diff options
Diffstat (limited to '23206-8.txt')
| -rw-r--r-- | 23206-8.txt | 8096 |
1 files changed, 8096 insertions, 0 deletions
diff --git a/23206-8.txt b/23206-8.txt new file mode 100644 index 0000000..a1f3a78 --- /dev/null +++ b/23206-8.txt @@ -0,0 +1,8096 @@ +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. + */ + + + + +NEW SPANISH SERIES + +Under the general Editorship of Professor J. D. M. FORD of Harvard +University. + + +=A Brief History of Spanish Literature.= By J. D. M. FORD. [_In +preparation._] + +=Alarcón (Ruiz de): Las Paredes Oyen.= Edited by CAROLINE BOURLAND, Smith +College. [_In preparation._] + +=Ayala: Consuelo.= Edited by A. M. ESPINOSA, Stanford University. 60 +cents. + +=Calderón: El Mágico Prodigioso.= Edited by A. F. KUERSTEINER, Indiana +University. [_In preparation._] + +=Calderón: El Alcalde de Zalamea.= Edited by B. P. BOURLAND, Adelbert +College. [_In preparation._] + +=Cervantes: Novelas Ejemplares. (Selections.)= Edited by H. A. RENNERT, +University of Pennsylvania. [_In preparation._] + +=Hartzenbusch: La Coja y el Encogido.= Edited by J. GEDDES, Jr., Boston +University. 60 cents. + +=Hills and Morley's Modern Spanish Lyrics.= Edited by E. C. HILLS, +Colorado College, and S. G. MORLEY, University of Colorado. + +=Ibáñez (Blasco): La Barraca.= Edited, with vocabulary, by R. H. KENISTON. +90 cents. + +=Lope de Vega: Amar sin saber á quien.= Edited by MILTON A. BUCHANAN, +University of Toronto, and BERNARD FRANZEN-SWEDELIUS, McMaster +University. [_In preparation._] + +=Lope de Vega: La Moza de Cántaro.= Edited by MADISON STATHERS, West +Virginia University. + +=Mesonero Romanos: Panorama Matritense.= Edited by G. T. NORTHUP, +University of Toronto. + +=Morley's Spanish Ballads.= Edited by S. GRISWOLD MORLEY, University of +Colorado. 75 cents. + +=The Prohemio of the Marqués de Santillana.= Being the first critical +account of the poetry of Italy, France and Spain down to the middle of +the fifteenth century. Edited by H. R. LANG, Yale University. [_In +preparation._] + +=Selgas: La Mariposa Blanca.= Edited, with vocabulary, by H. A. KENYON, +University of Michigan. 60 cents. + +=Three Modern One-Act Comedies.= Edited, with vocabulary, by F. W. +=Morrison=, U. S. Naval Academy. 60 cents. + +=Valdés: La Hermana San Sulpicio.= Edited, with vocabulary, by J. G. GILL, +Trinity College, Conn. 50 cents. + + + + +SPANISH GRAMMARS AND COMPOSITION BOOKS. + + +=Crawford's Spanish Composition.= + +By J. P. WICKERSHAM CRAWFORD, Instructor of Romance Languages in the +University of Pennsylvania. 127 pp. 16mo. 75 cents. + +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. + +=Harrison's Spanish Correspondence.= + +By E. S. HARRISON, Instructor in the Commercial High School, Brooklyn, +N. Y. viii+157 pp. 12mo. $1.00. + +=Olmsted and Gordon's Spanish Grammar for Schools and Colleges.= + +By E. W. OLMSTED, Professor in Cornell University, and ARTHUR GORDON, +Assistant Professor in the same. 519 pp. 12mo. $1.40. + +Combines a systematic treatment of the grammar with ample colloquial +drill. The exercises are practical and interesting to an unusual degree. + +=Ramsey's Spanish Grammar. With Exercises.= + +By M. M. RAMSEY, formerly Professor in the Leland Stanford Junior +University. 610 pp. 12mo. $1.50. + +=Ramsey's Text-book of Modern Spanish.= + +By M. M. RAMSEY, xi+653 pp. 12mo. $1.80. + +=Ramsey and Lewis's Spanish Prose Composition.= + +By M. M. RAMSEY and ANITA J. LEWIS. Notes with each exercise and a +vocabulary, viii+144 pp. 16mo. 75 cents. + +=Schilling's Spanish Grammar.= + +Translated and edited by FREDERICK ZAGEL. 340 pp. 12mo. $1.10. + +SCHILLING'S DON BASILIO. + +Translated and edited by FREDERICK ZAGEL. A guide to Spanish +conversation and correspondence, vii+156 pp. 12mo. $1.00. + + + + +SPANISH READERS AND TEXTS. + + +=Alarcón: El Sombrero de Tres Picos.= Edited, with introduction, notes, +and vocabulary, by BENJAMIN P. BOURLAND, Professor in Adelbert College. +xvi+250 pp. 16mo. 90 cents. This story is the most characteristically +Spanish of all Alarcón's writings, and in many respects his best work. +This edition is designed to make it accessible as a text to college +classes of the second or third semester. + +=Becquer: Selected Works.