he prescribes, Lope does not follow his own precepts. The
+_redondilla_ is far more common than any other, though the _romance_ 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 _décima_ is used in four passages and
+the _octava_ in two.[15] The widely varied scheme of versification is as
+follows:
+
+
+ACT I
+
+      1-176 Redondillas
+      177-260 Romances.
+      261-296 Redondillas.
+      297-372 Romances.
+      373-704 Redondillas.
+      705-744 Décimas.
+      745-824 Redondillas.
+      825-914 Romances.
+
+[Note 14: _Obras Sueltas_, Vol. IV, p. 415.]
+
+[Note 15: 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 _redondilla_ 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
+_romance_ 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 _assonance_. The _décima_
+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 _octava_ 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.]
+
+
+ACT II
+
+      915-1062 Redondillas.
+      1063-1076 Soneto.
+      1077-1088 Redondillas.
+      1089-1102 Soneto.
+      1103-1106 Redondilla.
+      1107-1120 Soneto.
+      1121-1236 Redondillas.
+      1237-1280 Décimas.
+      1281-1452 Romances.
+      1453-1668 Redondillas.
+      1669-1788 Romances.
+      1789-1836 Redondillas.
+
+
+ACT III
+
+      1837-1896 Redondillas.
+      1897-1984 Octavas.
+      1985-2052 Redondillas.
+      2053-2112 Décimas.
+      2113-2226 Romances.
+      2227-2374 Redondillas.
+      2375-2422 Octavas.
+      2423-2478 Redondillas.
+      2479-2558 Décimas.
+      2562-2693 Romances.
+
+
+
+
+BIBLIOGRAPHY
+
+
+_Biblioteca de Autores Españoles_ 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 _Comedias Escogidas de Lope de
+Vega_, include volumes 24, 34, 41, 52 of the work.
+
+_Obras Escogidas de Frey Lope Félix de Vega Carpio_, con prólogo y notas
+por Elías Zerolo, Paris, 1886, Vol. III.
+
+_La Moza de Cántaro_, Comedia en cinco actos por Lope Félix de Vega
+Carpio y refundida por Don Cándido María Trigueros, Valencia, 1803.
+
+_La Moza de Cántaro_, Comedia en cinco actos por Lope Félix de Vega
+Carpio y refundida por Don Cándido María Trigueros, con anotaciones,
+Londres (about 1820).
+
+_Obras Sueltas de Lope de Vega_, colección de las obras sueltas, assi en
+prosa, como en verso, 21 vols., Madrid, 1776-1779.
+
+_Handbuch der Spanischen Litteratur_, von Ludwig Lemcke, 3 vols.,
+Leipzig, 1855.
+
+_Diccionario Enciclopédico hispano-americano_ de literatura, ciencias y
+artes, 26 vols., Barcelona, 1887-1899.
+
+_Grand Dictionnaire Universel_, par Pierre Larousse, 17 vols., Paris.
+
+_Manual elemental de gramática histórica española_, por R. Menéndez
+Pidal, Madrid, 1905.
+
+
+FITZMAURICE-KELLY, _A History of Spanish Literature_, New York and
+London, 1898.
+
+TICKNOR, _History of Spanish Literature_, 3 vols., 5th ed., Boston,
+1882.
+
+ESPINO, _Ensayo histórico-crítico del Teatro español_, Cádiz, 1876.
+
+J. A. SYMONDS, _Renaissance in Italy_, 2 vols., New York, 1888.
+
+A. GASSIER, _Le Théâtre Espagnol_, Paris, 1898.
+
+H. A. RENNERT, _The Life of Lope de Vega_, Glasgow, 1904.
+
+HAVELOCK ELLIS, _The Soul of Spain_, Boston, 1909.
+
+MARTIN HUME, _The Court of Philip IV_, London, 1907.
+
+NOTE.--The last three works mentioned are especially recommended for
+collateral reading in the study of _La Moza de Cántaro_.
+
+
+
+
+LA MOZA DE CÁNTARO
+
+
+
+
+PERSONAS
+
+
+      EL CONDE  }
+      DON JUAN  } _galanes_
+      DON DIEGO }
+      FULGENCIO }
+
+      DON BERNARDO, _viejo_
+
+      PEDRO  }
+      MARTÍN } _lacayos_
+      LORENZO}
+      BERNAL }
+
+      DOÑA MARÍA, _dama_
+
+      DOÑA ANA, _viuda_
+
+      LÜISA }
+      LEONOR} _criadas_
+      JUANA }
+
+      UN ALCAIDE
+
+      UN INDIANO
+
+      UN MESONERO
+
+      UN MOZO DE MULAS
+
+      MÚSICOS.--LACAYOS
+
+      ACOMPAÑAMIENTO
+
+_La escena es en Ronda, en Adamuz y Madrid_
+
+
+
+   ACTO PRIMERO
+
+   Sala en casa de don Bernardo, en Ronda.
+
+
+
+
+   ESCENA PRIMERA
+
+   DOÑA MARÍA _y_ LÜISA, _con unos papeles_
+
+
+   LUISA
+
+   Es cosa lo que ha pasado
+   Para morirse de risa.
+
+   DOÑA MARÍA
+
+   ¿Tantos papeles, Lüisa,
+   Esos Narcisos te han dado?
+
+   LUISA
+
+   ¿Lo que miras dificultas?                                           5
+
+   DOÑA MARÍA
+
+   ¡Bravo amor, brava fineza!
+
+   LUISA
+
+   No sé si te llame alteza
+   Para darte estas consultas.
+
+   DOÑA MARÍA
+
+   Á señoría te inclina,
+   Pues entre otras partes graves,                                    10
+   Tengo deudo, como sabes,
+   Con el duque de Medina.
+
+   LUISA
+
+   Es título la belleza
+   Tan alto, que te podría
+   Llamar muy bien señoría,                                           15
+   Y aspirar, Señora, á alteza.
+
+   DOÑA MARÍA
+
+   ¡Lindamente me conoces!
+   Dasme por la vanidad.
+
+   LUISA
+
+   No es lisonja la verdad,
+   Ni las digo, así te goces.                                         20
+   No hay en Ronda ni en Sevilla
+   Dama como tú.
+
+   DOÑA MARÍA
+
+   Yo creo,
+   Lüisa, tu buen deseo.
+
+   LUISA
+
+   Tu gusto me maravilla.
+   Á ninguno quieres bien.                                            25
+
+   DOÑA MARÍA
+
+   Todos me parecen mal.
+
+   LUISA
+
+   Arrogancia natural
+   Te obliga á tanto desdén.--
+   Éste es de don Luis.
+
+   DOÑA MARÍA
+
+   Lo leo
+   Sólo por cumplir contigo.                                          30
+
+   LUISA
+
+   Yo soy de su amor testigo.
+
+   DOÑA MARÍA
+
+   Y yo de que es necio y feo.
+
+   (_Lee._) «Considerando conmigo á solas,
+   señora doña María...»
+
+   No leo. (_Rompe el papel._)
+
+   LUISA
+
+   ¿Por qué?
+
+   DOÑA MARÍA
+
+   ¿No ves
+   Que comienza alguna historia,
+   Ó que quiere en la memoria                                         35
+   De la muerte hablar después?
+
+   LUISA
+
+   Éste es de don Pedro.
+
+   DOÑA MARÍA
+
+   Muestra.
+
+   LUISA
+
+   Yo te aseguro que es tal,
+   Que no te parezca mal.
+
+   DOÑA MARÍA
+
+   ¡Bravos rasgos! ¡Pluma diestra!                                    40
+
+   (_Lee._) «Con hermoso, si bien severo,
+   no dulce, apacible sí rostro, señora
+   mía, mentida vista me miró vuestro
+   desdén, absorto de toda humanidad, rígido
+   empero, y no con lo brillante solícito,
+   que de candor celeste clarifica vuestra
+   faz, la hebdómada pasada.»
+
+   ¿Qué receta es ésta, di? (_Rómpele_.)
+   Qué médico te la dió?
+
+   LUISA
+
+   Pues ¿no entiendes culto?
+
+   DOÑA MARÍA
+
+   ¿Yo?
+   ¿Habla de aciértame aquí?
+
+   LUISA
+
+   Hazte boba, por tu vida.                                           45
+   ¿Puede nadie ser discreto
+   Sin que envuelva su conceto
+   En invención tan lucida?
+
+   DOÑA MARÍA
+
+   ¿Ésta es lucida invención?
+   Ahora bien, ¿hay más papel?                                        50
+
+   LUISA
+
+   El de don Diego, que en él
+   Se cifra la discreción.
+
+   DOÑA MARÍA
+
+   (_Lee._) «Si yo fuera tan dichoso como
+   vuestra merced hermosa, hecho estaba
+   el partido.»
+
+   ¿Qué es partido? No prosigo. (_Rómpele._)
+
+   LUISA
+
+   ¿Qué nada te ha de agradar?
+
+   DOÑA MARÍA
+
+   Pienso que quiere jugar                                            55
+   Á la pelota conmigo.
+   Lüisa, en resolución,
+   Yo no tengo de querer
+   Hombre humano.
+
+   LUISA
+
+   ¿Qué has de hacer,
+   Si todos como éstos son?                                           60
+
+   DOÑA MARÍA
+
+   Estarme sola en mi casa.
+   Venga de Flandes mi hermano,
+   Pues siendo tan rico, en vano
+   Penas inútiles pasa.
+   Cásese, y déjeme á mí                                              65
+   Mi padre; que yo no veo
+   Dónde aplique mi deseo
+   De cuantos andan aquí,
+   Codiciosos de su hacienda;
+   Que, si va á decir verdad,                                         70
+   No quiere mi vanidad
+   Que cosa indigna le ofenda.
+   Nací con esta arrogancia.
+   No me puedo sujetar,
+   Si es sujetarse el casar.                                          75
+
+   LUISA
+
+   Hombres de mucha importancia
+   Te pretenden.
+
+   DOÑA MARÍA
+
+   Ya te digo
+   Que ninguno es para mí.
+
+   LUISA
+
+   Pues ¿has de vivir ansí?
+   DOÑA MARÍA
+
+   ¿Tan mal estaré conmigo?                                           80
+   Joyas y galas ¿no son
+   Los polos de las mujeres?
+   Si á mí me sobran, ¿qué quieres?
+
+   LUISA
+
+   ¡Qué terrible condición!
+
+   DOÑA MARÍA
+
+   Necia estás. No he de casarme.                                     85
+
+   LUISA
+
+   Si tu padre ha dado el sí,
+   ¿Qué piensas hacer de ti?
+
+   DOÑA MARÍA
+
+   ¿Puede mi padre obligarme
+   Á casar sin voluntad?
+
+   LUISA
+
+   Ni tú tomarte licencia                                             90
+   Para tanta inobediencia.
+
+   DOÑA MARÍA
+
+   La primera necedad
+   Dicen que no es de temer,
+   Sino las que van tras ella,
+   Pretendiendo deshacella.                                           95
+
+   LUISA
+
+   Los padres obedecer
+   Es mandamiento de Dios.
+
+   DOÑA MARÍA
+
+   ¿Ya llegas á predicarme?
+
+   LUISA
+
+   Nuño acaba de avisarme
+   Que estaban juntos los dos...                                     100
+
+   DOÑA MARÍA
+
+   ¿Quién?
+
+   LUISA
+
+   Mi señor y don Diego.
+
+   DOÑA MARÍA
+
+   ¿Qué importa que hablando estén,
+   Si no me parece bien,
+   Y le desengaño luego?
+
+   LUISA
+
+   Y don Luis ¿no es muy galán?                                      105
+
+   DOÑA MARÍA
+
+   Tal salud tengas, Lüisa.
+   Muchas se casan aprisa,
+   Que á llorar despacio van.
+
+   LUISA
+
+   Ésa es dicha, y no elección;
+   Que mirado y escogido                                             110
+   Salió malo algún marido,
+   Y otros sin ver, no lo son.
+   Que si son por condiciones
+   Los hombres buenos ó malos,
+   Muchas que esperan regalos,                                       115
+   Encuentran malas razones.
+   Pero en don Pedro no creo
+   Que haya más que desear.
+
+   DOÑA MARÍA
+
+   Sí hay, Lüisa...
+
+   LUISA
+
+   ¿Qué?
+
+   DOÑA MARÍA
+
+   No hallar
+   Á mi lado hombre tan feo.                                         120
+
+   LUISA
+
+   Mil bienes me dicen dél,
+   Y tú sola dél te ríes.
+
+   DOÑA MARÍA
+
+   Lüisa, no me porfíes;
+   Que éste es don Pedro el Cruel.
+
+   LUISA
+
+   Tu desdén me maravilla.                                           125
+
+   DOÑA MARÍA
+
+   Pues ten por cierta verdad
+   Que es rey de la necedad,
+   Como el otro de Castilla.
+
+   LUISA
+
+   Don Diego está confiado;
+   Joyas te ha hecho famosas.                                        130
+
+   DOÑA MARÍA
+
+   ¿Joyas?
+
+   LUISA
+
+   Y galas costosas;
+   Hasta coche te ha comprado.
+
+   DOÑA MARÍA
+
+   Don Diego de noche y coche.
+
+   LUISA
+
+   ¡De noche un gran caballero!
+
+   DOÑA MARÍA
+
+   Mas ¡ay Dios! que no le quiero                                    135
+   Para don Diego de noche.
+   Otra le goce, Lüisa,
+   No yo. ¡De noche visiones!
+
+   LUISA
+
+   Oigo unas tristes razones.
+
+   DOÑA MARÍA
+
+   Volvióse en llanto la risa.                                       140
+   ¿No es éste mi padre?
+
+   LUISA
+
+   Él es.
+
+
+
+
+   ESCENA II
+
+   DON BERNARDO, _de hábito de Santiago, con un lienzo en los
+   ojos_.--DICHAS
+
+
+   DON BERNARDO
+
+   ¡Ay de mí!
+
+   DOÑA MARÍA
+
+   Señor, ¿qué es esto?
+   Vos llorando y descompuesto,
+   ¡Y yo no estoy á esos pies!
+   ¿Qué tenéis, padre y señor,                                       145
+   Mi solo y único bien?
+
+   DON BERNARDO
+
+   Vergüenza de que me ven
+   Venir vivo y sin honor.
+
+   DOÑA MARÍA
+
+   ¿Cómo sin honor?
+
+   DON BERNARDO
+
+   No sé.
+   Déjame, por Dios, María.                                          150
+
+   DOÑA MARÍA
+
+   Siendo vos vida en la mía,
+   ¿Cómo dejaros podré?
+   ¿Habéis acaso caído?
+   Que los años muchos son.
+
+   DON BERNARDO
+
+   Cayó toda la opinión                                              155
+   Y nobleza que he tenido.
+   No es de los hombres llorar;
+   Pero lloro un hijo mío
+   Que está en Flandes, de quien fío
+   Que me supiera vengar.                                            160
+   Siendo hombre, llorar me agrada;
+   Porque los viejos, María,
+   Somos niños desde el día
+   Que nos quitamos la espada.
+
+   DOÑA MARÍA
+
+   Sin color, y el alma en calma,                                    165
+   Os oigo, padre y señor;
+   Mas ¿qué mucho sin color,
+   Si ya me tenéis sin alma?
+   ¿Qué había de hacer mi hermano?
+   ¿De quién os ha de vengar?                                        170
+
+   DON BERNARDO
+
+   Hija, ¿quiéresme dejar?
+
+   DOÑA MARÍA
+
+   Porfías, Señor, en vano.
+   Antes de llorar se causa
+   La excusa, pero no agora;
+   Que siempre quiere el que llora                                   175
+   Que le pregunten la causa.
+
+   DON BERNARDO
+
+   Don Diego me habló, María...
+   Contigo casarse intenta...
+   Respondíle que tu gusto
+   Era la primer licencia,                                           180
+   Y la segunda del Duque.
+   Escribí, fué la respuesta
+   No como yo la esperaba;
+   Que darte dueño quisieran
+   Estas canas, que me avisan                                        185
+   De que ya mi fin se cerca.
+   Puse la carta en el pecho,
+   Lugar que es bien que le deba;
+   Que llamarme deudo el Duque
+   Fué de esta cruz encomienda.                                      190
+   Vino á buscarme don Diego
+   Á la Plaza (¡nunca fuera
+   Esta mañana á la Plaza!),
+   Y con humilde apariencia
+   Me preguntó si tenía                                              195
+   (Aunque con alguna pena)
+   Carta de Sanlúcar. Yo
+   Le respondí que tuviera
+   Á dicha poder servirle:
+   Breve y bastante respuesta.                                       200
+   Dijo que el Duque sabía
+   Su calidad y nobleza;
+   Que le enseñase la carta,
+   Ó que era mía la afrenta
+   De la disculpa engañosa.                                          205
+   Yo, por quitar la sospecha,
+   Saqué la carta del pecho,
+   Y turbado leyó en ella
+   Estas razones, María.--
+   Quien tal mostró, que tal tenga.--                                210
+
+   «Muy honrado caballero
+   Es don Diego; pero sea
+   El que ha de ser vuestro yerno
+   Tal, que al hábito os suceda
+   Como á vuestra noble casa.»                                       215
+
+   Entonces don Diego, vuelta
+   La color en nieve, dice,
+   Y de ira y cólera tiembla:
+   «Tan bueno soy como el Duque.»
+   Yo con ira descompuesta                                           220
+   Respondo: «Los escuderos,
+   Aunque muy hidalgos sean,
+   No hacen comparación
+   Con los príncipes; que es necia.
+   Desdecíos, ó le escribo                                           225
+   Á don Alonso que venga
+   Desde Flandes á mataros.»
+   Aquí su mano soberbia...
+   Pero prosigan mis ojos
+   Lo que no puede la lengua.                                        230
+   Déjame; que tantas veces
+   Una afrenta se renueva,
+   Cuantas el que la recibe
+   Á el que la ignora la cuenta.
+   Herrado traigo, María,                                            235
+   El rostro con cinco letras,
+   Esclavo soy de la infamia,
+   Cautivo soy de la afrenta.
+   El eco sonó en el alma;
+   Que si es la cara la puerta,                                      240
+   Han respondido los ojos,
+   Viendo que llaman en ella.
+   Alcé el báculo... Dijeron
+   Que lo alcancé... no lo creas;
+   Que mienten á el afrentado,                                       245
+   Pensando que le consuelan.
+   Prendióle allí la justicia,
+   Y preso en la cárcel queda:
+   ¡Pluguiera á Dios que la mano
+   Desde hoy estuviera presa!                                        250
+   ¡Ay, hijo del alma mía!
+   ¡Ay, Alonso! ¡Si estuvieras
+   En Ronda! Pero ¿qué digo?
+   Mejor es que yo me pierda.
+   Salid, lágrimas, salid...                                         255
+   Mas no es posible que puedan
+   Borrar afrentas del rostro,
+   Porque son moldes de letras,
+   Que aunque se aparta la mano,
+   Quedan en al alma impresas. (_Vase._)                             260
+
+
+
+
+   ESCENA III
+
+   DOÑA MARÍA, LÜISA
+
+
+   LUISA
+
+   Fuése.
+
+   DOÑA MARÍA
+
+   Déjame de suerte
+   Que no pude responder.
+
+   LUISA
+
+   Vé tras él; que puede ser
+   Que intente darse la muerte,
+   Viendo perdido su honor.                                          265
+
+   DOÑA MARÍA
+
+   Bien dices: seguirle quiero;
+   Que no es menester acero
+   Adonde sobra el valor. (_Vanse._)
+
+
+
+
+   ESCENA IV
+
+   Cuarto en la cárcel de Ronda.
+
+   DON DIEGO, FULGENCIO
+
+
+   FULGENCIO
+
+   La razón es un espejo
+   De consejos y de avisos.                                          270
+
+   DON DIEGO
+
+   En los casos improvisos
+   ¿Quién puede tomar consejo?
+
+   FULGENCIO
+
+   Los años de don Bernardo
+   Os ponen culpa, don Diego.
+
+   DON DIEGO
+
+   Confieso que estuve ciego.                                        275
+
+   FULGENCIO
+
+   Es don Alonso gallardo
+   Y gran soldado.
+
+   DON DIEGO
+
+   Ya es hecho,
+   Y yo me sabré guardar.
+
+   FULGENCIO
+
+   Un consejo os quiero dar
+   Para asegurar el pecho.                                           280
+
+   DON DIEGO
+
+   ¿Cómo?
+
+   FULGENCIO
+
+   Que dejéis á España
+   Luego que salgáis de aquí.
+
+   DON DIEGO
+
+   ¿Á España, Fulgencio?
+
+   FULGENCIO
+
+   Sí;
+   Porque será loca hazaña
+   Que á don Alonso esperéis;                                        285
+   Que, fuera de la razón
+   Que él tiene en esta ocasión,
+   Pocos amigos tendréis.
+   Toda Ronda os pone culpa.
+
+   DON DIEGO
+
+   Claro está, soy desdichado...                                     290
+   Pues el haberme afrentado
+   Era bastante disculpa.
+
+   FULGENCIO
+
+   Mostraros la carta fué
+   Yerro de un hombre mayor.
+
+   DON DIEGO
+
+   En los lances del honor                                           295
+   ¿Quién hay que seguro esté?
+
+   FULGENCIO
+
+   El tiempo suele curar
+   Las cosas irremediables.
+
+
+
+
+   ESCENA V
+
+   EL ALCAIDE DE LA CÁRCEL, _con barba y bastón_.--DICHOS
+
+
+   ALCAIDE (_á don Diego_)
+
+   Una mujer está aquí
+   Que quiere hablaros.
+
+   DON DIEGO
+
+   Dejadme,                                                          300
+   Fulgencio, si sois servido.
+
+   FULGENCIO
+
+   Á veros vendré á la tarde. (_Vase_.)
+
+   ALCAIDE
+
+   Llegó á la puerta cubierta;
+   Pedíle que se destape,
+   Y dijo que no quería.                                             305
+   Parecióme de buen talle
+   Y cosa segura; en fin,
+   Gustó de que la acompañe
+   Á vuestro aposento.
+
+   DON DIEGO
+
+   Que entre
+   La decid, y perdonadme;                                           310
+   Que es persona principal,
+   Si es quien pienso.
+
+   ALCAIDE
+
+   En casos tales
+   Se muestra el amor. (_Vase._)
+
+   (_Dentro._ Entrad.)
+
+
+
+
+   ESCENA VI
+
+   DOÑA MARÍA, _cubierta con su manto_.--DON DIEGO.
+
+
+   DON DIEGO
+
+   ¡Sola, mi señora, á hablarme,
+   Y en parte tan desigual                                           315
+   De vuestra persona y traje!
+
+   DOÑA MARÍA
+
+   Dan ocasión los sucesos
+   Para desatinos tales.
+
+   DON DIEGO
+
+   Descubríos, por mi vida,
+   Advirtiendo que no hay nadie                                      320
+   Que aquí pueda conoceros.
+
+   DOÑA MARÍA
+
+   Yo soy.
+
+   DON DIEGO
+
+   Pues ¡vos en la cárcel!
+
+   DOÑA MARÍA
+
+   El amor que me debéis
+   Desta manera me trae;
+   Que agradecida del vuestro,                                       325
+   Me fuerza á que me declare.
+   Á pediros perdón vengo,
+   Y á que no pase adelante
+   Este rigor, pues el medio
+   De hacer estas amistades                                          330
+   Es el casarnos los dos;
+   Que cuando á saber alcance
+   Don Alonso que soy vuestra,
+   No tendrá de qué quejarse.
+   Con esto venganzas cesan,                                         335
+   Que suelen en las ciudades
+   Engendrar bandos, de quien
+   Tan tristes sucesos nacen.
+   Vos quedaréis con la honra
+   Que es justo y que Ronda sabe,                                    340
+   Satisfecho el señor Duque,
+   Desenojado mi padre,
+   Y yo con tan buen marido,
+   Que pueda mi casa honrarse
+   Y don Alonso mi hermano.                                          345
+
+   DON DIEGO
+
+   ¿Quién pudiera sino un ángel,
+   Señora doña María,
+   Hacer tan presto las paces?
+   Vuestro gran entendimiento,
+   Y divino en esta parte,                                           350
+   Ha dado el mejor remedio
+   Que pudiera imaginarse.
+   No le había más seguro,
+   Y sobre seguro, fácil,
+   Para que todos quedemos                                           355
+   Honrados cuando me case.
+   No será mucha licencia
+   Que á el altar dichoso abrace,
+   Sagrado de mis deseos,
+   Donde está amor por imagen,                                       360
+   Pues ya decís que sois mía.
+
+   DOÑA MARÍA
+
+   Quien supo determinarse
+   Á ser vuestra, no habrá cosa
+   Que á vuestro gusto dilate.
+   Confirmaré lo que digo                                            365
+   Con los brazos.--Muere, infame.
+
+   (_Al abrazarle, saca una daga y dale con
+   ella._)
+
+   DON DIEGO
+
+   ¡Jesus! ¡Muerto soy! ¡Traición!
+
+   DOÑA MARÍA
+
+   ¡En canas tan venerables
+   Pusiste la mano, perro!
+   Pues estas hazañas hacen                                          370
+   Las mujeres varoniles.
+   Yo salgo.--¡Cielo, ayudadme! (_Vase._)
+
+
+
+
+   ESCENA VII
+
+   Fulgencio.--Don Diego, _moribundo_
+
+
+   FULGENCIO
+
+   Paréceme que he sentido
+   Una voz, y que salió
+   Esta mujer que aquí entró                                         375
+   (Que no sin sospecha ha sido)
+   Más turbada y descompuesta
+   Que piden casos de amor.--
+   No fué vano mi temor.
+   ¡Don Diego!... ¿Qué sangre es ésta?                               380
+
+   DON DIEGO
+
+   Matóme doña María,
+   La hija de don Bernardo.
+
+   FULGENCIO
+
+   ¡Alcaide! ¡Gente! ¿Qué aguardo?
+
+   (_Ap._ Mas cosa injusta sería
+   Ocasionar su prisión.                                             385
+   Esperar que salga quiero;
+   Que esto ya es hecho.)
+
+   DON DIEGO
+
+   Yo muero
+   Con razón, aunque á traición.
+   Muy justa venganza ha sido,
+   Por fiarme de mujer.                                              390
+   Mas no la dejéis prender.
+
+   FULGENCIO
+
+   Yo pienso que habrá salido.
+   Pero ¿por qué no queréis
+   Que la prendan?
+
+   DON DIEGO
+
+   Ha vengado
+   Las canas de un padre honrado.                                    395
+   Esto en viéndole diréis...
+   Y que yo soy, cuanto á mí,
+   Su yerno, pues se casó
+   Conmigo, aunque me mató
+   Cuando los brazos la dí.                                          400
+   Con esto vuelvo á su fama
+   Lo que afrentarla pudiera.
+
+   FULGENCIO
+
+   Toda la cárcel se altera.
+   Quiero buscar esta dama.
+
+   (_Se lleva á don Diego._)
+
+
+
+
+   ESCENA VIII
+
+   Una calle de Madrid.
+
+   EL CONDE, DON JUAN
+
+
+   CONDE
+
+   ¡Hermosa viuda, don Juan!                                         405
+   No he visto cosa más bella.
+
+   DON JUAN
+
+   Con razón, Conde, por ella
+   Esos desmayos os dan.
+
+   CONDE
+
+   ¿Hay tal gracia de monjil?
+   Que es de azabache, repara,                                       410
+   Imagen, menos la cara
+   Y manos, que son marfil.
+
+   DON JUAN
+
+   Vos tenéis un gran sugeto
+   Para versos.
+
+   CONDE
+
+   No he pensado
+   Meterme en ese cuidado;                                           415
+   Que pienso andar más discreto.
+
+   DON JUAN
+
+   ¿Cómo?
+
+   CONDE
+
+   Remitirme á el oro,
+   Que es excelente poeta.
+
+   DON JUAN
+
+   Dicen que es rica y discreta:
+   Guardadle más el decoro.                                          420
+
+   CONDE
+
+   ¿Fué vuestro criado allá?
+
+   DON JUAN
+
+   Con una criada habló,
+   Y á estas horas pienso yo
+   Que bien informado está.
+
+   CONDE
+
+   Mejor entre sus iguales                                           425
+   Suele hablar más libremente
+   Este género de gente.
+
+
+
+
+   ESCENA IX
+
+   MARTÍN.--DICHOS
+
+
+   DON JUAN
+
+   ¿Qué hay, Martín? Contento sales.
+
+   MARTÍN
+
+   Servir á el Conde deseo.
+
+   CONDE
+
+   Yo estimo tu buen amor.                                           430
+
+   MARTÍN
+
+   Hablé con la tal Leonor,
+   Como si fuera en mi empleo,
+   Estando en larga oración
+   La retórica lacaya,
+   Y ella, á manera de maya,                                         435
+   Serena toda facción.
+   Díjela que me tenía
+   Sin alma Leonor la bella;
+   Que hacía un mes que la huella
+   De sus chinelas seguía;                                           440
+   Y que bailando en el río
+   De la castañeta al son,
+   Me entró por el corazón
+   Y por toda el alma el brío.
+   Cuando ya la tuve tierna,                                         445
+   Pregunté la condición
+   De su ama, y la razón
+   De estado que la gobierna.
+   Dijo que era principal,
+   Con deudos de gran valor,                                         450
+   Y que tenía su honor,
+   Desde que enviudó, cabal.
+   Que era rica y entendida,
+   Y no de su casa escasa,
+   Si bien no entraba en su casa                                     455
+   Ni aun sombra de alma nacida.
+   Que el parecer recatada
+   Era todo su cuidado,
+   Y díjome que había estado
+   Sólo dos meses casada;                                            460
+   Porque su noble marido,
+   De enamorado, murió.
+
+   CONDE
+
+   No envidio la muerte yo,
+   La causa sí.
+
+   DON JUAN
+
+   Necio ha sido,
+   Pues tanto tiempo tenía.                                          465
+
+   MARTÍN
+
+   Poca edad y mucho amor,
+   Toda la vida, Señor,
+   Remiten á solo un día.
+
+   CONDE
+
+   ¿Cómo trae tan pequeñas
+   Tocas?
+
+   DON JUAN
+
+   Más hermosa está.                                                 470
+
+   MARTÍN
+
+   Porque las largas son ya
+   Para beatas y dueñas.
+   Y las cortas en la corte
+   No se traen sin ocasión.
+
+   CONDE
+
+   ¿Qué ocasión dará razón                                           475
+   Que para disculpa importe?
+
+   MARTÍN
+
+   Muriósele á una casada
+   Su marido, y no quedó
+   Muy triste, pues le envolvió,
+   Como si fuera pescada,                                            480
+   En un pedazo de anjeo;
+   Y sin que cumpliese manda,
+   Con largas tocas de Holanda
+   Salió vertiendo poleo
+   En un reverendo coche.                                            485
+   Pero el muerto, mal contento,
+   Del sepulcro á su aposento
+   Se trasladó aquella noche,
+   Y díjole: «¡Vos Holanda,
+   Y yo anjeo, picarona!                                             490
+   ¿No mereció mi persona
+   Una sábana más blanda?»
+   Esto diciendo, el difunto
+   En las tocas se envolvió,
+   Y el anjeo le dejó:                                               495
+   Ocasión desde aquel punto
+   Con que sin tocas las veo;
+   Y cuerdo temor ha sido,
+   Porque no vuelva el marido
+   Á dejarlas el anjeo.                                              500
+
+   CONDE
+
+   Cuanto la licencia alargas,
+   La obligación disimulas.
+
+   MARTÍN
+
+   Señor, en dueñas y en mulas
+   Están bien las tocas largas.
+
+   CONDE
+
+   Mucha honestidad promete,                                         505
+   Y es decoro justo y santo.
+
+   MARTÍN
+
+   Una viuda con un manto
+   Es obispo con roquete.
+   Fuera de esto, aquel estar
+   Siempre en una misma acción                                       510
+   No mueve la inclinación
+   Que el traje suele obligar.
+   Ver siempre de una manera
+   Á una mujer es cansarse.
+
+   CONDE
+
+   Pues ¿puede el rostro mudarse?                                    515
+
+   MARTÍN
+
+   Pues ¿no se muda y altera,
+   Mudando el traje, el semblante?
+
+   DON JUAN
+
+   Conde, Martín dice bien;
+   Porque el varïar tan bien
+   Da novedad á el amante.                                           520
+
+   MARTÍN
+
+   De mi condición advierte
+   Que me pudren las pinturas,
+   Porque siempre las figuras
+   Están de una misma suerte.
+   ¿Qué es ver levantar la espada                                    525
+   En una tapicería
+   Á un hombre, que en todo un día
+   No ha dado una cuchillada?
+   Qué es ver á Susana estar
+   Entre dos viejos desnuda,                                         530
+   Y que ninguno se muda
+   Á defender ni á forzar?
+   Linda cosa es la mudanza
+   Del traje.
+
+   CONDE
+
+   La viuda, en fin,
+   ¿Es conversable, Martín?                                          535
+
+   MARTÍN
+
+   No me quitó la esperanza,
+   Si entráis con algún enredo;
+   Que dice que da lugar
+   Que la puedan visitar.
+
+   CONDE
+
+   Yo le buscaré, si puedo.                                          540
+
+   DON JUAN
+
+   Como visto no te hubiera,
+   Fácil remedio se hallara.
+
+   CONDE
+
+   Si en que me ha visto repara,
+   Fingirme enojarla fuera.
+   Llama; que yo he prevenido                                        545
+   Con que me pueda creer.
+
+   DON JUAN
+
+   No lo echemos á perder.
+
+   CONDE
+
+   No puedo estar más perdido. (_Vanse._)
+
+
+
+
+   ESCENA X
+
+   _Sala en casa de doña Ana_.
+
+
+   EL CONDE, DON JUAN, MARTÍN; _y luego_, DOÑA ANA, _de viuda_;
+   LEONOR _y_ JUANA
+
+
+   MARTÍN
+
+   Ya te ha visto: á verte sale.
+   No le has parecido mal.                                           550
+
+   CONDE
+
+   ¿Hay jazmín, rosa y cristal
+   Que á la viudilla se iguale?
+
+   (_Salen doña Ana, de viuda, Leonor y Juana._)
+
+   DOÑA ANA
+
+   Novedad me ha parecido;
+   Vueseñoría perdone.
+
+   CONDE
+
+   No hay novedad que no abone                                       555
+   El deseo que he tenido
+   De serviros, si yo fuese,
+   Para que no os cause enojos,
+   Tan dichoso en vuestros ojos,
+   Que serviros mereciese.                                           560
+
+   DOÑA ANA
+
+   Leonor, sillas.
+
+   MARTÍN (_ap. á don Juan_)
+
+   No va mal,
+   Pues piden sillas.
+
+   DON JUAN
+
+   Martín,
+   La viudilla es serafín
+   De perlas y de coral.
+
+   MARTÍN
+
+   ¿Agrádate á ti también?                                           565
+
+   DON JUAN
+
+   Á esa pregunta responde
+   Que está enamorado el Conde,
+   Y yo no.
+
+   MARTÍN
+
+   Dices muy bien.
+
+   DOÑA ANA
+
+   ¿Quién es este caballero?
+
+   CONDE
+
+   Mi primo don Juan.
+
+   DOÑA ANA
+
+   Señor,                                                            570
+   Perdonad.
+
+   DON JUAN
+
+   No ha sido error.
+   Hablad; que estorbar no quiero.
+
+   DOÑA ANA
+
+   Vos no podéis estorbar,
+   Ni aquí tendréis ocasión.
+
+   DON JUAN
+
+   No lo mandéis.
+
+   DOÑA ANA
+
+   Es razón.                                                         575
+
+   DON JUAN
+
+   No me tengo de sentar.
+
+   DOÑA ANA
+
+   Ahora bien, yo no porfío.
+
+   DON JUAN
+
+   Decísme que necio soy.
+
+   CONDE
+
+   Oidme.
+
+   DOÑA ANA
+
+   Oyéndoos estoy.
+
+   DON JUAN
+
+   Por lo mismo me desvío.                                           580
+
+   CONDE
+
+   Señora, aunque os he mirado
+   Mil veces sin conoceros,
+   Antes que viniera á veros
+   Tuve de veros cuidado.
+   Vuestro esposo, que Dios tiene,                                   585
+   Era mi amigo: jugamos
+   Una noche; comenzamos
+   Por una rifa, que viene
+   Á ser, como en los amores,
+   La tercera que concierta,                                         590
+   Ó á lo menos que dispierta
+   El gusto á los jugadores.
+   Perdió, picóse, sacó
+   Unos escudos, y luego,
+   Terciando mi primo el juego,                                      595
+   Cuatro sortijas perdió.
+   Mas vamos á lo que importa.
+
+   DOÑA ANA
+
+   Esas sortijas eché
+   Menos: pesadumbre fué
+   (Tan mal amor se reporta),                                        600
+   Porque vine á sospechar
+   Que á alguna dama las dió.
+
+   DON JUAN (_ap. á Martín_)
+
+   Bien la mentira salió.
+
+   MARTÍN
+
+   ¿Hay cosa como atinar
+   Las sortijas que faltaron?                                        605
+
+   DON JUAN
+
+   Hay dichosos en mentir.
+
+   MARTÍN
+
+   Á cuantas supe decir,
+   Con el hurto me pescaron.
+   No he mentido sin que luego
+   No se me echase de ver.                                           610
+
+   CONDE
+
+   Así se vino á encender
+   Con esta pérdida el juego,
+   Que perdió seis mil ducados
+   Sobre palabra segura,
+   De que tengo una escritura.                                       615
+
+   DOÑA ANA
+
+   Más enredos y cuidados
+   Que días vivió conmigo
+   Don Sebastián me dejó.
+   ¿Seis mil ducados?
+
+   CONDE
+
+   Si yo
+   Basto, que soy quien lo digo,                                     620
+   Y los testigos presentes.
+
+   MARTÍN
+
+   Al firmarla estuve allí
+   Tan presente como aquí.
+
+   DON JUAN (_ap. á Martín_)
+
+   ¡Con qué desvergüenza mientes!
+
+   MARTÍN
+
+   ¡Qué gracia! El buen mentidor                                     625
+   Ha de ser, señor don Juan,
+   Descarado á lo truhán,
+   Y libre á lo historiador.
+
+   DOÑA ANA
+
+   Pensé que vueseñoría
+   Me venía hacer merced.                                            630
+
+   CONDE
+
+   Que os he de servir creed;
+   Que ésa fué la intención mía.
+   No os dé pena la escritura,
+   Puesto que fué de mayor;
+   Que no tiene mal fiador                                           635
+   La paga en vuestra hermosura.
+
+   MARTÍN (_ap. á don Juan_)
+
+   ¿Hay oficial de escritorios
+   Que encaje el marfil ansí?
+
+   DON JUAN
+
+   En amando, para mí
+   Son los engaños notorios.                                         640
+
+   MARTÍN
+
+   ¿Amor se funda en engaños?
+
+   DON JUAN
+
+   Primero que el amor fueron;
+   Pues desde que ellos nacieron,
+   El mundo cuenta sus daños.
+
+   CONDE
+
+   Si yo, Señora, creyera                                            645
+   Cobrar la deuda de vos,
+   Sin conocernos los dos,
+   Por otro estilo pudiera.
+   No vengo sino á ofreceros
+   Cuanto tengo y cuanto soy,                                        650
+   Con que pagado me voy,
+   Y aun deudor de solo veros.
+   Sólo os suplico me deis
+   Licencia de visitaros,
+   Si fuere parte á obligaros                                        655
+   Confesar que me debéis,
+   No dineros, sino amor.
+
+   DOÑA ANA
+
+   Yo quedo tan obligada,
+   Como deudora y pagada
+   De vuestro heroico valor.                                         660
+
+   CONDE
+
+   Bésoos las manos.
+
+   DOÑA ANA
+
+   El cielo
+   Os guarde.
+
+   CONDE
+
+   ¿Vendré?
+
+   DOÑA ANA
+
+   Venid.
+
+   (_Vase el Conde._)
+
+
+
+
+   ESCENA XI
+
+   DOÑA ANA, DON JUAN, LEONOR, JUANA, MARTÍN
+
+
+   DOÑA ANA
+
+   ¡Ah, señor don Juan! Oid.
+
+   MARTÍN (_ap._)
+
+   Cayó el pez en el anzuelo.
+
+   DON JUAN
+
+   ¿En qué os sirvo?
+
+   DOÑA ANA
+
+   Bien sé yo                                                        665
+   Que todo aquesto es mentira.
+
+   DON JUAN
+
+   Y yo sé que el Conde os mira;
+   Esto de la deuda no.
+
+   DOÑA ANA
+
+   ¡Mala entrada de galán,
+   Entrar mintiendo!
+
+   DON JUAN
+
+   Señora,                                                           670
+   Mi primo el Conde os adora.
+
+   DOÑA ANA
+
+   Id con Dios, señor don Juan;
+   Que yerra el Conde en traeros.
+
+   DON JUAN
+
+   ¿Desacredítole yo?
+
+   DOÑA ANA
+
+   Cuando el Conde me miró,                                          675
+   Me dió ocasión de quereros.
+
+   DON JUAN
+
+   Aunque deudos, nos preciamos
+   Mucho más de ser amigos,
+   Aunque envidias ni enemigos
+   No quieren que lo seamos.                                         680
+   Queredle bien; que merece,
+   Señora, que lo queráis.
+
+   DOÑA ANA
+
+   Lo que por él negociáis,
+   Al Conde desfavorece.
+
+   DON JUAN
+
+   Voy; que en la carroza aguarda.                                   685
+   Dad licencia que os visite,
+   Y que yo lo solicite.
+
+   DOÑA ANA
+
+   Si vuelve con vos, ya tarda.
+
+   DON JUAN
+
+   Tanto favor da á entender
+   Que por él queréis honrarme.                                      690
+
+   DOÑA ANA
+
+   Por vos quiero yo obligarme
+   Para que me vuelva á ver.
+
+   DON JUAN
+
+   Todo se lo digo ansí.
+
+   DOÑA ANA
+
+   Yo os tengo por más discreto.
+
+   DON JUAN
+
+   ¿Volverá el Conde en efeto?                                       695
+
+   DOÑA ANA
+
+   No sin vos, y con vos sí.
+
+   (_Vanse don Juan y Martín._)
+
+
+
+
+   ESCENA XII
+
+   DOÑA ANA, LEONOR, JUANA
+
+
+   LEONOR
+
+   Mucho le has favorecido,
+   Para ser la vez primera.
