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Extrait de la Revue Hispaniqiii', tome XXXIII 










The basis of the present bibhography is an interleaved copy 
of John Rutter Chorley's Catdhfgo de Comedias y Autos de Frey 
Lope Felix de Vega Carpio which in its original form was print- 
ed at the end of the fifty-second volume of the Biblioteca de 
Autores Espaholes (pp. 535-558). This interleaved copy was 
bequeathed by Chorlcy to the British Museum, and was received 
by the Museum officials on November 9, 1867. There it 
appears to have remained unnoticed by all students of Spanish, 
with the exception of Mr. James Fitzmaurice-Kelly who inform- 
ed me of its existence, and supplied me with a copy of it. The 
title of the revised version reads : — Catdlngo de Comedias y 
Autos de Lope de Vega. For J. R. C. Impreso en Madrid : — con 
adiciones v notas de Barrera. Alio de 1S61. Adicionado y corre- 
gido en Ms. por su redactor original. Aho de 1864. The press- 
mark is 1 1725 h. The original is wholly in Spanish. 

In his preliminary Advertencia Chorley states that the first 
draft was finished in October 1857, ^^^ ^^^Y forwarded to 
Hartzenbusch, who communicated it to La Barrera (i860). It 



was published in 1861 with La Barrera's adiciones y correcciones, 
and with a few notes by Hartzenbusch. Chorley observes that, 
with the exception of the Hst in the 1618 edition of the Pere- 
griuo en sii Palria, which had been overlooked or forgotten for 
more than a centur}% La Barrera's additions are of no great value ; 
that La Barrera's « corrections » do not always deserve the 
name, and that La Barrera occasionally represents himself as 
being the author of notes which, as a matter of fact, figured in 
Chorley 's manuscript. In the refonte Chorley restores his Catalogo 
to its primitive form which Hartzenbusch and La Barrera had 
altered. This unauthorized rearrangement of the materials was 
not, in the English bibliographer's opinion, a change for the 

Though it dates back to 1864, Chorley's revision of his work 
is so characteristically thorough that it leaves comparatively little 
to be gleaned by his successors. Still, I have spared no pains to 
attain additional accuracy in the minutiiu, and I have embodied 
the additional material which Chorley would certainly have 
included had it been available in his time. In so extensive a series 
of elaborate tables, abounding at every page in complex details, 
the possibilities of error are almost illimitable, and experts will 
no doubt detect in the subjoined lists a certain number of mis- 
takes, omissions, superfluities and contradictions. But I trust 
that the proportion of such defects may not be excessive, and, 
in any case, I can sincerely say that all corrections of my short- 
comings will be received with gratitude. 


The above ' Preliminary Note ' was prefixed to the Biblio- 
graphy of Lope de Vega's Comedias and Autos which appeared in 
my Life of Lope de Vega, Glasgow^ Gowans & Gray, 1904. It is 
hoped that in this second edition the Bibliography will be found 
much improved. Many additions have been made ; especially 


useful have been Professor Restori's reviews of the Spanish 
Academy's monumental edition of Lope de Vega (edited by the 
late Sr. Menendez y Pelayo), published in the Zeitschrift fiir 
romanische Philologie, vols. 22-31, and the Bibliografia Madrikha 
of Sr. Perez Pastor. The mistakes of the first issue have been 
corrected and the omissions have been supplied to the best of 
my ability. 

Students of Lope de Vega must ever regret the untimely death 
of that greatest conocedor of Lope de Vega, Sr. Menendez y 
Pelayo. No one has ever known Lope de Vega as intimately as 
he knew him, and the writer will ever remember that profound 
scholar with gratitude for his encouraging, sympathetic criticism. 

H. A. R. 



The titles of the dramatic works which make up this Cata- 
logue have been gathered from the works quoted below. 

In the first place comes the great collection of Coniedias de 
Lope de Vega, which consists of twenty-five volumes or Partes, 
in Spanish quarto, printed between i6o4and 1647. In the copies 
of which any information exists at present, Partes III and V 
of this series correspond apparently to another collection of various 
coniedias by divers authors : so that, strictly speaking. Partes 
III and V of Lope's coniedias are unknown. And, on the 
other hand, while there exists a Parte XXII and a Parte XXIV 
of coniedias, really and truly written by Lope de Vega, 
there are also another Parte XXII and two separate volumes 
entitled Parte XXIV which purport to be by our author and 
in fact contain pieces by him, though these are intermingled 
with plays by other poets. 


Tlie volume entitled Seis Comedias dc Lope de Vega printed 
at Madrid and Lisbon in 1603, contains :\ comedia by our author 
following upon five supposititious coiuedias ascribed to him . 

The work to which Lope's son-in-law, D. Luis de Usategui, 
gave the title of La Vega del Parnaso ' contains eight comedias by 

Two are contained in the Relacionde las Fiestas que la Villa de 
Madrid hi~o en la canoui^acion de S. Isidro. 

A book entitled Doce Comedias nueiias de Lope de Vega y otros 
antores, Segunda Parle contains four comedias by Lope. 

Four volumes, numbered Parte XXVI, Parte XXVII, Parte 
XXVIII and Par.'e XXIX de Comedias de Lope include plays by 
our author and others'. These four are usually called by bibli- 
ographers Partes de Lope de Vega extravagantes. 

Comedias by Lope are found, moreover, in Parte XXVIIl 
dc Comedias de diferentes aiitores and in Partes XXIX, XXX, 
XXXL XXXII, XXXIII, XXXVn, and XLIV of that collec- 

Comedias by Lope arc likewise found in certain volumes ot 
dramatic works, printed separately, in addition to those already 
cited, and in various collections of comedias siieltas which are 
duly mentioned below. 

Bervs'een 1652 and 1704 there appeared at Madrid a collec- 
tion of Comedias escogidas which reached a total of forty-eight 
volumes or Partes. Works by Lope are contained in Paries III, 

1. As this volume was not published till 1657, two years after Lope's 
death, Chorley considers that Lope was probably not in any way responsible 
for the title. 

2. So far as I am aware, comments Chorley, the Partes exlravagaiUes, 
XXVI, XXVII, and XXVIIl do not exist and are only known from the fact 
that Fajardo mentions them in his Index. Some fragments of them are (appar- 
entlyj preserved in three vols (see pp. 36-37) formerly in the Osuna 
Librarv and now in the Biblioteca Nacional. 



Lastly we know of autographs and manuscript copies of 
comedias by Lope in various public and private libraries, and 
the titles of these are embodied in the present Catalogue. 

This has been completed, as far as possible, by means of the 
titles of comedias printed by Lope himself in the two editions ol 
his work El Peregrino en su Patria, due use being made, as a 
last resource, of the Indice general alfabetico de las Comedias que se 
venden en casa de los herederos de Francisco Medel del Castillo, 
printed at Madrid in 1725, and the Catalogo alfabetico del 
Teatro Espahol, printed at Madrid by don Vicente Garcia de la 
Huerta in 1785. 

Appended is the Key to the abbreviations used to denote, as 
often as possible, the public or private library in which a given 
volume or dramatic work exists, or the writer who conveys 
information concerning it. 


Aguilar = Caspar de Aguilar. 

Alarcon ^ Don Juan Ruiz de Alarcon y Mendoza. 

Barr. = Don Cayetano Alberto de la Barrera, Catalogo hihliognifico y hio- 
grafico del Teatro antigiio espanol desde stis origenes hasta mediados del Sigh 
XVIII. Madrid, i860. 

Belmonte = Luis de Belmonte. 

Bib. Nac. .-= Biblioteca Nacional (Madrid). 

Brit. Mus. = British Museum. 

Calderon =r Don Pedro Calderon de la Barca. 

Cancer := Don Jeronimo Cancer. 

Cat. Bib. Nac. = Catalogo de Manuscrilos de Pie^as de Teatro en la Billioteca 
Nacional por Antonio Paz y Melia, Madrid, 1 899 . 

C. de varios : 1638 = The work entitled Doce Comedias de Varies Autores. 
Tortosa, 1638. 

Claramonte =1 Andres de Claramonte. 

C. N. Amst. = Comedias nuevas. Amsterdam, 1726. 


C. N. Barcel : 1630 = Doce Comedias niievas de Lope de Vega y otros. Bar- 
celona, 1650. 

Cubillo '-^ Don Alvaro Cubillo. 

Dif. XXVIII, etc. = Comedias de difereiiles uiitores. Parte XXVIII, etc. 

Duran ' = In Agustin Duran's collection. 

Enciso :^ Don Diego Jimenez de Enciso. 

Enrique/. Gomez. --^ Antonio Enriquez Gomez. 

Escog. I, II, etc. -^ Comedias Escogidas de los mejores Itigenios de Espaiia, 
Parte I, II, etc. 

Fajardo = =^ Juan Isidro Fajardo, author of a manuscript ludice de Come- 

Figueroas ::= Don Diego and Don Jose de Figueroa. 

Gayangos 3 :rr In Pascual de Gayangos's collection. 

Godinez = Don Felipe Godinez. 

Gongora -- Don Luis de Gongora. 

Guevara ^r: Luis Velez de Guevara. 

G. y Lope :=: Cuatro Comedias famosas de Gongora y Lope. Madrid, 1617. 

(H.) := Catalogue of Don Vicente Garcia de la Huerta. Madrid, 1785. 

H. A. R. = In Hugo Albert Rennert's collection. 

Holland :^ In Lord Holland's collection. 

Hoz V Mota =z Don Juan de la Hoz y Mota. 

Hurtado de Velarde := Alfonso Hurtado de Velarde. 

J. R. C. < =r In John Rutter Chorley's collection. 

Labouchere 5 =^ In Mr. Henry Labouchere's collection . 

1 . On Duran's death in 1863 his collection was bought by the State, and is 
now in the Biblioteca Nacional, Madrid . 

2 . Chorley notes that he possessed a copy of Fajardo's manuscript Index, 
the original of which is in the Biblioteca Nacional. This Index, he says, was 
compiled at .Madrid in 1717, and professes to contain the titles of all the 
comedias in Spanish and Portuguese verse printed down to the year 17 16. 

3. On Gayangos's death in 1897, his collection was bought by the State, 
and is now in the Biblioteca Nacional, Madrid. 

4. Chorley's collection was bequeathed by him to the British Museum. 

5. Mr. Henry Labouchere, born August 15, 1798, was created Baron 
Taunton on .\ugust 18, 1857 : he died on July 13, 1869. His library con- 
tained the most complete series of Lope's comedias known to Chorley : it 
included, says the bibliographer, all the Partes hereafter named, except 
Parte .XXIV o( .Madrid 1640. Chorley purposely omitted to note the volumes 
of Lope's comedias in Lord Holland's collection, as all of them were in the 


Laso de la Vega rrr Gabriel Lobo Laso de la Vega. 

Leyva = Don Francisco de Leyva Ramirez de Arellano. 

Lisboa : i6o} .=: Sets ConietUas de Lope de Vega. Lisboa, per Pedro Cras- 
beeck, 1603 . 

Malaspina = Don Francisco Malaspina. 

Martinez =r Don Antonio Martinez. 

Matos Fragoso = Don Juan de Matos Fragoso. 

Medel =: Indice general alfobetico de las Comedias que se vendeii en casa 
de los herederos de Francisco Medel del Castillo. Madrid, 1725. 

Mejia de la Cerda = El Licenciado Mejia de la Cerda. 

Mes. Rom. ' ^= Don Ramon Mesonero Romanos. 

British Museum. My own collection lacks only Parte XVI and three plays of 
Parte XVIII to be complete. La Barrera appended to Chorley's note the state- 
ment that the above-named Parte XXIV was in the Biblioteca Nacional. In 
the revised copy Chorley disputes this; quotes Hartzenbusch in support of his 
view, and, on the authority of a letter from Gayangos, asserts that in October 
1862 the set of Lope's comedias in the Biblioteca was constituted as follow. 
The Partes preceded by an asterisk existed in duplicate. 

Madrid, 16 19. 

Madrid, 1620. 

Madrid, 1621. 

Madrid, 1621. 
I [Absent from collection.] 


Madrid. 1623. 
Valladolid, 1627. 
Barcelona, 1630. 
and also a defective copy 
of this Parte.] 
Madrid, 1635. 
i Madrid, 1635. 
' Zaragoza, « 1635 ». 
^ Zaragoza, 1653. 
Madrid, (?) 1621. XXIV. ' Zaragoza, 1641. 

XI. Barcelona, 161 8. XXV. Zaragoza, 1647. 

Madrid, 1618. 
I. See the bibliography by D. Ramon Mesonero Romanos in the second 
volume of Dramatkos Contempordneos a Lope de Vega, which forms the forty, 
fifth volume of the Biblioteca de Autores Espaiioles. Chorley condemns this 
Catdlogo, and another by the same author in the forty-seventh volume of the 
Biblioteca, as being of no value. 


Valladolid, 1609. 


' Barcelona, 161 1. 



' Madrid, 1618. 


f Barcelona, 1630. 



Barcelona, 1612. 


Madrid, 161 3. 



Madrid, 1614. 



Barcelona, 16 17. 



[Incomplete : the title 



and four plays are missing, 



[Absent from the collection, 

.] XXI. 


Barcelona. 1617. 



Barcelona, 1618. 



Barcelona, 1618. 



Mira de Mescua = Don Antonio Mira de Mescua, Amescua 6 Amezcua. 

Monroy =r Don Cristdbal dc Monroy. 