= Edited, with notes and a vocabulary, by FONGER +DE HAAN, Professor in Bryn Mawr College. [_In preparation._] Text of the +above, without notes and vocabulary. 232 pp 12mo. 50 cents. + +=Caballero: La Familia de Alvareda.= New edition from new plates, with +introduction, notes and vocabulary by PERCY B. BURNET, Kansas City (Mo.) +Manual Training High School. 200 pp. 16mo. 75 cents. + +=Hills's Spanish Tales for Beginners.= By E. C. HILLS, Professor of +Romance Languages in Colorado College. With notes and vocabulary. 298 +pp. 16mo. $1.10. + +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. + +=Ramsey's Elementary Spanish Reader.= By M. M. RAMSEY. With original +illustrations and a vocabulary. x+240 pp. 16mo. $1.00. A very easy and +carefully graded reading-book meant to accompany the early stages of the +study. + +=Tirso de Molina: Don Gil de las Calzas Verdes.= With introduction, notes, +and vocabulary by BENJAMIN P. BOURLAND, Professor in Adelbert College, +xxvii+198 pp. 16mo. 75 cents. + +This edition is designed for the use of college students in their third +or fourth semester of Spanish study. + + + + +MODERN LANGUAGE DICTIONARIES + + +=Bellows's German Dictionary= 806 pp. 12mo. Retail price, $1.75. On the +same general plan as Bellows's French Dictionary (Larger type edition). +See below. + +=Whitney's Compendious German and English Dictionary= viii+538+ii+362 pp. +8vo. Retail price, $1.50. Arranges definitions in historical order, +prints cognates in heavy type, gives brief etymologies. + +=Gasc's Student's French and English Dictionary= 600+586 pp. 12mo. Retail +price, $1.50. Comprehensive, inexpensive. Popular with students. + +=Gasc's Pocket French and English Dictionary= x+647 pp. 18mo. $1.00. + +=Gasc's Library French and English Dictionary= 956 pp. 8vo. $4.00. + +An expansion of the larger of the foregoing dictionaries, comparing +favorably both for completeness and convenience with any French and +English dictionary extant. + +=Gasc's Concise Dictionary of the French and English Languages= 941 pp. +16mo. Retail price, $1.25. + +Abridged from the foregoing. The most complete of the portable +dictionaries. + +=Gasc's Little Gem French and English Dictionary= 279 pp. Vest-pocket +format. Cloth, 50c. Leather, $1.00. + +=Bellows's French and English Pocket Dictionary= 605 pp. 32mo. Roan tuck, +$2.55. Morocco tuck, $3.10. + +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. + +=Bellows's French Dictionary. Larger Type= 689 pp. 12mo. Retail price, +$1.50. Revised and enlarged. Larger type. For the use of students. +Retains all the features and devices of the Pocket Dictionary except the +maps. + +=Edgren and Burnet's French and English Dictionary= 1252 pp. 8vo. Retail +price, $1.50. Gives pronunciation and etymologies, with date of first +occurrence of each word. Scholarly and practical. + +=Edgren's Italian and English Dictionary= viii+1028 pp. 8vo. Retail price, +$3.00. + + + + + +End of the Project Gutenberg EBook of La moza de cántaro, by Lope de Vega + +*** END OF THIS PROJECT GUTENBERG EBOOK LA MOZA DE CÁNTARO *** + +***** This file should be named 23206-8.txt or 23206-8.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/3/2/0/23206/ + +Produced by Juliet Sutherland, Chuck Greif and the Online +Distributed Proofreading Team at http://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +http://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +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 + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, is critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at http://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +http://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at http://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit http://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including checks, online payments and credit card donations. +To donate, please visit: http://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + http://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. |