+
+   DOÑA ANA
+
+   Cuando él me favoreciera,
+   Mi favor lo hubiera sido;                                         700
+   Mas no me quiso entender:
+   Tomo la amistad del Conde.
+
+   JUANA
+
+   Agora tibio responde.
+   Aun no ha llegado á querer.
+
+   DOÑA ANA (_para sí_)
+
+   Necio pensamiento mío,                                            705
+   Que en tal locura habéis dado,
+   Volved atrás, afrentado
+   De ver tan necio desvío.
+   Yo, que de tantos me río,
+   ¡Ruego, pretendo, provoco!                                        710
+   Pensamiento, poco á poco,
+   No diga el honor que pierdo
+   Que sois con desdenes cuerdo,
+   Ya que quisistes ser loco.
+   Dieron los ojos en ver,                                           715
+   Puesto que en lugar sagrado,
+   Al hombre más recatado
+   De mirar y de entender;
+   Mas, ya que ha venido á ser
+   Provocado á desafío,                                              720
+   Responde tan necio y frío,
+   Que me pide que á otro quiera:
+   Mirad ¡quién tal os dijera,
+   Triste pensamiento mío!
+   En vano estoy descansando                                         725
+   Con daros disculpa á vos;
+   Mas tengámosla los dos,
+   Vos amando y yo pensando;
+   Porque de pensar amando
+   Lo que puede resultar,                                            730
+   Viene el alma á sospechar
+   Lo que imaginó del ver;
+   Porque no hubiera querer
+   Si no hubiera imaginar.
+   Que no queráis os advierto                                        735
+   Hombre tan fino y helado,
+   Que por lo helado me ha dado
+   Tristes memorias del muerto.
+   Pero si á cogerle acierto
+   Con mirar y con rogar...                                          740
+   Guárdese pues de llegar;
+   Que, agraviada una mujer,
+   Quiere hasta que ve querer,
+   Por vengarse en olvidar. (_Vanse._)
+
+
+
+
+   ESCENA XIII
+
+   Patio de un mesón de Adamuz.
+
+   UN INDIANO, _y_ UN MOZO DE MULAS; _después_, UN MESONERO
+
+
+
+   INDIANO
+
+   Pasaremos de Adamuz,                                              745
+   Si este recado nos dan.
+
+   MOZO
+
+   Por eso dice el refrán:
+   «Adamuz, pueblo sin luz.»
+   Mas mira que desde aquí
+   Comienza Sierra-Morena.                                           750
+
+   INDIANO
+
+   Tú las jornadas ordena;
+   Eso no corre por mí.
+
+   (_Sale el Mesonero._)
+
+   MESONERO
+
+   Bien venidos, caballeros.
+
+   INDIANO
+
+   Pues, huésped, ¿qué hay que comer?
+
+   MESONERO
+
+   Desde hoy á el amanecer                                           755
+   Dos mozos, seis perdigueros
+   Vienen con un perdigón,
+   De que estoy desesperado.
+
+   INDIANO
+
+   Para mí basta.
+
+   MESONERO
+
+   Ha llegado
+   Á hurtaros la bendición                                           760
+   Una mujer que le tiene.
+
+   INDIANO
+
+   Y cuando yo le tuviera,
+   Por ser mujer se le diera.
+   ¿Viene sola?
+
+   MESONERO
+
+   Sola viene.
+
+   INDIANO
+
+   ¡Sola! ¿De qué calidad?                                           765
+
+   MESONERO
+
+   Pobre, y de brío gallarda;
+   Porque en un rocín de albarda
+   (El término perdonad)
+   Como un soldado venía.
+   Ella propria se apeó,                                             770
+   Le ató y de comer le dió
+   Con despejo y bizarría.
+   Volvíla á mirar y ví
+   Que un arcabuz arrimaba.
+
+   INDIANO
+
+   ¿Que es tan brava?
+
+   MESONERO
+
+   Aunque es tan brava,                                              775
+   Os aseguro de mí
+   Que más su cara temiera
+   Que su arcabuz.
+
+   INDIANO
+
+   ¿Habéis sido
+   Galán?
+
+   MESONERO
+
+   Bien me han parecido.
+   Ya pasó la primavera,                                             780
+   Y estamos en el estío:
+   Así los años se van.
+
+   INDIANO
+
+   ¿Qué traje trae?
+
+   MESONERO
+
+   Un gabán
+   Que cubre el traje, no el brío;
+   Un sombrero razonable...                                          785
+   Todo de poco valor;
+   Al fin, parece, Señor,
+   De buena suerte y afable,
+   Menos aquel arcabuz.
+
+   INDIANO
+
+   ¿Es ésta?
+
+   MESONERO
+
+   La misma es.                                                      790
+
+
+
+
+   ESCENA XIV
+
+   DOÑA MARÍA, _con sombrero, gabán y un arcabuz_.--DICHOS
+
+
+   DOÑA MARÍA (_ap._)
+
+   Temerosa voy, después
+   Que he entrado por Adamuz,
+   Por ser camino real,
+   Á que nunca me atreví;
+   Si bien desde que salí,                                           795
+   Ha sido el ánimo igual
+   Al peligro que he tenido.
+   ¡Ay, padre, y cuánto dolor
+   Me da el verte sin favor,
+   Si no es que el Duque lo ha sido!                                 800
+   Suelen faltar los amigos
+   En la mejor ocasión;
+   Mas ¡ay! que tus años son
+   Los mayores enemigos.
+   Los de mi hermano pudieran                                        805
+   Suplir los tuyos, Señor,
+   Aunque no para tu honor
+   Más que mis manos hicieran.
+   Yo cumplí su obligación;
+   Mas defenderte no puedo,                                          810
+   Por no acrecentar el miedo
+   De mi muerte ó mi prisión.
+   Al fin, bien está lo hecho.
+   ¿De qué me lamento en vano?
+   ¡Traidor don Diego! ¡Á un anciano                                 815
+   Con una cruz en el pecho!...
+   Así para quien se atreve
+   Á las edades ancianas;
+   Que es atreverse á unas canas
+   Violar un templo de nieve.                                        820
+   Pero la mano piadosa
+   Del cielo quiere que espante
+   Á un Holofernes gigante
+   Una Judit valerosa.
+
+   INDIANO (_á doña María_)
+
+   Como suelen los caminos                                           825
+   Dar licencia á los que pasan
+   Para entretener las horas,
+   Que por ellos son tan largas,
+   Á preguntaros me atrevo
+   Si lo ha de ser la jornada,                                       830
+   Ó por ventura tenéis
+   Cerca de aquí vuestra casa.
+
+   DOÑA MARÍA
+
+   No soy, Señor, desta tierra.
+
+   INDIANO
+
+   Como os ví sola, pensaba
+   Que érades de alguna aldea                                        835
+   De aquesta fértil comarca.
+
+   DOÑA MARÍA
+
+   No, Señor; que yo nací
+   De esa parte de Granada,
+   Y á servir en ella vine;
+   Que cuando los padres faltan                                      840
+   En tierna edad á los pobres,
+   No tienen otra esperanza.
+   No se cansó mi fortuna,
+   Pues cuando contenta estaba
+   Del buen dueño que tenía,                                         845
+   Persona de órdenes sacras,
+   Le llevó también la muerte,
+   Que para mayor mudanza
+   Me dió ocasión, como veis.
+
+   INDIANO
+
+   Y ¿dónde vais?
+
+   DOÑA MARÍA
+
+   Siempre hablaba                                                   850
+   Esta persona que digo,
+   Con notables alabanzas
+   De la corte y de Madrid:
+   Yo pues, á quien ya faltaba
+   Dueño, con algún deseo                                            855
+   Que de ver grandeza tanta
+   Nació con mi condición,
+   Determiné de dar traza
+   De ir á servir á la corte.
+   Y una vez determinada,                                            860
+   Lo que viviendo tenía
+   El buen cura (que Dios haya)
+   Para su regalo y gusto,
+   Arcabuz, rocín de caza
+   Y este gabán, tomé luego,                                         865
+   Y voy con notables ansias
+   De ver lo que alaban todos.
+
+   MOZO
+
+   El camino de Granada
+   No es éste.
+
+   DOÑA MARÍA
+
+   Decís muy bien;
+   Mas vine por ver si estaba                                        870
+   En Córdoba un deudo mío.
+
+   INDIANO
+
+   ¡Determinación extraña
+   De una mujer!
+
+   DOÑA MARÍA
+
+   Soy mujer.
+
+   INDIANO
+
+   Decís muy bien, eso basta.
+   Yo voy también á Madrid:                                          875
+   Traigo jornada más larga,
+   Porque vengo de las Indias;
+   Que pocas veces descansa
+   El ánimo de los hombres
+   Aunque sobre el oro y plata.                                      880
+   Y si allá habéis de servir,
+   Porque me dicen que tarda
+   El premio á las pretensiones
+   Que la ocupación dilata,
+   Casa tengo de poner:                                              885
+   Si en el camino os agrada
+   Mi trato, servidme á mí.
+
+   DOÑA MARÍA
+
+   El cielo por vos me ampara.
+   Desde hoy soy criada vuestra,
+   Y creed que soy criada                                            890
+   Que os excusaré de muchas.
+
+   MOZO (_áp._)
+
+   Convertirse quiere en ama.
+
+   DOÑA MARÍA
+
+   No habrá cosa que no sepa.
+
+   MOZO
+
+   Y yo salgo á la fianza;
+   Que la buena habilidad                                            895
+   Se le conoce en la cara.
+
+   INDIANO
+
+   Hanme dicho que en la corte
+   Hay ocasiones que gastan
+   Inútilmente la hacienda,
+   Y yo querría guardarla;                                           900
+   Que cuesta mucho adquirirla.
+
+   DOÑA MARÍA
+
+   La familia es excusada
+   Donde hay tanta confusión,
+   Pues no se repara en nada.
+   Yo sola basto á serviros:                                         905
+   No habrá cosa que no haga,
+   De cuantas haciendas tiene
+   El gobierno de una casa.
+
+   INDIANO
+
+   Pues partamos en comiendo,
+   Y fiad de mí la paga.                                             910
+
+   DOÑA MARÍA (_áp._)
+
+   ¡Ay fortuna! ¿dónde llevas
+   Una mujer desdichada?
+   Pero no fueras fortuna,
+   Á saber en lo que paras.
+
+
+
+
+   ACTO SEGUNDO
+
+   Sala en casa de doña Ana.
+
+
+
+
+   ESCENA PRIMERA
+
+   EL CONDE, DON JUAN
+
+
+   DON JUAN
+
+   Compiten con sus virtudes                                         915
+   Sus gracias y perfecciones.
+
+   CONDE
+
+   ¿Que tantas persecuciones,
+   Visitas, solicitudes,
+   Celos, desvelos, requiebros,
+   Tengan por premio su olvido,                                      920
+   Hasta verme convertido,
+   De Amadís, en Beltenebros?
+   No he visto tales aceros.
+
+   DON JUAN
+
+   Conde, no habéis de cansaros;
+   Que el estado de estimaros                                        925
+   Ya es principio de quereros.
+
+   CONDE
+
+   Á los principios me estoy
+   Á el cabo de tres semanas.
+   ¿Adonde, esperanzas vanas,
+   Con este imposible voy?                                           930
+
+   DON JUAN
+
+   Todas son penas posibles,
+   Pues que sin celos amáis.
+
+   CONDE
+
+   ¡Ay, ojos, celos me dais,
+   Aunque celos invisibles!
+   Quéjase de amor doña Ana,                                         935
+   Y á mí no me tiene amor:
+   Esto es celos en rigor.
+
+   DON JUAN
+
+   ¿Por qué, si es sospecha vana?
+
+   CONDE
+
+   Es celos lo que imagino;
+   Que no es celos lo que sé:                                        940
+   Cosa que pienso que fué,
+   Y que en mi daño adivino.
+
+
+
+
+   ESCENA II
+
+   MARTÍN.--DICHOS
+
+
+   MARTÍN
+
+   Por poco tuviera calma
+   La nave de tu deseo.
+   Entro, y á doña Ana veo,                                          945
+   Venus de marfil con alma.
+   ¿Cómo te podré pintar
+   De la suerte que la ví?
+   Cultas musas, dadme aquí
+   Un ramo blanco de azahar                                          950
+   De las huertas de Valencia
+   Ó jardines de Sevilla.
+   Comience una zapatilla
+   De la Vera de Plasencia,
+   Porque entremos por la basa                                       955
+   Á esta coluna de nieve,
+   Agentado azul, pie breve,
+   Que de tres puntos no pasa.
+
+   CONDE
+
+   ¿Tres puntos? Necio, repara...
+
+   MARTÍN
+
+   Pues lo digo, yo lo sé:                                           960
+   Puntos son que de aquel pie
+   Los tomara por la cara.
+
+   DON JUAN
+
+   ¿Cómo lo viste?
+
+   MARTÍN
+
+   Un manteo
+   Esta licencia me dió,
+   Donde cuanto supo obró                                            965
+   La riqueza y el aseo.
+   Pero pidió los chapines
+   Porque mirarla me vió,
+   Y entre las cintas metió
+   Cinco pares de jazmines.                                          970
+
+   DON JUAN
+
+   De escarpines presumí,
+   Según anda el algodón.
+
+   MARTÍN
+
+   Ésos paragambas son;
+   Que á cierta dama que ví
+   Con cañafístolas tales,                                           975
+   Que se pudiera, aunque bellas,
+   Purgar su galán con ellas
+   Por drogas medicinales,
+   Pregunté si era importante
+   Traer damas delicadas                                             980
+   Las pantorrillas preñadas.
+   Y con risueño semblante
+   Me dijo: «No es gentileza;
+   Pero cosa no ha de haber
+   En una honrada mujer                                              985
+   Que se note por flaqueza.»
+
+   CONDE
+
+   ¡Linda disculpa!
+
+   DON JUAN
+
+   Extremada.
+
+   MARTÍN
+
+   La ropa de levantar,
+   Con tanto fino alamar,
+   Era una colcha bordada.                                           990
+   Finalmente, no quería
+   Salir, por no verte ansí;
+   Pero como yo la ví
+   Que para ti se vestía,
+   Por no estar siempre en el traje                                  995
+   De trájico embajador,
+   Porfié, y saldrá, Señor,
+   Si la haces pleito homenaje
+   De sola conversación,
+   Como quedó concertado.                                           1000
+
+   CONDE
+
+   ¡Qué ejercicio tan cansado
+   Para mi loca afición!
+
+   DON JUAN
+
+   Música y versos quedaron
+   Para esta noche de acuerdo.
+
+   CONDE
+
+   En tenerme por tan cuerdo                                        1005
+   Muchos locos la engañaron.
+
+
+
+
+   ESCENA III
+
+   DOÑA ANA, _en hábito galán_; JUANA, MÚSICOS.--DICHOS
+
+
+   DOÑA ANA
+
+   No dirá vueseñoría
+   Que no le fían el talle.
+
+   CONDE
+
+   Quien tan bien puede fialle,
+   Agravio á los dos haría:                                         1010
+   Á vos por seguridad,
+   Y á mí por justo deseo.
+   ¡Gracias á amor, que en vos veo
+   Señas de más amistad!
+
+   DOÑA ANA
+
+   Siéntese vueseñoría;                                             1015
+   Que no le quiero galán
+   Esta noche, que nos dan
+   La música y la poesía
+   Los sugetos que han de hacer
+   Un rato conversación.                                            1020
+
+   CONDE
+
+   Dice mi imaginación
+   Que no quiere más de ver.
+
+   DOÑA ANA
+
+   Señor don Juan, ¿no os sentáis?--
+   ¡Qué esquivo primo tenéis! (_Al Conde._)
+
+   DON JUAN
+
+   La culpa que me ponéis,                                          1025
+   Para disculpa me dais;
+   Pero quiero obedeceros.
+
+   CONDE
+
+   Canten, y hablemos yo y vos.
+
+   DOÑA ANA
+
+   Y los tres, porque los dos
+   No parezcamos groseros.                                          1030
+
+   MÚSICOS. (_Cantan._)
+
+   _¿De qué sirve, ojos serenos,
+   Que no me miréis jamás?
+   De que yo padezca más,
+   Y no de que os quiera menos._
+
+   DOÑA ANA
+
+   No me agrada que á los ojos                                      1035
+   Llamen serenos.
+
+   CONDE
+
+   ¿Por qué,
+   Si el cielo, cuando se ve
+   Libre de azules enojos,
+   Se llama así?
+
+   DOÑA ANA
+
+   En una dama
+   No apruebo vuestro argumento,                                    1040
+   Si es el alma el movimiento
+   Que á cuantos los miran llama,
+   Y si al cielo en su azul velo
+   La serenidad cuadró,
+   Á el sol y á la luna no,                                         1045
+   Que son los ojos del cielo;
+   Porque éstos siempre se mueven.
+
+   CONDE
+
+   Perdonad á la canción
+   No ser de vuestra opinión:
+   Tanto los versos se atreven.                                     1050
+
+   DON JUAN
+
+   Díganse á varios sugetos,
+   Como quedó concertado.
+
+   DOÑA ANA
+
+   Comience el Conde.
+
+   CONDE
+
+   He buscado
+   En vuestro loor seis concetos.
+   Oid.
+
+   DOÑA ANA
+
+   No por vida mía;                                                 1055
+   Escritos me los daréis.
+
+   CONDE
+
+   No sea, pues no queréis.
+
+   DOÑA ANA
+
+   Emplead vuestra poesía
+   Adonde más partes haya.
+
+   CONDE
+
+   Pues oid, si sois servida,                                       1060
+   Un soneto á la venida
+   Del inglés á Cádiz.
+
+   DOÑA ANA
+
+   Vaya.
+
+   CONDE
+
+   Atrevióse el inglés, de engaño armado
+   Porque al león de España vió en el nido,
+   Las uñas en el ámbar, y vestido,                                 1065
+   En vez de pieles, del tusón dorado.
+
+   Con débil caña, no con fresno herrado,
+   Vió á Marte en forma de español Cupido,
+   Volar y herir en el jinete, herido
+   Del acicate en púrpura bañado.                                   1070
+
+   Armó cien naves y emprendió la falda
+   De España asir por las arenas solas
+   Del mar, cuyo cristal ciñe esmeralda;
+
+   Mas viendo en las colunas españolas
+   La sombra del león, volvió la espalda,                           1075
+   Sembrando las banderas por las olas.
+
+   DON JUAN
+
+   ¡Levantó la pluma el vuelo!
+
+   DOÑA ANA
+
+   ¡Gran soneto á toda ley!
+
+   DON JUAN
+
+   ¡Qué bien pinta á nuestro rey!
+
+   DOÑA ANA
+
+   Mejor le ha pintado el cielo.                                    1080
+
+   MARTÍN
+
+   ¡Gran soneto!
+
+   CONDE
+
+   No le he dado,
+   Porque no estoy dél contento.--
+   Decid vos.
+
+   DOÑA ANA
+
+   ¡Qué atrevimiento!
+   Donde vos habéis hablado!
+
+   DON JUAN
+
+   Excusad tales excusas.                                           1085
+
+   DOÑA ANA
+
+   ¿Mas qué os ha de causar risa?
+
+   CONDE
+
+   Hablad, divina poetisa.
+
+   MARTÍN
+
+   Silencio; que hablan las musas.
+
+   DOÑA ANA
+
+   Amaba Filis á quien no la amaba,
+   Y á quien la amaba ingrata aborrecía;                            1090
+   Hablaba á quien jamás la respondía,
+   Sin responder jamás á quien la hablaba.
+
+   Seguía á quien huyendo la dejaba,
+   Dejaba á quien amando la seguía;
+   Por quien la despreciaba se perdía,                              1095
+   Y á el perdido por ella despreciaba.
+
+   Concierta, amor, si ya posible fuere,
+   Desigualdad que tu poder infama:
+   Muera quien vive, y vivirá quien muere.
+
+   Da hielo á hielo, amor, y llama á llama,                         1100
+   Porque pueda querer á quien la quiere
+   Ó pueda aborrecer á quien desama.
+
+   CONDE
+
+   Vos os podéis alabar;
+   Que nadie puede, Señora.
+
+   DOÑA ANA
+
+   Hablará don Juan agora.                                          1105
+
+   DON JUAN
+
+   Dejádmele imaginar.
+
+   Una moza de cántaro y del río,
+   Más limpia que la plata que en él lleva,
+   Recién herrada de chinela nueva,
+   Honor del devantal, reina del brío;                              1110
+
+   Con manos de marfil, con señorío,
+   Que no hay tan gran Señor que se le atreva,
+   Pues donde lava, dice amor que nieva,
+   Es alma ilustre al pensamiento mío.
+
+   Por estrella, por fe, por accidente,                             1115
+   Viéndola henchir el cántaro, en despojos
+   Rendí la vida á el brazo trasparente;
+
+   Y, envidiosos del agua mis enojos,
+   Dije: «¿Por qué la coges de la fuente,
+   Si la tienes, más cerca, de mis ojos?»                           1120
+
+   DOÑA ANA
+
+   ¡Malos versos!
+
+   DON JUAN
+
+   No sé más.
+
+   DOÑA ANA
+
+   Un caballero discreto
+   ¿Escribe á tan vil sugeto?
+   No lo creyera jamás.
+
+   CONDE
+
+   Tiene doña Ana razón.                                            1125
+
+   DON JUAN
+
+   Si hubiérades visto el brío
+   Del nuevo sugeto mío,
+   La hermosura y discreción,
+   Dijérades que tenía
+   Tanta razón de querer,                                           1130
+   Que no supe encarecer
+   Lo menos que merecía.
+
+   DOÑA ANA
+
+   Si es disfrazar vuestra dama,
+   Como suelen los poetas,
+   Por tratar cosas secretas                                        1135
+   Sin ofensa de su fama,
+   Está bien; pero si no,
+   Bajo pensamiento ha sido.
+
+   DON JUAN
+
+   Ninguna cosa he fingido,
+   Ni tengo la culpa yo;                                            1140
+   Porque no lejos de aquí
+   Vive la hermosa Isabel,
+   Por quien el amor cruel
+   Hace estos lances en mí.
+   Sirve á un indiano, que viene                                    1145
+   Á la corte á pretender.
+   No sé qué puede querer
+   Quien tanta riqueza tiene.
+
+   DOÑA ANA
+
+   Á tal sugeto ¡tal fe!
+
+   DON JUAN
+
+   La que me ha muerto y rendido,                                   1150
+   Moza de cántaro ha sido,
+   Moza de cántaro fué.
+   En él este amor bebí,
+   Todo me abrasó con él;
+   Ella fué Sirena, y él                                            1155
+   El mar en que me perdí.
+   Con él veneno me ha dado,
+   Con él me mató.
+
+   DOÑA ANA
+
+   Si fuera
+   Martín quien eso dijera,
+   Estuviera disculpado;                                            1160
+   Pero ¡un caballero, un hombre
+   Como vos!...
+
+   DON JUAN
+
+   No es elección
+   Amor; diferentes son
+   Los efetos de su nombre.
+   Es desde el cabello al pie                                       1165
+   Tan bizarra y aliñosa,
+   Que no es tan limpia la rosa,
+   Por más que al alba lo esté.
+   Tiene un grave señorío
+   En medio desta humildad,                                         1170
+   Que aumenta su honestidad
+   Y no deshace su brío.
+   Finalmente, yo no ví
+   Dama que merezca amor
+   Con más fe, con más rigor.                                       1175
+
+   DOÑA ANA
+
+   Advertid que estoy yo aquí,
+   Y toca en descortesía
+   Tan necio encarecimiento.
+
+   DON JUAN
+
+   Yo he dicho mi pensamiento
+   Sin pensar que os ofendía.                                       1180
+
+   CONDE
+
+   No os levantéis. ¿Dónde vais?
+
+   DOÑA ANA
+
+   Corrida me voy.
+
+   DON JUAN
+
+   ¿Por qué? Sin ofensa vuestra hablé.
+
+   DOÑA ANA
+
+   Si cosas bajas amáis,
+   No las igualéis conmigo.                                         1185
+
+   (_Vanse doña Ana y Juana._)
+
+
+
+
+   ESCENA IV
+
+   EL CONDE, DON JUAN, MARTÍN; _después_, JUANA
+
+
+   CONDE
+
+   ¡Por Dios, que tiene razón!
+
+   MARTÍN
+
+   Cesó la conversación.
+
+   DON JUAN
+
+   ¡Porque lo que siento digo!
+
+   CONDE
+
+   Decir que no visteis dama
+   Como ella, ¿no ha sido error?                                    1190
+
+   DON JUAN
+
+   ¿Error?
+
+   (_Sale Juana._)
+
+   JUANA
+
+   Conde, mi señor,
+   Entrad: mi señora os llama.
+
+   CONDE (_á don Juan_)
+
+   Ella me quiere decir
+   Que no os traiga más conmigo.
+
+   DON JUAN
+
+   Si lo tiene por castigo,                                         1195
+   No apelo de no venir.
+
+   (_Vanse el Conde y Juana._)
+
+   Di á el Conde que á verla fuí,
+   (_Á Martín._)
+   Ésa que á doña Ana enfada.
+
+   MARTÍN
+
+   Tú ¿quieres lo que te agrada?
+
+   DON JUAN
+
+   Sí, Martín, mil veces sí.                                        1200
+
+   MARTÍN
+
+   Pues quiérela si la quieres;
+   Que tal vez agrada un prado
+   Más que un jardín cultivado,
+   Y al fin todas son mujeres. (_Vanse._)
+
+
+
+
+   ESCENA V
+
+   Calle.
+
+   DOÑA MARÍA, _en hábito humilde y devantal_; EL INDIANO, _siguiéndola_.
+
+
+   DOÑA MARÍA
+
+   _Advierta vuestra merced                                         1205
+   Que si esto adelante pasa, No estoy un
+   hora en su casa._
+
+   INDIANO
+
+   (_Ap._ Pensamiento, detened
+   El paso; que hay honra aquí.)
+   Palabra, Isabel, te doy                                          1210
+   Que no seré desde hoy
+   Importuno como fuí.
+   Desprecia en fin tu belleza
+   Y ese donaire apacible;
+   Que ya sé que es imposible                                       1215
+   Mudar la naturaleza. (_Vase._)
+
+
+
+
+   ESCENA VI
+
+
+   DOÑA MARÍA
+
+   Tiempos de mudanzas llenos,
+   Y de firmezas jamás,
+   Que ya de menos á más,
+   Y ya vais de más á menos,                                        1220
+   ¿Cómo en tan breve distancia,
+   Para tanto desconsuelo,
+   Habéis humillado á el suelo
+   Mi soberbia y arrogancia?
+   El desprecio que tenía                                           1225
+   De cuantas cosas miraba,
+   Las galas que desechaba,
+   Los papeles que rompía;
+   El no haber de quien pensase
+   Que mi mano mereciese,                                           1230
+   Por servicios que me hiciese,
+   Por años que me obligase;
+   Toda aquella bizarría
+   Que como sueño pasó,
+   Á tanta humildad llegó,                                          1235
+   Que por mí decir podría:
+   _Aprended, flores, de mí
+   Lo que va de ayer á hoy;
+   Que ayer maravilla fuí,
+   Y hoy sombra mía aun no soy._                                    1240
+   Flores, que á la blanca aurora
+   Con tal belleza salís,
+   Que soberbias competís
+   Con el mismo sol que os dora,
+   Toda la vida es un hora:                                         1245
+   Como vosotras me ví,
+   Tan arrogante salí;
+   Sucedió la noche al día:
+   Mirad la desdicha mía,
+   _Aprended, flores, de mí._                                       1250
+   Maravilla solía ser
+   De toda la Andalucía;
+   Ó maravilla ó María,
+   Ya no soy la que era ayer.
+   Flores, no os deis á entender                                    1255
+   Que no seréis lo que soy,
+   Pues hoy en estado estoy,
+   Que si en ayer me contemplo,
+   Conoceréis por mi ejemplo
+   _Lo que va de ayer á hoy._                                       1260
+   No desvanezca al clavel
+   La púrpura, ni á el dorado
+   La corona, ni al morado
+   Lirio el hilo de oro en él;
+   No te precies de cruel,                                          1265
+   Manutisa carmesí,
+   Ni por el color turquí,
+   Bárbara violeta, ignores
+   Tu fin, contemplando, flores,
+   _Que ayer maravilla fuí._                                        1270
+   De esta loca bizarría
+   Quedaréis desengañadas
+   Cuando con manos heladas
+   Os cierre la noche fría.
+   Maravilla ser solía;                                             1275
+   Pero ya lástima doy;
+   Que de extremo á extremo voy,
+   Y desde ser á no ser,
+   Pues sol me llamaba ayer,
+   _Y hoy sombra mía aun no soy._                                   1280
+
+
+
+
+   ESCENA VII
+
+   DON JUAN.--DOÑA MARÍA
+
+
+   DON JUAN
+
+   Dicha he tenido, por Dios.--
+   Isabel, ¿adónde bueno?
+
+   DOÑA MARÍA
+
+   ¿Adónde bueno, Isabel?
+   Adonde hallase un requiebro.
+   ¿Pensáis que no tengo yo                                         1285
+   Mi poco de entendimiento?
+
+   DON JUAN
+
+   Bien conozco que no ignoras
+   Tanto; que á veces sospecho
+   Que finges lo que no entiendes.
+
+   DOÑA MARÍA
+
+   Lo que no quiero no entiendo.                                    1290
+   Pero á la fe que me admira
+   Que un caballero tan cuerdo
+   Y tan galán como vos
+   Humille sus pensamientos
+   Á una mujer como yo.                                             1295
+   ¿Sois pobre?
+
+   DON JUAN
+
+   Pues ¿á qué efeto
+   Me preguntas si soy pobre?
+
+   DOÑA MARÍA
+
+   Porque si os falta dinero
+   Para pretensiones altas,
+   No tengo por mal acuerdo                                         1300
+   Requebrar lo que, á la cuenta
+   Del entendimiento vuestro,
+   Os costará zapatillas,
+   Ligas, medias y un sombrero
+   Para el río con su banda,                                        1305
+   Avantal de lienzo grueso,
+   Chinelas ya sin virillas
+   (Que solía en otro tiempo
+   En los pies de las mujeres
+   La plata barrer el suelo),                                       1310
+   Castañetas, cintas, tocas;
+   Que para últimos empleos
+   De las damas, fondo en ángel,
+   No hay plata en el alto cerro
+   Del Potosí, perlas ni oro                                        1315
+   En los orientales reinos.
+   Más pienso que os costarían
+   Las randas de un telarejo
+   Que una legión de fregonas.
+
+   DON JUAN
+
+   No juzgaras mis deseos                                           1320
+   Por el camino que dices,
+   Si te dijera el espejo
+   El despejo de tu talle.
+
+   DOÑA MARÍA
+
+   ¿Espejo y despejo? ¡Bueno!
+   Ya con cuidado me habláis,                                       1325
+   Porque en efeto os parezco
+   Mujer que os puedo entender.
+   Pues yo os prometo que puedo;
+   Pero el estar enseñada
+   Á oir vocablos groseros                                          1330
+   De un indiano miserable:
+   «Vé por esto, vuelve presto,
+   Esto guisa, aquello deja,
+   ¿Limpiaste aquel ferreruelo?
+   Vé por nieve, trae carbón,                                       1335
+   Esto está sin sal, aquello
+   Sin agrio, llama á ese esclavo,
+   Éste lava, y dame un lienzo,
+   ¿Cómo gastas tanta azúcar?
+   Para madrugar me acuesto,                                        1340
+   Despiértame de mañana,
+   Pon la mesa, luego vuelvo;»
+   Y otras cosas de este porte
+   Me han quitado el sentimiento
+   De otras razones más grandes,                                    1345
+   No porque no las entiendo.
+   En efeto ¿qué queréis?
+
+   DON JUAN
+
+   Que me quieras en efeto.
+
+   DOÑA MARÍA
+
+   ¡Bien aforrada razón,
+   Y bien dicha para presto!                                        1350
+   Bien digo yo que pensáis
+   Que á mi corto entendimiento
+   Importan resoluciones,
+   Atajos, y no rodeos.
+   Pues levantad el lenguaje;                                       1355
+   Que, como dicen los negros,
+   El ánima tengo blanca,
+   Aunque mal vestido el cuerpo.
+   Habladme como quien sois.
+
+   DON JUAN
+
+   Yo, Isabel, así lo creo;                                         1360
+   Porque, pensando en tu oficio,
+   Tal vez el respeto pierdo;
+   Pero en mirando á tu cara,
+   Vuelvo á tenerte respeto.
+   Mas no te debe enojar                                            1365
+   Que te diga mi deseo;
+   Que sólo son por el fin
+   Todos los actos perfectos.
+   ¿Qué dirás deste lenguaje?
+
+   DOÑA MARÍA
+
+   Que, aunque es el término honesto,                               1370
+   No me agrada la intención
+   De la suerte que la entiendo.
+   Conmigo (á lo que imagino)
+   Tomáis la espada á lo diestro.
+   Tiré, desviasteis, huí;                                          1375
+   Y acometiéndome al pecho,
+   Herida de conclusión
+   Formó vuestro pensamiento.
+   Pues no, mi señor, por vida
+   De los dos, porque no quiero                                     1380
+   Que, asiendo la guarnición,
+   Engañéis mi honesto celo.
+   Esténse quedas las manos,
+   Y aun los pensamientos quedos;
+   Que no seremos amigos                                            1385
+   En no siendo el trato honesto.
+
+   DON JUAN
+
+   Como das, Isabel mía,
+   (¿Mía dije? ¡Ay Dios! que miento)
+   En pensar que por ser pobre
+   Te busco, te sigo y ruego,                                       1390
+   Dilatas á mis verdades
+   El justo agradecimiento.
+   Pues yo te juro, Isabel,
+   Que por quererte, desprecio
+   La más hermosa mujer,                                            1395
+   Donaire y entendimiento
+   Que tiene aqueste lugar;
+   Porque más estimo y precio
+   Un listón de tus chinelas
+   Que las perlas de su cuello.                                     1400
+   Más precio en tus blancas manos
+   Ver aquel cántaro puesto,
+   Á la fuente del Olvido
+   Pedirle cristal deshecho;
+   Y ver que á tu dulce risa                                        1405
+   Deciende el agua riyendo,
+   Envidiosa la que cae
+   De fuera á la que entra dentro;
+   Y ver cómo se da prisa
+   El agua á henchirle de presto,                                   1410
+   Por ir contigo á tu casa,
+   En tus brazos ó en tus pechos,
+   Que ver como cierta dama
+   Baja en su coche soberbio,
+   Asiendo verdes cortinas                                          1415
+   Por dar diamantes los dedos,
+   Ó asoma por el estribo
+   Los rizos de los cabellos
+   En las uñas de un descanso,
+   Que á tantos sirvió de anzuelo.                                  1420
+   Yo me contento que digas,
+   Dulce Isabel: «¡Yo te quiero!»
+   Que también quiero yo el alma;
+   No todo el amor es cuerpo.
+   ¿Qué respondes, ojos míos?                                       1425
+
+   DOÑA MARÍA
+
+   Á ojos míos yo no puedo
+   Responder ninguna cosa,
+   Porque decís que son vuestros.
+   Á lo de la voluntad,
+   Pienso que licencia tengo;                                       1430
+   Y así, pues alma queréis,
+   Digo (porque os vais con esto)
+   Que el primer hombre sois vos
+   Á quien amor agradezco.
+
+   DON JUAN
+
+   ¿No más, Isabel?
+
+   DOÑA MARÍA
+
+   ¿Es poco?                                                        1435
+   Pues vaya por contrapeso
+   Que no me desagradáis.
+
+   DON JUAN
+
+   ¿No más, Isabel?
+
+   DOÑA MARÍA
+
+   ¿Qué es esto?
+   Conténtese, ó quitaréle
+   Lo que le he dado primero.                                       1440
+
+   DON JUAN
+
+   ¿Podré tomarte una mano?
+   Aunque por Dios que la temo,
+   Después que la ví tan diestra
+   Esgrimir el blanco acero.
+
+   DOÑA MARÍA
+
+   Pues vos no me conocéis:                                         1445
+   Por Dios que algún hombre he muerto
+   Aquí donde me miráis.
+
+   DON JUAN
+
+   Con los ojos, yo lo creo.
+
+   DOÑA MARÍA
+
+   Idos; que viene mi amo.
+
+   DON JUAN
+
+   ¿Dónde esta tarde te espero?                                     1450
+
+   DOÑA MARÍA
+
+   En la fuente, á lo lacayo.
+
+   DON JUAN
+
+   Logre tu donaire el cielo. (_Vase._)
+
+
+
+
+   ESCENA VIII
+
+   LEONOR.--DOÑA MARÍA
+
+
+   LEONOR
+
+   Isabel...
+
+   DOÑA MARÍA
+
+   Leonor amiga...
+
+   LEONOR
+
+   ¿Con éste hablabas?
+
+   DOÑA MARÍA
+
+   ¿Pues bien?
+
+   LEONOR
+
+   ¿Qué se hizo tu desdén?                                          1455
+
+   DOÑA MARÍA
+
+   Un amor honesto obliga.
+   Y te aseguro de mí
+   Que es mucho tenelle amor.
+
+   LEONOR
+
+   Su talle, ingenio y valor
+   Habrán hecho riza en ti.                                         1460
+   Que lo merece confieso;
+   Pero en la desigualdad
+   No puede haber amistad.
+
+   DOÑA MARÍA
+
+   Los elementos por eso
+   No tienen paz y sosiego:                                         1465
+   El agua á la tierra oprime,
+   El aire á el agua, y reprime
+   La fuerza del aire el fuego.
+   Mas como él me quiere á mí
+   No más de para querer,                                           1470
+   ¿Qué pierdo en corresponder?
+
+   LEONOR
+
+   Mucho.
+
+   DOÑA MARÍA
+
+   ¿Cómo?
+
+   LEONOR
+
+   Mucho.
+
+   DOÑA MARÍA
+
+   Di.
+
+   LEONOR
+
+   Adora mi ama en él.
+
+   DOÑA MARÍA
+
+   ¿Quién te lo ha dicho?
+
+   LEONOR
+
+   Yo y Juana
+   Lo vemos, y á ella con gana                                      1475
+   De casamiento, Isabel.
+   Por eso, si no envidaste,
+   Descarta y quédate en dos.
+
+   DOÑA MARÍA
+
+   ¿Sábeslo bien?
+
+   LEONOR
+
+   Sí, por Dios.
+
+   DOÑA MARÍA
+
+   Tarde, Leonor, me avisaste;                                      1480
+   No porque pueda alabarse
+   Del más mínimo favor,
+   Sino por tenerle amor,
+   Que no es fácil de olvidarse.
+   Necia fuí en imaginar                                            1485
+   Que un don Juan tan entonado
+   Para mí estaba guardado.
+
+   LEONOR
+
+   Un hombre te quiero dar
+   Compañero de otro mío,
+   Bravo, pero no cruel,                                            1490
+   Que puede ser, Isabel,
+   De cuantas profesan brío.
+   No pone codo en la puente
+   Hombre de tales aceros,
+   Ni han visto los lavaderos                                       1495
+   Más alentado valiente.
+   Ama en tu misma región.
+   ¿Quién te mete con don Juanes?
+
+   DOÑA MARÍA
+
+   Tu ama ¿trata en galanes?
+
+   LEONOR
+
+   De honesta conversación                                          1500
+   De un conde que la visita,
+   Le nacieron los antojos.
+
+   DOÑA MARÍA
+
+   ¡Quién la ve tan baja de ojos
+   Á la señora viudita!
+
+   LEONOR
+
+   Hermana, enviudó ha dos meses,                                   1505
+   Viénele grande la cama.
+
+   DOÑA MARÍA
+
+   Y en fin ¿le quiere tu ama?
+
+   LEONOR
+
+   Como si juntos los vieses.
+
+   DOÑA MARÍA
+
+   Vé por el cántaro, y vamos
+   Al Prado.
+
+   LEONOR
+
+   Á Pedro verás;                                                   1510
+   Que se quedan siempre atrás
+   Él y Martín de sus amos. (_Vase._)
+
+
+
+
+   ESCENA IX
+
+
+   DOÑA MARÍA
+
+   Á mis graves desconsuelos
+   Solo faltaba este amor,
+   Á este amor este rigor,                                          1515
+   Á este rigor estos celos.
+   ¿No me bastaba tener,
+   Para no ser conocida,
+   Este género de vida,
+   Sino á quien quieren querer?                                     1520
+   Pero andar en competencia,
+   Moza de cántaro en fin,
+   Cristalino serafín,
+   Con vos, será impertinencia.
+   Mejor es ser lo que soy,                                         1525
+   Pues que no soy lo que fuí:
+   Aprended, flores, de mí
+   Lo que vá de ayer á hoy. (_Vase._)
+
+
+
+
+   ESCENA X
+
+   Prado con una fuente.
+
+
+   MARTÍN, PEDRO
+
+   PEDRO
+
+   Y ¿que tiene tan buen talle?
+
+   MARTÍN
+
+   Esto me dijo Leonor,                                             1530
+   Y que es la moza mejor
+   Que tiene toda la calle.
+   Es una perla, un asombro;
+   Rinden parias á su brío
+   Cuantas llevan ropa á el río                                     1535
+   Y llevan cántaro en hombro.
+   Es mujer que este don Juan,
+   Primo del Conde mi dueño,
+   Pierde por hablarla el sueño,
+   Desmayos de amor le dan.                                         1540
+   De la suerte la pasea
+   Que á la dama de más partes;
+   Pero en estos Durandartes
+   Poco el pensamiento emplea.
+   De noche la viene á ver,                                         1545
+   Y anda el pobre caballero,
+   De su cántaro escudero,
+   Sin dormir y sin comer.
+   Sirve á un caballero indiano
+   Tan cuidado, que consiente                                       1550
+   Que vaya y venga á la fuente;
+   Puesto que le culpo en vano,
+   Porque pienso que ella gusta
+   De salir, por ver y hablar
+   (Que á mozas deste lugar                                         1555
+   Mucho el no salir disgusta),
+   Á jabonar y á lavar
+   Á los pilares, á el río.
+
+   PEDRO
+
+   En fin, es moza de brío,
+   Y que puede descuidar                                            1560
+   De camisas y valonas
+   Á un hombre de mi talante.
+
+   MARTÍN
+
+   Lleva, en saliendo, delante
+   Más pretendientes personas
+   Que un oidor ó presidente.                                       1565
+
+   PEDRO
+
+   Si yo la moza poseo,
+   Luego habrá despolvoreo
+   De todo amor pretendiente:
+   Á ellos de cuchilladas
+   Y á ella de muchas coces.                                        1570
+   Ya mi cólera conoces.