Montalban = Don Juan Perez de Montalvan. 

Moreto =^ Don Agustin Moreto y Cavana. 

Olozaga -- In.Sr. D. Salustiano de 016zagas's collection. 

Osuna — In the Duke of Osuna's library. 

P. ^.: In the list of conicJias which figures in the first edition of the Pere- 
^'lino eiisii Patria, Sevilla, 1604, and Madrid, 1604, 

P-. = In the list o{ coniedias which figures in the sixth edition of the Pere- 
grino en su Patria, Madrid, 1618. 

Pidal -: In the Marques de Pidal's collection. 

Relacion de las Fiestas, etc. = Relacion de las Fiestas que la Villa de 
.Madrid hizo en la canonizacion de san Isidro. Madrid, 1622. 

Ravon = In the library of D. Jose Sancho Rayon. 

Restori = See Zeitschrifl . 

Rojas. r=z Don Francisco de Rojas Zorrilla. 

Rubi = In D. Tomas Rodriguez Rubi's collection. 

S. = Suelta. 

Salucio del Povo. ^: Damian Salustrio, or Salustio, or Salucio, del Povo. 

Salva := Catalogo de la Biblioteca deSalva, 2 vols., Valencia, 1872. 

Schack = Schack, Geschichte der dramatischen Literatur iciid Kunst in Spa- 
uien, Frankfurt-am-Main, 1845-46, and with Nachtrci^e, 1854. 

Suelta : Arlington = In Lord Arlington's collection of comedias sueltas 
(Brit. Mus.). 

Tarrega = El Canonigo Francisco de Tarrega. 

Ticknor = Ticknor's History of Spanish Literature. Boston, 1888. 

Tirso = Tirso de Molina (Frey Gabriel Tellez) . 

Valdivielso = El Maestro Jose de Valdivielso. 

Vega del P. m Forms part of the Vega del Paniaso. Madrid, 1637. 

Vienna — In the Imperial Library at Vienna. 

Villaviciosa = Don Sebastian de Villaviciosa. 

Villegas :^ Juan Bautista de Villegas. 

Zl/l :^ Zeitschrifl fur romanische Philologie, the very important reviews bv 
Prof. Restori . 

Plays marked -|- are known to be by an author other than Lope. 

Plajs marked X contain no figura del donayre, and consequently they may 
be regarded (for the most part, at all events) as dating from before 1600. 




En Lisboa, per Pedro Crasbeeck, 1603, a costa de Francisco 
Lopez -. 

1. A copy of this edition, formerly in Chorley's possession, is now in the 
British Museum Library. For a description of the volume see Life of Lope de 
Vega, pp. 156, 157 and n. 

2. Schack, Nachtrdge, 40. Lope, in the preface to the Pei-egrino, stated that 
this volume was printed in Castile, and [warned readers against believing that 
these coinedias were his, though thev bore his name. The last, Carlos el Per- 
seguido is his, though probably corrupt. [Barr.]. 

According to a letter to Chorley from Ticknor, dated November 5, 1857, 
there exists in the Ambrosian Library at Milan an edition with the same title 
and contents, except that the title-page reads : Con licencia de la Santa Inquisi- 
cion y Or dinario. En Madrid. Impreso por Pedro Madrigal. Aiio 1603, v. Life 
of Lope, p. 157. 

It may be supposed that there was only one edition, some copies with the 
true indication of place and printer, and others with a false indication of the 
same. [Hartzenbusch]. In Quaritch's Bihliotheca Hispana, London, 1895, a 
copy of the edition of Madrid 1603, is described as follows : 

No. 1439 • — ^^^^ Coniedias de Lope de Vega Carpio, y de otros avtores cvios 
nombres dellos son estos : i. De la destruicion deConstantinopla. 2. De la fun- 

dacion de la Alhambra 3. De los amigos enojados. 4. De la libertad de 

Castilla. 5. Delas hazanas del Cid. 6. Del perseguido Con licencia... En 

Madrid, Impresso por Pedro Madrigal Ano MDCIII. The catalogue states 

further : The names of the writers besides Lope are not given in the book ; 
but No. 6 is the Carlos el Perseguido of Lope (v.'ith numerous passages in the 
text which were altered in the edition of 1604). — No. 4. « Comedia de la 
libertad de Castilla por el Conde Fernan Goncalez, en lengua antigua » is 
not the play of the same name by Lope, but totally distinct. — N". 5 . « Ha- 
zafias del Cid y su Muerte con la tomada de Valencia », is not the second Cid 


This book contains the following Coniedias : 

La Destruicion de Constantinopla. 

[Not by Lope but by Laso de la \'^ega.J 

La Fundacion de la Alhambra de Granada '. 

La Libertad de Castilla por el Conde Fernan Goncales - 
[Hn lengua antigua.] 

Las Hacanas del Cid y su Muerte, con la Tomada de Valen- 

Los Amigos enojados y verdadera Amistad -. 

X El Perseguido. (P.) 
[This appears in Part I of the Coniedias of Lope.] 

comedias de lope de vega 
(partes i-xxv) 1604-47. 


Valencia : 1604 (Schack) 

Valladolid : 1604, por Luys Sanchez. Vendense en casa de 
Alonso Perez (Brit. Mus.; J. R. C; H. A. R.). The Aproiiacion 
is dated : En Valladolid, a 17 de Febrero de 1604. My copy 
also contains eleven loas, but no entremeses. 

comedy of Guillen de Castro. The book consists of title and leaves numbered 
1-272 ». The comedia. N" 5 has since been republished by A. Hamel (Halle, 
1910), from a copy of the edition of Madrid in the Municipal Library at Ham- 

1. These plays arc almost certainly not by Lope, and belong to an earlier 
period [Chorley]. 

2. Published by A. Hamel in Beiheft XXV, of Zcit. 1910. 

5. Chorley considers the authenticity of this piece to be doubtful. See Life 
of Lope de Vega, p. 1 5 7, h . 

.}. Some editions (ex. gr. the Valencian edition of 1605) begin with the 
seventh piece, Ursou y Vakniin, and so on to the twelfth, then continuing 
with the first play, El Malice, and finishing with El Hijo de Redmn . 


Madrid: i6o4(Labouchere). 

Zaragoza : 1604, por Angelo Tauano. Salva (I, 536) says that 
Duran possessed a copy of this edition with a « liccncia dc Zara- 
goza a 15 de Octubre de 1603 ». Schack mentions this edition. 
Copy in Brit. Mus. 

Valencia : 1605, en casa dc Caspar Leget (Labouchere ; J. R. 
C. ; Brit. Mus.; Munich). Salva, I, 536; Restori, Studj, 7. The 
aprobacion of this ed. is dated : En Valencia, a 10 de Nouiembre 
de 1604. Z///., XXXVI, 677. It contains the Enlremeses and 

Valladolid : 1605, por Juan de Bostillo. Vendense en casa de 
Alonso Perez y Antonio Cuello (Barrera). 

Lisboa (?) : 1605, por Jorge Rodriguez. Anno de 1605. A 
custa de Esteuao Lopez mercader de Liuros, vendesse em sua 
casa et na Capella del Rey. Restori, Ztft., XXX, 226 {aparte, 
p. 174). 

Amberes : 1607 (Schack; Brit. Mus.; J. R. C. ; H. A. R.). 

Valencia : 1609 (Brit. Mus. (?). I do not find it in the Cata- 

Valladolid : 1609, por Juan de Bostillo (Brit. Mus.; Lab.; 
Univ. of Madrid; Bib. Nac. ; J. R. C. ; H. A. R.). This volume 
contains twelve has and twelve entremeses. The aproiiacion is 
dated : Valladolid a 17 de Febrero de 1604 ; the tassa : Madrid 
a 24 de lulio de 1609. 

Bruselas : 1611 (v. Dieze's translation of Velazquez, 
p. 331, w.). 

Milan : 1619, a costa de luan Baptista Bidelli Librero. (J. R. 
C; H. A. R.) « Questa del Bidelli piuche una nuova edlzione e 
una brutta e scorretta contrafiazione di quella di Amberes, 
Martin Nucio, 1607. » Restori. 

Zaragoza: 1624, por Juan de Larumbe (?). Stiefel, Ztft., XV, 
223, admits the possibility of this edition. 

Zaragoza : 1626, por Juan de Larumbe (Ticknor). 



X Los Donayres de Matico. P. (El Matico.) 

X Carlos el PerseguiJo [It is called : Comedia del Perseguido 
in the ed. of Valladolid, 1604]. (el Perseguido. P.) 

X El Cerco de Santa Fe e ilustre Hazana de Garcilaso de la 
Vega (P. Garcilaso de la Vega). 

X Comedia de Bamba (P. El Rey Bamba). 

X La Travcion bien accrtada. P. 

X El Hijo dc Reduan. 

X Urson V \'alentin, Hiios del Rey de Francia. P. 

X El Casamiento en la Muertc (y Hcchos de Bernardo del 
Carpio). P -. 

X La Escolastica zelosa. P. 

X La Amistad pagada. P^ 

X La Comedia del Molino. 

X El Testimonio vcngado. 

The various editions of Parte I differ as regards the loas and 
entrenieses. I believe that all the editions contain the eleven loas 
at the beginning. The editions of Valladolid, 160-), Amberes 
1607, Milan i6i9and Zaragoza 1626 contain no entrenieses. The 
ed. of Valencia 1605 lacks some of the entrenieses, while in the 
ed. of \'alladolid 1609 they are at the end of the volume. 


Madrid : 1609, por Alonso Martin (Brit. Mus. and Labou- 

I. There is a volume noted in Graessc, Tre'sor, which is not mentioned by 
•any other bibliographer. It may be this Parte II of Lope. It is entitled : Dcce 
Ijoas, doce Comedias y doce enlrenuses de Lope de Vega. Milan, 161 7, 8° 
(Caldlogo de Rodriguez). It seems more likely, however, that this may be 
an edition of Parte I, with the entrenieses. 


Valladolid: 1609 (Schack). 

Pamplona : 1609. 

Madrid : 1610 (Barr.). This ed. is not mentioned by Perez 
Pastor, Bibl. Madrikha, II. 

Valladolid : 161 1 (Labouchere). 

Barcelona : 1611 (Brit. Mus.; Labouchere; Univ. of Madrid, 
and Chorley). 

Bruselas : 1611 (Schack; Salva and J. R. C). 

Amberes : 1611 (Brit. Mus. ; H. A. R.). Of this ed. there are 
two copies in the Brit. Mus., one marked : Amberes, 1611 ; 
the other Antwerpias, 1611. They are identical with the Brus- 
sels ed., all having the colophon : Antverpiae. Excudebat 
Andreas Bacx, 161 1. 

Lisboa : 1612 (Salva, I, p. 537). 

Madrid : 1618, por Juan de la Cuesta (Brit. Mus.; Labou- 
chere; H. A. R.). 

Madrid : 1621, por la viuda de Alonso Perez de Montalvan. 
Restori, Z/// . , XXX, 226. 

Madrid : 1621, por la viuda de Alonso Martin. Cited by 
Restori, Ancora di Genova nel Teatro classico di Spagna, Genova, 
1913, p. 15, n. 

Barcelona : 1630 (Bib. Nac). 


X La Fuerza lastimosa. P. 
X La Ocasion perdida. P. 
El gallardo Catalan (P. El Catalan valeroso). 
X El Mayorazgo dudoso. P. 

X La Resistencia honrada y Condesa Matilde(? P. La Con- 

Los Comendadores de Cordoba (P. Los Comendadores). 
X La Bella mal maridada. P. 
X Los tres Diamantes. P. 


X La Quinta de Florencia [P. and P-. under the title El Pri- 
mero Medicis]. 

X Kl Padrino desposado. P. and P-. 
X Las Ferias de Madrid. P. 


Pnrti' tcrccra de las Comedias de Lope de Vega y otros Aulores con 
siis Loas y Enlremeses '. 

\'alencia : 1611 ? Salva, I, p. 538. 

Sevilla : 1613 or 1612? Salva, I, p. 538. 

Barcelona : 1612, por Sebastian de Cormellas, al Call. (Bibl, 

Madrid: 161 3, por Miguel Serrano de Vargas, a Costa de 
Miguel Martinez. The tasa is dated : Madrid, June 12, 161 3 
(Brit. Mus. ; Vienna; Labouchere; J. R. C. ; Bib. Nac. ; Univ. 
of Madrid. I possess a fragment of this edition). For a descrip- 
tion see Perez Pastor. Bibl. Madrihha, II, n°. 1256, and Salva, 
/. c. 

Barcelona : 1614 (Brit. Mus. ; Salva ; Labouchere). 


Los Hijos de la Barbuda [by Guevara]. 

I. This Third Part and the Fifth, ahhough generally included in the 
scries of Lope's Comedias, seem to belong to the series of Comedias de difereutes 
Aulores . 

Baron von MOuch-Bellinghauscn, in the work entitled Ueber die aelleren 
Sammlutigeii S/yanisiher Draiiieti, Vienna, 1852, p. 133, conjectures that this 
Third Part was printed before 161 3, perhaps in Seville, or more probabl\ at 
Valencia. These doubts are cleared up by my discovery of a Barcelona edi- 
tion (Sebastian de Cormellas, 1612) which contains the original Aprobacion 
of the book, given in Valencia by Dr. Caspar Ercolano in the previous vear. 
Was there, by chance, another edition of Valencia, 161 1? (Barr.J See the 
reference to Salva, above. 