+
+   MARTÍN
+
+   No la has visto ¿y ya te enfadas?
+
+   PEDRO
+
+   Gente de un coche se apea.
+
+   MARTÍN
+
+   Con ellos viene don Juan.
+
+   PEDRO
+
+   ¡Por vida del alazán,                                            1575
+   Que no es la viudilla fea!
+
+
+
+
+   ESCENA XI
+
+   DOÑA ANA, JUANA, DON JUAN.--DICHOS
+
+
+   DON JUAN
+
+   Por el coche os conocí,
+   Y luego al Conde avisé,
+   Que en la carroza dejé
+   Harto envidioso de mí.                                           1580
+   Vine á ver lo que mandáis;
+   Que apearos no habrá sido
+   Sin causa.
+
+   DOÑA ANA
+
+   Causa he tenido;
+   Que siempre vos me la dais.
+   Quiero venir á la fuente,                                        1585
+   Porque sé que es el lugar
+   Adonde os tengo de hallar,
+   Y donde sois pretendiente.
+
+   DON JUAN
+
+   ¡Buen oficio me habéis dado!
+   Ó de bestia ó de aguador.                                        1590
+
+   DOÑA ANA
+
+   Conociendo vuestro humor,
+   Señor don Juan, he pensado
+   Venir por agua también.--
+   Muestra ese búcaro, Juana.
+
+   DON JUAN
+
+   Dado habéis esta mañana,                                         1595
+   Filos, Señora, al desdén.
+
+   DOÑA ANA
+
+   Deseando enamoraros,
+   Moza de cántaro soy,
+   Por agua á la fuente voy.
+
+   DON JUAN
+
+   Tenéos...
+
+   DOÑA ANA
+
+   Quiero agradaros.                                                1600
+
+   DON JUAN
+
+   Es el cántaro pequeño,
+   Templará poco el rigor
+   Á los enfermos de amor.
+
+
+
+
+   ESCENA XII
+
+   DOÑA MARÍA _y_ LEONOR, _con sus cántaros_.--DICHOS
+
+
+   DOÑA MARÍA (_á Leonor_)
+
+   Esto me dijo mi dueño;
+   Que en el patio de palacio,                                      1605
+   Archivo de novedades,
+   Ya mentiras, ya verdades,
+   Como pasean de espacio,
+   Lo contaba mucha gente.
+
+   LEONOR
+
+   Y ¿que esa mujer mató                                            1610
+   Á el que á su padre afrentó?
+   ¡Bravo corazón!
+
+   DOÑA MARÍA
+
+   Valiente.
+   Dijo que había pedido
+   La parte pesquisidor,
+   Y que á el Rey nuestro señor                                     1615
+   (Cuya vida al cielo pido),
+   Consultaron este caso,
+   Y que no quiso que fuese
+   Quien pesadumbre le diese.
+
+   LEONOR
+
+   No fué la piedad acaso,                                          1620
+   Si el padre estaba inocente.
+   ¿Y nunca más pareció
+   Esa dama que mató
+   Á el caballero insolente?
+
+   DOÑA MARÍA
+
+   De eso no me dijo nada.                                          1625
+   Yo estoy contenta de ver
+   (Que en efeto soy mujer)
+   Que la hubiese tan honrada.
+
+   LEONOR
+
+   ¿Dijo el nombre que tenía?
+   Que me alegra á mí también.                                      1630
+
+   DOÑA MARÍA
+
+   No sé si me acuerdo bien...
+   Aunque sí: doña María.
+
+   MARTÍN
+
+   Aquí están dos escuderos
+   Para las dos.
+
+   LEONOR
+
+   Isabel,
+   Este mozazo es aquel                                             1635
+   Que te dije.
+
+   DOÑA MARÍA
+
+   ¡Oh, caballeros!...
+
+   MARTÍN (_á Pedro_)
+
+   Llega, no estés vergonzoso;
+   Llega y habla.
+
+   PEDRO
+
+   Estoy mirando
+   Á Isabel, y contemplando
+   Su talle y su rostro hermoso.                                    1640
+   Téngame vuesamerced
+   Por suyo desde esta tarde.
+
+   DOÑA MARÍA
+
+   (_Ap._ ¡Qué buen hombrón!) Dios le guarde.
+
+   PEDRO (_ap._)
+
+   Cayó la daifa en la red.
+   Ya está perdida por mí.                                          1645
+
+   DOÑA MARÍA (_ap._)
+
+   Con pocos de éstos pudiera
+   Conducir una galera
+   Á la China, desde aquí,
+   Don Fadrique de Toledo.
+
+   PEDRO
+
+   Pido mano, doy turrón.                                           1650
+
+   DOÑA MARÍA
+
+   ¿Mas que lleva un mojicón,
+   Hombrón, si no se está quedo?
+
+   PEDRO
+
+   ¡Por el agua de la mar,
+   Que tiene valor la hembra!
+
+   DOÑA MARÍA
+
+   Pues no sabe dónde siembra.                                      1655
+
+   PEDRO
+
+   (_Ap._ Á el primer encuentro azar.)
+   ¡Voto á tus ojos serenos,
+   Isabel, porque te asombres,
+   Que me mate con mil hombres,
+   Y esto será lo de menos!                                         1660
+   Ablándate, serafín.
+
+   DOÑA MARÍA
+
+   Déjeme, no me zabuque.
+
+   PEDRO
+
+   Aquí en la esquina del Duque
+   Hay turrón.--Vamos, Martín.
+
+   MARTÍN
+
+   Vamos, y gasta; que luego                                        1665
+   Estará como algodón.
+
+   PEDRO
+
+   Sí, mas ¡coz y mordiscón!...
+   Parece rocín gallego.
+
+   (_Vanse Martín y Pedro._)
+
+
+
+
+   ESCENA XIII
+
+   DOÑA ANA, DON JUAN, DOÑA MARÍA, LEONOR, JUANA
+
+
+   DOÑA ANA
+
+   Quedo, no os pongáis delante;
+   Que ya he visto por las señas                                    1670
+   Que es aquélla vuestra dama.
+
+   JUANA
+
+   Pues Leonor viene con ella,
+   ¿Quién duda que es Isabel?
+   Fuera de que no tuviera
+   Ninguna aquel talle y brío.                                      1675
+
+   DOÑA ANA
+
+   Disculpa tiene en quererla
+   El señor don Juan.
+
+   JUANA
+
+   La moza
+   En otro traje pudiera
+   Hacer á cualquiera dama
+   Pesadumbre y competencia.                                        1680
+
+   DON JUAN
+
+   ¿Es todo por darme vaya?
+
+   DOÑA ANA
+
+   Quisiérala ver más cerca.
+   Dígale vuesamerced
+   Que está aquí una dama enferma,
+   Que se le antoja beber                                           1685
+   Por la cantarilla nueva;
+   Que no irá de mala gana.
+
+   DON JUAN
+
+   Sólo por serviros fuera.
+
+   DOÑA MARÍA
+
+   ¡Ay, Leonor!
+
+   LEONOR
+
+   ¿Qué?
+
+   DOÑA MARÍA
+
+   Tu señora
+   Y aquél mi galán con ella.                                       1690
+
+   LEONOR
+
+   Parece que te has turbado.
+
+   DOÑA MARÍA
+
+   Por poco se me cayera
+   El cántaro de las manos.
+
+   DON JUAN (_á doña María_)
+
+   Aquella señora os ruega
+   Que la deis un poco de agua.                                     1695
+
+   DOÑA MARÍA
+
+   De buena gana la diera
+   Á ella el agua, y á vos
+   Con el cántaro.
+
+   DON JUAN
+
+   No seas
+   Necia.
+
+   DOÑA MARÍA
+
+   Llevádsela vos,
+   Y de vuestra mano beba.                                          1700
+
+   DON JUAN
+
+   Mira que en público estamos,
+   Y las mujeres discretas
+   No hacen cosas indignas.
+
+   DOÑA MARÍA
+
+   Iré porque nadie entienda
+   Que me da celos á mí.--                                          1705
+
+   (_Llégase á doña Ana._)
+
+   Vuesamerced beba, y crea
+   Que quisiera que este barro
+   Fuera cristal de Venecia;
+   Pero serálo en tocando
+   Esas manos y esas perlas.                                        1710
+
+   DOÑA ANA
+
+   Beberé, porque he caído.
+
+   DOÑA MARÍA
+
+   Si el agua el susto sosiega,
+   Beba; que todos caeremos,
+   Si no en el daño, en la cuenta.
+
+   DOÑA ANA
+
+   Yo he bebido.
+
+   DOÑA MARÍA
+
+   Y yo también.                                                    1715
+
+   DOÑA ANA (_ap._)
+
+   Yo pesares.
+
+   DOÑA MARÍA (_ap._)
+
+   Yo sospechas.
+
+   DOÑA ANA
+
+   ¡Qué caliente!
+
+   DOÑA MARÍA
+
+   Vuestras manos
+   De nieve servir pudieran.
+
+   DOÑA ANA (_á Juana_)
+
+   Haz que llegue el coche.
+
+   JUANA (_llamando_)
+
+   ¡Ah, Hernando!
+
+   DOÑA ANA
+
+   ¡Buena moza!
+
+   DOÑA MARÍA
+
+   Buena sea                                                        1720
+   Su vida.
+
+   (_Vanse doña Ana y Juana._)
+
+
+
+
+   ESCENA XIV
+
+   DOÑA MARÍA, DON JUAN, LEONOR
+
+
+   DOÑA MARÍA
+
+   ¿No la acompaña?
+   ¡Mal galán! ¿Así se queda?
+
+   DON JUAN
+
+   Á darte satisfaciones.
+
+   DOÑA MARÍA
+
+   Estoy yo tan satisfecha,
+   Que será gastar palabras.                                        1725
+
+   DON JUAN
+
+   Mira, Isabel, que esto es fuerza,
+   Y que bien sabe Leonor
+   (Dejo aparte mi fineza)
+   Que el Conde sirve á doña Ana.
+
+   DOÑA MARÍA
+
+   Cántaro, tened paciencia;                                        1730
+   Vais y venís á la fuente:
+   Quien va y viene siempre á ella,
+   ¿De qué se espanta, si el asa
+   Ó la frente se le quiebra?
+   Sois barro, no hay que fiar.                                     1735
+   Mas ¿quién, cántaro, os dijera
+   Que no os volviérades plata
+   En tal boca, en tales perlas?
+   Pero lo que es barro humilde,
+   En fin, por barro se queda.                                      1740
+   No volváis más á la fuente,
+   Porque estoy segura y cierta
+   Que no es bien que vos hagáis
+   Á los coches competencia.
+
+   DON JUAN
+
+   ¿Qué dices? Mira, Isabel,                                        1745
+   Que sin culpa me condenas.
+
+   DOÑA MARÍA
+
+   Yo con mi cántaro hablo;
+   Si es mío, ¿de qué se queja?
+   Váyase vuesamerced,
+   Mire que el coche se aleja.                                      1750
+
+   DON JUAN
+
+   Iréme desesperado,
+   Pues haces cosas como éstas,
+   Sabiendo que Leonor sabe
+   Que no es posible que quiera
+   Eso de que tienes celos. (_Vase._)                               1755
+
+
+
+
+   ESCENA XV
+
+   DOÑA MARÍA, LEONOR
+
+
+   LEONOR
+
+   Necia estás. ¿Por qué le dejas
+   Que se vaya con disgusto?
+
+   DOÑA MARÍA
+
+   Leonor, el alma me lleva;
+   Que los celos me han picado.
+   Pero no seré yo necia                                            1760
+   En querer desigualdades,
+   Aunque me abrase y me muera.
+   No he de ver más á don Juan.
+   ¡Esto faltaba á mis penas!
+
+   LEONOR
+
+   ¡Buen lance habemos echado!                                      1765
+   Tú desesperada quedas,
+   Y mi ama va perdida.
+
+
+
+
+   ESCENA XVI
+
+   PEDRO, MARTÍN.--DICHAS
+
+
+   PEDRO
+
+   Como dos soldados juegan:
+   Perdí el turrón y el dinero.
+
+   MARTÍN
+
+   Cosas la corte sustenta,                                         1770
+   Que no sé cómo es posible.
+   ¡Quién ve tantas diferencias
+   De personas y de oficios,
+   Vendiendo cosas diversas!
+   Bolos, bolillos, bizcochos,                                      1775
+   Turrón, castañas, muñecas,
+   Bocados de mermelada,
+   Letuarios y conservas;
+   Mil figurillas de azúcar,
+   Flores, rosarios, rosetas,                                       1780
+   Rosquillas y mazapanes,
+   Aguardiente, y de canela;
+   Calendarios, relaciones,
+   Pronósticos, obras nuevas,
+   Y á _Don Alvaro de Luna_,                                        1785
+   Mantenedor destas fiestas.
+   Mas quedo; que están aquí.
+
+   PEDRO
+
+   ¡Oigan! ¿De qué es la tristeza?
+   ¿No estaba alegre esta moza?
+   ¡Qué pensativas están!                                           1790
+
+   MARTÍN
+
+   Pienso que andaba don Juan
+   Acechando una carroza.
+
+   PEDRO
+
+   Quien te me enojó, Isabel,
+   Que con lágrimas lo pene:
+   Hágote voto solene                                               1795
+   Que pueden doblar por él.
+   Vuelve, Isabel, esos ojos;
+   Que no soy yo por lo menos
+   Quien á tus ojos serenos
+   Quitó luz y puso enojos.                                         1800
+   ¿Quién tan bárbara y cruel,
+   Á tu hermosura atrevido,
+   Causa de tu enojo ha sido?
+   ¿Quién te me enojó, Isabel?
+   No es posible que tuviese                                        1805
+   Noticia de mi rigor,
+   Sin que luego de temor
+   Súbitamente muriese.
+   Quien te enojó, ¿vida tiene?
+   ¿Que donde estoy, vivo esté?                                     1810
+   Dime quién es; que yo haré
+   Que con lágrimas lo pene.
+   Dime cómo y de qué suerte
+   Que le mate se te antoja,
+   Porque en sacando la hoja,                                       1815
+   Soy guadaña de la muerte.
+   Si el Cid á su lado viene,
+   Gigote de hombres haré,
+   Y de que lo cumpliré
+   Hágote voto solene.                                              1820
+   Si yo me enojo en Madrid
+   Con quien á ti te ha enojado,
+   Haz cuenta que se ha tocado
+   La tumba en Valladolid.
+   Porque en diciendo, Isabel,                                      1825
+   Que he de matalle, está muerto.
+   No hay que esperar, porque es cierto
+   Que pueden doblar por él.
+
+   DOÑA MARÍA
+
+   Ven, Leonor; vamos á casa.
+
+   LEONOR
+
+   Triste vas.
+
+   DOÑA MARÍA
+
+   Perdida estoy.                                                   1830
+
+   PEDRO
+
+   ¿Así se va?
+
+   DOÑA MARÍA
+
+   Así me voy.
+
+   PEDRO
+
+   Pues cuénteme lo que pasa.
+
+   DOÑA MARÍA
+
+   No quiero.
+
+   PEDRO
+
+   Tendréla.
+
+   DOÑA MARÍA
+
+   Tome.
+
+   PEDRO
+
+   ¡Ay!
+
+   MARTÍN
+
+   ¿Qué fué?
+
+   PEDRO
+
+   Tamborilada.
+
+   LEONOR
+
+   ¿Dístele, Isabel?
+
+   DOÑA MARÍA
+
+   No es nada.                                                      1835
+   Pregúntale si le come.
+
+
+
+
+   ACTO TERCERO
+
+
+
+
+   ESCENA PRIMERA
+
+   PEDRO, BERNAL, MARTÍN _y_ LORENZO, _dentro_
+
+
+   PEDRO
+
+   ¡Fuera digo! No haya más.
+
+   LORENZO
+
+   ¡Ay, que me ha descalabrado!
+
+   MARTÍN
+
+   Con el cántaro le ha dado.
+
+   BERNAL
+
+   ¡Lavado, Lorenzo, vas!                                           1840
+
+   LORENZO
+
+   Esto ¿se puede sufrir?
+
+   PEDRO
+
+   Llévale á curar, Bernal.
+
+   LORENZO
+
+   ¡Vive Cristo, que la tal!... (_Salen._)
+
+   MARTÍN
+
+   No lo acabes de decir.
+
+   PEDRO
+
+   No queda lacayo en ser                                           1845
+   Donde esta mujer está.
+
+   MARTÍN
+
+   Bravas bofetadas da.
+
+   PEDRO
+
+   Dos mozas azotó ayer.
+
+   BERNAL
+
+   ¡Ea, ea! Que no es nada.
+
+
+
+
+   ESCENA II
+
+   DOÑA MARÍA, LEONOR.--DICHOS
+
+
+   DOÑA MARÍA
+
+   ¡Pícaro! ¿Pellizco á mí?                                         1850
+   ¡Fuera, digo!
+
+   LEONOR
+
+   ¿Estás en ti?
+
+   LORENZO
+
+   ¡Á mí, Isabel, cantarada!
+   ¡Voto á el hijo de la mar!
+
+   DOÑA MARÍA
+
+   Llegue el lacayo gallina.
+
+   PEDRO
+
+   Daga trae en la pretina.                                         1855
+
+   DOÑA MARÍA
+
+   Y aun enseñada á matar.
+   Llegue el barbado, y daréle
+   Dos mohadas á la usanza
+   De mi tierra, por la panza,
+   Y hará el puñal lo que suele.                                    1860
+
+   LORENZO
+
+   ¡Mataréla!
+
+   PEDRO
+
+   Estoy aquí
+   Á pagar de mi dinero.
+
+   LORENZO
+
+   Pues con él haberlas quiero,
+   Aunque es mujer para mí.
+
+   PEDRO
+
+   ¡Miente!
+
+   LORENZO
+
+   Véngase conmigo.                                                 1865
+
+   (_Vanse los hombres._)
+
+
+
+
+   ESCENA III
+
+   DOÑA MARÍA, LEONOR
+
+
+   LEONOR
+
+   ¡Buenos van, desafiados!
+
+   DOÑA MARÍA
+
+   ¡Qué diferentes cuidados
+   Me da, Leonor, mi enemigo!
+
+   LEONOR
+
+   ¿No le has visto más?
+
+   DOÑA MARÍA
+
+   Ayer.
+
+   LEONOR
+
+   Alegre quisiera hallarte,                                        1870
+   Porque te alcanzara parte
+   De mi contento y placer.
+   Ya Martín se determina,
+   Y nos queremos casar:
+   Mira que nos has de honrar,                                      1875
+   Y que has de ser la madrina.
+
+   DOÑA MARÍA
+
+   Estoy desacomodada
+   Del indiano; que si no,
+   Yo lo hiciera: aquí me dió
+   Su casa una amiga honrada,                                       1880
+   Donde de prestado estoy.
+
+   LEONOR
+
+   Mi Señora te dará
+   Vestidos: vamos allá;
+   Que pienso que ha de ser hoy.
+
+   DOÑA MARÍA
+
+   Tendré vergüenza de vella.                                       1885
+
+   LEONOR
+
+   Anda; que te quiere bien,
+   Y sé que tiene también
+   Gusto de que hables con ella.
+
+   DOÑA MARÍA
+
+   Vamos, y de aquí á tu casa Te diré lo que pasó                   1890
+   En el río.
+
+   LEONOR
+
+   No fuí yo;
+   Que mujer que ya se casa,
+   Ha de mostrar más recato
+   Del que solía tener.
+
+   DOÑA MARÍA
+
+   Es achaque; voy por ver                                          1895
+   Aquel caballero ingrato.
+   Fuimos Teresa, Juana y Catalina,
+   El sábado, Leonor, á Manzanares:
+   Si bien yo melancólica y mohina
+   De darme este don Juan tantos pesares.                           1900
+   De tu dueño las partes imagina;
+   Que cuando en su valor, Leonor, repares,
+   Presumirás, pues no me he vuelto loca,
+   Que soy muy necia ó mi afición es poca.
+   Tomé el jabón con tanto desvarío                                 1905
+   Para lavar de un bárbaro despojos,
+   Que hasta los paños me llevaba el río,
+   Mayor con la creciente de mis ojos.
+   Cantaban otras con alegre brío,
+   Y yo, Leonor, lloraba mis enojos:                                1910
+   Lavaba con lo mesmo que lloraba,
+   Y al aire de suspiros lo enjugaba.
+   Bajaba el sol al agua trasparente,
+   Y, el claro rostro en púrpura bañado,
+   Las nubes ilustraba de occidente                                 1915
+   De aquel vario color tornasolado;
+   Cuando, despierta ya del accidente,
+   Saqué la ropa, y de uno y otro lado,
+   Asiendo los extremos, la torcimos,
+   Y á entapizar los tendederos fuimos.                             1920
+   Quedando pues por los menudos ganchos
+   Las camisas y sábanas tendidas,
+   Salieron cuatro mozas de sus ranchos,
+   En todo la ribera conocidas;
+   Luego, de angostos pies y de hombros anchos,                     1925
+   Bigotes altos, perdonando vidas,
+   Cuatro mozos: no hablé; que fuera mengua,
+   Estando triste el alma, hablar la lengua.
+   Tocó, Leonor, Juanilla el instrumento
+   Que con cuadrada forma en poco pino,                             1930
+   Despide alegre cuanto humilde acento,
+   Cubierto de templado pergamino;
+   Á cuyo son, que retumbaba el viento,
+   Cantaba de un ingenio peregrino,
+   En seguidillas, con destreza extraña,                            1935
+   Pensamientos que envidia Italia á España.
+   Bailaron luego hilando castañetas
+   Lorenza y Justa y un galán barbero
+   Que mira á Inés, haciendo más corvetas
+   Que el Conde ayer en el caballo overo.                           1940
+   ¡Oh celos! todos sois venganza y tretas,
+   Pues porque ví bajar el caballero
+   Que adora de tu dueño la belleza,
+   No le quise alegrar con mi tristeza.
+   Entré en el baile con desgaire y brío,                           1945
+   Que, admirándole ninfas y mozuelos,
+   «¡Vítor!» dijeron, celebrando el mío:
+   Y era que amor bailaba con los celos.
+   Estando en esto, el contrapuesto río
+   Se mueve á ver dos ángeles, dos cielos,                          1950
+   Que á la Casa del Campo (Dios los guarde)
+   Iban á ser auroras por la tarde.
+   ¿No has visto á el agua, al súbito granizo
+   Esparcirse el ganado en campo ameno
+   Ó volar escuadrón espantadizo                                    1955
+   De las palomas, en oyendo el trueno?
+   Pues de la misma suerte se deshizo
+   El cerco bailador, de amantes lleno,
+   En oyendo que honraban la campaña
+   Felipe y Isabel, gloria de España.                               1960
+   ¿No has visto en un jardín de varias flores
+   La primavera en cuadros retratada,
+   Que por la variedad de las colores,
+   Aun no tienen color determinada,
+   Y en medio ninfas provocando amores?                             1965
+   Pues así se mostraba dilatada
+   La escuadra hermosa de las damas bellas,
+   Flores las galas y las ninfas ellas.
+   Yo, que estaba arrobada, les decía
+   Á los reyes de España: «Dios os guarde,                          1970
+   Y extienda vuestra heroica monarquía
+   Del clima helado á el que se abrasa y arde;»
+   Cuando veo que dice: «Isabel mía,»
+   Á mi lado don Juan; y tan cobarde
+   Me hallé á los ecos de su voz, que luego                         1975
+   Fué hielo el corazón, las venas fuego.
+   «Traidor, respondo, tus iguales mira;
+   Que yo soy una pobre labradora.»
+   Y diciendo y haciendo, envuelta en ira,
+   Sigo la puente, y me arrepiento agora:                           1980
+   Verdad es que le siento que suspira
+   Tal vez desde la noche hasta el aurora;
+   Mas recelo, si va á decir verdades,
+   Lo que se sigue á celos y amistades.      (_Vanse._)
+
+
+
+
+   ESCENA IV
+
+   Sala en casa de doña Ana.
+
+   DOÑA MARÍA, LEONOR; _después_, DOÑA ANA _y_ JUANA
+
+
+   LEONOR
+
+   Á mi casa hemos llegado:                                         1985
+   Después, que no puedo agora,
+   Porque viene mi Señora,
+   Te diré lo que ha pasado
+   Por los celos en los dos.
+
+   (_Salen doña Ana y Juana._)
+
+   DOÑA ANA
+
+   ¿Ésta dices?
+
+   JUANA
+
+   Ésta es.                                                         1990
+
+   DOÑA MARÍA
+
+   Dadme, Señora, los pies.
+
+   DOÑA ANA
+
+   Isabel, guárdela Dios.
+   ¿Qué se ofrece por acá?
+
+   DOÑA MARÍA
+
+   Quiéreme hacer su madrina
+   Leonor, que no me imagina                                        1995
+   Desacomodada ya.
+
+   DOÑA ANA
+
+   ¿No está ya con el indiano?
+
+   DOÑA MARÍA
+
+   No, Señora.
+
+   DOÑA ANA
+
+   Pues ¿por qué?
+
+   DOÑA MARÍA
+
+   Cierto atrevimiento fué,
+   De hombre al fin; pero fué en vano.                              2000
+
+   DOÑA ANA
+
+   ¿Cómo, cómo, por mi vida?
+
+   DOÑA MARÍA
+
+   Pudiera estar satisfecho
+   De mi honor y de mi pecho:
+   De mi honor por bien nacida,
+   De mi pecho porque, habiendo                                     2005
+   Entrado por los balcones
+   Una noche tres ladrones,
+   Que ya le estaban pidiendo
+   Las llaves, tomé su espada,
+   Y aunque ya se defendieron,                                      2010
+   Por la ventana salieron,
+   Y esto á pura cuchillada.
+   Pero obligándole á amor
+   Lo que pudiera á respeto,
+   Me llamó una noche, á efeto                                      2015
+   De no respetar mi honor.
+   Que le descalzase fué
+   La invención: llego á su cama,
+   Donde sentado me llama,
+   Y humilde le descalcé.                                           2020
+   Pero echándome los brazos,
+   Tan descortés procedió,
+   Que á arrojarle me obligó
+   Donde le hiciera pedazos.
+   Mas de aquellos desatinos                                        2025
+   Sus zapatos me vengaron,
+   Cuyas voces despertaron
+   La mitad de los vecinos.
+   Y aunque culpando el rigor,
+   Poniéndose de por medio,                                         2030
+   Celebraron el remedio
+   Para quitarle el amor.
+
+   DOÑA ANA
+
+   Notable debes de ser.
+   Cierto que te tengo amor.
+
+   JUANA
+
+   Es el servicio mejor                                             2035
+   Y la más limpia mujer
+   De cuantas andan aquí.
+   Ruégale que esté contigo.
+
+   DOÑA ANA
+
+   ¿No querrás estar conmigo,
+   Isabel?
+
+   DOÑA MARÍA
+
+   Señora, sí.                                                      2040
+
+   DOÑA ANA
+
+   ¿Qué sabes hacer?
+
+   DOÑA MARÍA
+
+   Lavar,
+   Masar, cocer y traer
+   Agua.
+
+   DOÑA ANA
+
+   ¿No sabrás coser?
+
+   DOÑA MARÍA
+
+   Bien sé coser y labrar.
+
+   DOÑA ANA
+
+   Pues eso será mejor.                                             2045
+   Manto y tocas te daré.
+
+   DOÑA MARÍA
+
+   Señora, yo no sabré
+   Servir de dueña de honor.
+   Éste es un hábito agora
+   De cierta desdicha mía,                                          2050
+   Que vos sabréis algún día. (_Vase._)
+
+   JUANA
+
+   Aquí está don Juan, Señora.
+
+
+
+
+   ESCENA V
+
+   DON JUAN, MARTÍN.--DOÑA ANA, LEONOR, JUANA
+
+
+   DON JUAN
+
+   Siempre soy embajador.
+   El Conde os pide licencia,
+   Y dice que de su ausencia                                        2055
+   Fué causa vuestro rigor;
+   Que tratáis tan mal su amor,
+   Que ya toma por partido,
+   En la caza divertido,
+   Solicitar á su daño                                              2060
+   Una manera de engaño
+   Que á los dos parezca olvido:
+   Á vos excusando el veros,
+   Y á él, Señora, el cansaros.
+   Pero no quiere engañaros                                         2065
+   Ni olvidarse de quereros:
+   Visitaros y ofenderos
+   Es fuerza para serviros.
+   Esto me manda deciros:
+   Mirad si le dais licencia;                                       2070
+   Que le cuesta vuestra ausencia
+   Cuantos instantes, suspiros.
+
+   DOÑA ANA
+
+   Vos venís en ocasión
+   Que os he hecho un gran servicio:
+   Á lo menos es indicio                                            2075
+   De ésta mi loca pasión.
+   Mirad en qué obligación
+   Os pone el haber traído
+   Á mi casa quien ha sido
+   Lo que tanto habéis amado;                                       2080
+   Que os quiero ver obligado,
+   Pues no puedo agradecido.
+   Volved los ojos, veréis
+   Á Isabel, que viene aquí,
+   No para servirme á mí,                                           2085
+   Sino á que vos la mandéis;
+   Que no quiero que os canséis
+   En buscarla en fuente ó prado.
+   Mirad si estáis obligado,
+   Y cómo he sabido hacer                                           2090
+   Que vos me vengáis á ver,
+   No como hasta aquí, forzado.
+
+   DON JUAN
+
+   De vuestra queja os prometo
+   Que es el Conde, mi señor,
+   La causa, cuyo valor                                             2095
+   Únicamente respeto;
+   Porque ¿cuál hombre discreto
+   No conociera y amara
+   De vuestra belleza rara
+   La divina perfección,                                            2100
+   Y el discurso á la razón,
+   Y á vos el alma negara?
+   Con esto la puse en quien
+   La misma desigualdad
+   Disculpe la voluntad,                                            2105
+   Para no quereros bien.
+   Mas no me pidáis que os den
+   Gracias de haberla traído
+   Mis ojos; que antes ha sido
+   Para no poderla ver,                                             2110
+   Pues testigo habéis de ser,
+   Y yo menos atrevido.
+
+
+
+
+   ESCENA VI
+
+   EL CONDE.--DICHOS
+
+
+   CONDE
+
+   Tanto la licencia tarda,
+   Que sin ella vengo á veros.
+
+   DOÑA ANA
+
+   Conde, mi señor, disculpa.                                       2115
+   De ausencia de tanto tiempo.--
+   Llega una silla, Isabel.
+
+   DON JUAN
+
+   Aquí me estaban riñendo
+   Tu ausencia.
+
+   CONDE
+
+   ¡Buena criada!
+   Y nueva; que no me acuerdo                                       2120
+   Haberla visto otra vez.
+
+   DOÑA ANA
+
+   ¡Buena cara, gentil cuerpo!
+   ¿No es muy linda?
+
+   CONDE
+
+   ¡Sí, por Dios!
+
+   DOÑA ANA
+
+   De que os agrade me huelgo;
+   Que es la dama de don Juan.                                      2125
+
+   CONDE
+
+   Si es así el entendimiento,
+   Disculpa tiene mi primo.
+   Verla más de espacio quiero.--
+   Pasad, Señora, adelante,
+   ¿De dónde sois?
+
+   DOÑA MARÍA
+
+   No sé cierto;                                                    2130
+   Porque ha mucho que no soy.
+
+   CONDE
+
+   Partes en la moza veo,
+   Que en otro traje pudieran,
+   Con el donaire y aseo,
+   Dar, fuera de vuestros ojos,                                     2135
+   Á muchos envidia y celos.
+   Mi primo es tan singular,
+   Que por bizarría ha puesto
+   Las preferencias del gusto
+   En tan bajos fundamentos.                                        2140
+
+   MARTÍN
+
+   Á mí responder me toca.
+   Perdónenme si me atrevo,
+   Por el honor del fregado,
+   La opinión del lavadero,
+   Del cántaro y el jabón;                                          2145
+   Que más de cuatro manteos,
+   De ésos con esteras de oro,
+   Cubren algunos defetos.
+
+   DOÑA ANA
+
+   Cásase Martín agora
+   Con mi Leonor, y por eso                                         2150
+   Siente que vueseñoría
+   Haga de don Juan desprecio.
+
+   DON JUAN
+
+   ¡Dar en el pobre don Juan!
+
+   CONDE
+
+   Huélgome del casamiento.
+   Y ¿seréis vos la madrina?                                        2155
+   Porque ser padrino quiero.
+
+   DOÑA ANA
+
+   No, Señor, que es Isabel;
+   Que pienso que ha mucho tiempo
+   Que ella y Leonor son amigas.
+
+   CONDE
+
+   Pues tócale de derecho                                           2160
+   Ser el padrino á don Juan.
+
+   DON JUAN
+
+   Basta; que estáis de concierto
+   Todos contra mí. Pues vaya;
+   Que el ser el padrino aceto.
+
+   CONDE
+
+   ¿Cómo calla la madrina?                                          2165
+
+   DOÑA MARÍA
+
+   Señor, corto entendimiento
+   Presto se ataja, y más donde
+   Hay tantos y tan discretos.
+   Allá en mi lugar un día
+   Un muchacho en un jumento                                        2170
+   Llevaba una labradora,
+   Y perdonad, que iba en pelo.
+   «Hazte allá, que le maltratas,»
+   Iba la madre diciendo;
+   Y tanto hacia atrás se hizo,                                     2175
+   Que dió el muchacho en el suelo.
+   Díjole: «¿Cómo caíste?»
+   Y disculpóse diciendo:
+   «Madre, acabóseme el asno.»
+   Así yo, que hablando veo                                         2180
+   Á tan discretos señores,
+   Hago atrás mi entendimiento,
+   Hasta que he venido á dar
+   Con el silencio en el suelo.
+
+   MARTÍN (_ap._)
+
+   Tomen lo que se han ganado.                                      2185
+
+   DOÑA MARÍA
+
+   Es el Conde muy discreto,
+   Y la señora doña Ana
+   Un ángel; pues yo ¿qué puedo
+   Decir que no sea ignorancia?
+
+   DOÑA ANA
+
+   Ahora bien, Señor, hablemos                                      2190
+   De la ausencia destos días.
+   Ya me olvidáis, ya me quejo
+   De vos al pasado amor.
+
+   CONDE
+
+   Negocios son, os prometo,
+   Que me han tenido ocupado                                        2195
+   Por un notable suceso.
+   Mató en Ronda cierta dama
+   Guzmán y Portocarrero,
+   Cuyo padre con el duque
+   De Medina tiene deudo,                                           2200
+   Un caballero su amante.
+
+   DOÑA ANA
+
+   ¿Con qué ocasión? ¿Fueron celos?
+
+   CONDE
+
+   Desagraviando á su padre
+   De un bofetón, porque el viejo
+   No estaba para las armas.                                        2205
+
+   DOÑA ANA
+
+   ¡Gran valor!
+
+   DON JUAN
+
+   ¡Valiente esfuerzo!
+   Diera por ver á esa dama
+   Toda cuanta hacienda tengo.
+
+   DOÑA MARÍA (_ap._)
+
+   Turbada estoy, encubrir
+   Puedo apenas lo que siento.                                      2210
+
+   CONDE
+
+   Al fin, perdonó la parte,
+   Poniéndose de por medio,
+   Entre deudos de unos y otros,
+   Muchos nobles caballeros.
+   Con esto me ha escrito el Duque,                                 2215
+   Por el mismo parentesco,
+   Alcance el perdón del Rey;
+   Lo que hoy, Señora, se ha hecho.
+   Mándame también buscalla,
+   Si entre tantos extranjeros                                      2220
+   Alguna nueva se hallase,
+   Siendo esta corte su centro.
+   Mirad si estoy disculpado;
+   Y porque me voy con esto,
+   Vendré, Señora, á la noche,                                      2225
+   Si me dais licencia, á veros.
+
+   DOÑA ANA
+
+   Id con Dios; volvé á la noche.
+
+   CONDE
+
+   Si haré, encanto de Babel.--
+   Quedáos con vuestra Isabel; (_Á don Juan._)
+   Que yo me voy en el coche.                                       2230
+
+   (_Vanse el Conde, doña Ana y los criados._)
+
+
+
+
+   ESCENA VII
+
+   DOÑA MARÍA, DON JUAN
+
+
+   DON JUAN
+
+   Alegre, Isabel, estás,
+   Que ya el cántaro dejaste,
+   Pues con la fe le mudaste,
+   Y con el alma, que es más.
+   Que desde que te la dí,                                          2235
+   De cántaro la tenía,
+   Pues pienso que se decía
+   Este proverbio por mí.
+   Nunca quisiste trocar,
+   Cuando yo lo deseaba,                                            2240
+   Al hábito que te daba
+   El que ya quieres dejar.
+   Si cuando yo te rogué,
+   Hábito honrado tomaras,
+   La voluntad disculparas,                                         2245
+   Que baja en tus prendas fué.
+   Si el venir aquí son celos,
+   Pensando que así me guardas,
+   Son, Isabel, sombras pardas
+   En ofensa de tus cielos.                                         2250
+   ¿Qué guarda de más valor,
+   Isabel, que tu hermosura,
+   Si ella misma te asegura
+   Que merece tanto amor?
+   ¡Vive Dios, que te he querido,                                   2255
+   Y te quiero y te querré,
+   Con tanta firmeza y fe,
+   Que vive mi amor corrido
+   De no vencer tu rigor,
+   Siendo tú tan desigual!                                          2260
+
+   DOÑA MARÍA
+
+   Quien siente bien no habla mal;
+   Que para tener valor
+   Con que poder igualaros,
+   Aunque de vuestro apellido
+   Príncipes haya tenido                                            2265
+   Italia y Francia tan raros,
+   Sóbrame á mí el ser mujer;
+   Pero si de vuestro engaño
+   Á los dos resulta daño,
+   Desengaño habrá de ser.                                          2270
+   No estoy contenta de estar
+   Donde, con hacer mudanza
+   Del hábito, mi esperanza
+   Aspire á mejor lugar.
+   Ni menos estoy celosa,                                           2275
+   Ni os guardo, aunque os he querido;
+   Que en este humilde vestido
+   Hay un alma generosa,
+   Tan soberbia y arrogante,
+   Que el cántaro que dejé,                                         2280
+   Un cielo en mis hombros fué,
+   Como el que sustenta Atlante.
+   Yo os quiero bien, aunque soy
+   De naturaleza esquiva;
+   Pero hay otro amor que priva,                                    2285
+   Por quien os dejo y me voy.
+   No os dé pena; que os prometo
+   Que no hay nieve tan helada;
+   Pero he nacido obligada
+   Á su amor y á su respeto.                                        2290
+   No puedo hacer más por vos
+   Que decir que os he querido:
+   En fe de lo cual os pido,
+   Y del amor de los dos,
+   Que una cosa hagáis por mí.                                      2295
+
+   DON JUAN
+
+   ¿Como ausentarte, mi bien?
+   Después de tanto desdén,
+   ¿Esto merezco de ti?
+
+   DOÑA MARÍA
+
+   No excuso, aunque lo sintáis,
+   Este camino.
+
+   DON JUAN
+
+   Isabel,                                                          2300
+   ¿Qué dices?
+
+   DOÑA MARÍA
+
+   Que para él
+   Esta joya me vendáis.
+   Diamantes son: claro está
+   Que justa sospecha diera
+   Si á vender diamantes fuera                                      2305
+   Mujer que á la fuente va;
+   Que con lo que ella valiere,
+   Podré á mi casa llegar.
+
+   DON JUAN
+
+   Cuando pensaba esperar,
+   Quiere amor que desespere.                                       2310
+   ¡Notable desdicha mía!
+   ¡Tristes nuevas! ¿Quién amó
+   Con la fortuna que yo?
+   Mas ¿quién, sino yo, podía?
+   Tened la joya y la mano,                                         2315
+   Que entrambas diamantes son,
+   Si es la mina un corazón
+   Tan firme como tirano;
+   Que cuando forzosa sea
+   Vuestra partida, no soy                                          2320
+   Hombre tan vil...
+
+   DOÑA MARÍA
+
+   Si no os doy
+   La joya, don Juan, no crea
+   Vuestro pecho liberal
+   Obligarme con dinero;
+   Que, pues de vos no lo quiero,                                   2325
+   Bien creeréis que me está mal.
+   ¡Oh, qué habréis imaginado
+   De cosas, después que visteis
+   La joya! Aunque no tuvisteis
+   Culpa de haberlas pensado,                                       2330
+   Pues yo os he dado ocasión.
+
+   DON JUAN
+
+   Cuando yo, Isabel, pensara
+   Tal bajeza, imaginara
+   Prendas que más altas son
+   De las que tenéis, bastantes                                     2335
+   Á abonaros; cuando fuera
+   Hurto, mayor le creyera,
+   Si fueran almas, diamantes.
+   Algo sospecho encubierto,
+   Isabel; y en duda igual,                                         2340
+   Que sois mujer principal
+   Tengo por mayor acierto.
+   Que desde el punto que os ví
+   Con el cántaro, Isabel,
+   Echó amor suertes en él                                          2345
+   Para vos y para mí.
+   Vos salisteis diferente
+   De lo que aquí publicáis,
+   Y yo sin dicha si os vais,
+   Para que yo muera ausente.                                       2350
+   ¿Quién sois, hermosa Isabel?
+   Porque cántaro y diamantes
+   Son dos cosas muy distantes;
+   Que hay mucha bajeza en él,
+   Y en vos mucho entendimiento,                                    2355
+   Mucha hermosura y valor,
+   Mucho respeto al honor,
+   Que es más encarecimiento.
+   La verdad se encubre en vano;
+   Que como al que ayer traía                                       2360
+   Guantes de ámbar, otro día,
+   Le quedó oliendo la mano;
+   Así, quien señora fué,
+   Trae aquel olor consigo,
+   Aunque del ámbar que digo,                                       2365
+   Reliquias muestre por fe.
+
+   DOÑA MARÍA
+
+   No os canséis en prevenciones;
+   Que yo no os he de engañar.
+
+
+
+
+   ESCENA VIII
+
+   LEONOR.--DICHOS
+
+
+   LEONOR
+
+   ¿Cuándo piensas acabar,
+   Isabel, tantas razones?                                          2370
+   Vente á vestir y á vestirme;
+   Que mi señora te llama.
+
+   DOÑA MARÍA
+
+   Voy á ponerme de dama.
+
+   DON JUAN
+
+   ¿Volverás?
+
+   DOÑA MARÍA
+
+   Á despedirme.
+
+   (_Vanse los dos._)
+
+
+
+
+   ESCENA IX
+
+
+   DON JUAN
+
+   ¿Qué confusión es ésta que levanta                               2375
+   Amor en mis sentidos nuevamente,
+   Que á tales pensamientos adelanta
+   Mi dulce cuanto bárbaro accidente?
+   Así el cautivo en la cadena canta,
+   Así engañado se entretiene, ausente,                             2380
+   De vanas esperanzas, que algún día
+   Verá la patria en que vivir solía.
+   No con menos temor, menos sosiego,
+   Tímido ruiseñor su esposa llama,
+   Á quien el plomo en círculos de fuego                            2385
+   Quitó la amada vida en verde rama,
+   Que mi confuso pensamiento ciego
+   En noche obscura los engaños ama,
+   Esperando que llegue con el día
+   La muerta luz de la esperanza mía.                               2390
+   Mas ¿cómo puede haber tales engaños?
+   Cómo pensar mi amor que la belleza
+   No puede haber nacido en viles paños,
+   Si pudo la fealdad en la nobleza?
+   Así, para mayores desengaños,                                    2395
+   Mostró por variedad naturaleza
+   De un espino la flor candida, hermosa,
+   Y vestida de púrpura la rosa.
+   Que darme yo á entender que la hermosura
+   Que ví llevar un cántaro á la fuente,                            2400
+   Por engastar el barro en nieve pura
+   Del cristal de una mano trasparente,
+   No pudo proceder de sangre obscura,
+   Y nacer entendida humildemente,
+   Es vano error, pues siempre amando veo                           2405
+   Calificar bajezas el deseo.
+   Pues ¿quién será Isabel, locura mía,
+   Con hermosura y prendas celestiales?
+   ¡Oh! ¿cuándo resistió tanta porfía
+   La bajeza de humildes naturales?                                 2410
+   No ha de pasar sin que lo sepa el día.
+   Industrias hay; y si por dicha iguales
+   Somos los dos, como mi amor desea,
+   Tu cántaro, Isabel, mi dote sea.
+   No te pienses partir, si por ventura                             2415
+   No lo quieres fingir para matarme;
+   Que ya no tiene estado mi locura
+   Que yo pueda perderte y tú dejarme;
+   Que si tienes nobleza y hermosura,
+   Del cántaro por armas pienso honrarme;                           2420
+   Que con el premio con que ya se trata,
+   Amor le volverá de barro en plata. (_Vase._)
+
+
+
+
+   ESCENA X
+
+   Calle.
+
+   MARTÍN, PEDRO
+
+
+   PEDRO
+
+   Martín, en esta ocasión
+   Me habéis desfavorecido:
+   Quejoso estoy y ofendido.                                        2425
+
+   MARTÍN
+
+   Pedro, no tenéis razón;
+   Que el Conde gusta que sea
+   Padrino con Isabel.
+
+   PEDRO
+
+   Ensancharáse con él Cuando á su lado se vea.                     2430
+   Yo sé que si
+   me casara, Padrino os hiciera á vos.
+
+   MARTÍN
+
+   Yo no pude más, por Dios.
+
+   PEDRO
+
+   Pedro ¿también no la honrara?
+   ¿No tengo cueras y sayos,                                        2435
+   Capas, calzas, que por yerro
+   Quedaron en su destierro
+   Vinculadas en lacayos?
+   Pues ¡por el agua de Dios,
+   Aunque poca me ha cabido,                                        2440
+   Que soy yo tan bien nacido!...
+
+   MARTÍN
+
+   ¿Quién pudiera como vos
+   Honrarme con Isabel?
+
+   PEDRO
+
+   ¿Hay hidalgo en Mondoñedo
+   Que pueda, como yo puedo,                                        2445
+   Volver la silla á el dosel?
+
+   MARTÍN
+
+   Dejad el enojo ya;
+   Y pues que sois entendido,
+   Decidme si acierto ha sido
+   Casarme.
+
+   PEDRO
+
+   Pues claro está;                                                 2450
+   Que es muy honrada Leonor,
+   Aunque pide más caudal
+   La talega de la sal,
+   Que anda el tiempo á el rededor.
+   Mas queriendo el Conde bien                                      2455
+   Á doña Ana, por Leonor
+   Os hará siempre favor,
+   Y ella ayudará también
+   De su parte á vuestra casa.
+
+   MARTÍN
+
+   Pues con eso pasaremos.                                          2460
+
+   PEDRO
+
+   ¿Quién queréis que convidemos?
+
+   MARTÍN
+
+   No lo excusa quien se casa.
+   Á Rodríguez lo primero,
+   Á Galindo y á Butrón,
+   Á Lorenzo y á Ramón,                                             2465
+   Y á Pierres, buen compañero.
+
+   PEDRO
+
+   Haced llevar un menudo;
+   Que no hay hueso que dejar.
+
+   MARTÍN
+
+   Eso es darles de cenar.
+
+   PEDRO
+
+   En esta ocasión no dudo                                          2470
+   De que tendrán los señores
+   Arriba gran colación.
+
+   MARTÍN
+
+   Por allá conservas son
+   Y confites de colores.
+
+   PEDRO
+
+   Lobos de marca mayor                                             2475
+   Tendremos en cantidad.
+
+   MARTÍN
+
+   Pedro, ésa es enfermedad
+   Que no ha menester doctor. (_Vanse._)
+
+
+
+
+   ESCENA XI
+
+   Sala en casa de doña Ana.
+
+   DOÑA ANA, DON JUAN
+
+
+   DON JUAN
+
+   Yo pienso que es condición,
+   Y no amor, vuestra porfía.                                       2480
+
+   DOÑA ANA
+
+   Y ¿quién sin amor podía
+   Sufrir tanta sinrazón?
+
+   DON JUAN
+
+   No es sinrazón la ocasión
+   Que me fuerza á no querer
+   Lo que del Conde ha de ser.                                      2485
+
+
+
+
+   ESCENA XII
+
+   EL CONDE, _que se queda escuchando sin que le vean_.--DICHOS.
+
+
+   CONDE (_ap._)
+
+   Necios celos me han traído
+   De un deudo amigo fingido
+   Y de una ingrata mujer.
+
+   DON JUAN
+
+   Cuando no os quisiera bien
+   El Conde, mil almas fueran                                       2490
+   Las que estos ojos os dieran.
+
+   DOÑA ANA
+
+   ¡Oh, mal haya el Conde, amén!
+
+   CONDE (_ap._)
+
+   Don Juan la muestra desdén,
+   Y ella á don Juan solicita.
+
+   DOÑA ANA
+
+   Con oro en mármol escrita                                        2495
+   Tiene el amor una ley,
+   Que como absoluto rey,
+   No hay traición que no permita.
+   Demás, que esto no es traición;
+   Que nunca yo quise al Conde.                                     2500
+
+   CONDE (_ap._)
+
+   En lo que agora responde
+   Conoceré su intención.
+
+   DON JUAN
+
+   Ninguna loca afición
+   Que se haya visto ni escrito,
+   Ha disculpado el delito                                          2505
+   Del amigo; que el valor
+   Es resistir á el amor,
+   Y vencer á el apetito.
+   Que yo con vos me casara
+   Es sin duda, si pudiera.                                         2510
+
+   DOÑA ANA
+
+   Y ¿si el Conde lo quisiera,
+   Y aun él mismo os lo mandara?
+
+   DON JUAN
+
+   Entonces es cosa clara;
+   Mas cierta podéis estar
+   Que no me lo ha de mandar.                                       2515
+   Y así, me voy; que no quiero
+   Dar á tan gran caballero
+   Ni sospecha ni pesar.
+
+   CONDE
+
+   Detente.
+
+   DON JUAN
+
+   Si habéis oído
+   Lo que ya sospecho aquí,                                         2520
+   Pienso que estaréis de mí
+   Seguro y agradecido.
+
+   CONDE
+
+   Todo lo tengo entendido;
+   Y si por quereros bien
+   Trata mi amor con desdén                                         2525
+   Doña Ana, no ha sido culpa,
+   Porque sois vos la disculpa,
+   Y mi desdicha también.
+   Dice que sabe de mí
+   Que os mandaré que os caséis:                                    2530
+   Dice bien, y vos lo haréis,
+   Porque yo os lo mando así.
+   Que á saber, cuando la ví,
+   Que os tenía tanto amor,
+   No la amara; aunque en rigor                                     2535
+   Fué engañado pensamiento
+   Que con tal entendimiento
+   No escogiese lo mejor.
+
+   DON JUAN
+
+   Aunque á Alejandro imitéis
+   En darme lo que estimáis,                                        2540
+   Ni como Apeles me halláis,
+   Ni enamorado me veis,
+   Ni vos mandarme podéis
+   Que sea lo que no fuí;
+   Pues cuando pudiera aquí                                         2545
+   Ser lo que no puede ser,
+   No quisiera yo querer
+   Á quien os deja por mí.
+
+   DOÑA ANA
+
+   Quedo, quedo; que no soy
+   Tan del Conde, que me dé,                                        2550
+   Ni tan de don Juan, que esté
+   Menos contenta ayer que hoy.
+   Libre, á mí misma me doy,
+   Y daré luego, si quiero,
+   Á un honrado caballero                                           2555
+   Mujer y cien mil ducados,
+   Sin suegros y sin cuñados,
+   Que es otro tanto dinero.
+
+
+
+
+   ESCENA XIII
+
+   DOÑA MARÍA, _de madrina y muy bizarra, con_ LEONOR, _de la mano_;
+   MARTÍN, PEDRO, LORENZO, BERNAL _y_ OTROS LACAYOS, _muy galanes_;
+   ACOMPAÑAMIENTO DE MUJERES DE LA BODA, MÚSICOS.
+
+
+   MÚSICOS (_cantan_)
+
+   _En la villa de Madrid
+   Leonor y Martín se casan:                                        2560
+   Corren toros y juegan cañas._
+
+   MARTÍN
+
+   ¡Mala letra para novios!
+
+   PEDRO
+
+   Pues ¿no os agrada la letra?
+
+   MARTÍN
+
+   Correr toros y casarme
+   Paréceme á los que llevan                                        2565
+   Pronósticos para el año
+   Dos meses antes que venga.
+
+   CONDE
+
+   Gallarda viene la novia;
+   Pero quien no conociera
+   Á Isabel, imaginara,                                             2570
+   Viéndola grave y compuesta,
+   Que era mujer principal.
+
+   DOÑA ANA
+
+   Juzgarse puede por ella
+   Cuánto las galas importan,
+   Cuánto adorna la riqueza.                                        2575
+
+   CONDE
+
+   ¡Qué perdido está don Juan!
+
+   DOÑA ANA
+
+   ¡Qué admirado la contempla!
+
+   CONDE
+
+   Por Dios, que tiene disculpa
+   De estimarla y de quererla;
+   Que la gravedad fingida                                          2580
+   Parece tan verdadera,
+   Que, á no conocerla yo
+   Y saber sus bajas prendas,
+   Hiciera un alto conceto
+   De su gallarda presencia.                                        2585
+
+   DON JUAN
+
+   (_Para sí._ Amor, si en esta mujer
+   No está oculta la nobleza,
+   La calidad y la sangre
+   Que por lo exterior se muestra,
+   ¿Qué es lo que quiso sin causa                                   2590
+   Hacer la naturaleza,
+   Pues pudiendo en un cristal
+   Guarnecido de oro y piedras,
+   Puso en un vaso de barro
+   Alma tan ilustre y bella?                                        2595
+   Yo estoy perdido y confuso,
+   Doña Ana celosa de ella,
+   El Conde suspenso, hurtando
+   Á su gravedad respuesta.
+   Ella se parte mañana,                                            2600
+   Diamantes me da que venda;
+   ¿Qué tienen que ver diamantes
+   Con la fingida bajeza?
+   Pues ¿he de quedar así,
+   Amor, sin alma y sin ella?                                       2605
+   ¿No alcanza el ingenio industria?
+   No suele en dudosas pruebas,
+   Por las inciertas mentiras,
+   Hallarse verdades ciertas?
+   Ahora bien; no ha de partirse                                    2610
+   Isabel sin que se entienda
+   Si en exteriores tan graves
+   Hay algún alma secreta.)
+   Conde, el más alto poder
+   Que reconoce la tierra,                                          2615
+   El cetro, la monarquía,
+   La corona, la grandeza
+   Del mayor rey de los hombres,
+   Todas las historias cuentan,
+   Todos los sabios afirman,                                        2620
+   Todos los ejemplos muestran
+   Que es amor; pues siendo así,
+   Y que ninguno lo niega,
+   Que yo por amor me case,
+   Que yo por amor me pierda,                                       2625
+   No es justo que á nadie admire,
+   Pues cuantos viven confiesan
+   Que es amor una pasión
+   Incapaz de resistencia.
+   Yo no soy mármol, si bien                                        2630
+   No soy yo quien me gobierna;
+   Que obedecen á Isabel
+   Mis sentidos y potencias.
+   Cuando esto en público digo,
+   No quiero que nadie pueda                                        2635
+   Contradecirme el casarme,
+   Pues hoy me caso con ella.
+   Sed testigos que le doy
+   La mano.
+
+   CONDE
+
+   ¿Qué furia es ésta?
+
+   DOÑA ANA
+
+   Loco se ha vuelto don Juan.                                      2640
+
+   CONDE
+
+   ¡Vive Dios, que si es de veras,
+   Que antes os quite la vida
+   Que permitir tal bajeza!
+   ¡Hola! Criados, echad
+   Esta mujer hechicera                                             2645
+   Por un corredor, matadla.
+
+   DON JUAN
+
+   Ninguno, infames, se atreva;
+   Que le daré de estocadas.
+
+   CONDE
+
+   Un hombre de vuestras prendas
+   ¡Quiere infamar su linaje!                                       2650
+
+   DON JUAN
+
+   ¡Ay Dios! Su bajeza es cierta,
+   Pues calla en esta ocasión.
+   Ya no es posible que pueda
+   Ser más de lo que parece.
+
+   CONDE
+
+   ¿Con cien mil ducados deja                                       2655
+   Un hombre loco mujer,
+   Que me casara con ella,
+   Si amor me hubiera tenido?
+
+   DOÑA MARÍA
+
+   Quedo, Conde; que me pesa
+   De que me deis ocasión                                           2660
+   De hablar.
+
+   DON JUAN (_ap._)
+
+   ¡Ay Dios! ¡Si ya llega
+   Algún desengaño mío!
+
+   DOÑA MARÍA
+
+   No está la boda tan hecha
+   Como os parece, Señor;
+   Porque falta que yo quiera.                                      2665
+   Para igualar a don Juan,
+   ¿Bastaba ser vuestra deuda
+   Y del duque de Medina?
+
+   CONDE
+
+   Bastaba, si verdad fuera.
+
+   DOÑA MARÍA
+
+   ¿Quién fué la dama de Ronda                                      2670
+   Que mató, por la defensa
+   De su padre, un caballero,
+   Cuyo perdón se concierta
+   Por vos, y que vos buscáis?
+
+   CONDE
+
+   Doña María, á quien deban                                        2675
+   Respeto cuantas historias
+   Y hechos de mujeres cuentan.
+
+   DOÑA MARÍA
+
+   Pues yo soy doña María,
+   Que por andar encubierta...
+
+   DON JUAN
+
+   No prosigas relaciones,                                          2680
+   Porque son personas necias,
+   Que en noche de desposados
+   Hasta las doce se quedan.
+   Dame tu mano y tus brazos.
+
+   MARTÍN
+
+   Leonor, á escuras nos dejan.                                     2685
+   Los padrinos son los novios.
+
+   DOÑA ANA
+
+   Justo será que lo sean
+   El Conde y doña Ana.
+
+   CONDE
+
+   Aquí
+   Puso fin á la comedia
+   Quien, si perdiere este pleito,                                  2690
+   _Apela á Mil y Quinientas_.
+   Mil y quinientas ha escrito:
+   Bien es que perdón merezca.
+
+
+
+
+NOTES
+
+
+ACT I
+
+=Ronda.= 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.
+
+1. =Es cosa... de risa=, _It is enough to make one die of laughter._
+
+3. =Lüisa=, spelled with the dieresis for metrical reasons.
+
+4. =Narcisos.= 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 _Celestina_ 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." (_Novelistas Anteriores á
+Cervantes_, p. 25.)
+
+8. =consultas= are reports or advice submitted to a ruler, hence the use
+of _alteza_.
+
+10. =entre otras partes.= The Parisian edition of 1886, for no evident
+reason, reads, entre otros partes.
+
+12. =el duque de Medina.= 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 _La
+Moza de Cántaro_ 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.
+
+16. =Señora= is now regularly written in such cases with a small letter,
+as well as similar titles hereafter encountered in the play.
+
+17. =Lindamente... vanidad=, _You know my weakness! You are trying to
+flatter me._
+
+21. =Sevilla=, the metropolis of Andalusia and a city always noted for the
+beauty of its women.
+
+29. =Éste.= Supply _papel_ as suggested by line 3.
+
+35. =quiere en la memoria de la muerte=, etc., that is, after he has died
+for her.
+
+After 40. =Con hermoso=, 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
+_culteranismo_ is indicated beyond a doubt by the word _culto_ in line
+43. A comparison of the passage with Cervantes' celebrated quotation
+from Feliciano de Silva, "La razón de la sinrazón" is interesting. (See
+_Don Quijote_, 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."
+
+44. =¿Habla de aciértame aquí?= 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?"
+
+54. =¿Qué nada te ha de agradar?= _Can nothing please you?_
+
+58. =Yo no tengo de querer.= _Tener de_ is used here where we should now
+expect _haber de_ or _tener que_.
+
+62. =Flandes.= In the time of Lope de Vega Spain held the Netherlands and
+constantly maintained a large force there.
+
+64. Zerolo's edition has a comma instead of a period at the end of this
+line. Either punctuation makes good sense.
+
+66. =que yo... aquí=, _for of all those who appear here I do not see one
+to whom I should direct my favor_.
+
+70. =si va á decir verdad=, _if the truth be told_.
+
+79. =ansí=, middle Spanish and archaic form of _así_. Cf. the French
+_ainsi_.
+
+92. =La primera necedad=, etc., _They say that the greatest folly is not
+the one to be feared, but those which follow it seeking to undo it._
+
+95. =deshacella==_deshacerla_. In earlier Spanish verse the assimilation
+of the r of the infinitive is quite common.
+
+107. =Muchas se casan aprisa=, etc. Compare the English proverb of similar
+purport, "Marry in haste and repent at leisure."
+
+121. =dél==_de él_. A contraction no longer approved by the Spanish
+Academy.
+
+124. =Pedro el Cruel= (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.
+
+133. =Don Diego de noche y coche.= 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, _The Court of Philip IV_, p. 130.) There is also
+a flower called _dondiego de noche_, and the author may have intended to
+make also a subtle play on words between this and the more suggestive
+meaning.
+
+138. =De noche visiones.= "Thoughts of him at night give me the
+nightmare!"
+
+Stage directions: =hábito de Santiago:= 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.
+
+174. =agora=, archaic and poetic word, synonym of _ahora_ which is of
+similar origin. _Hac hora > agora_ and _ad horam > ahora_.
+
+180. =primer licencia.= The apocapation of the feminine of the adjective
+_primero_ is not admissible in modern Spanish.
+
+181. =Duque=, that is, the Duque de Medina. See v. 12 and note.
+
+188. =Lugar... deba=, _A place which is certainly its due._
+
+192. =la Plaza= mentioned here is evidently the Plaza de la Ciudad, which
+is the center of the ancient part of the city.
+
+197. =Sanlúcar= (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 _Nuevo
+Mundo descubierto por Cristóbal Colón_ and mentions it in a number of
+his other plays.
+
+198. =Le respondí=, etc. Don Bernardo's reply was intended to reveal
+delicately to the lover that his suit was not favored by the Duke.
+
+228. =Aquí su mano soberbia...= For an analogous situation compare Guillen
+de Castro's _las Mocedades del Cid_ and its French counterpart,
+Corneille's _le Cid_.
+
+231. =que tantas veces=, etc., _because an insult is renewed as many times
+as he who receives it tells it to him who ignores it_.
+
+236. =con cinco letras=, that is, the five fingers of the hand which had
+left its imprint on his face.
+
+245. =á el afrentado=. 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.
+
+252. 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.
+
+301. =si sois servido=, _if you please_.
+
+310. =La decid.= Modern usage generally requires the object after the
+imperative in such a case as this, but the license may occur in poetry.
+
+324. =Desta==_De esta_.
+
+337. =quien.= 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 _qui_, por inútil duplicado de _quien_; éste
+en el siglo XVI se creó un plural: _quienes_, 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 _quien_ ha tenido que
+valerse.'" (Menéndez Pidal, _Manual elemental de gramática histórica
+española_, p. 176.)
+
+354. =Y sobre seguro, fácil=, _And besides sure, easy._ The assonance of
+final unaccented _i_ with final unaccented _e_ is permissible.
+
+362. =Quien supo=, etc., _If anyone could determine to be yours there can
+be nothing to put off your pleasure._
+
+409. =¿Hay tal gracia de monjil?= _Is there anything so graceful in
+widow's weeds? monjil_, "mourning garments."
+
+413. =sugeto==_sujeto_.
+
+441. =el río.= 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
+_madrileños_ 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.
+
+477. =Muriósele á una casada=, _A woman's husband died._
+
+482. =Y sin que=, etc., _And without fulfilling the obsequies_ (_as
+requested_). _Manda_, lit., "legacy, bequest"; but _cumplir la manda_,
+"to observe the religious rites (according to the will of the
+deceased)."
+
+484. =vertiendo poleo=, _putting on airs_. _Poleo_, "strutting gait,
+pompous style."
+
+485. =reverendo coche=, _elegant carriage_. _Reverendo_, lit., "worthy of
+reverence," but here fam., "worthy of a prelate." Many of the higher
+clergy formerly lived in princely style.
+
+499. =Porque no vuelva el marido=, _Lest the husband might return._
+
+519. =variar=, in Zerolo's edition, is _varïar_, as it should be in order
+to fill out the verse.
+
+521. =De mi condición=, 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 _Dictionnaire
+Philosophique_.)
+
+522. =Que me pudren=, etc., _That paintings vex me._ Note peculiar sense
+of pudrir.
+
+529. =Susana.= 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 _Obras Sueltas_, vol. IV, p. 450, there is a sonnet, _Á
+una Tabla de Susana_, which begins:
+
+Tu que la tabla de Susana miras,
+Si del retrato la verdad ignoras,
+La historia santa justamente adoras,
+La retratada injustamente admiras.
+
+541. =Como visto=, etc., _If she had not seen you an excuse would be easy
+to find._
+
+545. =Llama.= From this word it would seem that this part of the play is
+enacted in front of the house of doña Ana.
+
+547. =No lo echemos á perder=, _Let us not spoil it._
+
+576. =No me tengo de sentar=, _I must not sit down._ Cf. v. 58 and note.
+
+587. =comenzamos... jugadores=, _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_. The word _rifa_ is usually
+used in the sense of the English word "raffle" or "auction," as for
+example the _baile de rifa_ narrated in Alarcón's _El Niño de la Bola_,
+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.
+
+595. =Terciando mi primo el juego=, _My cousin being the third party in
+the game._
+
+634. =Puesto que fué de mayor=, _Since it was by one who had attained his
+majority._
+
+638. =Que encaje el marfil ansí=, _Who is as clever. Encajar el marfil_,
+"to manipulate, falsify." A possible proverbial reference to the
+corruption among government department employees of the time.
+
+655. =Si fuere parte á obligaros=, _If it will be sufficient to oblige
+you._
+
+664. =Cayó el pez en el anzuelo=, _The fish has been hooked._
+
+666. =aquesto==_esto_. The old form is used now only in poetry.
+
+695. =efeto==_efecto_.
+
+699. =Cuando él... sido=, _If he should have favored me my favor would
+have been so_ (i.e. too great).
+
+714. =quisistes==_quisisteis_. 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
+_Manual elemental de gramática histórica española_, pp. 189, 190.
+
+745. =Adamuz= 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.)
+
+748. =Adamuz, pueblo sin luz.= 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.
+
+750. =Sierra-Morena= 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.
+
+768. =El término perdonad.= The innkeeper regarded the _indiano_ as a
+person of distinction and offers apology for mentioning in his presence
+anything so lowly as a _caballo de alabarda_, "nag, hack."
+
+770. =propria==_propia_.
+
+793. =camino real.= 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.
+
+813. =Bien está lo hecho=, _What is done is well done._
+
+824. =Holofernes... Judit.= 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.
+
+835. =érades==_erais_. This obsolete form of the verb was often used by
+Lope de Vega and his contemporaries. It is from the Latin _eratis_. (See
+Menéndez Pidal, _Manual elemental de gramática histórica española_,
+paragraph 107, I.)
+
+838. =Granada=, the most historic city of Southern Spain and the last
+stronghold of the Moors.
+
+868. =El camino de Granada=, etc. The more probable route from Granada to
+the capital would have taken her some distance east of Adamuz.
+
+876. =Traigo jornada más larga=, _I am making a longer journey._ Besides
+its common meanings _traer_ has that of "to be occupied in making, to
+have on one's hands." _Jornada_ usually means "day's journey," cf.
+French _étape_, but it is also used in the sense of a "journey" more or
+less long.
+
+877. =vengo de las Indias.= 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 _nouveaux riches_, for which we
+in turn are indebted to the French. (See Introduction.)
+
+882. =Porque me dicen=, etc., _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._
+
+
+ACT II
+
+917. =Que tantas persecuciones=, etc. Supply some introductory
+interrogative expression like "Can it be" or "Do you believe."
+
+922. =De Amadís, en Beltenebros.= _Amadís de Gaula_ 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.
+
+951. =Valencia= 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.
+
+954. =Vera de Plasencia= 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 _Epístola á D. Michael de Solis_ he writes:
+
+Si fuera por la Vera de Plasencia
+Á buscar primavera al jardín mío,
+Hallara tu Leonor en competencia.
+
+_Obras Sueltas_, vol. I, p. 268.
+
+960. =Pues lo digo=, etc. In the Valencia edition Martin says:
+
+Quando lo digo lo sé.
+Tres puntos del que los vé
+Que no son puntos de vara:
+Puntos, que puedo decir,
+Según en su condición,
+Que tres en un punto son:
+Ver, desear, y morir.
+
+The sense of the passage seems to turn on the words _punto_ and _cara_.
+A _punto_ 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. _Cara_ is
+probably a typographical error for _vara_, but it may be used here in a
+related sense to the archaic _á primera cara_, which was the equivalent
+of _á primera vista_. 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."
+
+971. =De escarpines presumí=, etc. The consonance of _escarpines_ is with
+_jazmines_, but the contrast is with _chapines_ above. The _chapín_ was
+a heavy low shoe or sandal better suited to the use of servants, while
+the _escarpín_ 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
+_escarpines_, since the distinction depends only upon (the height of)
+the cotton (top)."
+
+973. =paragambas.= An obsolete or colloquial word made up of the
+preposition _para_, or possibly of a form of the verb _parar_, "parry
+off, protect," and the obsolete substantive _gamba_, the equivalent of
+_pierna_. It was evidently applied to some covering of the leg, as a
+gaiter or boot. In the Valencia edition it appears as two words, _para
+gambas_.
+
+974. =á cierta dama= depends upon _pregunté_.
+
+975. =cañafístolas==_cañafístulas_. 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.
+
+1009. =fialle=, see v. 95 and note.
+
+1038. =azules enojos=, _dark clouds_. Lit. "blue wrath."
+
+1042. =á cuantos los miran=. _Los_ refers to _ojos_ 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
+_si_ and connected by y do not require as much separation as is afforded
+by a period.
+
+1052. =Como quedó concertado.= 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.
+
+1062. =inglés á Cádiz.= "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.
+
+1066. =tusón dorado.= 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.
+
+1067. =Con débil caña=, etc. "En la edición antigua de la comedia: _Con
+débil caña, con freno herrado._" (Note by Hartzenbusch.)
+
+1068. =Marte... Cupido=, _Mars_, the god of war, _Cupid_, the god of love.
+
+1076. =Sembrando.= "En la _Corona trágica_ se lee _sembrando_; en la
+edición antigua de la comedia, _tendidas_."(Note by Hartzenbusch.) The
+sonnet is found also in the _Obras Sueltas_, vol. IV, p. 500, under the
+title, _Á la Venida de los Ingleses á Cádiz_. Hartzenbusch speaks of it
+as though it appeared in the _Corona trágica_, but his note is
+misleading, for it really is found in a collection of _Poesías varias_
+in the volume stated which begins with the _Corona trágica_.
+
+1086. =Mas qué os=, etc. More exact punctuation would place the initial
+interrogation after _mas_ and before _qué_.
+
+1089. =Filis.= 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.
+
+1110. =devantal==_delantal_.
+
+1126. =hubiérades... Dijérades==_hubierais... Dijerais_. Cf. v. 835 and
+note.
+
+1133. =Si es disfrazar=, 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.
+
+1145. =que viene... á pretender=, _who comes to court to make
+pretensions_. _Pretender_ also means "to sue for place, seek position"
+and might be here "to seek favor at court."
+
+1153. =En él este amor bebí.= Here as well as in the following line _él_
+refers to _cántaro_.
+
+1155. =Sirena.= 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.
+
+1186. =que tiene razón=, _indeed she is quite right_. Zerolo's edition has
+_que_ instead of _qué_ of the Hartzenbusch edition, and it is clearly
+the author's intent.
+
+1231. =Por servicios que me hiciese=, etc., _Whatever services he did me,
+however many years he put me under obligation._
+
+1237-40. Observe that one of these verses concludes each of the
+following stanzas or _décimas_. Such a verse is called the _pie de
+décima_.
+
+1252. =Andalucía= 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.
+
+1262. =dorado=, a yellow flower.
+
+1266. =Manutisa= is usually written _minutisa_.
+
+1282. =Adónde bueno==_Qué tal._ 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?"
+
+1291. =Pero... admira=, _But on my word I am astonished._
+
+1300. =No tengo por mal acuerdo requebrar=, etc., _I do not consider it
+ill-advised to enumerate_, etc. _Requebrar_ usually means "to flatter,"
+but it also means "to break in small pieces," hence "to give in detail"
+or "to enumerate."
+
+1303. =Os costará=, etc. The sense of the verb is plural unless we take it
+as impersonal and supply an infinitive construction after it.
+
+1305. =Para el río.= 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."
+
+1306. =Avantal==_delantal_. Cf. v. 1110 and note.
+
+1307. =virillas.= In addition to its usual meaning, _vira_, or _virilla_,
+is used to denote the border around the top of the shoe, which is its
+meaning in the present instance.
+
+1314. =No hay plata... Potosí.= 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.
+
+1324. Compare this speech of doña María with that of Areusa in the
+_Celestina_ against the exacting duties of servants. (See _Biblioteca de
+Autores Españoles_, vol. III, p. 43.)
+
+1341. =de mañana=, _early in the morning_.
+
+1349. =Bien aforrada razón=, etc. In this reply of doña María we see not a
+little of the _précieux_ 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.
+
+1404. =cristal deshecho= refers to the running water of the fountain.
+
+1410. =henchirle.= The antecedent of _le_ is _cántaro_.
+
+1417. =Ó asoma por el estribo=, etc., _Or shows through the doorway of the
+carriage her curls on the hooks of a 'rest.'_ In modern usage when
+applied to the parts of a carriage _estribo_ means the "step" but in the
+text it is used apparently as the equivalent of _portezuela_. _Descanso_
+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.
+
+1439. =Conténtese ó quitaréle.= Observe the change from the second person
+to the third in this verse and the following one.
+
+1455. =¿Qué se hizo tu desdén?= _What has become of your pride?_
+
+1460. =Habrán hecho riza en ti=, _Have probably done you a great injury.
+Hacer riza_, "to cause disaster or slaughter."
+
+1477. =si no envidaste=, etc., _if you have not staked any money, lay down
+your hand and remain apart_. Leonor applies here the terms of a game of
+cards when speaking of the love-affairs of doña María.
+
+1493. =No pone codo en la puente=, 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.
+
+1495. =los lavaderos.= The banks of the Manzanares immediately in the rear
+of the Royal Palace have long been the public _lavaderos_ 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.
+
+1510. =Prado=, formerly, as its name implies, a meadow on the outskirts of
+Madrid and later converted into a magnificent _paseo_ 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 _paseo_ in his works.
+The name is frequently used to refer to the famous art-gallery located
+there.
+
+1520. =quien=, cf. 1. 337 and note.
+
+1527-8. =Aprended... hoy.= Note the repetition of 11. 1237-8.
+
+1543. =Durandartes.= In Spanish ballads Durandarte is the name of one of
+the twelve peers who fought with Roland at Roncesvalles. In the
+_Romancero General_ 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:
+
+      ¡O Belerma! ¡O Belerma!
+      Por mi mal fuiste engendrada,
+      Que siete años te serví
+      Sin de ti alcanzar nada;
+      Agora que me querías
+      Muero yo en esta batalla.
+
+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 _Don Quijote_, 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 _lances de
+amor_.
+
+1552. =Puesto que=, etc. The Valencia edition has here instead of this
+verse: _Con todo, no he de culpalle._
+
+1608. =de espacio==_despacio_.
+
+1649. =Don Fadrique de Toledo=, 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.
+
+1668. =rocín gallego.= The _gallegos_, 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:
+
+      En la coz y mordiscón
+      Parece rocín gallego.
+
+1681. =Es... vaya=, _Is all that to tease me?_
+
+1696. =diera= is used here in the double sense of "give" and "strike."
+
+1708. =cristal de Venecia.= 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.
+
+1714. =Si no=, etc., _If not in harm, in the realization._--=Caer en la
+cuenta=, _to understand, realize_.
+
+1723. =satisfaciones= is now written _satisfacciones_.
+
+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.
+
+1737. =volviérades==_volvierais_. See v. 835 and note.
+
+1782. =de canela=, that is, _agua de canela_.
+
+1785. =Don Alvaro de Luna=, 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 _romances_ 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
+_romancero_ or collection of these poems that reference is made by Lope.
+
+1817. =el Cid.= 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 _Cantar de
+mio Cid_. Lope de Vega treats of his fall in his play entitled el
+_Milagro por los Celos_.
+
+1818. =gigote==_jigote_.
+
+1824. =Valladolid=, 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.
+
+1836. =si le come=, _if he likes it_. _Comer_, lit. "to eat."
+
+
+ACT III
+
+1837. =No haya más=, _Let that be the end of it._
+
+1844. =No lo acabes de decir=, _Don't go any farther._
+
+1854. =Llegue el lacayo gallina=, _Let the chicken-hearted lackey come
+on._
+
+1858. =mohadas==_mojadas_, coll., _knife-thrusts_.
+
+1863. =Pues con él haberlas quiero=, _Well I am willing to have it out
+with him._
+
+1901. =dueño= is regularly used in its present sense when referring to a
+woman as well as to a man. The feminine _dueña_ has the same meaning,
+but more commonly means _house-keeper_ or _chaperon_.
+
+1911. =mesmo==_mismo_.
+
+1920. Cf. v. 1495 and note.
+
+1929. =Tocó... el instrumento=, etc. The reference is evidently to the
+_bandurría_ 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.
+
+1951. =Casa del Campo=, commonly written _Casa de Campo_, 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.
+
+1960. =Felipe y Isabel=, 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."
+
+1963. =las colores.= _Color_ 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.
+
+2003. =pecho=, _courage_.
+
+2044. =labrar=, _embroider_.
+
+2109. =que antes ha sido=, etc., _for rather has it been so that I cannot
+see her_.
+
+2131. =Porque ha mucho que no soy=, _Because I have not been there for a
+long time._ There is perhaps a play upon _ser_, "to exist" in this
+verse.
+
+2146. =Que más de cuatro manteos=, etc., _That more than a few_ (lit.
+"four") _of those mantles of yours with fabrics of gold cover many
+defects._
+
+2164. =aceto==_acepto_.
+
+2172. =en pelo=, _bareback_. With mock respect doña María asks pardon for
+using in the presence of people well-bred a term as commonplace as _en
+pelo_. Cf. v. 769 and note.
+
+2217. =Alcance=, the present subjunctive with the conjunction _que_
+omitted.
+
+2236. =De cántaro la tenía==_Tenía el alma de cántaro. Alma de cántaro_ is
+a colloquial term nearly equivalent to our "harebrained fellow."
+
+2238. =proverbio=, that is, the proverbial use of _cántaro_ in the
+expression _alma de cántaro_.
+
+2282. =Atlante=, 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 _Atlante_. The author used it
+in the same sense in one of his sonnets:
+
+   /*[3]
+   Igualará la pluma á la grandeza,
+   Y el Parnaso de vos favorecido
+   Tendrá en su frente el cielo como Atlante.
+
+   _Obras Sueltas_, vol. IV, p. 277.
+   */
+
+But Lope knew it in its more exact architectural sense and apparently
+uses it so in the following lines:
+
+   /*[3]
+   Y otras del reino importantes,
+   Que siendo en ellos atlantes,
+   Serán rayos de Archidona.
+
+   _La Estrella de Sevilla_, Act I, Scene IV.
+   */
+
+2315. =Tened.= Note the change from the less formal second person singular
+as soon as don Juan suspects doña María to be above the servant class.
+
+2342. 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.
+
+2347. =Vos salisteis diferente=, _Your origin has been different._
+
+2349. =Y yo sin dicha==_Y yo salí sin dicha_.
+
+2360 and ff. Compare the similar sentiment expressed by the author in
+_el Cuerdo en su casa_, Act II, Scene XXIV:
+
+   /*[3]
+   El que nació para humilde,
+   Mal puede ser caballero.
+
+   * * *
+
+   Haya quien are y quien cave;
+   Siempre el vaso al licor sabe.
+   */
+
+2399. =Que darme yo á entender=, _For me to assume_.
+
+2420. =por armas=, _as a coat of arms_.
+
+2422. In the Valencia edition this passage is identical except that it
+continues through one more _octava_.
+
+2438. =Vinculadas en lacayos=, _Handed down from lackey to lackey.
+Vincular_, "to entail, continue, perpetuate."
+
+2440. =Aunque poca me ha cabido=, _Although little has fallen to my
+share._
+
+2444. =Mondoñedo=, 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
+_el Premio de bien hablar_, when he makes don Juan say:
+
+   /*[3]
+   Nací en Madrid, aunque son
+   En Galicia los solares
+   De mi nacimiento noble,
+   De mis abuelos y padres.
+   Para noble nacimiento
+   Hay en España tres partes:
+   Galicia, Vizcaya, Asturias,
+   Ó ya montañas se llamen.--
+   */
+
+2446. =Volver la silla á el dosel=, _Conduct himself better on occasions
+of ceremony._ 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."
+
+2452. =Aunque pide=, etc., _Although the sack of salt requires greater
+fortune._ 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.
+
+2468. =Que no hay hueso que dejar=, _For nothing must be omitted._ Lit.
+"For not a bone must be left out".
+
+2534. =Que á saber=, _For if I had known._
+
+2539. =Aunque á Alejandro=, 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 _Amor secreto hasta Zelos_,
+and mentions him several times in miscellaneous verse of the period.
+
+2549-50. =que no soy tan del Conde=, _I do not belong so much to the
+Count._
+
+2559-61. 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.
+
+2561. =juegan cañas.= 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.
+
+2562. =¡Mala letra para novios!= The reference finds its full expression
+in a rime of coarse sentiment which recounts the immediate fortunes
+attending the _novio_ who dreams of bulls.
+
+2567. =Dos meses.= Cf. v. 2146 and note.
+
+2641. =¡Vive Dios, que si... bajeza!= _By heavens, if this be true I shall
+kill you rather than permit such a disgrace._
+
+2679. =por andar encubierta=, _in order to remain in disguise_.
+
+2685. =á escuras==_á oscuras_.
+
+2691. Compare this with the following lines from the _Égloga á Claudio_:
+
+   /*[3]
+   _Mil y quinientas fabulas_ admira,
+   Que la mayor el numero parece,
+   Verdad que desmerece
+   Por parecer mentira,
+   Pues más de ciento en horas veintiquatro
+   Passaron de las Musas al Teatro.
+
+   _Obras Sueltas_, vol. IX, p. 368.