La aduersa Fortuna del Cauallero del Spiritu Santo [by 

El Espejo del Mundo [by Guevara]. 

1. La Noche Toledana [by LopeJ. P^. 

La Tragedia de dona Ynes de Castro [by Mejia de la Cerda]. 

2. Las Mudan^as de Fortuna y Sucessos de don Beltran de 
Aragon [by Lope]. P-. D. Beltran de Aragon. 

La Priuanca y Caida de don Aluaro de Luna [by Salucio del 

La prospera Fortuna del Cauallero del Spiritu Santo [by Gra- 

El Esclauo del Demonio [by Mira de Mescua]. 

La prospera Fortuna de Ruy Lopez de Aualos [by Salucio del 

La adversa Fortuna de Ruy Lopez de Aualos. Idem. 

3 . Vida y Muerte del santo Negro llamado san Benedito de 
Palermo (El Santo Negro Rosambuco). [by Lope]. P\ With five 
has and three entremeses. 


Madrid : 1614, por Miguel Serrano de Vargas (Brit. Mus. ; 
Labouchere ; Parma ; Bib.Nac). v. Bibl. Madrileha, II, n°. 1309. 

Barcelona : 16 14 (Brit. Mus., and J. R. C). 

Pamplona : i6i4(Brit. Mus.; Labouchere; Univ. of Madrid; 
H. A. R.); 


X Laura perseguida. P. 

X El Nueuo Mundo descubierto por Colon (? P. El Nueuo 

El Asalto de Mastrique por el Principe de Parma. P-. (El 
Asaltode Mastrique). 

Peribailez y el Comendador de Ocana . P- . 


El Genoues liberal. P' . 

X Los Torneos de Aragon . P . 

La Boda cntrc dos Maridos. P- . 

X El Amigo por Fuerca . P . 

X El galan Caslrucho . (P. El Rutian Castrucho.) 

X Los Embustes de Zelauro. (P. Los Enredos de Zelauro). 

X La Fe rompida . P . 

X El Tirano castigado . P . and P' . 

PARTE V (Supposititious.) 

Flor de las Coniedias de Espana de diferentes Autores. 

Madrid : 1615 (Salva, I, p. 539). Perez Pastor, Bibl. Mad., II, 
n". 1377, doubts the existence of this edition, v. also Miinch- 
Bellinghausen, Ueber die aelteren Saiiinilufigen spanischer Drainen, 
p. 133. 

Alcald : r6i 5 (Labouchereand J. R. C). 

Madrid : 161 6. There is no copy in the Brit. Mus. and 
Perez Pastor likewise doubts the existence of a Madrid ed of 
1 616. Bibl. Mad., n°. 1439. 

Barcelona : 1616 (Brit. Mus. ; Salva ; Univ. of Madrid). 

Barcelona : 16 17 (according to Gayangos, there was a copy 
of this edition in the Bib. Nac). 

[Each Comedia is preceded by a /oaand a hailc] 


I . El lixemplo de Casadas y Prueba de la Paciencia [by 
Lope J. 

Las Desgracias del Rey don Alfonso el Casto [by Mira de 

La Tragedia de los Siete Infantes de Lara [by Hurtado de 

El Bastardo de Ceuta [by Grajales]. 


La Venganza [by Aguilar]. 

La Hermosura dc Raquel [Parte Primera y Parte Segunda, 
by Luis Velez de Guevara]. 

El Premio de las Letras por Felipe II [by Salucio del Poyo]. 

La Guarda cuidadosa [by Miguel Sanchez : republished by 
me, Philadelphia, 1896]. 

El Loco cuerdo [by Valdivielso]. 

La Rueda de la Fortuna [by Mira de Mescua]. 

La Enemiga favorable [by Tarrega]'. 

I. In reference to this Fifth Part, Barrera adds the following note : « Accord- 
ing to Fajardo, there was printed at Seville a Oiiiuta Parte de Comedias dc Lope, 
containing the pieces : 

1. El Amor enamorado. 

2. Las Bizarrias de Belisa. 
La Historia de Mazagatos. 

3. El Desprecio agradecido. 

-\- El Animal profeta, San Julian. 

4. El Guante de Dona Blanca. 

El Gran Cardenal de Espana, don Pedro Gonzalez de Mendoza. 

5. La mayor Vitoria de Alemania. 

6. La mayor Virtud de un Rey. 
Nardo Antonio, Bandolero . 

7. Porfiando vence Amor. 

8. Si no vieran las Mugeres. 

La Barrera refers to this Part five other pla\-s by diflerent authors. Upon 
this Hartzenbusch remarks that as volumes of Comedias usually contain 
twelve pieces, it seems strange that this volume should contain seventeen. See 
Comedias escogidas de Lope de Ve^a, vol. IV, p. 538 ti. (Bibl. de Autores Espa- 
iloh's) , 

In a note Chorley observes that La Barrera is mistaken . « The eight plays 
numbered i... 8 (which are given in the Vega del Parnasd) are thus cited by 
Fajardo : « En Parte Quinta de Madrid » ; or : « En su Parte Quinta ». Only 
El Animal Profeta, which is generally ascribed to Mira de Mescua, is given 
by Fajardo as suelta en Sevilla. I have a snelta of this plav (printed, appar- 
ently, during the first half of the eighteenth century) in which it is ascribed 
to Lope, and to whom, in the opinion of Menendez y Pelayo, it rightfully 




Madrid : 1615 (Labouchere; Bib. Nac, and J. R. C), v. 
BibJ. Mad., n° 1378. 

Madrid : 161 6 (Brit. Mus. ; Labouchere ; J. R. C, and 
Univ. of Madrid), v. Bibl. Madri!ena,n°. 1440. The two copies 
in tlic Brit. Mus. lack the title-page. 

Barcelona : 1616 (Salva, I, p. 539; H. A. R.). 


La Batalla del Honor . P- . 

La Obediencia laureada y primer Carlos de Ungria. P-. 

El Hombre de bien . P^ . 

El Seruir con mala Estrella. P- . 

El Cuerdo en su Casa. P' . 

La Reyna Juana deNapoles. 

El Duque de Viseo . P- . 

El Sccretario de si mismo . P^ . 

El Uegar en ocasion . P' . 

El Testigo contra si . P- . 

El Marmol de Felisardo. P. 

El mejor Maestro el Tiempo. 


Madrid : 16 17 (Brit. Mus. ; Labouchere and Univ. of 
Madrid), v . Bibl. Mad . , n°. 1 5 11 . 

Barcelona: 1617 (Brit. Mus. ; Labouchere ; J . R. C, and 
H. A. R.). 


El \'illano en su Rincon . P^. 
El Castigo del Discreto. P-. 


X Las Probezas de Reinaldos. P. 

El gran Duque de Moscovia, y Emperador perseguido. P^ 
Las Pazes de los Reyes y Judia de Toledo . P- . 
Los Porceles de Murcia . P"^ . 
La Hermosura aborrecida . P- . 
El Primo Faxardo (?P. Los Faxardos). 
Viuda, casada y doncella . P^ . 
X El Principe despeiiado (? P. El Despenado). 
La Serrana de la Vera. P. 
San Isidro labrador de Madrid . P'^ . 

[The volume ends with four loas, three entremescs and three 


Madrid : 1617 (Brit. Mus. and Univ. of Madrid), v. Bibl. 
Mad. II, n°. 15 12. 

Barcelona : 161 7 (Labouchere, J. R. C, Bib. Nac, H. 
A. R.). 


El Despertar a quien duerme . P\ 

El Anzuelo de Fenisa. P-. 

X Los Locos por el Cielo . P . 

El mas galan Portugues, Duque de Berganza. 

X El Argel fingido y Renegado de Amor. P. (MS. Brit. 

El postrer Godo de Espana (Also in Parte XXV under the 
title : El ultimo Godo) . P^ . 

X La Prision sin Culpa . P . 

X El Esclavo de Roma . P . 


X La Imperial de Oton ' . 
El Vaquero de Morana - . P . and P- . 
X Angeliai en el Catay - . P . 
X El Nino inocente de la Guardia. P^ 
(The volume ends with three entremeses, four has and three 


Madrid : 1617 (Brit. Mus. ; Labouchere; J. R. C. ; Bib. de 
San Isidro),v. Bibl. Mad., n". 15 13. 

Madrid : 1618 (Schack). 

Barcelona : 1 618 (Brit. Mus.; Labouchere; J. R. C. ; Bib. 
Nac. ; H. A. R.). 

N . B . This volume is the first issued by Lope himself . 


La Prueba de los Ingenios . P- . 

La Doncella Teodor. P^. 

El Amete de Toledo . P- . 

El Auscnte en el Lugar. P-. 

La Nina de Plata. P-. 

El Animal de Ungria. P-. 

Del Mai lo menos . P- . 

X La hermosa Alfreda. P. (Hermosura de Alfreda.) 

Los Ponces de Barcelona . P- . 

X La Varona ca.stellana. P. 

La Dama hoba . P' . 

Los Mclindres de Belisa. P^ . 

1 . Tliough not given in P. tiicrc is no i^racioso in this plav. 

2. These plays arc missing in Nicolas Antonio's list, and in the list copied 
from Antonio bv Schack. 



Madrid : 1618 (J. R. C. ; Labouchere ; Univ. of Madrid ; 
Bib. Nac), v. Bibl. Machileha, II, n° 1576. 

Barcelona : 161 8 (Brit. Mus. ; Labouchere; Bib. Nac. ; H. 
A. R.). 

Madrid : 1620 (Brit. Mus.). 

Madrid : 1621 (Bib. Nac. This is given on the authority of 
a letter fromGayangos to Chorley. See also Salva, I, p. 541 ). 


El Galan de la Memhrilla. P-. (Autog. MS. Brit. Mus., 

La Venganza venturosa. P-. 

Don Lope de Cardona . P- . 

La Humildad y la Soberbia. P-. [This is the title in the Tahla ; 
in the text the title reads : Triunfo de la Humildad, y Soberbia 
abatidd] . 

El Amante agradecido . 

Los Guanches de Tenerife, y conquista de Canaria . P' . 

La Octava Maravilla . P- . 

El Senbrar en buena Tierra . P- . 

El Blasonde los Chaves de Villalba. P. 

Juan de Dios y Anton Martin (P^. S. Juan de Dios). 

La Burgalesa de Lerma . P- . 

El Poder vencido y el Amor premiado . P- . 


Madrid : 1618 (Labouchere ; Univ. of Madrid ; Bib. Nac), 
V. Bibl. Madrileha, n°. 1577. There were two issues of this 
Part at Madrid, 161 8 '. 

I . P^rez Pastor says : « Suponemos que las dichas Partes se imprimirian una 
en casa de Juan de la Cuestay otra por la viuda de Alonso Martin. » Ibid., 


Barcelona: 1618 (Brit. Mus.; Labouchere; J . R. C; Bib. 
Nac; H. A. R.). 


El Perro del Hortelano. P-. 

El Azero de Madrid. P- . 

Las dos Estrellas trocadas, y Ramilletes de Madrid . P- . 
[So in the Tnhla . In the play : Comedia famosa de Los Rami- 
lletes de Madrid]. 

Obras son Amores . P- . 

Servir a Seiior discreto. P^ 

El Principe perfeto, parte primera [The Parle Sei^inida is in 
Part XVIII]. 

El Amigo hasta la Muerte. P''. 

La Locura por la Honra. P- . 

El Mayordomo de la Duquesa de Amalfi . P- . 

El Arenal de Sevilla. P. 

La Fortuna merecida. 

X La Tragedia del Rey don Sebastian, y Bautismo del 
Principe de Marruecos (P. ? El Principe de Marruecos). 


Madrid : 1619 (Brit. Mus. ; J. R. C. ; Labouchere; Univ. 
of Madrid; Bib. Nac; H. A. R.). 

p. 469. But the « libro de la Hermandad de impresores de Madrid, » mentions 
the « 11" y I2» partes de Comedias, de dos impresiones ». As both Parts, XI 
and XII of the edition of Madrid give only the « viuda de Alonso Martin » as 
the printer, it is probable that Part XI, like Part XII, was printed in 
part by both printers, Juan dc la Cucsta and the widow Alonso Martin. See 
below, Part XII. 

I. There were two distinct issues of this Part in this yciw : see Salva, I, 
p. 542. My copy is of the second issue, described by Perez Pastor, Bibl. Mad., 
n°. i6j9, of which he says : « Edicion igual a la anterior y hecha por mitad con 
la Parteonzena en casa de Juan de la Cuesta \' de la viuda de Alonso Mar- 
tin. « 



Ello dira. P^ 
La Sortija del Olvido . P^ . 
Los Enemigos en Casa . P' . 
La Cortesia de Espana . P- . 
Al passar del Arroyo • P- . 
X El Marques de Mantua . P . 
Los Hidalgos de la Aldea. P-. 

Las Flores de Don Juan y Rico y Pobre trocados . P- . 
Lo que hay que fiar del Mundo . P- . 
La Firmeza en la Desdicha. P-. 

La desdichada Estefania [This is the Parte primera : the Parte 
segunda is El Pleyto por la Honra]. 
Fuente Ovejuna. P^ . 


Madrid : 1620 ' (Brit. Mus. ; Labouchere ; J. R. C. ; Bib. 
Nac, H. A. R.). 

Barcelona : 1620 (Brit. Mus., G. R. C). 


La Arcadia. P^. 