+   */
+
+
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+<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 C&Aacute;NTARO</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'Universit&eacute; 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 C&Aacute;NTARO<br />&nbsp;</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 C&aacute;ntaro</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
+pre&euml;minent&mdash;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,&mdash;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 Espa&ntilde;oles</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 Fern&aacute;ndez 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 Mart&iacute;nez, 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 Jer&oacute;nimo Manrique, Bishop of
+&Aacute;vila, who took so great an interest in him that he sent him to the
+famous University of Alcal&aacute; 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 Alcal&aacute; 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 Marqu&eacute;s 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 C&oacute;micos</i>, it is shown
+that the poet, having broken with "Filis," circulated slanderous verses
+written against her father, Jer&oacute;nimo Vel&aacute;zquez, 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, Do&ntilde;a 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 Ang&eacute;lica</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 Do&ntilde;a
+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>Jerusal&eacute;n Conquistada</i>, an untrustworthy narration of the
+achievements of Richard C&oelig;ur-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 Marqu&eacute;s 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 F&eacute;lix, 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 Bel&eacute;n</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 Hern&aacute;ndez 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 r&ocirc;le. 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 F&eacute;lix 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 Tr&aacute;gica</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
+Tom&eacute; 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 F&eacute;lix, 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 F&eacute;lix 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. Agust&iacute;n 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>&Eacute;glogas</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, Bartolom&eacute;
+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 r&ocirc;le 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 Crist&oacute;bal de Viru&eacute;s, while the latter
+was espoused by Ger&oacute;nimo Berm&uacute;dez 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>bulul&uacute;</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>&ntilde;aque</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>far&aacute;ndula</i> was composed of from ten to fifteen
+players, was well equipped and traveled with some ease. (8) The
+<i>compa&ntilde;&iacute;a</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&mdash;the Corral de la Pacheca (on the site of the present Teatro
+Espa&ntilde;ol) 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>F&eacute;nix 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>&Eacute;gloga &aacute;
+Claudio</i>, written in 1632, and in the concluding lines of <i>La Moza de
+C&aacute;ntaro</i>, revised probably the same year, he says that he is the author
+of fifteen hundred comedias. In the <i>Fama P&oacute;stuma</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>
+&laquo;Y m&aacute;s de ciento, en horas veinte y cuatro,<br />
+Pasaron de las musas al teatro.&raquo;<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 F&eacute;nix 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 Bizarr&iacute;as 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
+"F&eacute;nix de los ingenios" and "Monstruo de la naturaleza."</p>
+
+
+<p class="c top5">III. LA MOZA DE C&Aacute;NTARO</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>&Eacute;gloga &aacute;
+Claudio</i> that he had completed that year fifteen hundred comedias. As
+evidence of its popularity, we have the following resum&eacute; and
+appreciation from the same critic in the <i>pr&oacute;logo</i> of his edition of
+<i>Comedias Escogidas de Lope de Vega</i>: &laquo;Iba cayendo el sol, y acerc&aacute;base
+&aacute; la peripecia &uacute;ltima, precursora del desenlace, una comedia que en un
+teatro de Madrid (&oacute; <i>corral</i>, como sol&iacute;a entonces decirse) representaban
+cuatro galanes, dos damas, un barba, dos graciosos, dos graciosas y
+otros actores de clase inferior, ante una porci&oacute;n de espectadores, con
+sombrero calado, como quienes encima de s&iacute; no ten&iacute;an otra techumbre que
+la del cielo. Ya la primera dama hab&iacute;a hecho su postrera salida con el
+m&aacute;s rico traje de su vestuario: absorto su amante del se&ntilde;oril porte de
+aquella mujer, que, siendo una humilde criada, sab&iacute;a, sin embargo, el
+pomposo guardainfante, como si en toda su vida no hubiese arrastrado
+otras faldas; ciego de pasi&oacute;n y atropellando los respetos debidos &aacute; su
+linaje, se hab&iacute;a llegado &aacute; ella, y asi&eacute;ndole fuera de s&iacute; la mano, le
+hab&iacute;a ofrecido la suya. El gal&aacute;n segundo se hab&iacute;a opuesto resueltamente
+&aacute; la irregular y precipitada boda; pero al oir que la supuesta Isabel
+ten&iacute;a por verdadero nombre el ilustre de do&ntilde;a Mar&iacute;a Guzm&aacute;n y
+Portocarrero, y era, aunque <i>moza de c&aacute;ntaro</i> parienta del duque de
+Medina, su resistencia hab&iacute;a desaparecido. Hecha pues una gran
+reverencia muda &aacute; la novia, se adelant&oacute; el actor &aacute; la orilla del tablado
+para dirigir esta breve alocuci&oacute;n al p&uacute;blico:</p>
+
+<div class="d">
+<p>
+<span style="margin-left: 20%;">Aqu&iacute;</span><br />
+Puso fin &aacute; esta comedia<br />
+Quien, si perdiere este pleito,<br />
+Apela &aacute; <i>Mil y Quinientas</i>.<br />
+<span class="smcap">Mil y quinientas</span> ha escrito:<br />
+Bien es que perd&oacute;n 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 un&aacute;nime de admiraci&oacute;n,
+de entusiasmo y orgullo nacional just&iacute;simo. &laquo;&iexcl;V&iacute;tor, Lope!&raquo; clamaba
+aquella alborazada multitud una vez y otra; &laquo;&iexcl;Viva <i>el F&eacute;nix de los
+ingenios</i>! &iexcl;Viva Lope de Vega!&raquo;<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, El&iacute;as
+Zerolo says: "En ella,... agot&oacute; Lope todos los sentimientos resortes
+propios de su teatro... Esta comedia es una de las m&aacute;s perfectas de
+Lope, por lo que alcanz&oacute; en su tiempo un &eacute;xito ruidoso." In enumerating
+the plays of Lope which were still well known and represented in Spain
+in the nineteenth century, Gil de Z&aacute;rate names <i>La Moza de C&aacute;ntaro</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&mdash;the class
+in which he excelled&mdash;<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: "M&aacute;s que ninguna otra, reune esta obra las
+circunstancias que caracterizan &aacute; las <i>comedias de capa y espada</i>, como
+embozos, equ&iacute;vocos, etc." Were the leading character what her name
+implies&mdash;a humble servant&mdash;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 Vel&aacute;zquez and Ribera vied with each other in
+creating masterpieces for princely patrons, and great authors like Lope,
+Quevedo, and Calder&oacute;n 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 r&ocirc;le, not only
+because she was not fully appreciated, but also because the r&ocirc;le 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> Do&ntilde;a Mar&iacute;a 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 r&ocirc;le; that she
+was not offensive or contrary to Spanish tastes of the times is proved
+by the fact that, although she was a Guzm&aacute;n 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 r&ocirc;le 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 Di&egrave;gue of
+Corneille, to whom he is directly related, for Guill&eacute;n 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
+Di&egrave;gue, 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
+Di&egrave;gue and Don Diego impress us by the gravity of their appeals, while
+Don Bernardo arouses our sympathy by his senility&mdash;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 Do&ntilde;a 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 Gal&aacute;n</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 do&ntilde;a Mar&iacute;a 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 Mart&iacute;n
+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 "F&eacute;nix."<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a>
+Mart&iacute;n, 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 do&ntilde;a Mar&iacute;a, 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 r&ocirc;le of defender of Isabel although he himself has been maltreated
+by the bellicose "moza de c&aacute;ntaro."</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 Guzm&aacute;ns, 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 C&aacute;ntaro</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 r&ocirc;le of the
+speaker. Seldom in any of his works, and never in <i>La Moza de C&aacute;ntaro</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>d&eacute;cimas</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 C&aacute;ntaro</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>d&eacute;cima</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 />&nbsp;</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%;">D&eacute;cimas.</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 />&nbsp;</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%;">D&eacute;cimas.</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 />&nbsp;</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%;">D&eacute;cimas.</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%;">D&eacute;cimas.</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 Espa&ntilde;oles</i> desde la formaci&oacute;n del lenguaje hasta
+nuestros d&iacute;as, 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 F&eacute;lix de Vega Carpio</i>, con pr&oacute;logo y notas
+por El&iacute;as Zerolo, Paris, 1886, Vol. III.</p>
+
+<p class="h"><i>La Moza de C&aacute;ntaro</i>, Comedia en cinco actos por Lope F&eacute;lix de Vega
+Carpio y refundida por Don C&aacute;ndido Mar&iacute;a Trigueros, Valencia, 1803.</p>
+
+<p class="h"><i>La Moza de C&aacute;ntaro</i>, Comedia en cinco actos por Lope F&eacute;lix de Vega
+Carpio y refundida por Don C&aacute;ndido Mar&iacute;a Trigueros, con anotaciones,
+Londres (about 1820).</p>
+
+<p class="h"><i>Obras Sueltas de Lope de Vega</i>, colecci&oacute;n 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 Enciclop&eacute;dico 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 gram&aacute;tica hist&oacute;rica espa&ntilde;ola</i>, por R. Men&eacute;ndez
+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 hist&oacute;rico-cr&iacute;tico del Teatro espa&ntilde;ol</i>, C&aacute;diz, 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 Th&eacute;&acirc;tre 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>.&mdash;The last three works mentioned are especially recommended for
+collateral reading in the study of <i>La Moza de C&aacute;ntaro</i>.</p>
+
+
+
+<hr class="top15" />
+<h2><a name="LA_MOZA_DE_CANTARO" id="LA_MOZA_DE_CANTARO"></a>LA MOZA DE C&Aacute;NTARO</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;">&nbsp;</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;">&nbsp;</td></tr>
+<tr><td><span class="smcap">Fulgencio</span></td><td style="border-left:solid 1px black;">&nbsp;</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;">&nbsp;</td></tr>
+<tr><td><span class="smcap">Mart&iacute;n</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;">&nbsp;</td></tr>
+<tr><td><span class="smcap">Bernal</span></td><td style="border-left:solid 1px black;">&nbsp;</td></tr>
+<tr><td colspan="2"><span class="smcap">Do&ntilde;a Mar&iacute;a</span>, <i>dama</i></td></tr>
+<tr><td colspan="2"><span class="smcap">Do&ntilde;a Ana</span>, <i>viuda</i></td></tr>
+<tr><td><span class="smcap">L&uuml;isa</span></td><td style="border-left:solid 1px black;">&nbsp;</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;">&nbsp;</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">M&uacute;sicos</span>.&mdash;<span class="smcap">Lacayos</span></td></tr>
+<tr><td colspan="2"><span class="smcap">Acompa&ntilde;amiento</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">Do&ntilde;a Mar&iacute;a</span> <i>y</i> <span class="smcap">L&uuml;isa</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">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+&iquest;Tantos papeles, L&uuml;isa,<br />
+Esos Narcisos te han dado?<br />
+</p>
+
+<p class="n">LUISA</p>
+
+<p>
+&iquest;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">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+&iexcl;Bravo amor, brava fineza!<br />
+</p>
+
+<p class="n">LUISA</p>
+
+<p>
+No s&eacute; si te llame alteza<br />
+Para darte estas consultas.<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+&Aacute; se&ntilde;or&iacute;a 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 t&iacute;tulo la belleza<br />
+Tan alto, que te podr&iacute;a<br />
+Llamar muy bien se&ntilde;or&iacute;a, <a name="line_15" id="line_15"></a><a href="#note_16"><span class="linenum">15</span></a><br />
+Y aspirar, Se&ntilde;ora, &aacute; alteza.<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+&iexcl;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, as&iacute; 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 t&uacute;.<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p class="indstart">
+Yo creo,<br />
+L&uuml;isa, tu buen deseo.<br />
+</p>
+
+<p class="n">LUISA</p>
+
+<p>
+Tu gusto me maravilla.<br />
+&Aacute; 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">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+Todos me parecen mal.<br />
+</p>
+
+<p class="n">LUISA</p>
+
+<p>
+Arrogancia natural<br />
+Te obliga &aacute; tanto desd&eacute;n.&mdash;<br />
+&Eacute;ste es de don Luis.<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p class="indstart">
+Lo leo<br />
+S&oacute;lo 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">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+Y yo de que es necio y feo.<br />
+<br />
+(<i>Lee.</i>) &laquo;Considerando conmigo &aacute; solas,<br />
+se&ntilde;ora do&ntilde;a Mar&iacute;a...&raquo;<br />
+<br />
+No leo. (<i>Rompe el papel.</i>)<br />
+</p>
+
+<p class="n">LUISA</p>
+
+<p>
+&iquest;Por qu&eacute;?<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p class="indstart">
+&iquest;No ves<br />
+Que comienza alguna historia,<br />
+&Oacute; 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 despu&eacute;s?<br />
+</p>
+
+<p class="n">LUISA</p>
+
+<p>
+&Eacute;ste es de don Pedro.<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</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">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+&iexcl;Bravos rasgos! &iexcl;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>) &laquo;Con hermoso, si bien severo,<br />
+no dulce, apacible s&iacute; rostro, se&ntilde;ora<br />
+m&iacute;a, mentida vista me mir&oacute; vuestro<br />
+desd&eacute;n, absorto de toda humanidad, r&iacute;gido<br />
+empero, y no con lo brillante sol&iacute;cito,<br />
+que de candor celeste clarifica vuestra<br />
+faz, la hebd&oacute;mada pasada.&raquo;<br />
+<br />
+&iquest;Qu&eacute; receta es &eacute;sta, di? (<i>R&oacute;mpele</i>.)<br />
+Qu&eacute; m&eacute;dico te la di&oacute;?<br />
+</p>
+
+<p class="n">LUISA</p>
+
+<p>
+Pues &iquest;no entiendes culto?<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p class="indstart">
+&iquest;Yo?<br />
+&iquest;Habla de aci&eacute;rtame aqu&iacute;?<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 />
+&iquest;Puede nadie ser discreto<br />
+Sin que envuelva su conceto<br />
+En invenci&oacute;n tan lucida?<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+&iquest;&Eacute;sta es lucida invenci&oacute;n?<br />
+Ahora bien, &iquest;hay m&aacute;s 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 &eacute;l<br />
+Se cifra la discreci&oacute;n.<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+(<i>Lee.</i>) &laquo;Si yo fuera tan dichoso como<br />
+vuestra merced hermosa, hecho estaba<br />
+el partido.&raquo;<br />
+<br />
+&iquest;Qu&eacute; es partido? No prosigo. (<i>R&oacute;mpele.</i>)<br />
+</p>
+
+<p class="n">LUISA</p>
+
+<p>
+&iquest;Qu&eacute; nada te ha de agradar?<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</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 />
+&Aacute; la pelota conmigo.<br />
+L&uuml;isa, en resoluci&oacute;n,<br />
+Yo no tengo de querer<br />
+Hombre humano.<br />
+</p>
+
+<p class="n">LUISA</p>
+
+<p class="indstart">
+&iquest;Qu&eacute; has de hacer,<br />
+Si todos como &eacute;stos son? <a name="line_60" id="line_60"></a><a href="#note_58"><span class="linenum">60</span></a><br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+Estarme sola en mi casa.<br />
+Venga de Flandes mi hermano,<br />
+Pues siendo tan rico, en vano<br />
+Penas in&uacute;tiles pasa.<br />
+C&aacute;sese, y d&eacute;jeme &aacute; m&iacute; <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 />
+D&oacute;nde aplique mi deseo<br />
+De cuantos andan aqu&iacute;,<br />
+Codiciosos de su hacienda;<br />
+Que, si va &aacute; 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 />
+Nac&iacute; 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">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p class="indstart">
+Ya te digo<br />
+Que ninguno es para m&iacute;.<br />
+</p>
+
+<p class="n">LUISA</p>
+
+<p>Pues &iquest;has de vivir ans&iacute;?</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+&iquest;Tan mal estar&eacute; conmigo? <a name="line_80" id="line_80"></a><a href="#note_79"><span class="linenum">80</span></a><br />
+Joyas y galas &iquest;no son<br />
+Los polos de las mujeres?<br />
+Si &aacute; m&iacute; me sobran, &iquest;qu&eacute; quieres?<br />
+</p>
+
+<p class="n">LUISA</p>
+
+<p>
+&iexcl;Qu&eacute; terrible condici&oacute;n!<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+Necia est&aacute;s. 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 s&iacute;,<br />
+&iquest;Qu&eacute; piensas hacer de ti?<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+&iquest;Puede mi padre obligarme<br />
+&Aacute; casar sin voluntad?<br />
+</p>
+
+<p class="n">LUISA</p>
+
+<p>
+Ni t&uacute; 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">DO&Ntilde;A MAR&Iacute;A</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">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+&iquest;Ya llegas &aacute; predicarme?<br />
+</p>
+
+<p class="n">LUISA</p>
+
+<p>
+Nu&ntilde;o 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">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+&iquest;Qui&eacute;n?<br />
+</p>
+
+<p class="n">LUISA</p>
+
+<p class="indstart">
+Mi se&ntilde;or y don Diego.<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+&iquest;Qu&eacute; importa que hablando est&eacute;n,<br />
+Si no me parece bien,<br />
+Y le desenga&ntilde;o luego?<br />
+</p>
+
+<p class="n">LUISA</p>
+
+<p>
+Y don Luis &iquest;no es muy gal&aacute;n? <a name="line_105" id="line_105"></a><a href="#note_107"><span class="linenum">105</span></a><br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+Tal salud tengas, L&uuml;isa.<br />
+Muchas se casan aprisa,<br />
+Que &aacute; llorar despacio van.<br />
+</p>
+
+<p class="n">LUISA</p>
+
+<p>
+&Eacute;sa es dicha, y no elecci&oacute;n;<br />
+Que mirado y escogido <a name="line_110" id="line_110"></a><a href="#note_107"><span class="linenum">110</span></a><br />
+Sali&oacute; malo alg&uacute;n marido,<br />
+Y otros sin ver, no lo son.<br />
+Que si son por condiciones<br />
+Los hombres buenos &oacute; 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 m&aacute;s que desear.<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+S&iacute; hay, L&uuml;isa...<br />
+</p>
+
+<p class="n">LUISA</p>
+
+<p class="indstart">
+&iquest;Qu&eacute;?<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p class="indstart">
+No hallar<br />
+&Aacute; 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 d&eacute;l,<br />
+Y t&uacute; sola d&eacute;l te r&iacute;es.<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+L&uuml;isa, no me porf&iacute;es;<br />
+Que &eacute;ste es don Pedro el Cruel.<br />
+</p>
+
+<p class="n">LUISA</p>
+
+<p>
+Tu desd&eacute;n 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">DO&Ntilde;A MAR&Iacute;A</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 est&aacute; 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">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+&iquest;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">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+Don Diego de noche y coche.<br />
+</p>
+
+<p class="n">LUISA</p>
+
+<p>
+&iexcl;De noche un gran caballero!<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+Mas &iexcl;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, L&uuml;isa,<br />
+No yo. &iexcl;De noche visiones!<br />
+</p>
+
+<p class="n">LUISA</p>
+
+<p>
+Oigo unas tristes razones.<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+Volvi&oacute;se en llanto la risa. <a name="line_140" id="line_140"></a><a href="#note_138"><span class="linenum">140</span></a><br />
+&iquest;No es &eacute;ste mi padre?<br />
+</p>
+
+<p class="n">LUISA</p>
+
+<p class="indstart">
+&Eacute;l 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 h&aacute;bito de Santiago, con un lienzo en los
+ojos</i>.&mdash;<span class="smcap">Dichas</span></p>
+
+<div class="d">
+<p class="n">DON BERNARDO</p>
+
+<p>&iexcl;Ay de m&iacute;!</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p class="indstart">
+Se&ntilde;or, &iquest;qu&eacute; es esto?<br />
+Vos llorando y descompuesto,<br />
+&iexcl;Y yo no estoy &aacute; esos pies!<br />
+&iquest;Qu&eacute; ten&eacute;is, padre y se&ntilde;or, <a name="line_145" id="line_145"></a><a href="#note_138"><span class="linenum">145</span></a><br />
+Mi solo y &uacute;nico bien?<br />
+</p>
+
+<p class="n">DON BERNARDO</p>
+
+<p>
+Verg&uuml;enza de que me ven<br />
+Venir vivo y sin honor.<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>&iquest;C&oacute;mo sin honor?</p>
+
+<p class="n">DON BERNARDO</p>
+
+<p class="indstart">
+No s&eacute;.<br />
+D&eacute;jame, por Dios, Mar&iacute;a. <a name="line_150" id="line_150"></a><a href="#note_138"><span class="linenum">150</span></a><br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+Siendo vos vida en la m&iacute;a,<br />
+&iquest;C&oacute;mo dejaros podr&eacute;?<br />
+&iquest;Hab&eacute;is acaso ca&iacute;do?<br />
+Que los a&ntilde;os muchos son.<br />
+</p>
+
+<p class="n">DON BERNARDO</p>
+
+<p>
+Cay&oacute; toda la opini&oacute;n <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 m&iacute;o<br />
+Que est&aacute; en Flandes, de quien f&iacute;o<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, Mar&iacute;a,<br />
+Somos ni&ntilde;os desde el d&iacute;a<br />
+Que nos quitamos la espada.<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</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 se&ntilde;or;<br />
+Mas &iquest;qu&eacute; mucho sin color,<br />
+Si ya me ten&eacute;is sin alma?<br />
+&iquest;Qu&eacute; hab&iacute;a de hacer mi hermano?<br />
+&iquest;De qui&eacute;n 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, &iquest;qui&eacute;resme dejar?</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+Porf&iacute;as, Se&ntilde;or, 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 habl&oacute;, Mar&iacute;a...<br />
+Contigo casarse intenta...<br />
+Respond&iacute;le 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 />
+Escrib&iacute;, fu&eacute; la respuesta<br />
+No como yo la esperaba;<br />
+Que darte due&ntilde;o 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 />
+Fu&eacute; de esta cruz encomienda. <a name="line_190" id="line_190"></a><a href="#note_188"><span class="linenum">190</span></a><br />
+Vino &aacute; buscarme don Diego<br />
+&Aacute; la Plaza (&iexcl;nunca fuera<br />
+Esta ma&ntilde;ana &aacute; la Plaza!),<br />
+Y con humilde apariencia<br />
+Me pregunt&oacute; si ten&iacute;a <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 Sanl&uacute;car. Yo<br />
+Le respond&iacute; que tuviera<br />
+&Aacute; 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 sab&iacute;a<br />
+Su calidad y nobleza;<br />
+Que le ense&ntilde;ase la carta,<br />
+&Oacute; que era m&iacute;a la afrenta<br />
+De la disculpa enga&ntilde;osa. <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 />
+Saqu&eacute; la carta del pecho,<br />
+Y turbado ley&oacute; en ella<br />
+Estas razones, Mar&iacute;a.&mdash;<br />
+Quien tal mostr&oacute;, que tal tenga.&mdash; <a name="line_210" id="line_210"></a><a href="#note_198"><span class="linenum">210</span></a><br />
+<br />
+&laquo;Muy honrado caballero<br />
+Es don Diego; pero sea<br />
+El que ha de ser vuestro yerno<br />
+Tal, que al h&aacute;bito os suceda<br />
+Como &aacute; vuestra noble casa.&raquo; <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 c&oacute;lera tiembla:<br />
+&laquo;Tan bueno soy como el Duque.&raquo;<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: &laquo;Los escuderos,<br />
+Aunque muy hidalgos sean,<br />
+No hacen comparaci&oacute;n<br />
+Con los pr&iacute;ncipes; que es necia.<br />
+Desdec&iacute;os, &oacute; le escribo <a name="line_225" id="line_225"></a><a href="#note_228"><span class="linenum">225</span></a><br />
+&Aacute; don Alonso que venga<br />
+Desde Flandes &aacute; mataros.&raquo;<br />
+Aqu&iacute; 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 />
+D&eacute;jame; que tantas veces<br />
+Una afrenta se renueva,<br />
+Cuantas el que la recibe<br />
+&Aacute; el que la ignora la cuenta.<br />
+Herrado traigo, Mar&iacute;a, <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 son&oacute; 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 />
+Alc&eacute; el b&aacute;culo... Dijeron<br />
+Que lo alcanc&eacute;... no lo creas;<br />
+Que mienten &aacute; 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 />
+Prendi&oacute;le all&iacute; la justicia,<br />
+Y preso en la c&aacute;rcel queda:<br />
+&iexcl;Pluguiera &aacute; 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 />
+&iexcl;Ay, hijo del alma m&iacute;a!<br />
+&iexcl;Ay, Alonso! &iexcl;Si estuvieras<br />
+En Ronda! Pero &iquest;qu&eacute; digo?<br />
+Mejor es que yo me pierda.<br />
+Salid, l&aacute;grimas, 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">Do&ntilde;a Mar&iacute;a</span>, <span class="smcap">L&uuml;isa</span></p>
+
+<div class="d">
+<p class="n">LUISA</p>
+
+<p>Fu&eacute;se.</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p class="indstart">
+D&eacute;jame de suerte<br />
+Que no pude responder.<br />
+</p>
+
+<p class="n">LUISA</p>
+
+<p>
+V&eacute; tras &eacute;l; 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">DO&Ntilde;A MAR&Iacute;A</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 c&aacute;rcel 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 raz&oacute;n 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 />
+&iquest;Qui&eacute;n puede tomar consejo?<br />
+</p>
+
+<p class="n">FULGENCIO</p>
+
+<p>
+Los a&ntilde;os 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 sabr&eacute; 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>&iquest;C&oacute;mo?</p>
+
+<p class="n">FULGENCIO</p>
+
+<p>
+Que dej&eacute;is &aacute; Espa&ntilde;a<br />
+Luego que salg&aacute;is de aqu&iacute;.<br />
+</p>
+
+<p class="n">DON DIEGO</p>
+
+<p>&iquest;&Aacute; Espa&ntilde;a, Fulgencio?</p>
+
+<p class="n">FULGENCIO</p>
+
+<p class="indstart">
+S&iacute;;<br />
+Porque ser&aacute; loca haza&ntilde;a<br />
+Que &aacute; don Alonso esper&eacute;is; <a name="line_285" id="line_285"></a><a href="#note_252"><span class="linenum">285</span></a><br />
+Que, fuera de la raz&oacute;n<br />
+Que &eacute;l tiene en esta ocasi&oacute;n,<br />
+Pocos amigos tendr&eacute;is.<br />
+Toda Ronda os pone culpa.<br />
+</p>
+
+<p class="n">DON DIEGO</p>
+
+<p>
+Claro est&aacute;, 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 fu&eacute;<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 />
+&iquest;Qui&eacute;n hay que seguro est&eacute;?<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 C&aacute;rcel</span>, <i>con barba y bast&oacute;n</i>.&mdash;<span class="smcap">Dichos</span></p>
+
+<div class="d">
+<p class="n">ALCAIDE (<i>&aacute; don Diego</i>)</p>
+
+<p>
+Una mujer est&aacute; aqu&iacute;<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>&Aacute; veros vendr&eacute; &aacute; la tarde. (<i>Vase</i>.)</p>
+
+<p class="n">ALCAIDE</p>
+
+<p>
+Lleg&oacute; &aacute; la puerta cubierta;<br />
+Ped&iacute;le que se destape,<br />
+Y dijo que no quer&iacute;a. <a name="line_305" id="line_305"></a><a href="#note_301"><span class="linenum">305</span></a><br />
+Pareci&oacute;me de buen talle<br />
+Y cosa segura; en fin,<br />
+Gust&oacute; de que la acompa&ntilde;e<br />
+&Aacute; 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">Do&ntilde;a Mar&iacute;a</span>, <i>cubierta con su manto</i>.&mdash;<span class="smcap">Don Diego</span>.</p>
+
+<div class="d">
+<p class="n">DON DIEGO</p>
+
+<p>
+&iexcl;Sola, mi se&ntilde;ora, &aacute; 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">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+Dan ocasi&oacute;n los sucesos<br />
+Para desatinos tales.<br />
+</p>
+
+<p class="n">DON DIEGO</p>
+
+<p>
+Descubr&iacute;os, 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 aqu&iacute; pueda conoceros.<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>Yo soy.</p>
+
+<p class="n">DON DIEGO</p>
+
+<p class="indstart">Pues &iexcl;vos en la c&aacute;rcel!</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+El amor que me deb&eacute;is<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 &aacute; que me declare.<br />
+&Aacute; pediros perd&oacute;n vengo,<br />
+Y &aacute; 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 &aacute; saber alcance<br />
+Don Alonso que soy vuestra,<br />
+No tendr&aacute; de qu&eacute; 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 quedar&eacute;is 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 se&ntilde;or 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>
+&iquest;Qui&eacute;n pudiera sino un &aacute;ngel,<br />
+Se&ntilde;ora do&ntilde;a Mar&iacute;a,<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 hab&iacute;a m&aacute;s seguro,<br />
+Y sobre seguro, f&aacute;cil,<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 ser&aacute; mucha licencia<br />
+Que &aacute; el altar dichoso abrace,<br />
+Sagrado de mis deseos,<br />
+Donde est&aacute; amor por imagen, <a name="line_360" id="line_360"></a><a href="#note_362"><span class="linenum">360</span></a><br />
+Pues ya dec&iacute;s que sois m&iacute;a.<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+Quien supo determinarse<br />
+&Aacute; ser vuestra, no habr&aacute; cosa<br />
+Que &aacute; vuestro gusto dilate.<br />
+Confirmar&eacute; 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.&mdash;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>&iexcl;Jesus! &iexcl;Muerto soy! &iexcl;Traici&oacute;n!</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+&iexcl;En canas tan venerables<br />
+Pusiste la mano, perro!<br />
+Pues estas haza&ntilde;as 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.&mdash;&iexcl;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.&mdash;Don Diego, <i>moribundo</i></p>
+
+<div class="d">
+
+<p class="n">FULGENCIO</p>
+
+<p>
+Par&eacute;ceme que he sentido<br />
+Una voz, y que sali&oacute;<br />
+Esta mujer que aqu&iacute; entr&oacute; <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 />
+M&aacute;s turbada y descompuesta<br />
+Que piden casos de amor.&mdash;<br />
+No fu&eacute; vano mi temor.<br />
+&iexcl;Don Diego!... &iquest;Qu&eacute; sangre es &eacute;sta? <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>
+Mat&oacute;me do&ntilde;a Mar&iacute;a,<br />
+La hija de don Bernardo.<br />
+</p>
+
+<p class="n">FULGENCIO</p>
+
+<p>
+&iexcl;Alcaide! &iexcl;Gente! &iquest;Qu&eacute; aguardo?<br />
+<br />
+(<i>Ap.</i> Mas cosa injusta ser&iacute;a<br />
+Ocasionar su prisi&oacute;n. <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 raz&oacute;n, aunque &aacute; traici&oacute;n.<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 dej&eacute;is prender.<br />
+</p>
+
+<p class="n">FULGENCIO</p>
+
+<p>
+Yo pienso que habr&aacute; salido.<br />
+Pero &iquest;por qu&eacute; no quer&eacute;is<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 vi&eacute;ndole dir&eacute;is...<br />
+Y que yo soy, cuanto &aacute; m&iacute;,<br />
+Su yerno, pues se cas&oacute;<br />
+Conmigo, aunque me mat&oacute;<br />
+Cuando los brazos la d&iacute;. <a name="line_400" id="line_400"></a><a href="#note_362"><span class="linenum">400</span></a><br />
+Con esto vuelvo &aacute; su fama<br />
+Lo que afrentarla pudiera.<br />
+</p>
+
+<p class="n">FULGENCIO</p>
+
+<p>
+Toda la c&aacute;rcel se altera.<br />
+Quiero buscar esta dama.<br />
+<br />
+(<i>Se lleva &aacute; 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>
+&iexcl;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 m&aacute;s bella.<br />
+</p>
+
+<p class="n">DON JUAN</p>
+
+<p>
+Con raz&oacute;n, Conde, por ella<br />
+Esos desmayos os dan.<br />
+</p>
+
+<p class="n">CONDE</p>
+
+<p>
+&iquest;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 ten&eacute;is 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 m&aacute;s discreto.<br />
+</p>
+
+<p class="n">DON JUAN</p>
+
+<p>&iquest;C&oacute;mo?</p>
+
+<p class="n">CONDE</p>
+
+<p class="indstart">
+Remitirme &aacute; el oro,<br />
+Que es excelente poeta.<br />
+</p>
+
+<p class="n">DON JUAN</p>
+
+<p>
+Dicen que es rica y discreta:<br />
+Guardadle m&aacute;s 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>&iquest;Fu&eacute; vuestro criado all&aacute;?</p>
+
+<p class="n">DON JUAN</p>
+
+<p>
+Con una criada habl&oacute;,<br />
+Y &aacute; estas horas pienso yo<br />
+Que bien informado est&aacute;.<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 m&aacute;s libremente<br />
+Este g&eacute;nero 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">Mart&iacute;n</span>.&mdash;<span class="smcap">Dichos</span></p>
+
+<div class="d">
+
+<p class="n">DON JUAN</p>
+
+<p>&iquest;Qu&eacute; hay, Mart&iacute;n? Contento sales.</p>
+
+<p class="n">MART&Iacute;N</p>
+
+<p>Servir &aacute; 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">MART&Iacute;N</p>
+
+<p>
+Habl&eacute; con la tal Leonor,<br />
+Como si fuera en mi empleo,<br />
+Estando en larga oraci&oacute;n<br />
+La ret&oacute;rica lacaya,<br />
+Y ella, &aacute; manera de maya, <a name="line_435" id="line_435"></a><a href="#note_413"><span class="linenum">435</span></a><br />
+Serena toda facci&oacute;n.<br />
+D&iacute;jela que me ten&iacute;a<br />
+Sin alma Leonor la bella;<br />
+Que hac&iacute;a un mes que la huella<br />
+De sus chinelas segu&iacute;a; <a name="line_440" id="line_440"></a><a href="#note_441"><span class="linenum">440</span></a><br />
+Y que bailando en el r&iacute;o<br />
+De la casta&ntilde;eta al son,<br />
+Me entr&oacute; por el coraz&oacute;n<br />
+Y por toda el alma el br&iacute;o.<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 />
+Pregunt&eacute; la condici&oacute;n<br />
+De su ama, y la raz&oacute;n<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 ten&iacute;a su honor,<br />
+Desde que enviud&oacute;, 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 d&iacute;jome que hab&iacute;a estado<br />
+S&oacute;lo 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, muri&oacute;.<br />
+</p>
+
+<p class="n">CONDE</p>
+
+<p>
+No envidio la muerte yo,<br />
+La causa s&iacute;.<br />
+</p>
+
+<p class="n">DON JUAN</p>
+
+<p class="indstart">
+Necio ha sido,<br />
+Pues tanto tiempo ten&iacute;a. <a name="line_465" id="line_465"></a><a href="#note_441"><span class="linenum">465</span></a><br />
+</p>
+
+<p class="n">MART&Iacute;N</p>
+
+<p>
+Poca edad y mucho amor,<br />
+Toda la vida, Se&ntilde;or,<br />
+Remiten &aacute; solo un d&iacute;a.<br />
+</p>
+
+<p class="n">CONDE</p>
+
+<p>
+&iquest;C&oacute;mo trae tan peque&ntilde;as<br />
+Tocas?<br />
+</p>
+
+<p class="n">DON JUAN</p>
+
+<p class="indstart">M&aacute;s hermosa est&aacute;. <a name="line_470" id="line_470"></a><a href="#note_441"><span class="linenum">470</span></a></p>
+
+<p class="n">MART&Iacute;N</p>
+
+<p>
+Porque las largas son ya<br />
+Para beatas y due&ntilde;as.<br />
+Y las cortas en la corte<br />
+No se traen sin ocasi&oacute;n.<br />
+</p>
+
+<p class="n">CONDE</p>
+
+<p>
+&iquest;Qu&eacute; ocasi&oacute;n dar&aacute; raz&oacute;n <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">MART&Iacute;N</p>
+
+<p>
+Muri&oacute;sele &aacute; una casada<br />
+Su marido, y no qued&oacute;<br />
+Muy triste, pues le envolvi&oacute;,<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 />
+Sali&oacute; 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 &aacute; su aposento<br />
+Se traslad&oacute; aquella noche,<br />
+Y d&iacute;jole: &laquo;&iexcl;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 />
+&iquest;No mereci&oacute; mi persona<br />
+Una s&aacute;bana m&aacute;s blanda?&raquo;<br />
+Esto diciendo, el difunto<br />
+En las tocas se envolvi&oacute;,<br />
+Y el anjeo le dej&oacute;: <a name="line_495" id="line_495"></a><a href="#note_485"><span class="linenum">495</span></a><br />
+Ocasi&oacute;n desde aquel punto<br />
+Con que sin tocas las veo;<br />
+Y cuerdo temor ha sido,<br />
+Porque no vuelva el marido<br />
+&Aacute; 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 obligaci&oacute;n disimulas.<br />
+</p>
+
+<p class="n">MART&Iacute;N</p>
+
+<p>
+Se&ntilde;or, en due&ntilde;as y en mulas<br />
+Est&aacute;n 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">MART&Iacute;N</p>
+
+<p>
+Una viuda con un manto<br />
+Es obispo con roquete.<br />
+Fuera de esto, aquel estar<br />
+Siempre en una misma acci&oacute;n <a name="line_510" id="line_510"></a><a href="#note_485"><span class="linenum">510</span></a><br />
+No mueve la inclinaci&oacute;n<br />
+Que el traje suele obligar.<br />
+Ver siempre de una manera<br />
+&Aacute; una mujer es cansarse.<br />
+</p>
+
+<p class="n">CONDE</p>
+
+<p>Pues &iquest;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">MART&Iacute;N</p>
+
+<p>
+Pues &iquest;no se muda y altera,<br />
+Mudando el traje, el semblante?<br />
+</p>
+
+<p class="n">DON JUAN</p>
+
+<p>
+Conde, Mart&iacute;n dice bien;<br />
+Porque el var&iuml;ar tan bien<br />
+Da novedad &aacute; 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">MART&Iacute;N</p>
+
+<p>
+De mi condici&oacute;n advierte<br />
+Que me pudren las pinturas,<br />
+Porque siempre las figuras<br />
+Est&aacute;n de una misma suerte.<br />
+&iquest;Qu&eacute; 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 tapicer&iacute;a<br />
+&Aacute; un hombre, que en todo un d&iacute;a<br />
+No ha dado una cuchillada?<br />
+Qu&eacute; es ver &aacute; 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 />
+&Aacute; defender ni &aacute; 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 />
+&iquest;Es conversable, Mart&iacute;n? <a name="line_535" id="line_535"></a><a href="#note_529"><span class="linenum">535</span></a><br />
+</p>
+
+<p class="n">MART&Iacute;N</p>
+
+<p>
+No me quit&oacute; la esperanza,<br />
+Si entr&aacute;is con alg&uacute;n enredo;<br />
+Que dice que da lugar<br />
+Que la puedan visitar.<br />
+</p>
+
+<p class="n">CONDE</p>
+
+<p>Yo le buscar&eacute;, 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 />
+F&aacute;cil 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 &aacute; perder.</p>
+
+<p class="n">CONDE</p>
+
+<p>No puedo estar m&aacute;s 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 do&ntilde;a Ana</i>.</p>
+
+
+<p class="c"><span class="smcap">El Conde</span>, <span class="smcap">Don Juan</span>, <span class="smcap">Mart&iacute;n</span>; <i>y luego</i>, <span class="smcap">Do&ntilde;a 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">MART&Iacute;N</p>
+
+<p>
+Ya te ha visto: &aacute; 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>
+&iquest;Hay jazm&iacute;n, rosa y cristal<br />
+Que &aacute; la viudilla se iguale?<br />
+<br />
+(<i>Salen do&ntilde;a Ana, de viuda, Leonor y Juana.</i>)<br />
+</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p>
+Novedad me ha parecido;<br />
+Vuese&ntilde;or&iacute;a 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">DO&Ntilde;A ANA</p>
+
+<p>Leonor, sillas.</p>
+
+<p class="n">MART&Iacute;N (<i>ap. &aacute; don Juan</i>)</p>
+
+<p>
+No va mal,<br />
+Pues piden sillas.<br />
+</p>
+
+<p class="n">DON JUAN</p>
+
+<p class="indstart">
+Mart&iacute;n,<br />
+La viudilla es seraf&iacute;n<br />
+De perlas y de coral.<br />
+</p>
+
+<p class="n">MART&Iacute;N</p>
+
+<p>&iquest;Agr&aacute;date &aacute; ti tambi&eacute;n? <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>
+&Aacute; esa pregunta responde<br />
+Que est&aacute; enamorado el Conde,<br />
+Y yo no.<br />
+</p>
+
+<p class="n">MART&Iacute;N</p>
+
+<p class="indstart">Dices muy bien.</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p>&iquest;Qui&eacute;n es este caballero?</p>
+
+<p class="n">CONDE</p>
+
+<p>Mi primo don Juan.</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p class="indstart">
+Se&ntilde;or, <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">DO&Ntilde;A ANA</p>
+
+<p>
+Vos no pod&eacute;is estorbar,<br />
+Ni aqu&iacute; tendr&eacute;is ocasi&oacute;n.<br />
+</p>
+
+<p class="n">DON JUAN</p>
+
+<p>No lo mand&eacute;is.</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p class="indstart">Es raz&oacute;n. <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">DO&Ntilde;A ANA</p>
+
+<p>Ahora bien, yo no porf&iacute;o.</p>
+
+<p class="n">DON JUAN</p>
+
+<p>Dec&iacute;sme que necio soy.</p>
+
+<p class="n">CONDE</p>
+
+<p>Oidme.</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p>Oy&eacute;ndoos estoy.</p>
+
+<p class="n">DON JUAN</p>
+
+<p>Por lo mismo me desv&iacute;o. <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>
+Se&ntilde;ora, aunque os he mirado<br />
+Mil veces sin conoceros,<br />
+Antes que viniera &aacute; 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 />
+&Aacute; 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 />
+&Oacute; &aacute; lo menos que dispierta<br />
+El gusto &aacute; los jugadores.<br />
+Perdi&oacute;, pic&oacute;se, sac&oacute;<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 perdi&oacute;.<br />
+Mas vamos &aacute; lo que importa.<br />
+</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p>
+Esas sortijas ech&eacute;<br />
+Menos: pesadumbre fu&eacute;<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 &aacute; sospechar<br />
+Que &aacute; alguna dama las di&oacute;.<br />
+</p>
+
+<p class="n">DON JUAN (<i>ap. &aacute; Mart&iacute;n</i>)</p>
+
+<p>Bien la mentira sali&oacute;.</p>
+
+<p class="n">MART&Iacute;N</p>
+
+<p>
+&iquest;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">MART&Iacute;N</p>
+
+<p>
+&Aacute; 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>
+As&iacute; se vino &aacute; encender<br />
+Con esta p&eacute;rdida el juego,<br />
+Que perdi&oacute; 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">DO&Ntilde;A ANA</p>
+
+<p>
+M&aacute;s enredos y cuidados<br />
+Que d&iacute;as vivi&oacute; conmigo<br />
+Don Sebasti&aacute;n me dej&oacute;.<br />
+&iquest;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">MART&Iacute;N</p>
+
+<p>
+Al firmarla estuve all&iacute;<br />
+Tan presente como aqu&iacute;.<br />
+</p>
+
+<p class="n">DON JUAN (<i>ap. &aacute; Mart&iacute;n</i>)</p>
+
+<p>&iexcl;Con qu&eacute; desverg&uuml;enza mientes!</p>
+
+<p class="n">MART&Iacute;N</p>
+
+<p>
+&iexcl;Qu&eacute; 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, se&ntilde;or don Juan,<br />
+Descarado &aacute; lo truh&aacute;n,<br />
+Y libre &aacute; lo historiador.<br />
+</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p>
+Pens&eacute; que vuese&ntilde;or&iacute;a<br />
+Me ven&iacute;a 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 &eacute;sa fu&eacute; la intenci&oacute;n m&iacute;a.<br />
+No os d&eacute; pena la escritura,<br />
+Puesto que fu&eacute; 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">MART&Iacute;N (<i>ap. &aacute; don Juan</i>)</p>
+
+<p>
+&iquest;Hay oficial de escritorios<br />
+Que encaje el marfil ans&iacute;?<br />
+</p>
+
+<p class="n">DON JUAN</p>
+
+<p>
+En amando, para m&iacute;<br />
+Son los enga&ntilde;os notorios. <a name="line_640" id="line_640"></a><a href="#note_638"><span class="linenum">640</span></a><br />
+</p>
+
+<p class="n">MART&Iacute;N</p>
+
+<p>&iquest;Amor se funda en enga&ntilde;os?</p>
+
+<p class="n">DON JUAN</p>
+
+<p>
+Primero que el amor fueron;<br />
+Pues desde que ellos nacieron,<br />
+El mundo cuenta sus da&ntilde;os.<br />
+</p>
+
+<p class="n">CONDE</p>
+
+<p>
+Si yo, Se&ntilde;ora, 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 &aacute; 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 />
+S&oacute;lo os suplico me deis<br />
+Licencia de visitaros,<br />
+Si fuere parte &aacute; obligaros <a name="line_655" id="line_655"></a><a href="#note_655"><span class="linenum">655</span></a><br />
+Confesar que me deb&eacute;is,<br />
+No dineros, sino amor.<br />
+</p>
+
+<p class="n">DO&Ntilde;A 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>B&eacute;soos las manos.</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p class="indstart">
+El cielo<br />
+Os guarde.<br />
+</p>
+
+<p class="n">CONDE</p>
+
+<p class="indstart">&iquest;Vendr&eacute;?</p>
+
+<p class="n">DO&Ntilde;A 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">Do&ntilde;a Ana</span>, <span class="smcap">Don Juan</span>, <span class="smcap">Leonor</span>, <span class="smcap">Juana</span>, <span class="smcap">Mart&iacute;n</span></p>
+
+<div class="d">
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p>&iexcl;Ah, se&ntilde;or don Juan! Oid.</p>
+
+<p class="n">MART&Iacute;N (<i>ap.</i>)</p>
+
+<p>Cay&oacute; el pez en el anzuelo.</p>
+
+<p class="n">DON JUAN</p>
+
+<p>&iquest;En qu&eacute; os sirvo?</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p class="indstart">
+Bien s&eacute; 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 s&eacute; que el Conde os mira;<br />
+Esto de la deuda no.<br />
+</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p>
+&iexcl;Mala entrada de gal&aacute;n,<br />
+Entrar mintiendo!<br />
+</p>
+
+<p class="n">DON JUAN</p>
+
+<p class="indstart">
+Se&ntilde;ora, <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">DO&Ntilde;A ANA</p>
+
+<p>
+Id con Dios, se&ntilde;or don Juan;<br />
+Que yerra el Conde en traeros.<br />
+</p>
+
+<p class="n">DON JUAN</p>
+
+<p>&iquest;Desacred&iacute;tole yo?</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p>
+Cuando el Conde me mir&oacute;, <a name="line_675" id="line_675"></a><a href="#note_666"><span class="linenum">675</span></a><br />
+Me di&oacute; ocasi&oacute;n de quereros.<br />
+</p>
+
+<p class="n">DON JUAN</p>
+
+<p>
+Aunque deudos, nos preciamos<br />
+Mucho m&aacute;s 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 />
+Se&ntilde;ora, que lo quer&aacute;is.<br />
+</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p>
+Lo que por &eacute;l negoci&aacute;is,<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">DO&Ntilde;A ANA</p>
+
+<p>Si vuelve con vos, ya tarda.</p>
+
+<p class="n">DON JUAN</p>
+
+<p>
+Tanto favor da &aacute; entender<br />
+Que por &eacute;l quer&eacute;is honrarme. <a name="line_690" id="line_690"></a><a href="#note_666"><span class="linenum">690</span></a><br />
+</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p>
+Por vos quiero yo obligarme<br />
+Para que me vuelva &aacute; ver.<br />
+</p>
+
+<p class="n">DON JUAN</p>
+
+<p>Todo se lo digo ans&iacute;.</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p>Yo os tengo por m&aacute;s discreto.</p>
+
+<p class="n">DON JUAN</p>
+
+<p>&iquest;Volver&aacute; 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">DO&Ntilde;A ANA</p>
+
+<p>
+No sin vos, y con vos s&iacute;.<br />
+<br />
+<span style="margin-left: 18%;">(<i>Vanse don Juan y Mart&iacute;n.</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">Do&ntilde;a 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">DO&Ntilde;A ANA</p>
+
+<p>
+Cuando &eacute;l 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 &aacute; querer.<br />
+</p>
+
+<p class="n">DO&Ntilde;A ANA (<i>para s&iacute;</i>)</p>
+
+<p>
+Necio pensamiento m&iacute;o, <a name="line_705" id="line_705"></a><a href="#note_666"><span class="linenum">705</span></a><br />
+Que en tal locura hab&eacute;is dado,<br />
+Volved atr&aacute;s, afrentado<br />
+De ver tan necio desv&iacute;o.<br />
+Yo, que de tantos me r&iacute;o,<br />
+&iexcl;Ruego, pretendo, provoco! <a name="line_710" id="line_710"></a><a href="#note_666"><span class="linenum">710</span></a><br />
+Pensamiento, poco &aacute; 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 m&aacute;s recatado<br />
+De mirar y de entender;<br />
+Mas, ya que ha venido &aacute; ser<br />
+Provocado &aacute; desaf&iacute;o, <a name="line_720" id="line_720"></a><a href="#note_714"><span class="linenum">720</span></a><br />
+Responde tan necio y fr&iacute;o,<br />
+Que me pide que &aacute; otro quiera:<br />
+Mirad &iexcl;qui&eacute;n tal os dijera,<br />
+Triste pensamiento m&iacute;o!<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 &aacute; vos;<br />
+Mas teng&aacute;mosla 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 &aacute; sospechar<br />
+Lo que imagin&oacute; del ver;<br />
+Porque no hubiera querer<br />
+Si no hubiera imaginar.<br />
+Que no quer&aacute;is 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 &aacute; 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 />
+Gu&aacute;rdese 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 mes&oacute;n de Adamuz.</p>
+
+<p class="c"><span class="smcap">Un Indiano</span>, <i>y</i> <span class="smcap">un Mozo de Mulas</span>; <i>despu&eacute;s</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 refr&aacute;n:<br />
+&laquo;Adamuz, pueblo sin luz.&raquo;<br />
+Mas mira que desde aqu&iacute;<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>
+T&uacute; las jornadas ordena;<br />
+Eso no corre por m&iacute;.<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, hu&eacute;sped, &iquest;qu&eacute; hay que comer?</p>
+
+<p class="n">MESONERO</p>
+
+<p>
+Desde hoy &aacute; 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 perdig&oacute;n,<br />
+De que estoy desesperado.<br />
+</p>
+
+<p class="n">INDIANO</p>
+
+<p>Para m&iacute; basta.</p>
+
+<p class="n">MESONERO</p>
+
+<p>
+Ha llegado<br />
+&Aacute; hurtaros la bendici&oacute;n <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 />
+&iquest;Viene sola?<br />
+</p>
+
+<p class="n">MESONERO</p>
+
+<p class="indstart">Sola viene.</p>
+
+<p class="n">INDIANO</p>
+
+<p>&iexcl;Sola! &iquest;De qu&eacute; 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 br&iacute;o gallarda;<br />
+Porque en un roc&iacute;n de albarda<br />
+(El t&eacute;rmino perdonad)<br />
+Como un soldado ven&iacute;a.<br />
+Ella propria se ape&oacute;, <a name="line_770" id="line_770"></a><a href="#note_770"><span class="linenum">770</span></a><br />
+Le at&oacute; y de comer le di&oacute;<br />
+Con despejo y bizarr&iacute;a.<br />
+Volv&iacute;la &aacute; mirar y v&iacute;<br />
+Que un arcabuz arrimaba.<br />
+</p>
+
+<p class="n">INDIANO</p>
+
+<p>&iquest;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 m&iacute;<br />
+Que m&aacute;s su cara temiera<br />
+Que su arcabuz.<br />
+</p>
+
+<p class="n">INDIANO</p>
+
+<p class="indstart">
+&iquest;Hab&eacute;is sido<br />
+Gal&aacute;n?<br />
+</p>
+
+<p class="n">MESONERO</p>
+
+<p>
+Bien me han parecido.<br />
+Ya pas&oacute; 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 est&iacute;o:<br />
+As&iacute; los a&ntilde;os se van.<br />
+</p>
+
+<p class="n">INDIANO</p>
+
+<p>&iquest;Qu&eacute; traje trae?</p>
+
+<p class="n">MESONERO</p>
+
+<p class="indstart">
+Un gab&aacute;n<br />
+Que cubre el traje, no el br&iacute;o;<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, Se&ntilde;or,<br />
+De buena suerte y afable,<br />
+Menos aquel arcabuz.<br />
+</p>
+
+<p class="n">INDIANO</p>
+
+<p>&iquest;Es &eacute;sta?</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">Do&ntilde;a Mar&iacute;a</span>, <i>con sombrero, gab&aacute;n y un arcabuz</i>.&mdash;<span class="smcap">Dichos</span></p>
+
+<div class="d">
+<p class="n">DO&Ntilde;A MAR&Iacute;A (<i>ap.</i>)</p>
+
+<p>
+Temerosa voy, despu&eacute;s<br />
+Que he entrado por Adamuz,<br />
+Por ser camino real,<br />
+&Aacute; que nunca me atrev&iacute;;<br />
+Si bien desde que sal&iacute;, <a name="line_795" id="line_795"></a><a href="#note_793"><span class="linenum">795</span></a><br />
+Ha sido el &aacute;nimo igual<br />
+Al peligro que he tenido.<br />
+&iexcl;Ay, padre, y cu&aacute;nto 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 ocasi&oacute;n;<br />
+Mas &iexcl;ay! que tus a&ntilde;os 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, Se&ntilde;or,<br />
+Aunque no para tu honor<br />
+M&aacute;s que mis manos hicieran.<br />
+Yo cumpl&iacute; su obligaci&oacute;n;<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 &oacute; mi prisi&oacute;n.<br />
+Al fin, bien est&aacute; lo hecho.<br />
+&iquest;De qu&eacute; me lamento en vano?<br />
+&iexcl;Traidor don Diego! &iexcl;&Aacute; 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 />
+As&iacute; para quien se atreve<br />
+&Aacute; las edades ancianas;<br />
+Que es atreverse &aacute; 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 />
+&Aacute; un Holofernes gigante<br />
+Una Judit valerosa.<br />
+</p>
+
+<p class="n">INDIANO (<i>&aacute; do&ntilde;a Mar&iacute;a</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 &aacute; los que pasan<br />
+Para entretener las horas,<br />
+Que por ellos son tan largas,<br />
+&Aacute; 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 />
+&Oacute; por ventura ten&eacute;is<br />
+Cerca de aqu&iacute; vuestra casa.<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>No soy, Se&ntilde;or, desta tierra.</p>
+
+<p class="n">INDIANO</p>
+
+<p>
+Como os v&iacute; sola, pensaba<br />
+Que &eacute;rades de alguna aldea <a name="line_835" id="line_835"></a><a href="#note_835"><span class="linenum">835</span></a><br />
+De aquesta f&eacute;rtil comarca.<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+No, Se&ntilde;or; que yo nac&iacute;<br />
+De esa parte de Granada,<br />
+Y &aacute; 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 &aacute; los pobres,<br />
+No tienen otra esperanza.<br />
+No se cans&oacute; mi fortuna,<br />
+Pues cuando contenta estaba<br />
+Del buen due&ntilde;o que ten&iacute;a, <a name="line_845" id="line_845"></a><a href="#note_838"><span class="linenum">845</span></a><br />
+Persona de &oacute;rdenes sacras,<br />
+Le llev&oacute; tambi&eacute;n la muerte,<br />
+Que para mayor mudanza<br />
+Me di&oacute; ocasi&oacute;n, como veis.<br />
+</p>
+
+<p class="n">INDIANO</p>
+
+<p>Y &iquest;d&oacute;nde vais?</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</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, &aacute; quien ya faltaba<br />
+Due&ntilde;o, con alg&uacute;n 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 />
+Naci&oacute; con mi condici&oacute;n,<br />
+Determin&eacute; de dar traza<br />
+De ir &aacute; servir &aacute; 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 ten&iacute;a<br />
+El buen cura (que Dios haya)<br />
+Para su regalo y gusto,<br />
+Arcabuz, roc&iacute;n de caza<br />
+Y este gab&aacute;n, tom&eacute; 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 &eacute;ste.<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p class="indstart">
+Dec&iacute;s 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 C&oacute;rdoba un deudo m&iacute;o.<br />
+</p>
+
+<p class="n">INDIANO</p>
+
+<p>
+&iexcl;Determinaci&oacute;n extra&ntilde;a<br />
+De una mujer!<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p class="indstart">Soy mujer.</p>
+
+<p class="n">INDIANO</p>
+
+<p>
+Dec&iacute;s muy bien, eso basta.<br />
+Yo voy tambi&eacute;n &aacute; Madrid: <a name="line_875" id="line_875"></a><a href="#note_876"><span class="linenum">875</span></a><br />
+Traigo jornada m&aacute;s larga,<br />
+Porque vengo de las Indias;<br />
+Que pocas veces descansa<br />
+El &aacute;nimo 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 all&aacute; hab&eacute;is de servir,<br />
+Porque me dicen que tarda<br />
+El premio &aacute; las pretensiones<br />
+Que la ocupaci&oacute;n 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 &aacute; m&iacute;.<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</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 excusar&eacute; de muchas.<br />
+</p>
+
+<p class="n">MOZO (<i>&aacute;p.</i>)</p>
+
+<p>Convertirse quiere en ama.</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>No habr&aacute; cosa que no sepa.</p>
+
+<p class="n">MOZO</p>
+
+<p>
+Y yo salgo &aacute; 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 />
+In&uacute;tilmente la hacienda,<br />
+Y yo querr&iacute;a 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">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+La familia es excusada<br />
+Donde hay tanta confusi&oacute;n,<br />
+Pues no se repara en nada.<br />
+Yo sola basto &aacute; serviros: <a name="line_905" id="line_905"></a><a href="#note_882"><span class="linenum">905</span></a><br />
+No habr&aacute; 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 m&iacute; 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">DO&Ntilde;A MAR&Iacute;A (<i>&aacute;p.</i>)</p>
+
+<p>
+&iexcl;Ay fortuna! &iquest;d&oacute;nde llevas<br />
+Una mujer desdichada?<br />
+Pero no fueras fortuna,<br />
+&Aacute; 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 do&ntilde;a 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>
+&iquest;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 Amad&iacute;s, en Beltenebros?<br />
+No he visto tales aceros.<br />
+</p>
+
+<p class="n">DON JUAN</p>
+
+<p>
+Conde, no hab&eacute;is 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>
+&Aacute; los principios me estoy<br />
+&Aacute; el cabo de tres semanas.<br />
+&iquest;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 am&aacute;is.<br />
+</p>
+
+<p class="n">CONDE</p>
+
+<p>
+&iexcl;Ay, ojos, celos me dais,<br />
+Aunque celos invisibles!<br />
+Qu&eacute;jase de amor do&ntilde;a Ana, <a name="line_935" id="line_935"></a><a href="#note_920"><span class="linenum">935</span></a><br />
+Y &aacute; m&iacute; no me tiene amor:<br />
+Esto es celos en rigor.<br />
+</p>
+
+<p class="n">DON JUAN</p>
+
+<p>&iquest;Por qu&eacute;, si es sospecha vana?</p>
+
+<p class="n">CONDE</p>
+
+<p>
+Es celos lo que imagino;<br />
+Que no es celos lo que s&eacute;: <a name="line_940" id="line_940"></a><a href="#note_920"><span class="linenum">940</span></a><br />
+Cosa que pienso que fu&eacute;,<br />
+Y que en mi da&ntilde;o adivino.<br />
+</p>
+
+</div>
+
+<h3 class="top15"><a name="ESCENA_II2" id="ESCENA_II2"></a>ESCENA II</h3>
+
+<p class="c"><span class="smcap">Mart&iacute;n</span>.&mdash;<span class="smcap">Dichos</span></p>
+
+<div class="d">
+
+<p class="n">MART&Iacute;N</p>
+
+<p>
+Por poco tuviera calma<br />
+La nave de tu deseo.<br />
+Entro, y &aacute; do&ntilde;a 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 />
+&iquest;C&oacute;mo te podr&eacute; pintar<br />
+De la suerte que la v&iacute;?<br />
+Cultas musas, dadme aqu&iacute;<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 />
+&Oacute; 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 />
+&Aacute; esta coluna de nieve,<br />
+Agentado azul, pie breve,<br />
+Que de tres puntos no pasa.<br />
+</p>
+
+<p class="n">CONDE</p>
+
+<p>&iquest;Tres puntos? Necio, repara...</p>
+
+<p class="n">MART&Iacute;N</p>
+
+<p>
+Pues lo digo, yo lo s&eacute;: <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>&iquest;C&oacute;mo lo viste?</p>
+
+<p class="n">MART&Iacute;N</p>
+
+<p class="indstart">
+Un manteo<br />
+Esta licencia me di&oacute;,<br />
+Donde cuanto supo obr&oacute; <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 pidi&oacute; los chapines<br />
+Porque mirarla me vi&oacute;,<br />
+Y entre las cintas meti&oacute;<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 presum&iacute;,<br />
+Seg&uacute;n anda el algod&oacute;n.<br />
+</p>
+
+<p class="n">MART&Iacute;N</p>
+
+<p>
+&Eacute;sos paragambas son;<br />
+Que &aacute; cierta dama que v&iacute;<br />
+Con ca&ntilde;af&iacute;stolas 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 gal&aacute;n con ellas<br />
+Por drogas medicinales,<br />
+Pregunt&eacute; 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 pre&ntilde;adas.<br />
+Y con risue&ntilde;o semblante<br />
+Me dijo: &laquo;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.&raquo;<br />
+</p>
+
+<p class="n">CONDE</p>
+
+<p>&iexcl;Linda disculpa!</p>
+
+<p class="n">DON JUAN</p>
+
+<p class="indstart">Extremada.</p>
+
+<p class="n">MART&Iacute;N</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 quer&iacute;a<br />
+Salir, por no verte ans&iacute;;<br />
+Pero como yo la v&iacute;<br />
+Que para ti se vest&iacute;a,<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 tr&aacute;jico embajador,<br />
+Porfi&eacute;, y saldr&aacute;, Se&ntilde;or,<br />
+Si la haces pleito homenaje<br />
+De sola conversaci&oacute;n,<br />
+Como qued&oacute; 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>
+&iexcl;Qu&eacute; ejercicio tan cansado<br />
+Para mi loca afici&oacute;n!<br />
+</p>
+
+<p class="n">DON JUAN</p>
+
+<p>
+M&uacute;sica 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 enga&ntilde;aron.<br />
+</p>
+</div>
+
+
+<h3 class="top15"><a name="ESCENA_III2" id="ESCENA_III2"></a>ESCENA III</h3>
+
+<p class="c"><span class="smcap">Do&ntilde;a Ana</span>, <i>en h&aacute;bito gal&aacute;n</i>; <span class="smcap">Juana</span>, <span class="smcap">M&uacute;sicos</span>.&mdash;<span class="smcap">Dichos</span></p>
+
+<div class="d">
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p>
+No dir&aacute; vuese&ntilde;or&iacute;a<br />
+Que no le f&iacute;an el talle.<br />
+</p>
+
+<p class="n">CONDE</p>
+
+<p>
+Quien tan bien puede fialle,<br />
+Agravio &aacute; los dos har&iacute;a: <a name="line_1010" id="line_1010"></a><a href="#note_1009"><span class="linenum">1010</span></a><br />
+&Aacute; vos por seguridad,<br />
+Y &aacute; m&iacute; por justo deseo.<br />
+&iexcl;Gracias &aacute; amor, que en vos veo<br />
+Se&ntilde;as de m&aacute;s amistad!<br />
+</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p>
+Si&eacute;ntese vuese&ntilde;or&iacute;a; <a name="line_1015" id="line_1015"></a><a href="#note_1009"><span class="linenum">1015</span></a><br />
+Que no le quiero gal&aacute;n<br />
+Esta noche, que nos dan<br />
+La m&uacute;sica y la poes&iacute;a<br />
+Los sugetos que han de hacer<br />
+Un rato conversaci&oacute;n. <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 imaginaci&oacute;n<br />
+Que no quiere m&aacute;s de ver.<br />
+</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p>
+Se&ntilde;or don Juan, &iquest;no os sent&aacute;is?&mdash;<br />
+&iexcl;Qu&eacute; esquivo primo ten&eacute;is! (<i>Al Conde.</i>)<br />
+</p>
+
+<p class="n">DON JUAN</p>
+
+<p>
+La culpa que me pon&eacute;is, <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">DO&Ntilde;A 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>M&Uacute;SICOS. (<i>Cantan.</i>)</p>
+
+<p>
+<i>&iquest;De qu&eacute; sirve, ojos serenos,<br />
+Que no me mir&eacute;is jam&aacute;s?<br />
+De que yo padezca m&aacute;s,<br />
+Y no de que os quiera menos.</i><br />
+</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p>
+No me agrada que &aacute; 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">
+&iquest;Por qu&eacute;,<br />
+Si el cielo, cuando se ve<br />
+Libre de azules enojos,<br />
+Se llama as&iacute;?<br />
+</p>
+
+<p class="n">DO&Ntilde;A 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 &aacute; cuantos los miran llama,<br />
+Y si al cielo en su azul velo<br />
+La serenidad cuadr&oacute;,<br />
+&Aacute; el sol y &aacute; 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 &eacute;stos siempre se mueven.<br />
+</p>
+
+<p class="n">CONDE</p>
+
+<p>
+Perdonad &aacute; la canci&oacute;n<br />
+No ser de vuestra opini&oacute;n:<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>
+D&iacute;ganse &aacute; varios sugetos,<br />
+Como qued&oacute; concertado.<br />
+</p>
+
+<p class="n">DO&Ntilde;A 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">DO&Ntilde;A ANA</p>
+
+<p class="ind">
+No por vida m&iacute;a; <a name="line_1055" id="line_1055"></a><a href="#note_1052"><span class="linenum">1055</span></a><br />
+Escritos me los dar&eacute;is.<br />
+</p>
+
+<p class="n">CONDE</p>
+
+<p>No sea, pues no quer&eacute;is.</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p>
+Emplead vuestra poes&iacute;a<br />
+Adonde m&aacute;s 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 &aacute; la venida<br />
+Del ingl&eacute;s &aacute; C&aacute;diz.<br />
+</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p class="indstart">Vaya.</p>
+
+<p class="n">CONDE</p>
+
+<p>
+Atrevi&oacute;se el ingl&eacute;s, de enga&ntilde;o armado<br />
+Porque al le&oacute;n de Espa&ntilde;a vi&oacute; en el nido,<br />
+Las u&ntilde;as en el &aacute;mbar, 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 tus&oacute;n dorado.<br />
+<br />
+Con d&eacute;bil ca&ntilde;a, no con fresno herrado,<br />
+Vi&oacute; &aacute; Marte en forma de espa&ntilde;ol Cupido,<br />
+Volar y herir en el jinete, herido<br />
+Del acicate en p&uacute;rpura ba&ntilde;ado. <a name="line_1070" id="line_1070"></a><a href="#note_1066"><span class="linenum">1070</span></a><br />
+<br />
+Arm&oacute; cien naves y emprendi&oacute; la falda<br />
+De Espa&ntilde;a asir por las arenas solas<br />
+Del mar, cuyo cristal ci&ntilde;e esmeralda;<br />
+<br />
+Mas viendo en las colunas espa&ntilde;olas<br />
+La sombra del le&oacute;n, volvi&oacute; 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>&iexcl;Levant&oacute; la pluma el vuelo!</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p>&iexcl;Gran soneto &aacute; toda ley!</p>
+
+<p class="n">DON JUAN</p>
+
+<p>&iexcl;Qu&eacute; bien pinta &aacute; nuestro rey!</p>
+
+<p class="n">DO&Ntilde;A 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">MART&Iacute;N</p>
+
+<p>&iexcl;Gran soneto!</p>
+
+<p class="n">CONDE</p>
+
+<p>
+No le he dado,<br />
+Porque no estoy d&eacute;l contento.&mdash;<br />
+Decid vos.<br />
+</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p class="indstart">
+&iexcl;Qu&eacute; atrevimiento!<br />
+Donde vos hab&eacute;is 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">DO&Ntilde;A ANA</p>
+
+<p>&iquest;Mas qu&eacute; os ha de causar risa?</p>
+
+<p class="n">CONDE</p>
+
+<p>Hablad, divina poetisa.</p>
+
+<p class="n">MART&Iacute;N</p>
+
+<p>Silencio; que hablan las musas.</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p>
+Amaba Filis &aacute; quien no la amaba,<br />
+Y &aacute; quien la amaba ingrata aborrec&iacute;a; <a name="line_1090" id="line_1090"></a><a href="#note_1086"><span class="linenum">1090</span></a><br />
+Hablaba &aacute; quien jam&aacute;s la respond&iacute;a,<br />
+Sin responder jam&aacute;s &aacute; quien la hablaba.<br />
+<br />
+Segu&iacute;a &aacute; quien huyendo la dejaba,<br />
+Dejaba &aacute; quien amando la segu&iacute;a;<br />
+Por quien la despreciaba se perd&iacute;a, <a name="line_1095" id="line_1095"></a><a href="#note_1089"><span class="linenum">1095</span></a><br />
+Y &aacute; el perdido por ella despreciaba.<br />
+<br />
+Concierta, amor, si ya posible fuere,<br />
+Desigualdad que tu poder infama:<br />
+Muera quien vive, y vivir&aacute; quien muere.<br />
+<br />
+Da hielo &aacute; hielo, amor, y llama &aacute; llama, <a name="line_1100" id="line_1100"></a><a href="#note_1110"><span class="linenum">1100</span></a><br />
+Porque pueda querer &aacute; quien la quiere<br />
+&Oacute; pueda aborrecer &aacute; quien desama.<br />
+</p>
+
+<p class="n">CONDE</p>
+
+<p>
+Vos os pod&eacute;is alabar;<br />
+Que nadie puede, Se&ntilde;ora.<br />
+</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p>Hablar&aacute; 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>
+Dej&aacute;dmele imaginar.<br />
+<br />
+<span style="margin-left: 5%;">Una moza de c&aacute;ntaro y del r&iacute;o,</span><br />
+M&aacute;s limpia que la plata que en &eacute;l lleva,<br />
+Reci&eacute;n herrada de chinela nueva,<br />
+Honor del devantal, reina del br&iacute;o; <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 se&ntilde;or&iacute;o,</span><br />
+Que no hay tan gran Se&ntilde;or que se le atreva,<br />
+Pues donde lava, dice amor que nieva,<br />
+Es alma ilustre al pensamiento m&iacute;o.<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 />
+Vi&eacute;ndola henchir el c&aacute;ntaro, en despojos<br />
+Rend&iacute; la vida &aacute; el brazo trasparente;<br />
+<span style="margin-left: 5%;">Y, envidiosos del agua mis enojos,</span><br />
+Dije: &laquo;&iquest;Por qu&eacute; la coges de la fuente,<br />
+Si la tienes, m&aacute;s cerca, de mis ojos?&raquo; <a name="line_1120" id="line_1120"></a><a href="#note_1126"><span class="linenum">1120</span></a><br />
+</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p>&iexcl;Malos versos!</p>
+
+<p class="n">DON JUAN</p>
+
+<p class="indstart">No s&eacute; m&aacute;s.</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p>
+Un caballero discreto<br />
+&iquest;Escribe &aacute; tan vil sugeto?<br />
+No lo creyera jam&aacute;s.<br />
+</p>
+
+<p class="n">CONDE</p>
+
+<p>Tiene do&ntilde;a Ana raz&oacute;n. <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 hubi&eacute;rades visto el br&iacute;o<br />
+Del nuevo sugeto m&iacute;o,<br />
+La hermosura y discreci&oacute;n,<br />
+Dij&eacute;rades que ten&iacute;a<br />
+Tanta raz&oacute;n 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 merec&iacute;a.<br />
+</p>
+
+<p class="n">DO&Ntilde;A 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 />
+Est&aacute; 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 aqu&iacute;<br />
+Vive la hermosa Isabel,<br />
+Por quien el amor cruel<br />
+Hace estos lances en m&iacute;.<br />
+Sirve &aacute; un indiano, que viene <a name="line_1145" id="line_1145"></a><a href="#note_1145"><span class="linenum">1145</span></a><br />
+&Aacute; la corte &aacute; pretender.<br />
+No s&eacute; qu&eacute; puede querer<br />
+Quien tanta riqueza tiene.<br />
+</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p>&Aacute; tal sugeto &iexcl;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 c&aacute;ntaro ha sido,<br />
+Moza de c&aacute;ntaro fu&eacute;.<br />
+En &eacute;l este amor beb&iacute;,<br />
+Todo me abras&oacute; con &eacute;l;<br />
+Ella fu&eacute; Sirena, y &eacute;l <a name="line_1155" id="line_1155"></a><a href="#note_1145"><span class="linenum">1155</span></a><br />
+El mar en que me perd&iacute;.<br />
+Con &eacute;l veneno me ha dado,<br />
+Con &eacute;l me mat&oacute;.<br />
+</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p class="indstart">
+Si fuera<br />
+Mart&iacute;n 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 &iexcl;un caballero, un hombre<br />
+Como vos!...<br />
+</p>
+
+<p class="n">DON JUAN</p>
+
+<p class="indstart">
+No es elecci&oacute;n<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 ali&ntilde;osa,<br />
+Que no es tan limpia la rosa,<br />
+Por m&aacute;s que al alba lo est&eacute;.<br />
+Tiene un grave se&ntilde;or&iacute;o<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 br&iacute;o.<br />
+Finalmente, yo no v&iacute;<br />
+Dama que merezca amor<br />
+Con m&aacute;s fe, con m&aacute;s rigor. <a name="line_1175" id="line_1175"></a><a href="#note_1145"><span class="linenum">1175</span></a><br />
+</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p>
+Advertid que estoy yo aqu&iacute;,<br />
+Y toca en descortes&iacute;a<br />
+Tan necio encarecimiento.<br />
+</p>
+
+<p class="n">DON JUAN</p>
+
+<p>
+Yo he dicho mi pensamiento<br />
+Sin pensar que os ofend&iacute;a. <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 levant&eacute;is. &iquest;D&oacute;nde vais?</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p>Corrida me voy.</p>
+
+<p class="n">DON JUAN</p>
+
+<p class="indstart">&iquest;Por qu&eacute;?<br />
+Sin ofensa vuestra habl&eacute;.</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p>
+Si cosas bajas am&aacute;is,<br />
+No las igual&eacute;is conmigo. <a name="line_1185" id="line_1185"></a><a href="#note_1186"><span class="linenum">1185</span></a><br />
+<br />
+(<i>Vanse do&ntilde;a 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">Mart&iacute;n</span>; <i>despu&eacute;s</i>, <span class="smcap">Juana</span></p>
+
+<div class="d">
+
+<p class="n">CONDE</p>
+
+<p>&iexcl;Por Dios, que tiene raz&oacute;n!</p>
+
+<p class="n">MART&Iacute;N</p>
+
+<p>Ces&oacute; la conversaci&oacute;n.</p>
+
+<p class="n">DON JUAN</p>
+
+<p>&iexcl;Porque lo que siento digo!</p>
+
+<p class="n">CONDE</p>
+
+<p>
+Decir que no visteis dama<br />
+Como ella, &iquest;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>
+&iquest;Error?<br />
+<br />
+(<i>Sale Juana.</i>)<br />
+</p>
+
+<p class="n">JUANA</p>
+
+<p class="indstart">
+Conde, mi se&ntilde;or,<br />
+Entrad: mi se&ntilde;ora os llama.<br />
+</p>
+
+<p class="n">CONDE (<i>&aacute; don Juan</i>)</p>
+
+<p>
+Ella me quiere decir<br />
+Que no os traiga m&aacute;s 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 &aacute; el Conde que &aacute; verla fu&iacute;,<br />
+<span style="margin-left: 18%;">(<i>&Aacute; Mart&iacute;n.</i>)</span><br />
+&Eacute;sa que &aacute; do&ntilde;a Ana enfada.<br />
+</p>
+
+<p class="n">MART&Iacute;N</p>
+
+<p>T&uacute; &iquest;quieres lo que te agrada?</p>
+
+<p class="n">DON JUAN</p>
+
+<p>S&iacute;, Mart&iacute;n, mil veces s&iacute;. <a name="line_1200" id="line_1200"></a><a href="#note_1186"><span class="linenum">1200</span></a></p>
+
+<p class="n">MART&Iacute;N</p>
+
+<p>
+Pues qui&eacute;rela si la quieres;<br />
+Que tal vez agrada un prado<br />
+M&aacute;s que un jard&iacute;n 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">Do&ntilde;a Mar&iacute;a</span>, <i>en h&aacute;bito humilde y devantal</i>; <span class="smcap">El Indiano</span>, <i>sigui&eacute;ndola</i>.</p>
+
+<div class="d">
+<p class="n">DO&Ntilde;A MAR&Iacute;A</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 aqu&iacute;.)<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 ser&eacute; desde hoy<br />
+Importuno como fu&iacute;.<br />
+Desprecia en fin tu belleza<br />
+Y ese donaire apacible;<br />
+Que ya s&eacute; 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">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+Tiempos de mudanzas llenos,<br />
+Y de firmezas jam&aacute;s,<br />
+Que ya de menos &aacute; m&aacute;s,<br />
+Y ya vais de m&aacute;s &aacute; menos, <a name="line_1220" id="line_1220"></a><a href="#note_1186"><span class="linenum">1220</span></a><br />
+&iquest;C&oacute;mo en tan breve distancia,<br />
+Para tanto desconsuelo,<br />
+Hab&eacute;is humillado &aacute; el suelo<br />
+Mi soberbia y arrogancia?<br />
+El desprecio que ten&iacute;a <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 romp&iacute;a;<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 a&ntilde;os que me obligase;<br />
+Toda aquella bizarr&iacute;a<br />
+Que como sue&ntilde;o pas&oacute;,<br />
+&Aacute; tanta humildad lleg&oacute;, <a name="line_1235" id="line_1235"></a><a href="#note_1231"><span class="linenum">1235</span></a><br />
+Que por m&iacute; decir podr&iacute;a:<br />
+<i>Aprended, flores, de m&iacute;<br />
+Lo que va de ayer &aacute; hoy;<br />
+Que ayer maravilla fu&iacute;,<br />
+Y hoy sombra m&iacute;a 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 &aacute; la blanca aurora<br />
+Con tal belleza sal&iacute;s,<br />
+Que soberbias compet&iacute;s<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 v&iacute;,<br />
+Tan arrogante sal&iacute;;<br />
+Sucedi&oacute; la noche al d&iacute;a:<br />
+Mirad la desdicha m&iacute;a,<br />
+<i>Aprended, flores, de m&iacute;.</i> <a name="line_1250" id="line_1250"></a><a href="#note_1252"><span class="linenum">1250</span></a><br />
+Maravilla sol&iacute;a ser<br />
+De toda la Andaluc&iacute;a;<br />
+&Oacute; maravilla &oacute; Mar&iacute;a,<br />
+Ya no soy la que era ayer.<br />
+Flores, no os deis &aacute; entender <a name="line_1255" id="line_1255"></a><a href="#note_1252"><span class="linenum">1255</span></a><br />
+Que no ser&eacute;is lo que soy,<br />
+Pues hoy en estado estoy,<br />
+Que si en ayer me contemplo,<br />
+Conocer&eacute;is por mi ejemplo<br />
+<i>Lo que va de ayer &aacute; 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 p&uacute;rpura, ni &aacute; el dorado<br />
+La corona, ni al morado<br />
+Lirio el hilo de oro en &eacute;l;<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 carmes&iacute;,<br />
+Ni por el color turqu&iacute;,<br />
+B&aacute;rbara violeta, ignores<br />
+Tu fin, contemplando, flores,<br />
+<i>Que ayer maravilla fu&iacute;.</i> <a name="line_1270" id="line_1270"></a><a href="#note_1266"><span class="linenum">1270</span></a><br />
+De esta loca bizarr&iacute;a<br />
+Quedar&eacute;is desenga&ntilde;adas<br />
+Cuando con manos heladas<br />
+Os cierre la noche fr&iacute;a.<br />
+Maravilla ser sol&iacute;a; <a name="line_1275" id="line_1275"></a><a href="#note_1266"><span class="linenum">1275</span></a><br />
+Pero ya l&aacute;stima doy;<br />
+Que de extremo &aacute; extremo voy,<br />
+Y desde ser &aacute; no ser,<br />
+Pues sol me llamaba ayer,<br />
+<i>Y hoy sombra m&iacute;a 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>.&mdash;<span class="smcap">Do&ntilde;a Mar&iacute;a</span></p>
+
+<div class="d">
+
+<p class="n">DON JUAN</p>
+
+<p>
+Dicha he tenido, por Dios.&mdash;<br />
+Isabel, &iquest;ad&oacute;nde bueno?<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+&iquest;Ad&oacute;nde bueno, Isabel?<br />
+Adonde hallase un requiebro.<br />
+&iquest;Pens&aacute;is 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 &aacute; veces sospecho<br />
+Que finges lo que no entiendes.<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</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 &aacute; la fe que me admira<br />
+Que un caballero tan cuerdo<br />
+Y tan gal&aacute;n como vos<br />
+Humille sus pensamientos<br />
+&Aacute; una mujer como yo. <a name="line_1295" id="line_1295"></a><a href="#note_1291"><span class="linenum">1295</span></a><br />
+&iquest;Sois pobre?<br />
+</p>
+
+<p class="n">DON JUAN</p>
+
+<p class="indstart">
+Pues &iquest;&aacute; qu&eacute; efeto<br />
+Me preguntas si soy pobre?<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</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, &aacute; la cuenta<br />
+Del entendimiento vuestro,<br />
+Os costar&aacute; zapatillas,<br />
+Ligas, medias y un sombrero<br />
+Para el r&iacute;o 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 sol&iacute;a 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 />
+Casta&ntilde;etas, cintas, tocas;<br />
+Que para &uacute;ltimos empleos<br />
+De las damas, fondo en &aacute;ngel,<br />
+No hay plata en el alto cerro<br />
+Del Potos&iacute;, 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 />
+M&aacute;s pienso que os costar&iacute;an<br />
+Las randas de un telarejo<br />
+Que una legi&oacute;n 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">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+&iquest;Espejo y despejo? &iexcl;Bueno!<br />
+Ya con cuidado me habl&aacute;is, <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 ense&ntilde;ada<br />
+&Aacute; 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 />
+&laquo;V&eacute; por esto, vuelve presto,<br />
+Esto guisa, aquello deja,<br />
+&iquest;Limpiaste aquel ferreruelo?<br />
+V&eacute; por nieve, trae carb&oacute;n, <a name="line_1335" id="line_1335"></a><a href="#note_1324"><span class="linenum">1335</span></a><br />
+Esto est&aacute; sin sal, aquello<br />
+Sin agrio, llama &aacute; ese esclavo,<br />
+&Eacute;ste lava, y dame un lienzo,<br />
+&iquest;C&oacute;mo gastas tanta az&uacute;car?<br />
+Para madrugar me acuesto, <a name="line_1340" id="line_1340"></a><a href="#note_1341"><span class="linenum">1340</span></a><br />
+Despi&eacute;rtame de ma&ntilde;ana,<br />
+Pon la mesa, luego vuelvo;&raquo;<br />
+Y otras cosas de este porte<br />
+Me han quitado el sentimiento<br />
+De otras razones m&aacute;s 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 &iquest;qu&eacute; quer&eacute;is?<br />
+</p>
+
+<p class="n">DON JUAN</p>
+
+<p>Que me quieras en efeto.</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+&iexcl;Bien aforrada raz&oacute;n,<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 pens&aacute;is<br />
+Que &aacute; 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 &aacute;nima tengo blanca,<br />
+Aunque mal vestido el cuerpo.<br />
+Habladme como quien sois.<br />
+</p>
+
+<p class="n">DON JUAN</p>
+
+<p>
+Yo, Isabel, as&iacute; 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 &aacute; tu cara,<br />
+Vuelvo &aacute; 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 s&oacute;lo son por el fin<br />
+Todos los actos perfectos.<br />
+&iquest;Qu&eacute; dir&aacute;s deste lenguaje?<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+Que, aunque es el t&eacute;rmino honesto, <a name="line_1370" id="line_1370"></a><a href="#note_1349"><span class="linenum">1370</span></a><br />
+No me agrada la intenci&oacute;n<br />
+De la suerte que la entiendo.<br />
+Conmigo (&aacute; lo que imagino)<br />
+Tom&aacute;is la espada &aacute; lo diestro.<br />
+Tir&eacute;, desviasteis, hu&iacute;; <a name="line_1375" id="line_1375"></a><a href="#note_1349"><span class="linenum">1375</span></a><br />
+Y acometi&eacute;ndome al pecho,<br />
+Herida de conclusi&oacute;n<br />
+Form&oacute; vuestro pensamiento.<br />
+Pues no, mi se&ntilde;or, 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 guarnici&oacute;n,<br />
+Enga&ntilde;&eacute;is mi honesto celo.<br />
+Est&eacute;nse 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 m&iacute;a,<br />
+(&iquest;M&iacute;a dije? &iexcl;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 &aacute; mis verdades<br />
+El justo agradecimiento.<br />
+Pues yo te juro, Isabel,<br />
+Que por quererte, desprecio<br />
+La m&aacute;s 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 m&aacute;s estimo y precio<br />
+Un list&oacute;n 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 />
+M&aacute;s precio en tus blancas manos<br />
+Ver aquel c&aacute;ntaro puesto,<br />
+&Aacute; la fuente del Olvido<br />
+Pedirle cristal deshecho;<br />
+Y ver que &aacute; 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 &aacute; la que entra dentro;<br />
+Y ver c&oacute;mo se da prisa<br />
+El agua &aacute; 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 &aacute; tu casa,<br />
+En tus brazos &oacute; 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 />
+&Oacute; asoma por el estribo<br />
+Los rizos de los cabellos<br />
+En las u&ntilde;as de un descanso,<br />
+Que &aacute; tantos sirvi&oacute; 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: &laquo;&iexcl;Yo te quiero!&raquo;<br />
+Que tambi&eacute;n quiero yo el alma;<br />
+No todo el amor es cuerpo.<br />
+&iquest;Qu&eacute; respondes, ojos m&iacute;os? <a name="line_1425" id="line_1425"></a><a href="#note_1417"><span class="linenum">1425</span></a><br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+&Aacute; ojos m&iacute;os yo no puedo<br />
+Responder ninguna cosa,<br />
+Porque dec&iacute;s que son vuestros.<br />
+&Aacute; 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 as&iacute;, pues alma quer&eacute;is,<br />
+Digo (porque os vais con esto)<br />
+Que el primer hombre sois vos<br />
+&Aacute; quien amor agradezco.<br />
+</p>
+
+<p class="n">DON JUAN</p>
+