El Halcon de Federico. P-. 

I. See Bihl. Mad. I, no. 1704. « Primera edicidn, que se hizo por mitad en 
las Imprentas de Juan de la Cuesta y de la viuda de Alonso Martin, scgiin pro- 
h^imos en e[ Proceso de Lope de Vega por lihclos contra iinos comicos, pags. 286 a 
288. )) In this Part, for the first time, each separate play is dedicated to a differ- 
ent person instead of the whole volume being (as heretofore) dedicated col- 
lectively to one person. Lope continued this new practice of individual dedi- 
cation inall the remaining volumes whicli appeared during his life, /. e. up to 
Part XX inclusively. See Life of Lope, p. 27 1 . 


El Remedio en la Desdicha. P. (Abindarraez y Narvaez). 

Los Esclavos libres. P. 

El Desconfiado. P-. 

El Cardenal de Bclen . P^ 

El Alcalde mayor. P- . 

X Los Locos de Valencia . P. 

Santiago el Verde. (MS. undated, Brit. Mus.) P^ 

La Francesilla. P. 

X El Desposorio encubierto . P- . 

Los Espaiioles en blandes . 


Madrid : 1620 (Brit. Mus. ; Labouchere ; J. R. C. ; Univ. ot 
Bologna; Univ. of Madrid). 

Madrid : 1621 (Brit. Mus. ; Labouchere ; Bib. Nac. ; H. A. 
R.), V. Bibl.Mad., Ill, n°. 1797. 


Los Amantes sin Amor. P. and P-. 
La Villana de Xetafe . P^ . 
X La gallarda Toledana . P . 
X La Corona merecida . P . 
X La Viuda Valenciana. P. 
X El Caballero de lUescas. P. and P' . 
Pedro Carbonero . P . 
X El verdadero Amante. P. 
Las Almenas deToro. 
El Bobo del Colegio . P^ . 

X El Cuerdo loco (Mentioned under this title in P. and 
under the title o{ HI Veneno saludabk inP\) MS. Holland, 1602. 
La In^ratitud venirada. P. 



Madrid : 1621. Fernando Correa (Labouchere; J. R. C. ; 
Univ. of Madrid; Bib. Nac), v. Bibl. Mad., Ill, n°. 1798. 

Madrid : 1621. Viuda de Alonso Martin (Brit. Mus. ; Labou- 
chere; H. A. R.), V. Bibl. Mad., Ilf, n°. 1799. 


La mal Casada . P^ . 
Querer la propia Desdicha . 
La Vengadora de las Mugeres . 
El Caballero del Sacramento . P^ . 
X La Santa Liga (P . La Batalla naval) . 
X El Favor agradecido. P. 
La hermosa Ester (MS . Brit. Mus., 16 10). P-. 
X El leal Criado. P. 

La buena Guarda (MS. Pidal. 16 10. La Encomienda bien 
gtmrdada . ) P^ . 

La Historia de Tobias. P-. 
El Ingrato arrepentido. P. 
El Caballero del Milagro . P. 


Madrid : 1621, por la viuda de Alonso Martin (Brit. Mus. ; 
Labouchere; J. R. C; Bib. Nac), v. Bibl. Mad., n°. 1800. 

Madrid : 1622, por la viuda de Alonso Martin (Schack; 
Univ. of Madrid), v. Bibl. Mad., n°. 1901 . 

1. There were two issues of this Parte published at Madrid in 1621 : one 
by the printer Fernando Correa, the other by the widow of Alonso Martin, 
V. Restori, Una Colleiione, etc., p. 9 ; Ntieva Biog ., pp. 358-360. 

In the Prologue to this Part, Lope states that he had written 926 coniedias. 

2. It is stated in the Prologue that this Part was published afterPart XVII ; 
« No se acabd de imprimir por su ausencia [de Lope] y asi viene despues de la 
XVII ». 



El Premio de la Herinosura . P' . 
X Adonis y Venus. P. 
Los Prados de Leon . P- . 
Mirada quien alabais. 

Las Mugeres sin Hombres (? P. Las Amnzonas). 
La Fabula de Persco. P- . 
El Laberinto de Greta. P-. 
La Serrana dcTormes. P. 
Las Grandezas de Alejandro. 
La Felisarda. 
La inocente Laura. 

Lo Fingido verdadero o Vida, Muerte y Marti rio de San 
Gines (P-. El mejor Representante) . 


Madrid : 1621, por la viuda de Alonso Martin (Brit. Mus. ; 
Labouchere ; j. R. C). 

Madrid : 1621, por Fernando Correa de Montenegro (Bib. 
Nac; H. A. R.). 

Madrid : 1622, por la viuda de Alonso Martin (Brit. Mus.; 
Labouchere; J. R. C. ; Univ. of Mad.). 

Madrid : 1622, por la viuda de Fernando Gorrea (Bib. Nac), 
V, Bibl. Madrileha, Nos. 1801, 1802, 1902 and 15)03. See also 
Salvd, I, p. 544. 


Con su Pan se lo coma. P ^ 

Quien mas no puede. P-. 

X El Soldado Amante. P. 

Los Muertos vivos. P. 

X El Primer Rev dc GastiUa. P. 


? X El Domine Lucas. P. 
X Lucinda perseguida. P. 
El Ruyseiior de Sevilla. P -. 
X El Sol parado. P. 
La Madre de la mejor. 
X Jorge Toledano. P. 

El Hidalgo Abencerraje : El Hidalgo Jazimin (? P-. El gal- 
lardo Jacobin.) 


Madrid : 1623, luan Goncalez. Colofon : En Madrid, por 
luan Goncalez. Ano MDCXXIL (Bib. Nac; Salva, I, p. 544). 
V. Bihl. Mad. No. 2032. 

Madrid : 1623, por luan Goncalez. A repetition of the preced- 
ing with change in the date of the colophon. Bihl. Mad. No. 
2033. I find no trace of an edition of Madrid 1625. Barrera says 
that no reprint of Part XVIII is known. Niicva Biog., p. 375. 


El Principe perfecto, parte segunda. [The Parte primera is in 
Parte XL] 

X La Pobreza estimada. P. 

El divino Africano (P^. S. Agustin.) 

X La Pastoral de Jacinto. (P. Los Jacintos.) 

X El honrado Hermano. (? P. Los Horacios.) 

El Capellan de la Virgen. P-. 

X La Piedad executada. (P. Pimenteles y Quifiones.) 

X Las famosas Asturianas. (P^ Las Asturianas.) 

X La Campana de Aragon. P. 

Quien ama no haga Fieros. 

El Rustico del Cielo. 

El Valor de las Mugeres. P'. 



Madrid : 1623, por luan Gonzalez, a costa de Alonso Perez, 
mercader de libros. (Barrera, Nueva Biog., p. 375). Ba r re ra seems 
never to have seen this edition. There is no copy in the Brit. 
Mus., nor does the Mus. contain a copy of the ed. of 1626 
(Barr.A'. 7i. 377). 

Madrid : 1624, por luan Goncalez, a costa de Alonso Perez 
(Brit. Mus.; Labouchere ; J. R. C. ; Univ. of Madrid.), v. Bibl. 
3W..III, No. 2136. 

Madrid : 1625, por luan Goni;alez, a costa de Alonso Perez. 
(Brit. Mus.; j. R.C ; Bib. Nac.) v. Bibl. Mad., Ill, No. 2232. 

\'alladolid : 1627, por Geronimo Morillo. Colofon : En 
Valladolid, por la viuda de Francisco de Cordoua. Aiio de 
MDCXXVII. (Bib. Nac; H. A. R.) 


Dc Cosario a Cosario. 

Amor secreto hasta Zelos. P-. 

La inocente Sangre. (Los Caruaxales. P\) 

El Serafin humano. P-. 

El Hijo de los Leones. 

El Conde Fcrnan Gonzalez. P^. 

Don Juan de Castro, partes primera y segunda. P\ [The 
Parte segunda, somewhat altered, is in Parte XXV under the 
title of Aventuras de D. Juan de Alarcos . ] 

La Limpieza no manchada. 

El Vcllocino de Oro. P^ 

X La Mocedad dc Roldan. P. 

Carlos Quinto en Lrancia. P-. 


Madrid : 1625 (Brit. Mus. ; Labouchere; J. R. C. ; Bib. de 


S. Isidro). There were two issues in tliis year : Madrid^ viuda 
de Alonso Martin, 1625 (Salva, I, 545 ; Restori, Una Colleiione, 
etc., p. 9; Bibl. Mad., No. 2233) and Madrid, por luan Gon- 
calez, 1625 (v. Barrera, Niieva Biog. p. 386). 

Madrid : 1627 (Brit. Mus.; Labouchere; J. R. C). Salva men- 
tions an edition of Madrid, viuda dc Alonso Martin, 1626, but 
with colophon : luan Goncalez, MDCXXVII. 

Madrid : 1629, por luan Gon(;alez (Labouchere; Univ. of 
Madrid). The latter copy lacks the title-page. 

Barcelona : 1630 (Brit. Mus.; Labouchere; J. R. C.; Bib. 
Nac.;H. A. R.). 


La discreta Venganza. 

Lo Cierto por lo Dudoso. 

Pobreza no es Vileza. 

Arauco domado. P^ 

La Ventura sin buscalla. P\ 

El valiente Cespedes. P\ 

El Honibre por su Palabra. P-. 

X Roma abrasada. (? P. Neron cruel.) This is also in P'. 

Virtud, Pobreza y Muger. P\ 

El Rey sin Reyno. P^ . 

El mejor Mozo de Espana. P-. 

El Marido mas firme. 


Madrid : 1635 (Brit. Mus. ;J. R. C. ; Labouchere; Univ. of 
Madrid; Bib. Nac. ; H. A. R.). 


La bella Aurora. 

i Ay, Verdades! que en Amor... 



La Boba para los Otros y Discreta para si. 
La Xoche de San Juan. 

El Castigo sin Venganca. (MS. Ticknor, 163 1.) 
Los Vandos de Sena. P-. 
El mcjor Alcalde el Rey. 
El Premio del bien Hablar. 

La \^itoria de la Honra. P^ {Dif. XXXIII. La Vikvia par la 

El piadoso Aragones. 

Los Tellos de Meneses, parte primera. 

Por la Puentc, Juana. 


Zaragoza: i63o(Labouchere; 
Salva; H. A. R. ; Bibl. Nat. 
Paris (Schack.); v. Life of Lope 
de Vega, pp. 344-345. 

Xunca mucbo costo poco. 

[This is not Alarcon's come- 

Di Mentira, sacaras Verdad. 

[This is by Matias de los 
Reyes. J 

La Carbonera. [Also in Par- 
te XXII, Madrid, 1635.) 

La Amistad y la Obligacion. 

La Wrdad sospechosa.[This 
is by Alarcon.] 

Quien bien ama tardeolvida. 

Amar sin saber a quien. 
I Also in Parte XXII, Madrid, 
1635. I 

El Marques de las Navas. 
IMS. Holland. 1624. J 

Lo que ha de ser. [See also 
Parte XXV. But the present 
impression of the play is near- 
er the original MS. Brit. Mus., 

La Lealtad en el Agravio. 
(P. Las Quinas de Portugal.) 

En los Indicios la Culpa. 

La Intencion castigada. 

Madrid: 1635 (Brit. Mus.; 
Labouchere; J. R. CT; Univ. 

Quien todo lo quiere. 

No son todos Ruyseiiores. 

Amar, Servir y Esperar. 

La \'ida de San Pedro No- 

La primera Informacion. 

Nadie se conoce. 

La Mayor Vitoria. 

Amar sin saber a quien [Also 
in Parte XXII, Zaragoza, 1630.] 


-(- Amor, Pleito y Desafio. Los Trabajosde Jacob. (Sue- 

[This is Alarcon's Ganar Ami- nos ay que Verdad son.) 
gos. It is in Parte XXIV, Zara- La Carbonera. [Also in Par- 

goza, 1633.] te XXII, Zaragoza, 1630. J 

El Labrador venturoso. [This 
is stated to be in Parte XXIV, 
Madrid, 1640.] 


Madrid : 1638 (Brit. Mus.; J. R. C. ; Labouchere ; Bib. Nac; 
Univ. 'of Madrid; H. A. R.). 


Contra Valor no hay Desdicha. 

Las Batuecas del Duque de Alba. (P^ Las Batuecas.) 

Las Cuentas del Gran Capitan. 

El piadoso Veneciano. P' . 

Porfiar hasta morir. 

El Robo de Dina. 

El Saber puede danar. 

La Envidia de la Nobleza. (? P. Zegries y Bencerrajes.) 

X Los Pleitos de Inglaterra. (P. El Pleito de Inglaterra.) 

X Los Palacios de Galiana. (? P. La Galiana.) 

X Dios haze Reyes. 

El Saber por no Saber, y Vida de San Julian de Alcald. 


Madrid : 1640 (N. Antonio and Schack). 

I. This Parte XXIV, so Chorley maintained, is now only known through 
the notice of it given by Nicolas Antonio. He observes that it is not in the col- 
lections of Lords Holland and Taunton, nor in the public libraries of Paris, 



El Palacio confuso. (Dif. XXVIII.) 

El Ingrato. (S. Brit. Mus.; J. R. C; with the name of Cal- 

La Tragedia por los Celos [by Guillen dc Castro]. 

El Labrador venturoso [See Parte XXII, Madrid, 1635]. 

La Creacion del Mundo. (C. N. Amst., 1726.) 

La despreciada Querida [by Villegas]. 

La Industria contra el Poder '. [This seems to be Calderon's 
Amor, Honor v Poder . \ 

La Porfia hasta el Temor. {Dif. XXVIII.') S., J. R. C. 

El Juez de su misma Causa. P^ [See Parte XXV.] 

La Cruz en la Sepultura'. [According to Miinch-Bellinghau- 
sen, this is Calderon's La Devocion de la Crn:^.^ 

Vienna and Spain. Chorlcy therefore regards it as lost, butaddsthat fortunately, 
apart from pieces with which Lope admittedly had nothing to do, all the 
comedias cited by Antonio are known in other Partes or in siieltas : with the 
exception of El Hourado con su Sangre, and this, as Gayangos suggests, may 
possiblv be the piece which passes under the name of Claramonte. See Life oj 
Lope, p. 410 and n. 2, and Salva, I, p. 547, where No. 5 of the above list is 
given under its alternative title : La primer Culpa del Hombre. 

Dieze, in his translation of Velazquez, refers to a Parte XXIV, Madrid, 
1638, which — so he says — contains plays different from those included in 
the Zaragoza editions of 16^3 and 164I. Is it possible that the volume of which 
Dieze speaks is identical with the above-noted edition of Madrid, 1640 ? See 
Ticknor, History of Span. Lit. (Boston, 1888), Vol. II, p. 245, n. 36, who 
mentions an edition of Part XXIV at Madrid, 1638. 

I. La Cru:(eu la Sepultura and La ludustria contra el Poder y el Honor contra 
la Fuer^a were both printed in Parte Veinte y Ocho de Comedias de varios 
Autores, Huesca, 1634, where they are both ascribed to Lope. The slight dif- 
ferences that exist between La Cru^ en la Sepultura and Calderon's La Devo- 
cion dc la Cru^ had long since been pointed out by Hartzenbusch in his edition 
of Calderon {Bib. de Aut. lisp.), Vol. IV, pp. 654, 659 and 701. The greatest 
variation is near the beginning of Act III, where the Huesca edition introduces 



El Honrado con su Sangre. [According to Gayangos, this is 
by Claramonte.] 

El Hijo sin Padre. (P\ El hijode si inisiiio is a different play, 
apparently, for both are given in P^)'. 


Zaragoza : 1632 '; and 1633 
(Brit. Mus. ; Labouchere; Bib. 
Nac; Vienna; H. A. R.). 

La Ley executada. 

Selvas y Bosques de Amor. 

El Examen de Maridos [by 

El que diran [by Matias de 
los Reyes]. 

La Honra per la Muger. 

El Amor Bandolero. 

La mayor Desgracia de Car- 
los V y Hechizerias de Argel. 

Ver y no creer. 

Dineros son Calidad. 

De quando aca nos vino. 

Amor, Pleito y Desafio.[See 
Parte XX, Madrid, 1635.] 

Zaragoza : 1641 (Brit. Mus.; 
Labouchere; J. R. C. ; Univ. 

of Madrid; Bib. Nac. ;H. A. R.). 

Guardar y guardarse. 

La hermosa Fea. 

El Caballero de Olmedo. 

X El Bastardo Mudarra (P-. 
Los Siete Infantes de Lara). 
MS. Olozaga, 1612. 

La ilustre Fregona. 

El Nacimiento de Cristo(.^ 
P. El Nacimiento). 

Los Ramirez de Arellano. 

Don Gonzalo de Cordoba. 
(^Fc'ga del P., La mayor Vito- 
ria de Alemania. MS. Osuna, 
1622, La niieva Vitoria de D. 
Gonzalo de Cordoba.^ 

San Nicolas de Tolentino. 

Los Peligros de la Ausencia. 

Servir a Buenos. 

Barlan y Josafa (MS. Holland, 

a scene with three minor characters, which is not found in Calderon's play. 
But there can be no, question that these are two titles of one and the same 
play and that the author is Calderon. 

1. See also Salva, Catdlogo, I, 547. Salva possessed a fragment of this 
volume, without title-page or preliminary leaves, consisting of 132 fols. The 
plays in his fragment are in a different order from that given above, beginning 
with La despreciada Ouerida. 

2. Ticknor, History, II, 245, //. 3, mentions this edition of 1632. See also 
Munch-Bellinghausen, Ueler die aelteren Savnnhmgen spauischer Dranien, p. 1 36- 




Zaragoza : 1647 (Brit. Mus.; J. R. C. ; Labouchere; Univ. ot 
Madrid; Bib. Nac. ; H. A. R.). Quadrio, Delia Storia e delta 
Roiiione il'ogtii Poesia, V, p. 340, cites a Parte XXV « en Madrid 
por la viuda de luan Gonzalez, 1640 ». Stiefel, Ztfl., XV, 223, ». 


La Esclava de su Galan. 

El Desprecio agradecido. (Vega del Paniaso.) 

Aventuras de don Juan de Alarcos. P^ [The same play, 
though somewhat attired, as the one printed in Parte XIX 
with the title D. Juan de Castro, Segunda parte.] 

El mayor Imposible. 

La Vitoria del Marques de Santa Cruz. (P'. Tomade Longa, 

Los Cautivos de Argel. (P. Los Cautivos.) 

Castelvines y Monteses. P^ 

Lo que ha de ser. [See Parte XXII, Zaragoza, 1630.] MS. 
Brit. Mus., 1624. 

El ultimo Godo (Parte VIII, El posirer Godo). P^ 

La Necedad del Discrete. P-. 

El Juez en su Causa. (? El Juez de su misma Causa in Parte 
XXIV, Madrid, 1640.) P^ 

X Los Embustes de Fabia. P. and P^ 

In a note, apparently by La Barrera, it is added that Partes 
XXVI, XXVII, and XXVIII which pass as being by Lope only, 
but which contain pieces by him and others, are included later 
among those of Diferentes Aittoies. To this Chorley appends the 
following observations. 


The reference to this Parle XXVI and the two following 


Partes XXVII and XXFIII, as well as the reference to the 
volume of Coniedias de Sevilla (See Life of Lope, p. 442, n. 2) are 
introduced by La Barrera on the sole authority of Fajardo's 
Index. He omits to give the reader the very necessary informa- 
tion that, so far as can be ascertained at present, these volumes 
do not exist, save in some fragments which have been preserved 
in three made-up volumes (joinos colecticios) in the Osuna 
Library, numbered respectively : 131, 132, and 133, described 
by Schack, Nachlrdge, pp. 41-42. 

In an article upon these Partes Extravagantes published in 1906, 
I came to the following conclusions : (i) « That a Parte XXVI 
extravagante did exist, (a) on the strength of Fajardo's assertion, 
and (b) because of the corroborative evidence in the Osuna Vols. 
131 and 132, and (c) because Lope de Vega in his El Despvecio 
agradecido distinctly says that there was such a Parte XXVI. (2) 
I believe, too, most strongly, that there was a Parte XXVII 
extravagante : (a) on the assertion of Fajardo, which is confirm- 
ed by (b) the plays in the Osuna Vol. 133, by the fragments 
possessed by Salva (Vol. I, 548), and by (c) Chorley's fragment 
of Los Vargas de Castilla, corresponding to fF. 123-146 of this 
Osuna Vol. 133 ». The case of Parte XXVIII extravagante is 
doubtful. The list of plays it is supposed to contain, according 
to Barrera {Cat., p. 683), consists of but ten coniedias. It is 
strange that with the exception of El Trato miida Costumbres 
(which occurs in Vol. XXX Diferentes of Zaragoza, 1636, under 
t4ie title El Marido bai^e Miiger), all the plays mentioned by 
Fajardo as being in Parte XXVIII, extravagante are given in 
Part XXVIII, Diferentes of Huesca, 1634 (Barr. p. 684). See 
Rennert, Notes on some Comedias of Lope de Vega, in Mod. Lang. 
Revieiv (1906), p. 98. On a Parte XXIX extravagante, see Stie- 
fel, in Zeitschrijt f. rom. Phil., XXX, 554. 

The contents of these Osuna volumes are as follows : 


Tomo 131 (8 plays). 

Ul ^o?-<^'/- <??—!. Vandos (Los) de Sena, ff. 114-38. (Fragment of Parte 

XXI of Lope.) 

2. Querer mas y sufrir menos (apparently a siielta). [It is in 

Parte XXIX of Lope y otros, Huesca, 1634. In the vol. in the 

Bib. Nac, it is paged fol. 1-20.] 
.2o^-^ ~^' ^^ ~~ — 3. Nardo Antonio Vandolero, ff. 235-54, {Comedias de 

Sevilla, according to Fajardo.) 

4. Engano (El) en la Verdad. (P.) (S., J. R. C.) 

5. Principe dcspenado (El). S. [It is in Parte VII of Lope. J 

6. Sierras (Las) de Guadalupe. S. (S., J. R. C.) 

. y /o(-- •''''' '^^ 7- Amar como se ha de amar. S. « representola Suarez ». [In 

« Comedias de Sevilla », according to Fajardo : See Salvd, I, 

p. 548-J 

8. Nacimiento (El) de Alba. S. (S., J. R. C). [According to 
Fajardo XXVI extravagante : see Life of Lope, pp. 346-47.] 

Tomo 132 (12 plays). 

1. En la mayor Lealtad mayor Agravio, S. (P. Quinas de 
Portugal). S. (J. R. C.) Parte XXII, Zaragoza, 1630. La Lealtad 
en el Agravio. 

2. Conde (El) don Pedro Velez, ff. 95-145. [According 

3. La Fortuna adversa del Infante to Fajardo, « Comedias 
D. Fernando de Portugal. de Sevilla ».] 

4. Nuestra Seiiora de la Pena de Fran- 
cia. [According to La Barrera, p. 683, El 
Casamiento en la Muerte y Hechos de 

Bernardo del Carpio.J P. ff. 171-270. (« Co- 

5. Leon Apostolico(El) y Cautivo coro- medias de Sevilla », 
nado. according to Fajar- 

6. Esclavo fingido (El). (MS. Barr.) do. 

7. D. Manuel de Sousa : Naufragio 
prodigioso y Principe trocado. [See Salva, 
I, p. 548.] 



8. Buen Vecino (El), flF. 204-21. [Fragment of Diferentes 
XXXIII. In J. R. C.'s collection.] 

9. Prodigio (El) de Etiopia. S. (S., J. R. C.) According to 
Fajardo, in XXVI Exlravaganie of Lope.] 

10. Vitoria (La) de la Honra. S. (In Parte XXI and Dife- 
rentes XXXIII.^ [See Salva, p. 548. The snelta that Salva pos- 
sessed, formed part of Lope's Parte XXL] 

11. Valor perseguido (El) y Traycion vengada. S. [A suelta 
with the same title in Chorley's collection bears the name of 

12. Enganar a quien engana. S. (MS. copy. J. R. C.) 

Tomo 133 (11 plays). 

1. Zelos con Zelos se curan [By Tirso de Molina.] 

2. Madrastra (La) mas honrada. S. 

3 . Novios (Los) de Hornachuelos : « Representola Fernan- 
dez », S. (J. R. C.). MS. Osuna : [According to Paz y Melia, 
Cat., No. 2391, it is ascribed to Velez de Guevara and to 
Medrano. This copy is dated April 12, 1629.] 

4. Medico (El) de su Honra : « Repre- 
sentola Avendaiio. » (M.) 

5. 6. Lanza por Lanza, la de Luis de 
Almanza : Partes I and 11. « Represen- 
tola Avendaiio. » (Parte I, S. Holland), 
ff. 21-38. 

7. Sastre (El) del Campillo. « Repre- 
sentola Manuel Vallejo. » [By Belmonte. 
Autog. MS. dated Aug. i, 1624, in B. N. 
Cat. No. 3048. This fragment is paged : 
ff. 39-62.] 

8. Alia daras Rayo. « Representola 
Manuel Vallejo », ff. 63-80. 

9. Selva confusa (La). S. [According to 

ff. 1-146. Fajar- 
do : Parte XXVII 
L'xtravaganlc, Barce- 
lona, 1633., except 
Julian Romero, 
which figures as 
belonging to Parte 
XVII of Zaragoza, 
But this may be an 


Schack this is not by Lope ; but see the error of the cop- 
note in the alphabetical list of titles], ff. yist '. 

10. Julian Romero. « Representola 
Antonio Je Prado », fF. 101-122. 

11. Vargas (Los) de Castilla. (J. R. C. 
fragment), ff. 123-146. 


Madrid : 1617 (J. R. C). (Schack, Nachtrdge, p. 41.) Cor- 
doba : 1 61 3 ^ 

* Las Firmezas de Isabela [by Gongora]. 