+<p>&iquest;No m&aacute;s, Isabel?</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+&iquest;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 desagrad&aacute;is.<br />
+</p>
+
+<p class="n">DON JUAN</p>
+
+<p>&iquest;No m&aacute;s, Isabel?</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p class="indstart">
+&iquest;Qu&eacute; es esto?<br />
+Cont&eacute;ntese, &oacute; quitar&eacute;le<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>
+&iquest;Podr&eacute; tomarte una mano?<br />
+Aunque por Dios que la temo,<br />
+Despu&eacute;s que la v&iacute; tan diestra<br />
+Esgrimir el blanco acero.<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+Pues vos no me conoc&eacute;is: <a name="line_1445" id="line_1445"></a><a href="#note_1439"><span class="linenum">1445</span></a><br />
+Por Dios que alg&uacute;n hombre he muerto<br />
+Aqu&iacute; donde me mir&aacute;is.<br />
+</p>
+
+<p class="n">DON JUAN</p>
+
+<p>Con los ojos, yo lo creo.</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>Idos; que viene mi amo.</p>
+
+<p class="n">DON JUAN</p>
+
+<p>&iquest;D&oacute;nde 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">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>En la fuente, &aacute; 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>.&mdash;<span class="smcap">Do&ntilde;a Mar&iacute;a</span></p>
+
+<div class="d">
+<p class="n">LEONOR</p>
+
+<p>Isabel...</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p class="indstart">Leonor amiga...</p>
+
+<p class="n">LEONOR</p>
+
+<p>&iquest;Con &eacute;ste hablabas?</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p class="indstart">&iquest;Pues bien?</p>
+
+<p class="n">LEONOR</p>
+
+<p>&iquest;Qu&eacute; se hizo tu desd&eacute;n? <a name="line_1455" id="line_1455"></a><a href="#note_1455"><span class="linenum">1455</span></a></p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+Un amor honesto obliga.<br />
+Y te aseguro de m&iacute;<br />
+Que es mucho tenelle amor.<br />
+</p>
+
+<p class="n">LEONOR</p>
+
+<p>
+Su talle, ingenio y valor<br />
+Habr&aacute;n 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">DO&Ntilde;A MAR&Iacute;A</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 &aacute; la tierra oprime,<br />
+El aire &aacute; el agua, y reprime<br />
+La fuerza del aire el fuego.<br />
+Mas como &eacute;l me quiere &aacute; m&iacute;<br />
+No m&aacute;s de para querer, <a name="line_1470" id="line_1470"></a><a href="#note_1460"><span class="linenum">1470</span></a><br />
+&iquest;Qu&eacute; pierdo en corresponder?<br />
+</p>
+
+<p class="n">LEONOR</p>
+
+<p>Mucho.</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p class="indstart">&iquest;C&oacute;mo?</p>
+
+<p class="n">LEONOR</p>
+
+<p class="indstart">Mucho.</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p class="indstart">Di.</p>
+
+<p class="n">LEONOR</p>
+
+<p>Adora mi ama en &eacute;l.</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>&iquest;Qui&eacute;n te lo ha dicho?</p>
+
+<p class="n">LEONOR</p>
+
+<p class="indstart">
+Yo y Juana<br />
+Lo vemos, y &aacute; 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 qu&eacute;date en dos.<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>&iquest;S&aacute;beslo bien?</p>
+
+<p class="n">LEONOR</p>
+
+<p class="indstart">S&iacute;, por Dios.</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</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 m&aacute;s m&iacute;nimo favor,<br />
+Sino por tenerle amor,<br />
+Que no es f&aacute;cil de olvidarse.<br />
+Necia fu&iacute; 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 m&iacute; estaba guardado.<br />
+</p>
+
+<p class="n">LEONOR</p>
+
+<p>
+Un hombre te quiero dar<br />
+Compa&ntilde;ero de otro m&iacute;o,<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 br&iacute;o.<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 />
+M&aacute;s alentado valiente.<br />
+Ama en tu misma regi&oacute;n.<br />
+&iquest;Qui&eacute;n te mete con don Juanes?<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>Tu ama &iquest;trata en galanes?</p>
+
+<p class="n">LEONOR</p>
+
+<p>
+De honesta conversaci&oacute;n <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">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+&iexcl;Qui&eacute;n la ve tan baja de ojos<br />
+&Aacute; la se&ntilde;ora viudita!<br />
+</p>
+
+<p class="n">LEONOR</p>
+
+<p>
+Hermana, enviud&oacute; ha dos meses, <a name="line_1505" id="line_1505"></a><a href="#note_1510"><span class="linenum">1505</span></a><br />
+Vi&eacute;nele grande la cama.<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>Y en fin &iquest;le quiere tu ama?</p>
+
+<p class="n">LEONOR</p>
+
+<p>Como si juntos los vieses.</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+V&eacute; por el c&aacute;ntaro, y vamos<br />
+Al Prado.<br />
+</p>
+
+<p class="n">LEONOR</p>
+
+<p>
+&Aacute; Pedro ver&aacute;s; <a name="line_1510" id="line_1510"></a><a href="#note_1510"><span class="linenum">1510</span></a><br />
+Que se quedan siempre atr&aacute;s<br />
+&Eacute;l y Mart&iacute;n 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">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+&Aacute; mis graves desconsuelos<br />
+Solo faltaba este amor,<br />
+&Aacute; este amor este rigor, <a name="line_1515" id="line_1515"></a><a href="#note_1510"><span class="linenum">1515</span></a><br />
+&Aacute; este rigor estos celos.<br />
+&iquest;No me bastaba tener,<br />
+Para no ser conocida,<br />
+Este g&eacute;nero de vida,<br />
+Sino &aacute; 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 c&aacute;ntaro en fin,<br />
+Cristalino seraf&iacute;n,<br />
+Con vos, ser&aacute; 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 fu&iacute;:<br />
+Aprended, flores, de m&iacute;<br />
+Lo que v&aacute; de ayer &aacute; 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">Mart&iacute;n</span>, <span class="smcap">Pedro</span></p>
+
+<div class="d">
+
+<p class="n">PEDRO</p>
+
+<p>Y &iquest;que tiene tan buen talle?</p>
+
+<p class="n">MART&Iacute;N</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 &aacute; su br&iacute;o<br />
+Cuantas llevan ropa &aacute; el r&iacute;o <a name="line_1535" id="line_1535"></a><a href="#note_1527"><span class="linenum">1535</span></a><br />
+Y llevan c&aacute;ntaro en hombro.<br />
+Es mujer que este don Juan,<br />
+Primo del Conde mi due&ntilde;o,<br />
+Pierde por hablarla el sue&ntilde;o,<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 &aacute; la dama de m&aacute;s partes;<br />
+Pero en estos Durandartes<br />
+Poco el pensamiento emplea.<br />
+De noche la viene &aacute; 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 c&aacute;ntaro escudero,<br />
+Sin dormir y sin comer.<br />
+Sirve &aacute; 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 &aacute; la fuente;<br />
+Puesto que le culpo en vano,<br />
+Porque pienso que ella gusta<br />
+De salir, por ver y hablar<br />
+(Que &aacute; 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 />
+&Aacute; jabonar y &aacute; lavar<br />
+&Aacute; los pilares, &aacute; el r&iacute;o.<br />
+</p>
+
+<p class="n">PEDRO</p>
+
+<p>
+En fin, es moza de br&iacute;o,<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 />
+&Aacute; un hombre de mi talante.<br />
+</p>
+
+<p class="n">MART&Iacute;N</p>
+
+<p>
+Lleva, en saliendo, delante<br />
+M&aacute;s pretendientes personas<br />
+Que un oidor &oacute; 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 habr&aacute; despolvoreo<br />
+De todo amor pretendiente:<br />
+&Aacute; ellos de cuchilladas<br />
+Y &aacute; 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 c&oacute;lera conoces.<br />
+</p>
+
+<p class="n">MART&Iacute;N</p>
+
+<p>No la has visto &iquest;y ya te enfadas?</p>
+
+<p class="n">PEDRO</p>
+
+<p>Gente de un coche se apea.</p>
+
+<p class="n">MART&Iacute;N</p>
+
+<p>Con ellos viene don Juan.</p>
+
+<p class="n">PEDRO</p>
+
+<p>
+&iexcl;Por vida del alaz&aacute;n, <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">Do&ntilde;a Ana</span>, <span class="smcap">Juana</span>, <span class="smcap">Don Juan</span>.&mdash;<span class="smcap">Dichos</span></p>
+
+<div class="d">
+
+<p class="n">DON JUAN</p>
+
+<p>
+Por el coche os conoc&iacute;,<br />
+Y luego al Conde avis&eacute;,<br />
+Que en la carroza dej&eacute;<br />
+Harto envidioso de m&iacute;. <a name="line_1580" id="line_1580"></a><a href="#note_1552"><span class="linenum">1580</span></a><br />
+Vine &aacute; ver lo que mand&aacute;is;<br />
+Que apearos no habr&aacute; sido<br />
+Sin causa.<br />
+</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p class="indstart">
+Causa he tenido;<br />
+Que siempre vos me la dais.<br />
+Quiero venir &aacute; la fuente, <a name="line_1585" id="line_1585"></a><a href="#note_1552"><span class="linenum">1585</span></a><br />
+Porque s&eacute; que es el lugar<br />
+Adonde os tengo de hallar,<br />
+Y donde sois pretendiente.<br />
+</p>
+
+<p class="n">DON JUAN</p>
+
+<p>
+&iexcl;Buen oficio me hab&eacute;is dado!<br />
+&Oacute; de bestia &oacute; 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">DO&Ntilde;A ANA</p>
+
+<p>
+Conociendo vuestro humor,<br />
+Se&ntilde;or don Juan, he pensado<br />
+Venir por agua tambi&eacute;n.&mdash;<br />
+Muestra ese b&uacute;caro, Juana.<br />
+</p>
+
+<p class="n">DON JUAN</p>
+
+<p>
+Dado hab&eacute;is esta ma&ntilde;ana, <a name="line_1595" id="line_1595"></a><a href="#note_1552"><span class="linenum">1595</span></a><br />
+Filos, Se&ntilde;ora, al desd&eacute;n.<br />
+</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p>
+Deseando enamoraros,<br />
+Moza de c&aacute;ntaro soy,<br />
+Por agua &aacute; la fuente voy.<br />
+</p>
+
+<p class="n">DON JUAN</p>
+
+<p>Ten&eacute;os...</p>
+
+<p class="n">DO&Ntilde;A 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 c&aacute;ntaro peque&ntilde;o,<br />
+Templar&aacute; poco el rigor<br />
+&Aacute; 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">Do&ntilde;a Mar&iacute;a</span> <i>y</i> <span class="smcap">Leonor</span>, <i>con sus c&aacute;ntaros</i>.&mdash;<span class="smcap">Dichos</span></p>
+
+<div class="d">
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A (<i>&aacute; Leonor</i>)</p>
+
+<p>
+Esto me dijo mi due&ntilde;o;<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 &iquest;que esa mujer mat&oacute; <a name="line_1610" id="line_1610"></a><a href="#note_1608"><span class="linenum">1610</span></a><br />
+&Aacute; el que &aacute; su padre afrent&oacute;?<br />
+&iexcl;Bravo coraz&oacute;n!<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p class="indstart">
+Valiente.<br />
+Dijo que hab&iacute;a pedido<br />
+La parte pesquisidor,<br />
+Y que &aacute; el Rey nuestro se&ntilde;or <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 fu&eacute; 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 />
+&iquest;Y nunca m&aacute;s pareci&oacute;<br />
+Esa dama que mat&oacute;<br />
+&Aacute; el caballero insolente?<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</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>
+&iquest;Dijo el nombre que ten&iacute;a?<br />
+Que me alegra &aacute; m&iacute; tambi&eacute;n. <a name="line_1630" id="line_1630"></a><a href="#note_1608"><span class="linenum">1630</span></a><br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+No s&eacute; si me acuerdo bien...<br />
+Aunque s&iacute;: do&ntilde;a Mar&iacute;a.<br />
+</p>
+
+<p class="n">MART&Iacute;N</p>
+
+<p>
+Aqu&iacute; est&aacute;n 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">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p class="indstart">&iexcl;Oh, caballeros!...</p>
+
+<p class="n">MART&Iacute;N (<i>&aacute; Pedro</i>)</p>
+
+<p>
+Llega, no est&eacute;s vergonzoso;<br />
+Llega y habla.<br />
+</p>
+
+<p class="n">PEDRO</p>
+
+<p>
+Estoy mirando<br />
+&Aacute; 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 />
+T&eacute;ngame vuesamerced<br />
+Por suyo desde esta tarde.<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>(<i>Ap.</i> &iexcl;Qu&eacute; buen hombr&oacute;n!) Dios le guarde.</p>
+
+<p class="n">PEDRO (<i>ap.</i>)</p>
+
+<p>
+Cay&oacute; la daifa en la red.<br />
+Ya est&aacute; perdida por m&iacute;. <a name="line_1645" id="line_1645"></a><a href="#note_1649"><span class="linenum">1645</span></a><br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A (<i>ap.</i>)</p>
+
+<p>
+Con pocos de &eacute;stos pudiera<br />
+Conducir una galera<br />
+&Aacute; la China, desde aqu&iacute;,<br />
+Don Fadrique de Toledo.<br />
+</p>
+
+<p class="n">PEDRO</p>
+
+<p>Pido mano, doy turr&oacute;n. <a name="line_1650" id="line_1650"></a><a href="#note_1649"><span class="linenum">1650</span></a></p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+&iquest;Mas que lleva un mojic&oacute;n,<br />
+Hombr&oacute;n, si no se est&aacute; quedo?<br />
+</p>
+
+<p class="n">PEDRO</p>
+
+<p>
+&iexcl;Por el agua de la mar,<br />
+Que tiene valor la hembra!<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>Pues no sabe d&oacute;nde 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> &Aacute; el primer encuentro azar.)<br />
+&iexcl;Voto &aacute; tus ojos serenos,<br />
+Isabel, porque te asombres,<br />
+Que me mate con mil hombres,<br />
+Y esto ser&aacute; lo de menos! <a name="line_1660" id="line_1660"></a><a href="#note_1649"><span class="linenum">1660</span></a><br />
+Abl&aacute;ndate, seraf&iacute;n.<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>D&eacute;jeme, no me zabuque.</p>
+
+<p class="n">PEDRO</p>
+
+<p>
+Aqu&iacute; en la esquina del Duque<br />
+Hay turr&oacute;n.&mdash;Vamos, Mart&iacute;n.<br />
+</p>
+
+<p class="n">MART&Iacute;N</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 />
+Estar&aacute; como algod&oacute;n.<br />
+</p>
+
+<p class="n">PEDRO</p>
+
+<p>
+S&iacute;, mas &iexcl;coz y mordisc&oacute;n!...<br />
+Parece roc&iacute;n gallego.<br />
+<span style="margin-left: 18%;">(<i>Vanse Mart&iacute;n 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">Do&ntilde;a Ana</span>, <span class="smcap">Don Juan</span>, <span class="smcap">Do&ntilde;a Mar&iacute;a</span>, <span class="smcap">Leonor</span>, <span class="smcap">Juana</span></p>
+
+<div class="d">
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p>
+Quedo, no os pong&aacute;is delante;<br />
+Que ya he visto por las se&ntilde;as <a name="line_1670" id="line_1670"></a><a href="#note_1668"><span class="linenum">1670</span></a><br />
+Que es aqu&eacute;lla vuestra dama.<br />
+</p>
+
+<p class="n">JUANA</p>
+
+<p>
+Pues Leonor viene con ella,<br />
+&iquest;Qui&eacute;n duda que es Isabel?<br />
+Fuera de que no tuviera<br />
+Ninguna aquel talle y br&iacute;o. <a name="line_1675" id="line_1675"></a><a href="#note_1668"><span class="linenum">1675</span></a><br />
+</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p>
+Disculpa tiene en quererla<br />
+El se&ntilde;or don Juan.<br />
+</p>
+
+<p class="n">JUANA</p>
+
+<p class="indstart">
+La moza<br />
+En otro traje pudiera<br />
+Hacer &aacute; 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>&iquest;Es todo por darme vaya?</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p>
+Quisi&eacute;rala ver m&aacute;s cerca.<br />
+D&iacute;gale vuesamerced<br />
+Que est&aacute; aqu&iacute; 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 ir&aacute; de mala gana.<br />
+</p>
+
+<p class="n">DON JUAN</p>
+
+<p>S&oacute;lo por serviros fuera.</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>&iexcl;Ay, Leonor!</p>
+
+<p class="n">LEONOR</p>
+
+<p>&iquest;Qu&eacute;?</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p class="indstart">
+Tu se&ntilde;ora<br />
+Y aqu&eacute;l mi gal&aacute;n 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">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+Por poco se me cayera<br />
+El c&aacute;ntaro de las manos.<br />
+</p>
+
+<p class="n">DON JUAN (<i>&aacute; do&ntilde;a Mar&iacute;a</i>)</p>
+
+<p>
+Aquella se&ntilde;ora 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">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+De buena gana la diera<br />
+&Aacute; ella el agua, y &aacute; vos<br />
+Con el c&aacute;ntaro.<br />
+</p>
+
+<p class="n">DON JUAN</p>
+
+<p class="indstart">
+No seas<br />
+Necia.<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+Llev&aacute;dsela 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 p&uacute;blico estamos,<br />
+Y las mujeres discretas<br />
+No hacen cosas indignas.<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+Ir&eacute; porque nadie entienda<br />
+Que me da celos &aacute; m&iacute;.&mdash; <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>Ll&eacute;gase &aacute; do&ntilde;a Ana.</i>)</span><br />
+
+Vuesamerced beba, y crea<br />
+Que quisiera que este barro<br />
+Fuera cristal de Venecia;<br />
+Pero ser&aacute;lo 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">DO&Ntilde;A ANA</p>
+
+<p>Beber&eacute;, porque he ca&iacute;do.</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+Si el agua el susto sosiega,<br />
+Beba; que todos caeremos,<br />
+Si no en el da&ntilde;o, en la cuenta.<br />
+</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p>Yo he bebido.</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p class="indstart">Y yo tambi&eacute;n. <a name="line_1715" id="line_1715"></a><a href="#note_1714"><span class="linenum">1715</span></a></p>
+
+<p class="n">DO&Ntilde;A ANA (<i>ap.</i>)</p>
+
+<p>Yo pesares.</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A (<i>ap.</i>)</p>
+
+<p class="indstart">Yo sospechas.</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p>&iexcl;Qu&eacute; caliente!</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p class="indstart">
+Vuestras manos<br />
+De nieve servir pudieran.<br />
+</p>
+
+<p class="n">DO&Ntilde;A ANA (<i>&aacute; Juana</i>)</p>
+
+<p>Haz que llegue el coche.</p>
+
+<p class="n">JUANA (<i>llamando</i>)</p>
+
+<p class="indstart">&iexcl;Ah, Hernando!</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p>&iexcl;Buena moza!</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</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 do&ntilde;a 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">Do&ntilde;a Mar&iacute;a</span>, <span class="smcap">Don Juan</span>, <span class="smcap">Leonor</span></p>
+
+<div class="d">
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+&iquest;No la acompa&ntilde;a?<br />
+&iexcl;Mal gal&aacute;n! &iquest;As&iacute; se queda?<br />
+</p>
+
+<p class="n">DON JUAN</p>
+
+<p>&Aacute; darte satisfaciones.</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+Estoy yo tan satisfecha,<br />
+Que ser&aacute; 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 &aacute; do&ntilde;a Ana.<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+C&aacute;ntaro, tened paciencia; <a name="line_1730" id="line_1730"></a><a href="#note_1723"><span class="linenum">1730</span></a><br />
+Vais y ven&iacute;s &aacute; la fuente:<br />
+Quien va y viene siempre &aacute; ella,<br />
+&iquest;De qu&eacute; se espanta, si el asa<br />
+&Oacute; 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 &iquest;qui&eacute;n, c&aacute;ntaro, os dijera<br />
+Que no os volvi&eacute;rades 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 volv&aacute;is m&aacute;s &aacute; la fuente,<br />
+Porque estoy segura y cierta<br />
+Que no es bien que vos hag&aacute;is<br />
+&Aacute; los coches competencia.<br />
+</p>
+
+<p class="n">DON JUAN</p>
+
+<p>
+&iquest;Qu&eacute; 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">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+Yo con mi c&aacute;ntaro hablo;<br />
+Si es m&iacute;o, &iquest;de qu&eacute; se queja?<br />
+V&aacute;yase 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>
+Ir&eacute;me desesperado,<br />
+Pues haces cosas como &eacute;stas,<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">Do&ntilde;a Mar&iacute;a</span>, <span class="smcap">Leonor</span></p>
+<div class="d">
+
+<p class="n">LEONOR</p>
+
+<p>
+Necia est&aacute;s. &iquest;Por qu&eacute; le dejas<br />
+Que se vaya con disgusto?<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+Leonor, el alma me lleva;<br />
+Que los celos me han picado.<br />
+Pero no ser&eacute; 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 m&aacute;s &aacute; don Juan.<br />
+&iexcl;Esto faltaba &aacute; mis penas!<br />
+</p>
+
+<p class="n">LEONOR</p>
+
+<p>
+&iexcl;Buen lance habemos echado! <a name="line_1765" id="line_1765"></a><a href="#note_1737"><span class="linenum">1765</span></a><br />
+T&uacute; 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">Mart&iacute;n</span>.&mdash;<span class="smcap">Dichas</span></p>
+
+<div class="d">
+
+<p class="n">PEDRO</p>
+
+<p>
+Como dos soldados juegan:<br />
+Perd&iacute; el turr&oacute;n y el dinero.<br />
+</p>
+
+<p class="n">MART&Iacute;N</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 s&eacute; c&oacute;mo es posible.<br />
+&iexcl;Qui&eacute;n 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 />
+Turr&oacute;n, casta&ntilde;as, mu&ntilde;ecas,<br />
+Bocados de mermelada,<br />
+Letuarios y conservas;<br />
+Mil figurillas de az&uacute;car,<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 />
+Pron&oacute;sticos, obras nuevas,<br />
+Y &aacute; <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 est&aacute;n aqu&iacute;.<br />
+</p>
+
+<p class="n">PEDRO</p>
+
+<p>
+&iexcl;Oigan! &iquest;De qu&eacute; es la tristeza?<br />
+&iquest;No estaba alegre esta moza?<br />
+&iexcl;Qu&eacute; pensativas est&aacute;n! <a name="line_1790" id="line_1790"></a><a href="#note_1782"><span class="linenum">1790</span></a><br />
+</p>
+
+<p class="n">MART&Iacute;N</p>
+
+<p>
+Pienso que andaba don Juan<br />
+Acechando una carroza.<br />
+</p>
+
+<p class="n">PEDRO</p>
+
+<p>
+Quien te me enoj&oacute;, Isabel,<br />
+Que con l&aacute;grimas lo pene:<br />
+H&aacute;gote 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 &eacute;l.<br />
+Vuelve, Isabel, esos ojos;<br />
+Que no soy yo por lo menos<br />
+Quien &aacute; tus ojos serenos<br />
+Quit&oacute; luz y puso enojos. <a name="line_1800" id="line_1800"></a><a href="#note_1782"><span class="linenum">1800</span></a><br />
+&iquest;Qui&eacute;n tan b&aacute;rbara y cruel,<br />
+&Aacute; tu hermosura atrevido,<br />
+Causa de tu enojo ha sido?<br />
+&iquest;Qui&eacute;n te me enoj&oacute;, 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 />
+S&uacute;bitamente muriese.<br />
+Quien te enoj&oacute;, &iquest;vida tiene?<br />
+&iquest;Que donde estoy, vivo est&eacute;? <a name="line_1810" id="line_1810"></a><a href="#note_1817"><span class="linenum">1810</span></a><br />
+Dime qui&eacute;n es; que yo har&eacute;<br />
+Que con l&aacute;grimas lo pene.<br />
+Dime c&oacute;mo y de qu&eacute; 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 guada&ntilde;a de la muerte.<br />
+Si el Cid &aacute; su lado viene,<br />
+Gigote de hombres har&eacute;,<br />
+Y de que lo cumplir&eacute;<br />
+H&aacute;gote 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 &aacute; 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, est&aacute; muerto.<br />
+No hay que esperar, porque es cierto<br />
+Que pueden doblar por &eacute;l.<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>Ven, Leonor; vamos &aacute; casa.</p>
+
+<p class="n">LEONOR</p>
+
+<p>Triste vas.</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</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>&iquest;As&iacute; se va?</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p class="indstart">As&iacute; me voy.</p>
+
+<p class="n">PEDRO</p>
+
+<p>Pues cu&eacute;nteme lo que pasa.</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>No quiero.</p>
+
+<p class="n">PEDRO</p>
+
+<p class="indstart">Tendr&eacute;la.</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p class="indstart">Tome.</p>
+
+<p class="n">PEDRO</p>
+
+<p>&iexcl;Ay!</p>
+
+<p class="n">MART&Iacute;N</p>
+
+<p class="indstart">&iquest;Qu&eacute; fu&eacute;?</p>
+
+<p class="n">PEDRO</p>
+
+<p class="indstart">Tamborilada.</p>
+
+<p class="n">LEONOR</p>
+
+<p>&iquest;D&iacute;stele, Isabel?</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</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 />
+Preg&uacute;ntale 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">Mart&iacute;n</span> <i>y</i> <span class="smcap">Lorenzo</span>, <i>dentro</i></p>
+
+<div class="d">
+<p class="n">PEDRO</p>
+
+<p>&iexcl;Fuera digo! No haya m&aacute;s.</p>
+
+<p class="n">LORENZO</p>
+
+<p>&iexcl;Ay, que me ha descalabrado!</p>
+
+<p class="n">MART&Iacute;N</p>
+
+<p>Con el c&aacute;ntaro le ha dado.</p>
+
+<p class="n">BERNAL</p>
+
+<p>&iexcl;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 &iquest;se puede sufrir?</p>
+
+<p class="n">PEDRO</p>
+
+<p>Ll&eacute;vale &aacute; curar, Bernal.</p>
+
+<p class="n">LORENZO</p>
+
+<p>&iexcl;Vive Cristo, que la tal!... (<i>Salen.</i>)</p>
+
+<p class="n">MART&Iacute;N</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 est&aacute;.<br />
+</p>
+
+<p class="n">MART&Iacute;N</p>
+
+<p>Bravas bofetadas da.</p>
+
+<p class="n">PEDRO</p>
+
+<p>Dos mozas azot&oacute; ayer.</p>
+
+<p class="n">BERNAL</p>
+
+<p>&iexcl;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">Do&ntilde;a Mar&iacute;a</span>, <span class="smcap">Leonor</span>.&mdash;<span class="smcap">Dichos</span></p>
+
+<div class="d">
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+&iexcl;P&iacute;caro! &iquest;Pellizco &aacute; m&iacute;? <a name="line_1850" id="line_1850"></a><a href="#note_1844"><span class="linenum">1850</span></a><br />
+&iexcl;Fuera, digo!<br />
+</p>
+
+<p class="n">LEONOR</p>
+
+<p class="indstart">&iquest;Est&aacute;s en ti?</p>
+
+<p class="n">LORENZO</p>
+
+<p>
+&iexcl;&Aacute; m&iacute;, Isabel, cantarada!<br />
+&iexcl;Voto &aacute; el hijo de la mar!<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</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">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+Y aun ense&ntilde;ada &aacute; matar.<br />
+Llegue el barbado, y dar&eacute;le<br />
+Dos mohadas &aacute; la usanza<br />
+De mi tierra, por la panza,<br />
+Y har&aacute; el pu&ntilde;al 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>&iexcl;Matar&eacute;la!</p>
+
+<p class="n">PEDRO</p>
+
+<p>
+Estoy aqu&iacute;<br />
+&Aacute; pagar de mi dinero.<br />
+</p>
+
+<p class="n">LORENZO</p>
+
+<p>
+Pues con &eacute;l haberlas quiero,<br />
+Aunque es mujer para m&iacute;.<br />
+</p>
+
+<p class="n">PEDRO</p>
+
+<p>&iexcl;Miente!</p>
+
+<p class="n">LORENZO</p>
+
+<p class="indstart">V&eacute;ngase 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">Do&ntilde;a Mar&iacute;a</span>, <span class="smcap">Leonor</span></p>
+
+<div class="d">
+
+<p class="n">LEONOR</p>
+
+<p>&iexcl;Buenos van, desafiados!</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+&iexcl;Qu&eacute; diferentes cuidados<br />
+Me da, Leonor, mi enemigo!<br />
+</p>
+
+<p class="n">LEONOR</p>
+
+<p>&iquest;No le has visto m&aacute;s?</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</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 Mart&iacute;n 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">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+Estoy desacomodada<br />
+Del indiano; que si no,<br />
+Yo lo hiciera: aqu&iacute; me di&oacute;<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 Se&ntilde;ora te dar&aacute;<br />
+Vestidos: vamos all&aacute;;<br />
+Que pienso que ha de ser hoy.<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>Tendr&eacute; verg&uuml;enza 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 s&eacute; que tiene tambi&eacute;n<br />
+Gusto de que hables con ella.<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+Vamos, y de aqu&iacute; &aacute; tu casa Te dir&eacute; lo que pas&oacute; <a name="line_1890" id="line_1890"></a><a href="#note_1863"><span class="linenum">1890</span></a><br />
+En el r&iacute;o.<br />
+</p>
+
+<p class="n">LEONOR</p>
+
+<p>
+No fu&iacute; yo;<br />
+Que mujer que ya se casa,<br />
+Ha de mostrar m&aacute;s recato<br />
+Del que sol&iacute;a tener.<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</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 s&aacute;bado, Leonor, &aacute; Manzanares:<br />
+Si bien yo melanc&oacute;lica 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 due&ntilde;o las partes imagina;<br />
+Que cuando en su valor, Leonor, repares,<br />
+Presumir&aacute;s, pues no me he vuelto loca,<br />
+Que soy muy necia &oacute; mi afici&oacute;n es poca.<br />
+Tom&eacute; el jab&oacute;n con tanto desvar&iacute;o <a name="line_1905" id="line_1905"></a><a href="#note_1901"><span class="linenum">1905</span></a><br />
+Para lavar de un b&aacute;rbaro despojos,<br />
+Que hasta los pa&ntilde;os me llevaba el r&iacute;o,<br />
+Mayor con la creciente de mis ojos.<br />
+Cantaban otras con alegre br&iacute;o,<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 p&uacute;rpura ba&ntilde;ado,<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 />
+Saqu&eacute; la ropa, y de uno y otro lado,<br />
+Asiendo los extremos, la torcimos,<br />
+Y &aacute; 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 s&aacute;banas 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 habl&eacute;; que fuera mengua,<br />
+Estando triste el alma, hablar la lengua.<br />
+Toc&oacute;, 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 />
+&Aacute; cuyo son, que retumbaba el viento,<br />
+Cantaba de un ingenio peregrino,<br />
+En seguidillas, con destreza extra&ntilde;a, <a name="line_1935" id="line_1935"></a><a href="#note_1929"><span class="linenum">1935</span></a><br />
+Pensamientos que envidia Italia &aacute; Espa&ntilde;a.<br />
+Bailaron luego hilando casta&ntilde;etas<br />
+Lorenza y Justa y un gal&aacute;n barbero<br />
+Que mira &aacute; In&eacute;s, haciendo m&aacute;s 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 />
+&iexcl;Oh celos! todos sois venganza y tretas,<br />
+Pues porque v&iacute; bajar el caballero<br />
+Que adora de tu due&ntilde;o la belleza,<br />
+No le quise alegrar con mi tristeza.<br />
+Entr&eacute; en el baile con desgaire y br&iacute;o, <a name="line_1945" id="line_1945"></a><a href="#note_1929"><span class="linenum">1945</span></a><br />
+Que, admir&aacute;ndole ninfas y mozuelos,<br />
+&laquo;&iexcl;V&iacute;tor!&raquo; dijeron, celebrando el m&iacute;o:<br />
+Y era que amor bailaba con los celos.<br />
+Estando en esto, el contrapuesto r&iacute;o<br />
+Se mueve &aacute; ver dos &aacute;ngeles, dos cielos, <a name="line_1950" id="line_1950"></a><a href="#note_1951"><span class="linenum">1950</span></a><br />
+Que &aacute; la Casa del Campo (Dios los guarde)<br />
+Iban &aacute; ser auroras por la tarde.<br />
+&iquest;No has visto &aacute; el agua, al s&uacute;bito granizo<br />
+Esparcirse el ganado en campo ameno<br />
+&Oacute; volar escuadr&oacute;n 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 campa&ntilde;a<br />
+Felipe y Isabel, gloria de Espa&ntilde;a. <a name="line_1960" id="line_1960"></a><a href="#note_1960"><span class="linenum">1960</span></a><br />
+&iquest;No has visto en un jard&iacute;n 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 as&iacute; 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 dec&iacute;a<br />
+&Aacute; los reyes de Espa&ntilde;a: &laquo;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 monarqu&iacute;a<br />
+Del clima helado &aacute; el que se abrasa y arde;&raquo;<br />
+Cuando veo que dice: &laquo;Isabel m&iacute;a,&raquo;<br />
+&Aacute; mi lado don Juan; y tan cobarde<br />
+Me hall&eacute; &aacute; 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 />
+Fu&eacute; hielo el coraz&oacute;n, las venas fuego.<br />
+&laquo;Traidor, respondo, tus iguales mira;<br />
+Que yo soy una pobre labradora.&raquo;<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 &aacute; decir verdades,<br />
+Lo que se sigue &aacute; 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 do&ntilde;a Ana.</p>
+
+<p class="c"><span class="smcap">Do&ntilde;a Mar&iacute;a</span>, <span class="smcap">Leonor</span>; <i>despu&eacute;s</i>, <span class="smcap">Do&ntilde;a Ana</span> <i>y</i> <span class="smcap">Juana</span></p>
+
+<div class="d">
+
+<p class="n">LEONOR</p>
+
+<p>
+&Aacute; mi casa hemos llegado: <a name="line_1985" id="line_1985"></a><a href="#note_1963"><span class="linenum">1985</span></a><br />
+Despu&eacute;s, que no puedo agora,<br />
+Porque viene mi Se&ntilde;ora,<br />
+Te dir&eacute; lo que ha pasado<br />
+Por los celos en los dos.<br />
+<br />
+(<i>Salen do&ntilde;a Ana y Juana.</i>)<br />
+</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p>&iquest;&Eacute;sta dices?</p>
+
+<p class="n">JUANA</p>
+
+<p>&Eacute;sta es. <a name="line_1990" id="line_1990"></a><a href="#note_1963"><span class="linenum">1990</span></a></p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>Dadme, Se&ntilde;ora, los pies.</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p>
+Isabel, gu&aacute;rdela Dios.<br />
+&iquest;Qu&eacute; se ofrece por ac&aacute;?<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+Qui&eacute;reme 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">DO&Ntilde;A ANA</p>
+
+<p>&iquest;No est&aacute; ya con el indiano?</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>No, Se&ntilde;ora.</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p class="indstart">Pues &iquest;por qu&eacute;?</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+Cierto atrevimiento fu&eacute;,<br />
+De hombre al fin; pero fu&eacute; 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">DO&Ntilde;A ANA</p>
+
+<p>&iquest;C&oacute;mo, c&oacute;mo, por mi vida?</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</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, tom&eacute; 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 &aacute; pura cuchillada.<br />
+Pero oblig&aacute;ndole &aacute; amor<br />
+Lo que pudiera &aacute; respeto,<br />
+Me llam&oacute; una noche, &aacute; 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 fu&eacute;<br />
+La invenci&oacute;n: llego &aacute; su cama,<br />
+Donde sentado me llama,<br />
+Y humilde le descalc&eacute;. <a name="line_2020" id="line_2020"></a><a href="#note_2003"><span class="linenum">2020</span></a><br />
+Pero ech&aacute;ndome los brazos,<br />
+Tan descort&eacute;s procedi&oacute;,<br />
+Que &aacute; arrojarle me oblig&oacute;<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 />
+Poni&eacute;ndose 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">DO&Ntilde;A 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 m&aacute;s limpia mujer<br />
+De cuantas andan aqu&iacute;.<br />
+Ru&eacute;gale que est&eacute; contigo.<br />
+</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p>
+&iquest;No querr&aacute;s estar conmigo,<br />
+Isabel?<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>Se&ntilde;ora, s&iacute;. <a name="line_2040" id="line_2040"></a><a href="#note_2044"><span class="linenum">2040</span></a></p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p>&iquest;Qu&eacute; sabes hacer?</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p class="indstart">
+Lavar,<br />
+Masar, cocer y traer<br />
+Agua.<br />
+</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p class="indstart">&iquest;No sabr&aacute;s coser?</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>Bien s&eacute; coser y labrar.</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p>
+Pues eso ser&aacute; mejor. <a name="line_2045" id="line_2045"></a><a href="#note_2044"><span class="linenum">2045</span></a><br />
+Manto y tocas te dar&eacute;.<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+Se&ntilde;ora, yo no sabr&eacute;<br />
+Servir de due&ntilde;a de honor.<br />
+&Eacute;ste es un h&aacute;bito agora<br />
+De cierta desdicha m&iacute;a, <a name="line_2050" id="line_2050"></a><a href="#note_2044"><span class="linenum">2050</span></a><br />
+Que vos sabr&eacute;is alg&uacute;n d&iacute;a. (<i>Vase.</i>)<br />
+</p>
+
+<p class="n">JUANA</p>
+
+<p>Aqu&iacute; est&aacute; don Juan, Se&ntilde;ora.</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">Mart&iacute;n</span>.&mdash;<span class="smcap">Do&ntilde;a 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 />
+Fu&eacute; causa vuestro rigor;<br />
+Que trat&aacute;is tan mal su amor,<br />
+Que ya toma por partido,<br />
+En la caza divertido,<br />
+Solicitar &aacute; su da&ntilde;o <a name="line_2060" id="line_2060"></a><a href="#note_2044"><span class="linenum">2060</span></a><br />
+Una manera de enga&ntilde;o<br />
+Que &aacute; los dos parezca olvido:<br />
+&Aacute; vos excusando el veros,<br />
+Y &aacute; &eacute;l, Se&ntilde;ora, el cansaros.<br />
+Pero no quiere enga&ntilde;aros <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">DO&Ntilde;A ANA</p>
+
+<p>
+Vos ven&iacute;s en ocasi&oacute;n<br />
+Que os he hecho un gran servicio:<br />
+&Aacute; lo menos es indicio <a name="line_2075" id="line_2075"></a><a href="#note_2044"><span class="linenum">2075</span></a><br />
+De &eacute;sta mi loca pasi&oacute;n.<br />
+Mirad en qu&eacute; obligaci&oacute;n<br />
+Os pone el haber tra&iacute;do<br />
+&Aacute; mi casa quien ha sido<br />
+Lo que tanto hab&eacute;is 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, ver&eacute;is<br />
+&Aacute; Isabel, que viene aqu&iacute;,<br />
+No para servirme &aacute; m&iacute;, <a name="line_2085" id="line_2085"></a><a href="#note_2044"><span class="linenum">2085</span></a><br />
+Sino &aacute; que vos la mand&eacute;is;<br />
+Que no quiero que os cans&eacute;is<br />
+En buscarla en fuente &oacute; prado.<br />
+Mirad si est&aacute;is obligado,<br />
+Y c&oacute;mo 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 veng&aacute;is &aacute; ver,<br />
+No como hasta aqu&iacute;, forzado.<br />
+</p>
+
+<p class="n">DON JUAN</p>
+
+<p>
+De vuestra queja os prometo<br />
+Que es el Conde, mi se&ntilde;or,<br />
+La causa, cuyo valor <a name="line_2095" id="line_2095"></a><a href="#note_2044"><span class="linenum">2095</span></a><br />
+&Uacute;nicamente respeto;<br />
+Porque &iquest;cu&aacute;l hombre discreto<br />
+No conociera y amara<br />
+De vuestra belleza rara<br />
+La divina perfecci&oacute;n, <a name="line_2100" id="line_2100"></a><a href="#note_2044"><span class="linenum">2100</span></a><br />
+Y el discurso &aacute; la raz&oacute;n,<br />
+Y &aacute; 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 pid&aacute;is que os den<br />
+Gracias de haberla tra&iacute;do<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 hab&eacute;is 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>.&mdash;<span class="smcap">Dichos</span></p>
+
+<div class="d">
+
+<p class="n">CONDE</p>
+
+<p>
+Tanto la licencia tarda,<br />
+Que sin ella vengo &aacute; veros.<br />
+</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p>
+Conde, mi se&ntilde;or, 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.&mdash;<br />
+Llega una silla, Isabel.<br />
+</p>
+
+<p class="n">DON JUAN</p>
+
+<p>
+Aqu&iacute; me estaban ri&ntilde;endo<br />
+Tu ausencia.<br />
+</p>
+
+<p class="n">CONDE</p>
+
+<p class="indstart">
+&iexcl;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">DO&Ntilde;A ANA</p>
+
+<p>
+&iexcl;Buena cara, gentil cuerpo!<br />
+&iquest;No es muy linda?<br />
+</p>
+
+<p class="n">CONDE</p>
+
+<p class="indstart">&iexcl;S&iacute;, por Dios!</p>
+
+<p class="n">DO&Ntilde;A 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 as&iacute; el entendimiento,<br />
+Disculpa tiene mi primo.<br />
+Verla m&aacute;s de espacio quiero.&mdash;<br />
+Pasad, Se&ntilde;ora, adelante,<br />
+&iquest;De d&oacute;nde sois?<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p class="indstart">
+No s&eacute; 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 />
+&Aacute; muchos envidia y celos.<br />
+Mi primo es tan singular,<br />
+Que por bizarr&iacute;a 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">MART&Iacute;N</p>
+
+<p>
+&Aacute; m&iacute; responder me toca.<br />
+Perd&oacute;nenme si me atrevo,<br />
+Por el honor del fregado,<br />
+La opini&oacute;n del lavadero,<br />
+Del c&aacute;ntaro y el jab&oacute;n; <a name="line_2145" id="line_2145"></a><a href="#note_2146"><span class="linenum">2145</span></a><br />
+Que m&aacute;s de cuatro manteos,<br />
+De &eacute;sos con esteras de oro,<br />
+Cubren algunos defetos.<br />
+</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p>
+C&aacute;sase Mart&iacute;n 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 vuese&ntilde;or&iacute;a<br />
+Haga de don Juan desprecio.<br />
+</p>
+
+<p class="n">DON JUAN</p>
+
+<p>&iexcl;Dar en el pobre don Juan!</p>
+
+<p class="n">CONDE</p>
+
+<p>
+Hu&eacute;lgome del casamiento.<br />
+Y &iquest;ser&eacute;is 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">DO&Ntilde;A ANA</p>
+
+<p>
+No, Se&ntilde;or, 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 t&oacute;cale de derecho <a name="line_2160" id="line_2160"></a><a href="#note_2146"><span class="linenum">2160</span></a><br />
+Ser el padrino &aacute; don Juan.<br />
+</p>
+
+<p class="n">DON JUAN</p>
+
+<p>
+Basta; que est&aacute;is de concierto<br />
+Todos contra m&iacute;. Pues vaya;<br />
+Que el ser el padrino aceto.<br />
+</p>
+
+<p class="n">CONDE</p>
+
+<p>&iquest;C&oacute;mo 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">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+Se&ntilde;or, corto entendimiento<br />
+Presto se ataja, y m&aacute;s donde<br />
+Hay tantos y tan discretos.<br />
+All&aacute; en mi lugar un d&iacute;a<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 />
+&laquo;Hazte all&aacute;, que le maltratas,&raquo;<br />
+Iba la madre diciendo;<br />
+Y tanto hacia atr&aacute;s se hizo, <a name="line_2175" id="line_2175"></a><a href="#note_2172"><span class="linenum">2175</span></a><br />
+Que di&oacute; el muchacho en el suelo.<br />
+D&iacute;jole: &laquo;&iquest;C&oacute;mo ca&iacute;ste?&raquo;<br />
+Y disculp&oacute;se diciendo:<br />
+&laquo;Madre, acab&oacute;seme el asno.&raquo;<br />
+As&iacute; yo, que hablando veo <a name="line_2180" id="line_2180"></a><a href="#note_2172"><span class="linenum">2180</span></a><br />
+&Aacute; tan discretos se&ntilde;ores,<br />
+Hago atr&aacute;s mi entendimiento,<br />
+Hasta que he venido &aacute; dar<br />
+Con el silencio en el suelo.<br />
+</p>
+
+<p class="n">MART&Iacute;N (<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">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+Es el Conde muy discreto,<br />