1. I am ignorant of Chorley's authority for this statement concerning 
Julian Romero ; Schack (Nachtrdge, p. 42), who certainly saw these Osuna 
volumes, merely states that « to the title El Medico de sii Honra, de Lope de 
Vega, Fajardo added : « esta impresa en la Parte vcinte y siete extravagante de 
Lope, Barcelona, 1633. » As the foliation of this fragment is consecutive, 
Julian Romero occupying ff. 101-122, this play must have been contained in 
the same volume, /. e. Parte XXVII, extravagante. Although I have inquired 
repeatedly at the Bib. Nacional for these Osuna volumes, I have never suc- 
ceeded in seeing them. They must have been used by Menendez y Pelayo, for he 
printed two plays from it : Lan\a par Lan^a, la de Luis de Alman:(a and El 
Medico de su Honra, both in Vol. IX, of the Academy's edition. He states, 
moreover, that he has never seen the parte segunda of Lania por Lan^a, 
which is not in the Osuna volume, as, indeed the foliation (ff. 21-38) proves 
that this volume contains only one part, the first. If these Osuna volumes are 
no longer to be found in the Biblioteca Nacional, thev must now be in San- 

2, Chorley notes that tiie Cdrdoba edition, which seems to be the princeps 
(the licenses are dated Madrid, 1612 and 1613) is in Gayangos's collection; 
Chorley also refers to La Barrera, p. 707, who states that the names of the 
authors are not given in the Tabla, but in the text. El Lacayo jingido bears 
Lope's name. The title of the third play is given as Bnrlas y Enredos de 


X Los Jacintos, y Celoso de si mismo [by Lope]. P. Parte 
XVIL La Pastoral de Jacinto. 

X Los Enredos de Benito. [Chorley thinks this anonymous 
play may be by Lope : La Barrera is doubtful.] 

X El Lacayo fingido. P. 


Madrid : 1637. (J. R. C. ; H. A. R.) Reprinted in Ohms 
sueltas de Lope, IX and X. 

This volu'.ne contains the following coined ins : 

El Guante de dona Blanca. (Dif.XXIX, XXX, and XLIF.) 
Fajardo : « En su P"=. 5 y en el libro Vega del P. » 

La mayor Virtud de un Rey. (Escog. XXXVII, with the title 
El mejor Casanienlero by Matos.) Fajardo : « En el libro Vega del 
P. y en su P'^ 2 de Madrid, 1634. ^^ [P'^- ^ is probably a slip 
for P=. 5.] 

Las Bizarrias de Belisa. MS. Brit. Mus., 1634. Fajardo : « En 
su P'^. 5 y en el libro Vega del P. » 

Porfiando vence Amor. Fajardo : « En la Vega del P. y en su 
P"= 5 de Madrid. » 

El Desprecio agradecido. Comedias, XXV and Escog. XXXIX 
with the title La Dicha por el Desprecio, by Matos. Fajardo : « En 
su P'^. 5 : y en su P'*. 25 \i. e. Parte XXV, Zaragoza, 1647] y 
en el libro Vega del P. » 

El Amor enamorado. Fajardo : « En su P'^. 25 y en su libro 
Vega del P. » 

La mayor Victoria de Alemania. (This is Don Gon:{alo de Cor- 
dova, Parte XXIV, Zaragoza, 1641 : and MS. Osuna. Niieva 
Vitoria, etc. Cat. B. N. No. 2409.) Fajardo : « En suP'^. 5 y en 
su libro Vega del P. » 

i Si no vieran las Mugeres ! Fajardo : « En su P'*. 5 y en su 
libro Ves'a del P. » 



DE VEGA CARPio. - Madrid, por la viuda de Alonso Martin, 
ano de 1622. 

Reprinted in Obras siieltas, XII, 1777. 

La Ninez de San Isidro. 
La Juventud de San Isidro. 


PARTE XXVI. Exlravagante. Zaragoza : 1645 ^ 

La Ciudad sin Dios (El Inobediente). 

Despertar a quien duerme. Parte VIII, 1617. 

Dos Agravios sin Ofensa. [By Caspar de Alarcon.j This name 
is unknown to me. 

Lealtad, Amor y Amistad. [Doubtful.] 

Lo que es un Coche en Madrid (Los Riesgos que tiene un 
Coche) [By Antonio Hurtado de Mendoza]. 

1. In his revised copy, Chorley has struck out the headings and contents of 
Partes XXVI, XXVII and XXVIII. Chorley there states, and he repeats the 
assertion elsewhere, that La Barrera gives these Partes extravagantes solely 
on the authority of Fajardo, from whom he copies his entries. I think, however, 
that Chorley pushes his scepticism somewhat too far. On the whole the 
balance of evidence seems to me to favor the conclusion that there did exist 
a Parte XXVI, extravagante and a Parle XXVII, extravagante, and quite apart 
from La Barrera (Catdhgo, p. 682) and Men^ndez y Pelayo appears to be of 
the same opinion. At all events, if only for the sake of completeness, it is 
advisable to set out the contents of these Partes which were included in Chor- 
ley's first draft. See my article cited above (p. 35) and Life of Lope, pp. 346 
and 354-55 5- 

2. This volume must have first appeared before 1635, as Lope mentions a 
Parte XXVI of his Coniedias in El Desprecio agradecido. Vega del Paniaso (1637), 
fol. 155. 


Mas vale Salto de Mata que Ruego de Buenos. [Doubtful.] 

La Merced en el Castigo. [Ascribed to Moreto in Escog. XXX, 
1668, under the title of El Pretnio en la misma Pena ; ascribed to 
Montalvan in a suelta and m Escog. XL, 1675, under the title 
oi El Dichoso en Zarago:(a.] 

El Nacimiento del Alba. [See Life of Lope, p. 347.] 

Pusoseme el Sol, saliome la Luna. [By Claramonte ? ] 

El Prodigio de Etiopia (Santa Teodora). 

El que diran y Donayres de Pedro Corchuelo. [By Matias de 
los Reyes.] 

La Ventura de la Pea. 

PARTE XXVII. Extravagante. Barcelona : 1633. 

Alia daras, Rayo. [Doubtful.] 
El Medico de su Honra. 
Los Milagros del Desprecio. 
Por la Puente, Juana. 

El Sastre del Campillo. [By Luis de Belmonte Bermudez.] 
La Selva confusa. 
Los Vargas de Castilla. 
El Infanzon de Illescas. 

El gran Cardenal de Espafia Don Gil de Albornoz. [By Enri- 
quez Gomez.] 

Celos con Celos se curan. [By Tirso de Molina.] 
Lanza por Lanza, la de Luis de Almanza. 

PARTE XXVIII. Extravagante. Zaragoza : 1639. Barrera, p. 683. 

La Cruz en la Sepultura. [Ascribed to Lope : it is Calderon's 
La Devocion de la Cru^. ] 

De un Castigo tres Venganzas. [Ascribed to Lope : it is by 

El Palacio confuso. [La Barrera says that it bears Lope's name. 
Chorley remarks that La Barrera seems to have misread the 


entry in FajarJo, whose note is as follows : « En Parte 28 de 
Mescua. » This is to some degree borne out by the fact that the 
play is ascribed to Mira de Mescua in Escog. XVIII, Madrid, 
1667. The attribution to Lope occurs, as noted below, in Dif. 
XXVIII, Huesca, 1634.] 

La Despreciada Qtierida [Ascribed to Lope : it is by Juan Bau- 
tista Villegas.] 

El Juez de so misma Causa (El Juez en su Causa). [By Lope.] 

El Labrador venturoso [So says La Barrera, following Fajardo; 
but Chorley suspects a slip on the part of Fajardo, who may 
have intended to write Dif. XXVIII, where (see below) the 
play is given.] 

La Porfia hasta el Temor. 

El Principe Escanderbeg. [Ascribed to Lope : it is by Luis 
Velez de Guevara.] 

El Trato muda Costumbres. [Ascribed to Lope : it is by Anto- 
nio Hurtado de Mendoza.] 

El celoso Extremeiio. [Ascribed to Lope : it is by Antonio 

This Parte XXVIII is the most doubtful of these Partes exlra- 


Parte veinte y ocho de Coinedias de varios Aiitores. Huesca : Por 
Pedro Bluson, 1634. Bibl. de Antores Espanoles; Comedias de 
Calderon, IV, p. 654. 

I. The title and contents of this very rare volume, which I have taken from 
the Ticknor copy, follows : Parte veynte y ocho de Comedias de Varios Antores. 
[Shield, and beneath it : D. l. escveres.] Con licencia. En Huesca, Por 
Pedro Bluson Impressor de la Vniuersidad. Ano 1634. A costa de Pedro 
Escuer Mercadcr de Libros. 

The liu'Hcia is signed by Dr. Melchor de Alayeto, Catedratico de Prima en 
la Vniueriidad de Huesca, April 6, 1633. It contains the following plays, with 
the attributions as given in the volume, fol. i : 


Arsenal Library, Paris; Brit. Museum; Ticknor Library; 
Vatican Library (according to a letter from Ticknor dated Octo- 
ber 1857). 


El Labrador venturoso. (Parte XXII, Madrid, 1635.) 
El Palacio confuso. [Escog. XXVIII, with the name of Mes- 

La Porfia hasta el Temor. (S., J. R. C.) 

El Juez de su Causa. P ^. (Parte XXV. El juez en su Causa.) 

La despreciada Querida : Comedia famosa. De Lope de Vega Carpio. 
Representdia Antonio de Prado. 

La Industria contra el Poder, y el Honor contra la Fuerza. Comedia famosa. 
De Lope de Vega Carpio. Representola Vallejo, fol. 23. 

El Labrador venturoso : Comedia famosa. De Lope de Vega Carpio. Repre- 
sentdla Roque de Figueroa. fol. 43. 

El Palacio confuso : Comedia famosa. De Lope de Vega Carpio. Represen- 
t6la Vallejo. fol. 65. 

La Porfia hasta el Temor : Comedia famosa. De Lope de Vega Carpio. 
Representola Roque de Figueroa. fol. 89. 

El Juez de su Causa : Comedia famosa. De Lope de Vega Carpio. Represen- 
t6la Avendano. fol. 109. 

El zeloso Estremefio : Comedia famosa. De Don Pedro Cuello (5/1:). fol. 

Vn Castigo en tres Vengancas : Comedia famosa. De Don Pedro Caldcron. 
fol. 153. 

El Principe Don Carlos : Comedia famosa. De Don Diego Ximenez de 
Anciso. Represent61a Olmedo. fol. 175. 

El Principe de los Montes : Comedia famosa. Del Dr. Juan Perez de Monta- 
luan. fol. 196 V. 

El Principe Escanderbey : Comedia famosa. De Luys Velez de Gueuara. 
Represent61a Antonio de Prado. fol. 217. 

La Cruz en la Sepultura : Comedia famosa. De Lope de Vega Carpio. 
Representdla Avendano. fol. 234 v-250. 



Do:ic Comedias de Lope de Vega Carpio. Parte veynte y nneue. 
En Guesca : por Pedro Luson, 1634. (Bib. Nac. R. 14147.) 
[Schack, Nachtrage, 43. J 


La Paloma de Toledo, ft. 1 21-140, incl. (J. R. C. the same 

Donde no esta su Dueno esta su Duelo, ff. 58-81. [Doubtful]. 

Querer mas y sufrir menos. (S., J. R. C.) 

Los Martires de Madrid. (S., J. R. C.) 

La prospera Fortuna de don Bernardo de Cabrera. 

I. I owe the following description of the copv of Diferentes XXIX, in the 
Bib. Naclonal, to the kindness of my friend D. Alvaro Gil Albacete : 

Doie I Comedias \ de | Lope de Vega \ Carpio. | Parte veynte y nueue. \ Con 
licencia \ . 

En Guesca, por Pedro Luson. Ano de 1634. 

La Paloma de Toledo, ff. 121-140 incl. De Lope de Vega. 

Donde no esta su Dueiio esta su Duelo, ff. 58-81 . De Lope de Vega. 

duerer mas y sufrir menos, ff. 1-20^. De Lope de Vega. 

Los Martires de Madrid, ff. 1-20V. De Lope de Vega. 

La prospera Fortuna de don Bernardo de Cabrera, ff. 1-22^'. De Lope de 

La aduersa Fortuna de don Bernardo de Cabrera, ff. i-22\'. De Lope de 

Las Mocedades de Bernardo del Carpio, ff. 1-20^. 

Pusoseme el Sol, saliome la Luna, ff. 1-22. De Lope de Vega, [de Clara- 
monte ?] 

El Cerco del Penon, ff. 1-20^. De Luys Velez. 

El Cautivo venturoso, ff. i-i6v. De Francisco de Barrientos. 

Un Gusto trae mil Disgustos, ff. 1-20^. De Juan Perez de Montalvan. 

El Hombre de mayor Fama, ff. i-iyv. De Mira de Mescua. 

The name of the author is given at the beginning of each comedia. Barrera, 
p. 683. 

It will be seen that this is a factitious volume : tliat the printer has collected 


La aduersa Fortuna de don Bernardo de Cabrera. 
Las Mocedades de Bernardo del Carpio. {Escog. Zaragoza, 
1653. S., J.R.C.) 


Comedias de difermles autores. Valencia : 1636. Por Silvcstre 

(Duran ; Ticknor, tr. by Gayangos and Vedia, IV, 411; 
Barr., p. 685). 

i Ay, verdades ! que en Amor... (Parte XXL) 

El Guante de dona Blanca. (^f^ega del Parnaso), v. Stiefel, 
Ztft,, XV, 223. 


Parte trcinta de Comedias famosas de varios Autores. 

Zaragoza: 1636. (Schack, Nacbtrdge, 99; copy in Ticknor 
Library without title-page.) 

Sevilla, en la Imprenta de Andres Grande, 1638. (Brit. 
Mus., V. Barr., p. 685, and Zeitschrift filr roman. Phil, XV, 
p. 224.) 

El Guante de dona Blanca. (^Vega del P. In the ed. of 1636, 
it occupies pp. 426-66.) 

twelve plays and provided them with a title-page. Hence Stiefel (Zeitschrifl, 
XXX, p. 554), conjectures the following Parte XXIX cxlravagaute : 
I , ff. 1-20. 