+Y la se&ntilde;ora do&ntilde;a Ana<br />
+Un &aacute;ngel; pues yo &iquest;qu&eacute; puedo<br />
+Decir que no sea ignorancia?<br />
+</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p>
+Ahora bien, Se&ntilde;or, hablemos <a name="line_2190" id="line_2190"></a><a href="#note_2172"><span class="linenum">2190</span></a><br />
+De la ausencia destos d&iacute;as.<br />
+Ya me olvid&aacute;is, 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 />
+Mat&oacute; en Ronda cierta dama<br />
+Guzm&aacute;n 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">DO&Ntilde;A ANA</p>
+
+<p>&iquest;Con qu&eacute; ocasi&oacute;n? &iquest;Fueron celos?</p>
+
+<p class="n">CONDE</p>
+
+<p>
+Desagraviando &aacute; su padre<br />
+De un bofet&oacute;n, 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">DO&Ntilde;A ANA</p>
+
+<p>&iexcl;Gran valor!</p>
+
+<p class="n">DON JUAN</p>
+
+<p class="indstart">
+&iexcl;Valiente esfuerzo!<br />
+Diera por ver &aacute; esa dama<br />
+Toda cuanta hacienda tengo.<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A (<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, perdon&oacute; la parte,<br />
+Poni&eacute;ndose 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 perd&oacute;n del Rey;<br />
+Lo que hoy, Se&ntilde;ora, se ha hecho.<br />
+M&aacute;ndame tambi&eacute;n 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 />
+Vendr&eacute;, Se&ntilde;ora, &aacute; 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, &aacute; veros.<br />
+</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p>Id con Dios; volv&eacute; &aacute; la noche.</p>
+
+<p class="n">CONDE</p>
+
+<p>
+Si har&eacute;, encanto de Babel.&mdash;<br />
+Qued&aacute;os con vuestra Isabel; (<i>&Aacute; 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, do&ntilde;a 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">Do&ntilde;a Mar&iacute;a</span>, <span class="smcap">Don Juan</span></p>
+
+<div class="d">
+
+<p class="n">DON JUAN</p>
+
+<p>
+Alegre, Isabel, est&aacute;s,<br />
+Que ya el c&aacute;ntaro dejaste,<br />
+Pues con la fe le mudaste,<br />
+Y con el alma, que es m&aacute;s.<br />
+Que desde que te la d&iacute;, <a name="line_2235" id="line_2235"></a><a href="#note_2236"><span class="linenum">2235</span></a><br />
+De c&aacute;ntaro la ten&iacute;a,<br />
+Pues pienso que se dec&iacute;a<br />
+Este proverbio por m&iacute;.<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 h&aacute;bito que te daba<br />
+El que ya quieres dejar.<br />
+Si cuando yo te rogu&eacute;,<br />
+H&aacute;bito 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 fu&eacute;.<br />
+Si el venir aqu&iacute; son celos,<br />
+Pensando que as&iacute; 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 />
+&iquest;Qu&eacute; guarda de m&aacute;s valor,<br />
+Isabel, que tu hermosura,<br />
+Si ella misma te asegura<br />
+Que merece tanto amor?<br />
+&iexcl;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 querr&eacute;,<br />
+Con tanta firmeza y fe,<br />
+Que vive mi amor corrido<br />
+De no vencer tu rigor,<br />
+Siendo t&uacute; 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">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+Quien siente bien no habla mal;<br />
+Que para tener valor<br />
+Con que poder igualaros,<br />
+Aunque de vuestro apellido<br />
+Pr&iacute;ncipes 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 />
+S&oacute;brame &aacute; m&iacute; el ser mujer;<br />
+Pero si de vuestro enga&ntilde;o<br />
+&Aacute; los dos resulta da&ntilde;o,<br />
+Desenga&ntilde;o habr&aacute; 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 h&aacute;bito, mi esperanza<br />
+Aspire &aacute; 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 c&aacute;ntaro que dej&eacute;, <a name="line_2280" id="line_2280"></a><a href="#note_2282"><span class="linenum">2280</span></a><br />
+Un cielo en mis hombros fu&eacute;,<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 d&eacute; pena; que os prometo<br />
+Que no hay nieve tan helada;<br />
+Pero he nacido obligada<br />
+&Aacute; su amor y &aacute; su respeto. <a name="line_2290" id="line_2290"></a><a href="#note_2282"><span class="linenum">2290</span></a><br />
+No puedo hacer m&aacute;s 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 hag&aacute;is por m&iacute;. <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>
+&iquest;Como ausentarte, mi bien?<br />
+Despu&eacute;s de tanto desd&eacute;n,<br />
+&iquest;Esto merezco de ti?<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+No excuso, aunque lo sint&aacute;is,<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 />
+&iquest;Qu&eacute; dices?<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p class="indstart">
+Que para &eacute;l<br />
+Esta joya me vend&aacute;is.<br />
+Diamantes son: claro est&aacute;<br />
+Que justa sospecha diera<br />
+Si &aacute; vender diamantes fuera <a name="line_2305" id="line_2305"></a><a href="#note_2282"><span class="linenum">2305</span></a><br />
+Mujer que &aacute; la fuente va;<br />
+Que con lo que ella valiere,<br />
+Podr&eacute; &aacute; 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 />
+&iexcl;Notable desdicha m&iacute;a!<br />
+&iexcl;Tristes nuevas! &iquest;Qui&eacute;n am&oacute;<br />
+Con la fortuna que yo?<br />
+Mas &iquest;qui&eacute;n, sino yo, pod&iacute;a?<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 coraz&oacute;n<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">DO&Ntilde;A MAR&Iacute;A</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 creer&eacute;is que me est&aacute; mal.<br />
+&iexcl;Oh, qu&eacute; habr&eacute;is imaginado<br />
+De cosas, despu&eacute;s 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 ocasi&oacute;n.<br />
+</p>
+
+<p class="n">DON JUAN</p>
+
+<p>
+Cuando yo, Isabel, pensara<br />
+Tal bajeza, imaginara<br />
+Prendas que m&aacute;s altas son<br />
+De las que ten&eacute;is, bastantes <a name="line_2335" id="line_2335"></a><a href="#note_2315"><span class="linenum">2335</span></a><br />
+&Aacute; 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 v&iacute;<br />
+Con el c&aacute;ntaro, Isabel,<br />
+Ech&oacute; amor suertes en &eacute;l <a name="line_2345" id="line_2345"></a><a href="#note_2347"><span class="linenum">2345</span></a><br />
+Para vos y para m&iacute;.<br />
+Vos salisteis diferente<br />
+De lo que aqu&iacute; public&aacute;is,<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 />
+&iquest;Qui&eacute;n sois, hermosa Isabel?<br />
+Porque c&aacute;ntaro y diamantes<br />
+Son dos cosas muy distantes;<br />
+Que hay mucha bajeza en &eacute;l,<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 m&aacute;s encarecimiento.<br />
+La verdad se encubre en vano;<br />
+Que como al que ayer tra&iacute;a <a name="line_2360" id="line_2360"></a><a href="#note_2349"><span class="linenum">2360</span></a><br />
+Guantes de &aacute;mbar, otro d&iacute;a,<br />
+Le qued&oacute; oliendo la mano;<br />
+As&iacute;, quien se&ntilde;ora fu&eacute;,<br />
+Trae aquel olor consigo,<br />
+Aunque del &aacute;mbar 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">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+No os cans&eacute;is en prevenciones;<br />
+Que yo no os he de enga&ntilde;ar.<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>&mdash;<span class="smcap">Dichos</span></p>
+
+<div class="d">
+
+<p class="n">LEONOR</p>
+
+<p>
+&iquest;Cu&aacute;ndo 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 &aacute; vestir y &aacute; vestirme;<br />
+Que mi se&ntilde;ora te llama.<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>Voy &aacute; ponerme de dama.</p>
+
+<p class="n">DON JUAN</p>
+
+<p>&iquest;Volver&aacute;s?</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p class="indstart">&Aacute; 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>
+&iquest;Qu&eacute; confusi&oacute;n es &eacute;sta 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 &aacute; tales pensamientos adelanta<br />
+Mi dulce cuanto b&aacute;rbaro accidente?<br />
+As&iacute; el cautivo en la cadena canta,<br />
+As&iacute; enga&ntilde;ado 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 alg&uacute;n d&iacute;a<br />
+Ver&aacute; la patria en que vivir sol&iacute;a.<br />
+No con menos temor, menos sosiego,<br />
+T&iacute;mido ruise&ntilde;or su esposa llama,<br />
+&Aacute; quien el plomo en c&iacute;rculos de fuego <a name="line_2385" id="line_2385"></a><a href="#note_2349"><span class="linenum">2385</span></a><br />
+Quit&oacute; la amada vida en verde rama,<br />
+Que mi confuso pensamiento ciego<br />
+En noche obscura los enga&ntilde;os ama,<br />
+Esperando que llegue con el d&iacute;a<br />
+La muerta luz de la esperanza m&iacute;a. <a name="line_2390" id="line_2390"></a><a href="#note_2349"><span class="linenum">2390</span></a><br />
+Mas &iquest;c&oacute;mo puede haber tales enga&ntilde;os?<br />
+C&oacute;mo pensar mi amor que la belleza<br />
+No puede haber nacido en viles pa&ntilde;os,<br />
+Si pudo la fealdad en la nobleza?<br />
+As&iacute;, para mayores desenga&ntilde;os, <a name="line_2395" id="line_2395"></a><a href="#note_2349"><span class="linenum">2395</span></a><br />
+Mostr&oacute; por variedad naturaleza<br />
+De un espino la flor candida, hermosa,<br />
+Y vestida de p&uacute;rpura la rosa.<br />
+Que darme yo &aacute; entender que la hermosura<br />
+Que v&iacute; llevar un c&aacute;ntaro &aacute; 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 &iquest;qui&eacute;n ser&aacute; Isabel, locura m&iacute;a,<br />
+Con hermosura y prendas celestiales?<br />
+&iexcl;Oh! &iquest;cu&aacute;ndo resisti&oacute; tanta porf&iacute;a<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 d&iacute;a.<br />
+Industrias hay; y si por dicha iguales<br />
+Somos los dos, como mi amor desea,<br />
+Tu c&aacute;ntaro, 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 t&uacute; dejarme;<br />
+Que si tienes nobleza y hermosura,<br />
+Del c&aacute;ntaro 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 volver&aacute; 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">Mart&iacute;n</span>, <span class="smcap">Pedro</span></p>
+
+<div class="d">
+
+<p class="n">PEDRO</p>
+
+<p>
+Mart&iacute;n, en esta ocasi&oacute;n<br />
+Me hab&eacute;is 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">MART&Iacute;N</p>
+
+<p>
+Pedro, no ten&eacute;is raz&oacute;n;<br />
+Que el Conde gusta que sea<br />
+Padrino con Isabel.<br />
+</p>
+
+<p class="n">PEDRO</p>
+
+<p>
+Ensanchar&aacute;se con &eacute;l Cuando &aacute; su lado se vea. <a name="line_2430" id="line_2430"></a><a href="#note_2422"><span class="linenum">2430</span></a><br />
+Yo s&eacute; que si<br />
+me casara, Padrino os hiciera &aacute; vos.<br />
+</p>
+
+<p class="n">MART&Iacute;N</p>
+
+<p>Yo no pude m&aacute;s, por Dios.</p>
+
+<p class="n">PEDRO</p>
+
+<p>
+Pedro &iquest;tambi&eacute;n no la honrara?<br />
+&iquest;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 &iexcl;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">MART&Iacute;N</p>
+
+<p>
+&iquest;Qui&eacute;n pudiera como vos<br />
+Honrarme con Isabel?<br />
+</p>
+
+<p class="n">PEDRO</p>
+
+<p>
+&iquest;Hay hidalgo en Mondo&ntilde;edo<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 &aacute; el dosel?<br />
+</p>
+
+<p class="n">MART&Iacute;N</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 est&aacute;; <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 m&aacute;s caudal<br />
+La talega de la sal,<br />
+Que anda el tiempo &aacute; 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 />
+&Aacute; do&ntilde;a Ana, por Leonor<br />
+Os har&aacute; siempre favor,<br />
+Y ella ayudar&aacute; tambi&eacute;n<br />
+De su parte &aacute; vuestra casa.<br />
+</p>
+
+<p class="n">MART&Iacute;N</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>&iquest;Qui&eacute;n quer&eacute;is que convidemos?</p>
+
+<p class="n">MART&Iacute;N</p>
+
+<p>
+No lo excusa quien se casa.<br />
+&Aacute; Rodr&iacute;guez lo primero,<br />
+&Aacute; Galindo y &aacute; Butr&oacute;n,<br />
+&Aacute; Lorenzo y &aacute; Ram&oacute;n, <a name="line_2465" id="line_2465"></a><a href="#note_2452"><span class="linenum">2465</span></a><br />
+Y &aacute; Pierres, buen compa&ntilde;ero.<br />
+</p>
+
+<p class="n">PEDRO</p>
+
+<p>
+Haced llevar un menudo;<br />
+Que no hay hueso que dejar.<br />
+</p>
+
+<p class="n">MART&Iacute;N</p>
+
+<p>Eso es darles de cenar.</p>
+
+<p class="n">PEDRO</p>
+
+<p>
+En esta ocasi&oacute;n no dudo <a name="line_2470" id="line_2470"></a><a href="#note_2468"><span class="linenum">2470</span></a><br />
+De que tendr&aacute;n los se&ntilde;ores<br />
+Arriba gran colaci&oacute;n.<br />
+</p>
+
+<p class="n">MART&Iacute;N</p>
+
+<p>
+Por all&aacute; 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">MART&Iacute;N</p>
+
+<p>
+Pedro, &eacute;sa 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 do&ntilde;a Ana.</p>
+
+<p class="c"><span class="smcap">Do&ntilde;a Ana</span>, <span class="smcap">Don Juan</span></p>
+
+<div class="d">
+
+<p class="n">DON JUAN</p>
+
+<p>
+Yo pienso que es condici&oacute;n,<br />
+Y no amor, vuestra porf&iacute;a. <a name="line_2480" id="line_2480"></a><a href="#note_2468"><span class="linenum">2480</span></a><br />
+</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p>
+Y &iquest;qui&eacute;n sin amor pod&iacute;a<br />
+Sufrir tanta sinraz&oacute;n?<br />
+</p>
+
+<p class="n">DON JUAN</p>
+
+<p>
+No es sinraz&oacute;n la ocasi&oacute;n<br />
+Que me fuerza &aacute; 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>.&mdash;<span class="smcap">
+Dichos</span>.</p>
+
+<div class="d">
+
+<p class="n">CONDE (<i>ap.</i>)</p>
+
+<p>
+Necios celos me han tra&iacute;do<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">DO&Ntilde;A ANA</p>
+
+<p>&iexcl;Oh, mal haya el Conde, am&eacute;n!</p>
+
+<p class="n">CONDE (<i>ap.</i>)</p>
+
+<p>
+Don Juan la muestra desd&eacute;n,<br />
+Y ella &aacute; don Juan solicita.<br />
+</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p>
+Con oro en m&aacute;rmol 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 traici&oacute;n que no permita.<br />
+Dem&aacute;s, que esto no es traici&oacute;n;<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 />
+Conocer&eacute; su intenci&oacute;n.<br />
+</p>
+
+<p class="n">DON JUAN</p>
+
+<p>
+Ninguna loca afici&oacute;n<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 &aacute; el amor,<br />
+Y vencer &aacute; 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">DO&Ntilde;A ANA</p>
+
+<p>
+Y &iquest;si el Conde lo quisiera,<br />
+Y aun &eacute;l mismo os lo mandara?<br />
+</p>
+
+<p class="n">DON JUAN</p>
+
+<p>
+Entonces es cosa clara;<br />
+Mas cierta pod&eacute;is 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 as&iacute;, me voy; que no quiero<br />
+Dar &aacute; 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 hab&eacute;is o&iacute;do<br />
+Lo que ya sospecho aqu&iacute;, <a name="line_2520" id="line_2520"></a><a href="#note_2468"><span class="linenum">2520</span></a><br />
+Pienso que estar&eacute;is de m&iacute;<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 desd&eacute;n <a name="line_2525" id="line_2525"></a><a href="#note_2468"><span class="linenum">2525</span></a><br />
+Do&ntilde;a Ana, no ha sido culpa,<br />
+Porque sois vos la disculpa,<br />
+Y mi desdicha tambi&eacute;n.<br />
+Dice que sabe de m&iacute;<br />
+Que os mandar&eacute; que os cas&eacute;is: <a name="line_2530" id="line_2530"></a><a href="#note_2534"><span class="linenum">2530</span></a><br />
+Dice bien, y vos lo har&eacute;is,<br />
+Porque yo os lo mando as&iacute;.<br />
+Que &aacute; saber, cuando la v&iacute;,<br />
+Que os ten&iacute;a 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 />
+Fu&eacute; enga&ntilde;ado pensamiento<br />
+Que con tal entendimiento<br />
+No escogiese lo mejor.<br />
+</p>
+
+<p class="n">DON JUAN</p>
+
+<p>
+Aunque &aacute; Alejandro imit&eacute;is<br />
+En darme lo que estim&aacute;is, <a name="line_2540" id="line_2540"></a><a href="#note_2534"><span class="linenum">2540</span></a><br />
+Ni como Apeles me hall&aacute;is,<br />
+Ni enamorado me veis,<br />
+Ni vos mandarme pod&eacute;is<br />
+Que sea lo que no fu&iacute;;<br />
+Pues cuando pudiera aqu&iacute; <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 />
+&Aacute; quien os deja por m&iacute;.<br />
+</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p>
+Quedo, quedo; que no soy<br />
+Tan del Conde, que me d&eacute;, <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 est&eacute;<br />
+Menos contenta ayer que hoy.<br />
+Libre, &aacute; m&iacute; misma me doy,<br />
+Y dar&eacute; luego, si quiero,<br />
+&Aacute; 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 cu&ntilde;ados,<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">Do&ntilde;a Mar&iacute;a</span>, <i>de madrina y muy bizarra, con</i> <span class="smcap">Leonor</span>, <i>de la mano</i>;
+<span class="smcap">Mart&iacute;n</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">acompa&ntilde;amiento de Mujeres de la boda</span>, <span class="smcap">M&uacute;sicos</span>.</p>
+
+
+<div class="d">
+
+<p>M&Uacute;SICOS (<i>cantan</i>)</p>
+
+<p>
+<i>En la villa de Madrid<br />
+Leonor y Mart&iacute;n se casan:
+Corren toros y juegan ca&ntilde;as.</i><a name="line_2560" id="line_2560"></a><a href="#note_2559"><span class="linenum">2560</span></a><br />
+</p>
+
+<p class="n">MART&Iacute;N</p>
+
+<p>&iexcl;Mala letra para novios!</p>
+
+<p class="n">PEDRO</p>
+
+<p>Pues &iquest;no os agrada la letra?</p>
+
+<p class="n">MART&Iacute;N</p>
+
+<p>
+Correr toros y casarme<br />
+Par&eacute;ceme &aacute; los que llevan <a name="line_2565" id="line_2565"></a><a href="#note_2561"><span class="linenum">2565</span></a><br />
+Pron&oacute;sticos para el a&ntilde;o<br />
+Dos meses antes que venga.<br />
+</p>
+
+<p class="n">CONDE</p>
+
+<p>
+Gallarda viene la novia;<br />
+Pero quien no conociera<br />
+&Aacute; Isabel, imaginara, <a name="line_2570" id="line_2570"></a><a href="#note_2562"><span class="linenum">2570</span></a><br />
+Vi&eacute;ndola grave y compuesta,<br />
+Que era mujer principal.<br />
+</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p>
+Juzgarse puede por ella<br />
+Cu&aacute;nto las galas importan,<br />
+Cu&aacute;nto 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>&iexcl;Qu&eacute; perdido est&aacute; don Juan!</p>
+
+<p class="n">DO&Ntilde;A ANA</p>
+
+<p>&iexcl;Qu&eacute; 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, &aacute; 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 s&iacute;.</i> Amor, si en esta mujer<br />
+No est&aacute; oculta la nobleza,<br />
+La calidad y la sangre<br />
+Que por lo exterior se muestra,<br />
+&iquest;Qu&eacute; 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 />
+Do&ntilde;a Ana celosa de ella,<br />
+El Conde suspenso, hurtando<br />
+&Aacute; su gravedad respuesta.<br />
+Ella se parte ma&ntilde;ana, <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 />
+&iquest;Qu&eacute; tienen que ver diamantes<br />
+Con la fingida bajeza?<br />
+Pues &iquest;he de quedar as&iacute;,<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 />
+&iquest;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 alg&uacute;n alma secreta.)<br />
+Conde, el m&aacute;s 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 monarqu&iacute;a,<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 as&iacute;,<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 &aacute; nadie admire,<br />
+Pues cuantos viven confiesan<br />
+Que es amor una pasi&oacute;n<br />
+Incapaz de resistencia.<br />
+Yo no soy m&aacute;rmol, 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 &aacute; Isabel<br />
+Mis sentidos y potencias.<br />
+Cuando esto en p&uacute;blico 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">&iquest;Qu&eacute; furia es &eacute;sta?</p>
+
+<p class="n">DO&Ntilde;A 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>
+&iexcl;Vive Dios, que si es de veras,<br />
+Que antes os quite la vida<br />
+Que permitir tal bajeza!<br />
+&iexcl;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 dar&eacute; de estocadas.<br />
+</p>
+
+<p class="n">CONDE</p>
+
+<p>
+Un hombre de vuestras prendas<br />
+&iexcl;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>
+&iexcl;Ay Dios! Su bajeza es cierta,<br />
+Pues calla en esta ocasi&oacute;n.<br />
+Ya no es posible que pueda<br />
+Ser m&aacute;s de lo que parece.<br />
+</p>
+
+<p class="n">CONDE</p>
+
+<p>
+&iquest;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">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+Quedo, Conde; que me pesa<br />
+De que me deis ocasi&oacute;n <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">
+&iexcl;Ay Dios! &iexcl;Si ya llega<br />
+Alg&uacute;n desenga&ntilde;o m&iacute;o!<br />
+</p>
+
+<p class="n">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+No est&aacute; la boda tan hecha<br />
+Como os parece, Se&ntilde;or;<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 />
+&iquest;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">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+&iquest;Qui&eacute;n fu&eacute; la dama de Ronda <a name="line_2670" id="line_2670"></a><a href="#note_2641"><span class="linenum">2670</span></a><br />
+Que mat&oacute;, por la defensa<br />
+De su padre, un caballero,<br />
+Cuyo perd&oacute;n se concierta<br />
+Por vos, y que vos busc&aacute;is?<br />
+</p>
+
+<p class="n">CONDE</p>
+
+<p>
+Do&ntilde;a Mar&iacute;a, &aacute; 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">DO&Ntilde;A MAR&Iacute;A</p>
+
+<p>
+Pues yo soy do&ntilde;a Mar&iacute;a,<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">MART&Iacute;N</p>
+
+<p>
+Leonor, &aacute; 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">DO&Ntilde;A ANA</p>
+
+<p>
+Justo ser&aacute; que lo sean<br />
+El Conde y do&ntilde;a Ana.<br />
+</p>
+
+<p class="n">CONDE</p>
+
+<p class="indstart">
+Aqu&iacute;<br />
+Puso fin &aacute; 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 &aacute; Mil y Quinientas</i>.<br />
+Mil y quinientas ha escrito:<br />
+Bien es que perd&oacute;n merezca.<br />
+</p>
+
+</div>
+
+<hr />
+
+<h2 class="top15"><a name="NOTES" id="NOTES"></a>NOTES<br />&nbsp;</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>L&uuml;isa</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 enamor&oacute; de su propia figura
+cuando se vido en las aguas de la fuente." (<i>Novelistas Anteriores &aacute;
+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 Guzm&aacute;n, duque de
+Medina-Sidonia, was a relative of Olivares and head of the great house
+of Guzm&aacute;n 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 C&aacute;ntaro</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>Se&ntilde;ora</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>&Eacute;ste.</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 raz&oacute;n de la sinraz&oacute;n" 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>&iquest;Habla de aci&eacute;rtame aqu&iacute;?</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 aqu&iacute;?"</p>
+
+<p class="ind"><a name="note_54" id="note_54"></a><a href="#line_50">54.</a> <b>&iquest;Qu&eacute; 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... aqu&iacute;</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 &aacute; 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>ans&iacute;</b>, middle Spanish and archaic form of <i>as&iacute;</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>d&eacute;l</b>=<i>de &eacute;l</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 Mar&iacute;a 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>h&aacute;bito 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 &gt; agora</i> and <i>ad horam &gt; 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>Sanl&uacute;car</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 Sanl&uacute;car the scene of part of his <i>Nuevo
+Mundo descubierto por Crist&oacute;bal Col&oacute;n</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 respond&iacute;</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>Aqu&iacute; 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>&aacute; 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 ca&iacute;a ya en desuso <i>qui</i>, por in&uacute;til duplicado de <i>quien</i>; &eacute;ste
+en el siglo XVI se cre&oacute; un plural: <i>quienes</i>, que aunque calificado de
+inelegante por Ambrosio de Salazar en 1622, se generaliz&oacute;, si bien aun
+hoy d&iacute;a se dice alguna vez 'los pocos &oacute; muchos de <i>quien</i> ha tenido que
+valerse.'" (Men&eacute;ndez Pidal, <i>Manual elemental de gram&aacute;tica hist&oacute;rica
+espa&ntilde;ola</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, f&aacute;cil</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>&iquest;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 r&iacute;o.</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>madrile&ntilde;os</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>Muri&oacute;sele &aacute; 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>var&iuml;ar</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 condici&oacute;n</b>, etc. An interesting parallel to the idea of this
+passage is found in the following from Voltaire: "Il m'a toujours paru
+&eacute;vident que le violent Achille, l'&eacute;p&eacute;e nue, et ne se battant point,
+vingt h&eacute;ros dans la m&ecirc;me attitude comme des personnages de tapisserie,
+Agamemnon, roi des rois, n'imposant &agrave; personnes, immobile dans le
+tumulte, formeraient un spectacle assez semblable au cercle de la reine
+en cire color&eacute;e par Beno&icirc;t." ("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>&Aacute;
+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 do&ntilde;a Ana.</p>
+
+<p class="ind"><a name="note_547" id="note_547"></a><a href="#line_545">547.</a> <b>No lo echemos &aacute; 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 Alarc&oacute;n's <i>El Ni&ntilde;o 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 fu&eacute; 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 ans&iacute;</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 &aacute; 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>Cay&oacute; 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 &eacute;l... 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 Calder&oacute;n, though a
+grammar gave the modern form as early as 1555. See Men&eacute;ndez Pidal's
+<i>Manual elemental de gram&aacute;tica hist&oacute;rica espa&ntilde;ola</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 Se&ntilde;or Jos&eacute; 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 t&eacute;rmino 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 Despe&ntilde;aperros.</p>
+
+<p class="ind"><a name="note_813" id="note_813"></a><a href="#line_810">813.</a> <b>Bien est&aacute; 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>&eacute;rades</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
+Men&eacute;ndez Pidal, <i>Manual elemental de gram&aacute;tica hist&oacute;rica espa&ntilde;ola</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 m&aacute;s 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>&eacute;tape</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 Amad&iacute;s, en Beltenebros.</b> <i>Amad&iacute;s 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 Amad&iacute;s, 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 Amad&iacute;s 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 Amad&iacute;s loves
+Briolania; mad with anger and despair, she sends him a letter saying
+that all is ended between them. Amad&iacute;s, 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 Amad&iacute;s, and their
+happiness is at length realized. Amad&iacute;s 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 r&ocirc;le 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>Ep&iacute;stola &aacute; D. Michael de Solis</i> he writes:</p>
+
+<div class="d">
+<p>
+Si fuera por la Vera de Plasencia<br />
+&Aacute; buscar primavera al jard&iacute;n m&iacute;o,<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 s&eacute;.<br />
+Tres puntos del que los v&eacute;<br />
+Que no son puntos de vara:<br />
+Puntos, que puedo decir,<br />
+Seg&uacute;n en su condici&oacute;n,<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>&aacute; primera cara</i>, which was the equivalent
+of <i>&aacute; 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 presum&iacute;</b>, etc. The consonance of <i>escarpines</i> is with
+<i>jazmines</i>, but the contrast is with <i>chapines</i> above. The <i>chap&iacute;n</i> was
+a heavy low shoe or sandal better suited to the use of servants, while
+the <i>escarp&iacute;n</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>&aacute; cierta dama</b> depends upon <i>pregunt&eacute;</i>.</p>
+
+<p class="ind"><a name="note_975" id="note_975"></a><a href="#line_975">975.</a> <b>ca&ntilde;af&iacute;stolas</b>=<i>ca&ntilde;af&iacute;stulas</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>&aacute; 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 qued&oacute; 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>ingl&eacute;s &aacute; C&aacute;diz.</b> "A&ntilde;o 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>tus&oacute;n 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 d&eacute;bil ca&ntilde;a</b>, etc. "En la edici&oacute;n antigua de la comedia: <i>Con
+d&eacute;bil ca&ntilde;a, 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 tr&aacute;gica</i> se lee <i>sembrando</i>; en la
+edici&oacute;n 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>&Aacute; la Venida de los Ingleses &aacute; C&aacute;diz</i>. Hartzenbusch speaks of it
+as though it appeared in the <i>Corona tr&aacute;gica</i>, but his note is
+misleading, for it really is found in a collection of <i>Poes&iacute;as varias</i>
+in the volume stated which begins with the <i>Corona tr&aacute;gica</i>.</p>
+
+<p class="ind"><a name="note_1086" id="note_1086"></a><a href="#line_1085">1086.</a> <b>Mas qu&eacute; os</b>, etc. More exact punctuation would place the initial
+interrogation after <i>mas</i> and before <i>qu&eacute;</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>hubi&eacute;rades... Dij&eacute;rades</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... &aacute; 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 &eacute;l este amor beb&iacute;.</b> Here as well as in the following line <i>&eacute;l</i>
+refers to <i>c&aacute;ntaro</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 raz&oacute;n</b>, <i>indeed she is quite right</i>. Zerolo's edition has
+<i>que</i> instead of <i>qu&eacute;</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>d&eacute;cimas</i>. Such a verse is called the <i>pie de
+d&eacute;cima</i>.</p>
+
+<p class="ind"><a name="note_1252" id="note_1252"></a><a href="#line_1250">1252.</a> <b>Andaluc&iacute;a</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>Ad&oacute;nde bueno</b>=<i>Qu&eacute; 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 costar&aacute;</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 r&iacute;o.</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... Potos&iacute;.</b> Potos&iacute; is a city of Bolivia situated on
+the Cerro de Potos&iacute; at an altitude of thirteen thousand feet. The Cerro
+de Potos&iacute; 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 Potos&iacute; 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 do&ntilde;a Mar&iacute;a with that of Areusa in the
+<i>Celestina</i> against the exacting duties of servants. (See <i>Biblioteca de
+Autores Espa&ntilde;oles</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 ma&ntilde;ana</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 raz&oacute;n</b>, etc. In this reply of do&ntilde;a Mar&iacute;a we see not a
+little of the <i>pr&eacute;cieux</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>c&aacute;ntaro</i>.</p>
+
+<p class="ind"><a name="note_1417" id="note_1417"></a><a href="#line_1415">1417.</a> <b>&Oacute; 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 Vel&aacute;zquez 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>Cont&eacute;ntese &oacute; quitar&eacute;le.</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>&iquest;Qu&eacute; se hizo tu desd&eacute;n?</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>Habr&aacute;n 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 do&ntilde;a Mar&iacute;a.</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>
+&iexcl;O Belerma! &iexcl;O Belerma!<br />
+Por mi mal fuiste engendrada,<br />
+Que siete a&ntilde;os te serv&iacute;<br />
+Sin de ti alcanzar nada;<br />
+Agora que me quer&iacute;as<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>roc&iacute;n 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 mordisc&oacute;n<br />
+Parece roc&iacute;n 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>&mdash;<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 c&aacute;ntaro &aacute; la fuente, alguna se quiebra,"
+and "Tantas veces va el c&aacute;ntaro &aacute; la fuente, que deja el asa &oacute; la
+frente." Do&ntilde;a Mar&iacute;a 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>volvi&eacute;rades</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&mdash;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 m&aacute;s</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 &eacute;l 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>due&ntilde;o</b> is regularly used in its present sense when referring to a
+woman as well as to a man. The feminine <i>due&ntilde;a</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>Toc&oacute;... el instrumento</b>, etc. The reference is evidently to the
+<i>bandurr&iacute;a</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 m&aacute;s 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 do&ntilde;a Mar&iacute;a 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 c&aacute;ntaro la ten&iacute;a</b>=<i>Ten&iacute;a el alma de c&aacute;ntaro. Alma de c&aacute;ntaro</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>c&aacute;ntaro</i> in the
+expression <i>alma de c&aacute;ntaro</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>
+Igualar&aacute; la pluma &aacute; la grandeza,<br />
+Y el Parnaso de vos favorecido<br />
+Tendr&aacute; 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 />
+Ser&aacute;n 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 do&ntilde;a Mar&iacute;a 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 sal&iacute; 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 naci&oacute; 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 &aacute; 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>Mondo&ntilde;edo</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>
+Nac&iacute; 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 Espa&ntilde;a tres partes:<br />
+Galicia, Vizcaya, Asturias,<br />
+&Oacute; ya monta&ntilde;as se llamen.&mdash;<br />
+</p>
+</div>
+
+<p class="ind"><a name="note_2446" id="note_2446"></a><a href="#line_2445">2446.</a> <b>Volver la silla &aacute; 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 &aacute; la costumbre de estar
+en los actos p&uacute;blicos la silla del rey vuelta hacia el dosel siempre que
+S. M. no la ocupa. As&iacute; se mantuvo la silla real en las Cortes
+Extraordinarias de C&aacute;diz 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 &aacute; 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 &aacute; 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 ca&ntilde;as.</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>&iexcl;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>&iexcl;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>&aacute; escuras</b>=<i>&aacute; 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>&Eacute;gloga &aacute; 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 m&aacute;s 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>Alarc&oacute;n (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>Calder&oacute;n: El M&aacute;gico Prodigioso.</b> Edited by A. F. <span class="smcap">Kuersteiner</span>, Indiana
+University. [<i>In preparation.</i>]</p>
+
+<p class="h"><b>Calder&oacute;n: 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>Ib&aacute;&ntilde;ez (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 &aacute; quien.</b> Edited by <span class="smcap">Milton A. Buchanan</span>,
+University of Toronto, and <span class="smcap">Bernard Franzen-Swedelius</span>, McMaster
+University. [<i>In preparation.</i>]</p>
+
+<p class="h"><b>Lope de Vega: La Moza de C&aacute;ntaro.</b> Edited by <span class="smcap">Madison Stathers</span>, West
+Virginia University.</p>
+
+<p class="h"><b>Mesonero Romanos: Panorama Matritense.</b> Edited by G. T. <span class="smcap">Northup</span>,
+University of Toronto.</p>
+
+<p class="h"><b>Morley's Spanish Ballads.</b> Edited by S. <span class="smcap">Griswold Morley</span>, University of
+Colorado. 75 cents.</p>
+
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+preparation.</i>]</p>
+
+<p class="h"><b>Selgas: La Mariposa Blanca.</b> Edited, with vocabulary, by H. A. <span class="smcap">Kenyon</span>,
+University of Michigan. 60 cents.</p>
+
+<p class="h"><b>Three Modern One-Act Comedies.</b> Edited, with vocabulary, by F. W.
+<b>Morrison</b>, U. S. Naval Academy. 60 cents.</p>
+
+<p class="h"><b>Vald&eacute;s: La Hermana San Sulpicio.</b> Edited, with vocabulary, by J. G. <span class="smcap">Gill</span>,
+Trinity College, Conn. 50 cents.</p>
+
+
+<hr style="width: 50%;" />
+
+<h3>SPANISH GRAMMARS AND COMPOSITION BOOKS.</h3>
+
+
+<p class="h"><b>Crawford's Spanish Composition.</b><br />
+By J. P. <span class="smcap">Wickersham Crawford</span>, Instructor of Romance Languages in the
+University of Pennsylvania. 127 pp. 16mo. 75 cents.</p>
+
+<p class="h">This book, divided into thirty lessons, furnishes a review of Spanish
+grammar, connected passages in Spanish and passages in English for
+translation, based upon the Spanish text. The subject is a trip to
+Spain, and offers practice in the idiomatic language of everyday life.</p>
+
+<p class="h"><b>Harrison's Spanish Correspondence.</b><br />
+By E. S. <span class="smcap">Harrison</span>, Instructor in the Commercial High School, Brooklyn,
+N. Y. viii+157 pp. 12mo. $1.00.</p>
+
+<p class="h"><b>Olmsted and Gordon's Spanish Grammar for Schools and Colleges.</b>
+<br />By E. W. <span class="smcap">Olmsted</span>, Professor in Cornell University, and <span class="smcap">Arthur Gordon</span>,
+Assistant Professor in the same. 519 pp. 12mo. $1.40.</p>
+
+<p class="ind">Combines a systematic treatment of the grammar with ample colloquial
+drill. The exercises are practical and interesting to an unusual degree.</p>
+
+<p class="h"><b>Ramsey's Spanish Grammar. With Exercises.</b><br />
+By M. M. <span class="smcap">Ramsey</span>, formerly Professor in the Leland Stanford Junior
+University. 610 pp. 12mo. $1.50.</p>
+
+<p class="h"><b>Ramsey's Text-book of Modern Spanish.</b><br />
+By M. M. <span class="smcap">Ramsey</span>, xi+653 pp. 12mo. $1.80.</p>
+
+<p class="h"><b>Ramsey and Lewis's Spanish Prose Composition.</b><br />
+By M. M. <span class="smcap">Ramsey</span> and <span class="smcap">Anita J. Lewis</span>. 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>Alarc&oacute;n: 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 Alarc&oacute;n'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
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+
+<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 P&eacute;rez Pastor's <i>Datos Desconocidos</i> the Spanish criminal
+records of the <i>Proceso de Lope de Vega por Libelos contra unos
+C&oacute;micos</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>&Eacute;gloga &aacute; 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>Ep&iacute;stola &aacute; Don Antonio de Mendoza</i> he
+evinces it in the following lines:
+</p>
+
+<div class="d">
+<p><br />
+Necesidad y yo partiendo &aacute; medias<br />
+el estado de versos mercantiles,<br />
+pusimos en estilo las Comedias.<br />
+Yo las saqu&eacute; de sus principios viles,<br />
+engendrando en Espa&ntilde;a m&aacute;s Poetas,<br />
+que hay en los ayres &aacute;tomos 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 edici&oacute;n 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 Do&ntilde;a Mar&iacute;a Guzm&aacute;n 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 fianc&eacute;e the actor approached the front of
+the stage to pronounce this brief address to the public:
+</p>
+
+<div class="d">
+<p><br />
+Aqu&iacute;<br />
+Puso fin &aacute; esta comedia<br />
+Quien, si perdiere este pleito,<br />
+Apela &aacute; <i>Mil y quinientas</i>.<br />
+<span class="smcap">Mil y quinientas</span> ha escrito:<br />
+Bien es que perd&oacute;n 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>&iexcl;V&iacute;tor, Lope!</i>" shrieked that tumultuous multitude time and again.
+"Long live <i>el F&eacute;nix 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 Th&eacute;&acirc;tre 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
+C&aacute;ntaro, comedia en cinco actos por Lope F&eacute;lix de Vega Carpio y
+refundida por C&aacute;ndido Mar&iacute;a 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
+C&aacute;ntaro</i>, <i>El sabio en su casa</i>, <i>La doncella Teodor</i>." (Romualdo
+Alvarez Espino, <i>Ensayo Hist&oacute;rico Cr&iacute;tico del Teatro Espa&ntilde;ol</i>, p. 116.
+See also, Alfred Gassier, <i>Le Th&eacute;&acirc;tre 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 C&aacute;ntaro</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
+C&aacute;ntaro</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 r&ocirc;les 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&mdash;Parmeno&mdash;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>d&eacute;cima</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
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+</body>
+</html>
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diff --git a/LICENSE.txt b/LICENSE.txt
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+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
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+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #23206 (https://www.gutenberg.org/ebooks/23206)