2. A lo que obliga el ser Rey, ff. 21-40. 

3. La Lealtad en la Traycion, ff. 41-57. 

4. [Donde no esta su Dueno esta su Duelo], ff. 58-81. (Stiefel inserted 
Qtierer mas y stifrir metios, which is without foliation.) 

5 , fi. 82-98. 

6. La Estrellade Sevilla, ff. 99-120. 

7. La Paloma de Toledo, ff. 121-140. (See Salva, I, p. 548.) 



Parte Ireynta vtia dc las meiores Comedias qm hasia oy ban salido. 

Recogidos por el Doctor Francisco Toriuio Ximenez. Barcelona : 

1638, porjavme Romeu. (Brit. Mus.; Ticknor Library.) [Barr., 

p. 685.] 

Contra Valor no ay Desdicha, ff. 69-89. (Parte XXIII.) 

El Silencio agradecido, ft". 90-112. [By Lope, according to 

Gomez y Casal. v. Barr., p. 583.] 


Parte treyiifa y dos am doce Comedias de diferentes Antores. Con 
licencia en Zaragoza por Diego Dormer. Aiio MDCXL, a costa 
de jusepe Ginobart, mercader de Libros. (Ticknor, trad. Gayan- 
gos and Vedia, IV, 413.) [Barr., p. 685.] 


Parte trcynta y tres de doce Comedias jamosas de varios Antores. 
\'alcncia, por Claudio Mace, 1642. (Brit. Mus.) [Barr., p. 686.] 

La Vitoria por la Honra. P^ (Parte XXI). 

El buen Vecino (J.R.C. fragment). [The same that is found 
in Tomo 132, Osuna, ff. 204-221.] 


Do~e comedias mieuas de diferentes Antores, las meiores que hasta 
abora ban salido. Ano 1646. En Valencia, a costa de Juan Son- 
zoni. The only copy known of this Parte XXXVII, is in the 
Library of the University of Bologna. 

La Moza de Cantaro. (Barrera p. 708). 

I. In this volume tlie aiitlior's names are not given. 



Parte quarenta y quatro de Comedias de diferentes Autores. En 
Zaragoza por los herederos de Pedro Lanaja y Lamarca. Ano dc 
1652. (Vienna, Munch-Bellinghausen, p. 26 (p. 125). The 
volume in the Vienna Library is merely a collection of suellas 
with a title-page, but no Aprobacion or preliminary leaves. The 
names of the authors are given in the plays. 

I . To this La Barrera appends the following note : 

Comedias de Lopede Vega(j otros Autores) a volume printed at Seville, repeat- 
edly cited by Fajardo, and surviving in a fragment (consisting of six comedias), 
which forms part of the made-up volume, number 132, of the Library of the 
Duke of Osuna. The pieces in this very rare book which may, more or less 
doubtfuUv, be ascribed to Lope are : 

1. El Conde don Pedro Velez. (Fajardo : « En C. de Sevilla. » Osuna. 
T. 132.) 

2. La adversa Fortuna del Infante don Fernando de Portugal. (Fajardo : 
i< En C. de Sevilla. » T. 132. Osuna.) 

5. La Pena de Francia. (Possibly by Tirso de Molina*. (Fajardo : <■ En C. de 
Sevilla. » T. 132. Osuna.) 

4. El Leon apostolico y Cautivo corouado. (Fajardo : « En C. de Sevilla. 
T. 132. Osuna.) 

5. El Esclavo fingido. (Fajardo : « En C. de Sevilla. » T. 152. Osuna.) 

6. Don Manuel de Sousa, 6 el Naufragio prodigioso. (Fajardo : « En C. dc 
Sevilla. -> T. 132. Osuna.) 

7. El Conde Fernan Gonzalez y Libertad dc Castilla. (Fajardo : « En C. dc 
Sevilla. » T. 132. Osuna.) 

8. El Hijo piadoso, y Bohemia convertida. (Fajardo : « En C. de Sevilla. » 
T. 152. Osuna.) 

9. El Maldito de su Padre, y valiente Bandolero. (Fajardo: " En C. de 
Sevilla. T. 132. Osuna.) 

Only the first six of these plays, according to Chorley, are in the above- 
mentioned Tomo 152 in the Osuna Library : see also La Barrera, Caldlogo, 
p- 683, and Comedias escogidas de Lope, vol. IV, p. 541. 

aChorley conjectures that La Peiia de Francia may be an alternative title of 
El Casamiento en la Miurie. Parte I. P^ . As to the Comedias de Sevilla, he refers 
to his previous statement (above, p. 35), and points out that Fajardo men- 


El Guante de dona Blanca. {f^i'gn del Parnaso.) 

El Villano en su Rincon. P-. (Parte VII). [v. Barrera, p. 687.] 


Z)t)-r Comedias nvevas de Lope de Vega Carpio y otros Antores. 
Scgunda Parte. En Barcelona, por Geronimo Margarit. Ano de 
1630. (Bibl. Nac, Schack, Nachtriige, p. 43 ; Barrera, p. 707.) 

Las dos Vandoleras y Fundacion de la Santa Hermandad de 

El Hijo por engano y Toma de Toledo. 

La desdichada Estefiinia. [Primera parte,] (Parte XII.) 

El Pleyto por la Honra (6 el Valor de Fernandico). [The 
second part of the preceding play.] (S., J . R . C.) 

tions the following plays in addition to the nine set forth by La Barrera: 

1 . Amar comose ha dc Amar. « P'^. 6 impr. en Sevilla. » T. 131. Osuna. S. 

2. El gran Cardenal de Espaiia, D. Pedro Gonzalez de Mendoza. « P«e. 
5 impr. en Sevilla ». 

5. La Historia de Maragatos. « P^e. 5 de Sevilla antigua. » 

4. Nardo Antonio Vandolcro. « P'";. 5 impr. en Sevilla ». T. 131. Osuna. 

Fajardo also mentions three other plays which are not by Lope. 

Concerning La Peila de Francia, Cotarelo (Comedias de Tirso de Molina, II, 
xxx) says: « En la Bib. Nacional existe un manuscrito antiguo (num. 15632) 
de esta obra, atribuido a Lope y a Tirso, en letras diferentes entre si y distin- 
tas tambien de la del texto. Esta lleno de acotaciones y tachaduras, como des- 
tinado a la rcprescntacion en el teatro, segun demucstra tambien el reparto en 
las jornadas 2a-y 3". Con el titulo de La Pefia de Francia se imprimid en una 
Parte extravagante de Lope, sin ano, pero de Sevilla, segun D. Juan Isidro 
Fajardo que la \\6, El Casamienlo en la Mnerte dt aquel gran poeta. Esto seria 
causa deque en el Caldlogo de Medel (1735), V luego en el de Huerta, se con- 
servase este litulo ; no confundiendola con la dc Tirso de Molina, que tam- 
bien mencionan, sino por creer se trata de dos obras de igual titulo. La Pena de 
Francia no intervicne, sin embargo, mas que como insignificante episodic en 
la obra de Lope. » 

It should be remarked, besides, that the first play in the Osuna volume 132: 
En la mayor Lealtad mayor Agravio {La Lealtad en el Agravio) is undoubtedly 
Lope's, and Menindez y Pclayo has reprinted it in the Academy's edition, 
vol. VIII. 


Doce Coviedias de varios Autores... Tortosa, por Francisco Mar- 
torell, 1638 (Schack, Nachtrdge, p. 99; Barrera, Cat., p. 707.) 

Los Celos de Rodamonte. (Menendez y Pelayo has no doubt 
that this is Lope's. Acad., XIIL) 

La bienaventurada Madrc Santa Teresa de Jesus. P-. (La Madre 
Teresa de Jesus ?). 

[This passes under the name of Luis Velez de Guevara, and 
Menendez y Pela3^o thinks, that while Velez may be the author 
of it, it seems more in Lope's style, and he prints it in Aca- 
demy V. See the alphabetical list]. 

La Isla barbara. [Though this play is here ascribed to Lope, it 
was written by Miguel Sanchez, and a MS. (Osuna) of La Isla 
barbara ascribed to Miguel Sanchez, contains licenses of 161 1 and 
1614. It was published by me, together with La Giiarda cuida- 
dosam an edition issued at Boston, 1896.] 


Madrid : 1652-1704 (Brit. Mus., and Bodleian). 
PARTE III [1653]. 

La Llave de la Honra. 

Mas pueden Zelos que Amor. 

La discreta Enamorada. P^ 

La Portuguesa y Dicha del Forastero P^ 

X El Maestro de Danzar. 

Lo que esta determinado. 

San Diego de Alcala. 

PARTE VI [1653]. 

In the Imperial Library at Vienna (Miinch-Bellinghausen, 
p. 55 (140)) there are two editions of this Parte VI o{ Coined ias 
Escogidas, both printed at Zaragoza « por los herederos de Pedro 
de Lanaja, del Reyno de Aragon » : One appeared in 1653, the 



Other in 1654. These volumes lack consecutive pagination, and 
differ wholly in their contents. The Zaragoza edition of 1654 is 
a reprint of the Madrid ed. of 1654, ^^ which there are copies 
in the Brit, Mus. and the Bodleian. For the contents of the edi- 
tion of 1654, which does not contain a single play of Lope, see 
Schack, III, p. 525 ; La Barrera, p. 689, col. 2. The volume of 
1653, the contents of which are given by Munch-Bellinghausen, 
has the following pieces by Lope. 

Mirad a quien alabais. (Parte XVL) 

Dineros son Calidad. (Parte XXIV, Zaragoza, 1633.) 

Las Mocedades de Bernardo del Carpio. (In Parte XXIX of 
Comcdias de Lope y otros, Huesca, 1634.) 

Satisfazer callando y Princesa de los Montes. [See Parte 
XXXVII, where a piece of the same title, which Chorley believ- 
ed to be the same as this, and to be written by Lope, is ascrib- 
ed to Moreto : it appears in Parte III of Moreto, Madrid, 1681, 
In the latter edition it is entitled Los Hernianos enconirados (0 
satisfacer callando). It is not in Part III of Moreto, 1676 and 
1703, which I possess]. 

PARTE VII [1654]. 

El Monstruo de la Fortuna, « de tres ingenios ». 

[This is Lope's comedia. La Reyna Juana de Napoles, Parte VI. 
Another piece with the same title, printed in Escog., XXIV, is 
by Calderon, Montalvan and Rojas. The title in Escog., XXIV, 
however, is El Monstruo dela Fortuna, la Lavandera de Napoles, 
Fell pa Cutanea.] 

PARTE viii [1657]. 

El Marques de las Navas, « de Mira de Mescua ». 
[This is Lope's piece. MS. Holland, 16 14, and Parte XXII, 
Zaragoza, 1630.] 


PARTE X [1658]. 

Los Milagros del Desprecio. 

[Ascribed to Montalvan, with the title Diablos son Mugeres.] 

PARTE XV [1661]. 

La Batalla del Honor, « de Fernando de Zarate ». 
[This is Lope's cotiiedia. (Parte VL) P^] 

PARTE XVI [1662]. 

El Desden vengado, « de Rojas ». 

[It is by Lope. MS. autog. (Osuna), signed by Lope at 
Madrid, Aug. 4, 161 7]. 

PARTE xviii [1662J. 

Las Niiieces (6 la Niiiez) del Padre Rojas, « jamas impresa ». 
[MS. autog. Osuna, dated January 4, 1625, v. Life of Lope, 
P- 317-] 

PARTE XX (?) [1663J. 

X La Difunta pleyteada, « de Francisco de Rojas ». 

[This may be the piece noted by Lope in P. Chorley observes 
that the style is more like his than like Rojas's, and it should be 
especially remarked that the play has no figiira del donayre.] 

PARTE XXV [1666]. 

La Condesa de Belflor, « de Moreto ». 

[This is Lope's El Perro del Hortelano (6 Amur por ver Ainar^. 
P^ Parte XL] 



El Falacio confuso, « de Mescua ». 

[Perhaps the piece ascribed to Lope in Dif. XXFIII md which 
appears (according to Nicolas Antonio) in Parte XXIV, Madrid, 
1640. In Schack's opinion, the piece attributed to Mescua is not 
by him, but by Lope ; it is certainly in Lope's manner.] 

San Isidro, Labrador de Madrid. P'. (Parte VII.) 

La Ventura en la Desgracia. 


El mejor Casamentero, « de Matos ». 

[This is Lope's play La mayor Virtud de iin Key (Vega del Par- 

Satisfacer callando, y Princesa de los Montes (o los Hermanos 
encontrados), « de Moreto ». 

[La Barrera is undecided as to whether the play should be 
ascribed to Moreto or to Lope. Chorley thinks that it is by Lope, 
and that it is the same attributed to him iii Escog., VI, Zara- 
goza, 1653 : see above, p. 49.] 

PARTE XXXIX [1673]. 

La Dicha por el Desprecio, « de Matos Fragoso ». 
[This is Lope's El Desprecio agradecido {Fega del Parnaso and 
Parte XXV). | 

La discreta Venganza, « de Moreto ». 
[This is Lope's play printed in Parte XX.] 

PARTE xLi [1676]. 

El Hijo de la Molinera (6 El Gran Prior de Castilla), « dc 
Francisco de Villegas ». 

[This is the play by Lope which exists as a suelta entitled Mas 
Mai hay en la Aldegikla de lo que se sucna (Brit. Mus. ; J.R.C.).] 


PARTE XLIV [1678]. 

La Prudencia en el Castigo, « de Rojas Zorrilla ». 
[This play is ascribed to Lope in the siidtas (J.R.C.), and 
Chorley thinks this ascription is correct.] 


Lisboa. 1652. (Gayangos). 

La Batalla del honor. V\ (Parte VL) 


Alio 1726. En Amstardan, a costa de David Garcia Henri- 
quez. (J.R.CH.A.R.) 

La Creacion del Mundo, y primer Culpa de el Hombre. S. (Arl. ; 
Brit. Mus.; J.R.C.) 

[Nicolas Antonio gives it as belonging to Parte XXIV, Madrid, 
1640. J 

La Fuerza lastimosa. P. (Parte IL) 


This collection consists of: El inejor de. Jos mejores Libras, etc. 
Madrid, 1653 ; Partes IV, V, VII, VIII, X, XI, XII and XIII ot 
the Escogidas, the last of which (XIII) was published in 1660, 
and might have been purchased by Arlington just before his 
departure from Spain. The collection also includes six volumes 
of ancient stieltas, one of which contains the following pieces by 
Lope '. 

I. Henry Bennet, afterwards Earl of Arlington, was born in 1618. He 
fought on the royalist side at the beginning of the Civil War. In 1658 he was 


El Nacimiento del Alba. 

[Doubtful. A play with this title is printed in Parte XXVI 
extravagante, Zaragoza, 1645, and is merely a mutilation of 
Lope's La Madrc de la niejor in Parte XVII : see the note on 
doubtful stii'llas in the Chorley collection, Life of Lope, p. 347, 
and alphabetical list in this volume.] 

El Hijo de los Leones. (Parte XIX.) 

Enmendar un Daiio a otro. [Doubtful.] 

La Carbonera. (Parte XXII, Madrid.) 

La Creacion del Mundo : con una Loa sacramental {La Crea- 
don del Mundo y primer Culpa de el Hombre, Com. Nuevas, Amst. 
1726, without the Loa). 

Guerras de Amor y Honor. (First part only.) 

Los tres Diamantes. P. Parte 11. 

Tanto hagas quanto pagues. 

El valiente Cespedes. (Parte XXII. P-). 

[It also contains a comedia entitled Bernardo del Carpio en Fran- 
cia by don Lope de Liaiio : this seems to be the play which 
Huerta and Ticknor cite as a work by Lope.] 

La Industria contra el Poder, y el Honor contra la Fuerza [by 

La Cruz en la Sepultura [by Calderon]. « Representola Aven- 
dano '. )) 

sent as diplomatic agent to Madrid, whence he returned after the Restoration 
of Charles II, with whom he was a special favourite. He brought back with 
him the collection now in the British Museum, and appears to have acquired 
at Madrid a certain pomposity of demeanour which excited the ridicule of his 
contemporaries. He was raised to the peerage as Baron ArUngton in 1663, and 
joined the Cabal : an earldom was conferred on him in 1672. The fussy, 
slippery politician Arlington is now perhaps best remembered as a collector of 
Lope's works. He died in 1685. See an excellent sketch of his career by Mr. 
Osmund .\iry in the Dictionary of National Biography (London, l88>), IV, 
p. 250. 

1. Following this list of Arlington sudlas Chorley deta is the suellas in the 
Osuna collection. 1 omit them as they are given below. 



In nine volumes. (Munch-Bellinghausen, p. 75 (p. 152). 

This contains the following pieces written by Lope, or ascrib- 
ed to him : 

El Nacimiento del Alba. [Two copies. Doubtful, v. Life of 
Lope, p. 347.] 

La bella Andromeda. (Parte XV. La Fabula de Perseo.) 

La Puente de Mantible [is by Calderon]. 

El Hijo de los Leones. Parte XIX. 

El Principe despeiiado. Parte VII. (?P. El Despenado.) 

Valor, Fortuna y Lealtad de los Tellos de Meneses. (It is the 
second part of Lope's Los Tellos de Meneses in Parte XXI.) 

Fuente Ovejuna, de Monroy. [This differs from Lope's play 
of the same title. Parte XII. P^] S. Brit. Mus. 

El Hijo sin Padre. MS. Duran. [Nicolas Antonio quotes a play 
of this title as being in Parte XXIV, Madrid, 1640. It is a differ- 
ent play from that mentioned in P., with the title El Hijo de si 
mismo, as the titles of both plays are repeated in the list in P-.] 

El Principe Don Carlos. [It is by Enciso.J 

Los tres Diamantes. P. Parte II. 

La Obediencia laureada y primer Carlos de Ungria. Parte VI. 

La Creacion del Mundo y primera Culpa del Hombre. [Accord- 
ing to Nicolas Antonio this was in Parte XXIV, Madrid, 1640.] 
C. N. Amst., 1726. 

La Moza de Cantaro. Dif XXXVIL 

El Cerco de Viena por Carlos V. 

El Conde Dirlos. [By Cubillo, whose authorship is asserted in 
the closing verses. The play mentioned in P. must be different.] 

David perseguido y Montes de Gelboe. [The sueJta in Vienna 
is entitled : Los Montes de Gelboe y David perseguido.^ 



COLLECTION OF D. AGUSTiN DURAN. (ScHiick, Nachtriige, p. 44.) 

El mavor Prodigio 6 el Purgatorio en la Vida. 

El Jardin de Vargas, 6 la Gata de Mari- Ramos. 

Los Nobles como han de ser. 

El Enemigo enganado. P. Dif. XXXII. 

Enmendar un Dano a otro. [Doubtful.] 

Mas valeis vos, Antona, que la Corte toda. 

El Merito en la Tcmplanza, y Ventura por el Sueno. [Doubt- 

El Nino Diablo. 

El Labrador de Tormes. 

La Ciudad sin Dios. [Printed in Escog., II as El hwhediente 6 la 
Cindad sin Dios, by Claramonte, whose piece is a re-cast of 
Lope's. It is also ascribed to Lope in Parte XXVI, exlravagank : 
see Life of Lope, p. 346. ] 

La Conipetencia en los Nobles. (MS. Brit. Mus., 1625.) 

Enganar a quien engana. (MS. copy, J.R.C.) 

El Engaiio en la Verdad. (P.). 

Los Hierros por el Amor. 

Mas mal hay en la aldegiiela de lo que se suena [0 El Hijo de la 
Molincra, y el gran Prior de Castilla, under which title it is 
ascribed to Villcgas in Escog., XLIL] 

Pedro de Urdemalas. [Wrongly ascribed to Montalvan.] P^. 

El Palacioconfuso, « de Mescua » {Dif. XXVIII. It is ascribed 
to Mescua mEscog., XXVIII, and according to Nicolas Antonio, 
in Pane XXIV, Madrid, 1640). 

El Hijo dc los Lcones. Parte XIX. 

Las Burlas veras. This is undoubtedly Lope's. 

Dos Agravios sin Ofensa. [This cannot be by Lope : see the 
note appended to this title in the list of Chorley's sneJtas.] 

La Horca para su Dueno. (La hermosa Ester. Parte XXV.) MS. 
Brit. Mus. 1610. 


Guerras de Amor y Honor. Parte primera. 
+ El gran Cardenal de Espana, don Gil de Albornoz. Parte 

[This is by Enriquez Gomez]. 
Ventura y Atrevimiento. 
La Ventura en la Desgracia. (Hscog., XX Fill.) 
La Defensa en La Verdad. 


El Pleito por la Honra. (Parte XIL Coinedias niieiias de Lope y 
olros, Parte IL Barcelona, 1630.) 

San Diego de Alcala. {Escog., III.) 

El gran Tamorlan de Persia. [This is Luis Velez de Guevara's 
piece entitled Zrt nueiia Ira de Dios y gran Tamorlan de Persia.] 

El Animal Profeta, San Julian. [By Mescua ? MS. Osuna, 1631. 
I have a suelta v/hich bears Lope's name, and Menendez y Pelayo 
has printed the play as Lope's in vol. IV, of the Academy's edi- 

El Infanzon de Illescas. 

[According to Hartzenbusch this is by Tirso. An old impres- 
sion is inserted in Parte XVII of the Comedias of Lope (a book 
which belonged to Tieck) instead of the twelfth piece. El 
Hidalgo Abencerraje. A MS. exists in the Osuna collection with 
the title El Key D. Pedro en Madrid, « de Claramonte » (Hart- 
zenbusch, Comedias de Tirso, p. xliii). In Paz y Melia's Catdlogo, 
No. 1593, it is given as : « Comedia de Fr. Gabriel de Tellez », 
and bears a license dated at Zaragoza, December 30, 1626. Under 
the same title it is ascribed to Calderon in his Parte V (Jurtiva'), 
Barcelona, 1677. (Barrera, Cat., p. 52.) It is printed in 
Parte XXVII, extravagante, Barcelona, 1633 : see Life of Lope, 
p. 354, and n. Menendez y Pelayo gives it as Lope's, or rather 
as a refundicion of Lope's play by Claramonte : see the essay pre- 


fixed to vol. X, of the Academy's edition. The piece is the orig- 
inal of Moreto's conmila, El valiente Jiisticiero. See also El In/an - 
ion delUescas in the alphabetical list]. 
Las Doncellas de Simancas. 


El Alcalde de Zalamea. (MS. Duran. Cat. Bib. Nac. No. 420.) 

El Animal Profeta, v mas dichoso Patricida, San Julian. [See 

La bella Andromeda. (Parte XVL La Fabula de Perseo.) 

Las Burlas veras. 

El Cerco de Viena y socorro por Carlos V. 

La Defensa en la VerJad. 

El Diablo Nino. 

La Discreta enamorada. 

Don Beltran de Aragon. (Las Mudanzas de Fortuna, in 
Parte III de Lope y otros, Barcelona, 1612.) 

La Estrella de Sevilla. 

Fernan Mendez Pinto. Partes primera y segunda. [It is by 
Enriquez Gomez.] 

La Fianza satisfecha. 

El gallardo Catalan. (Parte IL P. El Catalan valeroso.) 

La Horca para su Dueiio. (La hermosa Ester. Parte XV. MS. 
Brit. Mus., 1610.) 

El Labrador del Tormes. 

Lanza por Lanza, la de Luis de Almanza. Primera Parte. 
(Osuna, Tomo 133. Fragment of XXVII extravaganle. Barce- 
lona, 1633.) 

El Marques de las Navas. (MS. Holland, 1614. Parte XXII, 
Zaragoza, 1630. Escof;. VIII, where it is ascribed to Mescua.) 

Mas pesa el Rey que la Sangre. [By Luis Velez de Guevara.] 

La Merced en el Castigo. [Apparently by Montalvan : see the 
note on this play in Chorley's collection of sneltas. Bacon, The 


Life and dramatic works of Montalvau, Rev. Hisp., 19 12, p. 441, 
apparently had not seen this comedia.] 

El Milagro per los Celos. (Don Alvaro de Luna.) 

Las Mocedades de Bernardo del Carpio. {Docc Coined ias de 
Lope de Vega y otros. Parte XXIX. Huesca, 1634.) 

La Moza de Cantaro. Diferentes, XXXVIL 

El Nacimiento del Alba. [Doubtful.] 

Las Nineces del Padre Rojas. (Escog., XVIIL MS. Osuna, 

El Pleito por la Honra. (J)oce Comedias nueuas de Lope de Vega 
y otros. Parte IL Barcelona, 1630.) [See Life of Lope, p. 345.) 

El Prodigio de Etiopia. 

San Diego de Alcala. {Escog., IIL) 

Satisfacer callando. [See Escog., XXXVIII, where there is attri- 
buted to Moreto a play of this title which I believe to be iden- 
tical with the present one. InEscog., VI, Zaragoza, 1653, it is 
ascribed to Lope. See La Barrera, p. 705^ and above. 

El Sufrimiento de Honor. 

El valeroso Aristomenes Mesenio. [Chorley notes : By Matos 
Fragoso, whose piece exists also with the title Oiiilar el Fetido a 
su Patria. Apparently the real author is Alonso de Alfaro. 
SchaefFer, II, 252, ascribes this play to Alfaro, and says it also 
appears under the title Por el Esfiierio la Dicha, as the work ot 
Antonio Coello. I have a suelta : En Valencia, por la viuda de 
Joseph de Orga, 1761, in which it is attributed to Matos Fra- 


El Exemplo mayor de la Desdicha y Capitan Belisario. (By 

Los Milagros del Desprecio, « de un ingenio ». [Escog., X, 
where it is ascribed to Lope.] 




Acertar errando : yEmbaxa- 
dor fingido. 

Alcalde (El) de Zalamea. 

Amigo (El) por Fuerza. (P. 
Parte IV.) 

Amistad (La) y la Obliga- 
cion. (Parte XXII. Zaragoza, 

Animal (El) de Ungria. 
(Parte IX.) 

Arcadia (La). (Parte XIII.) 

Batalla (La) del Honor. (P^ 
Parte VI.) 

Bella Andromeda (La). (Fa- 
bula de Perseo. Parte XVI.) 

Bernardo del Carpio. Se- 
gunda Parte. « Representola 
Avendano. » 

Bizarrias (Las) de Belisa, 
{Vega del P. MS. Brit. Mus. 

Boba discreta (La). (Parte IX. 
La Dama boba. MS. Osuna, 
Burlas veras (Las). 
Campana (La) de Aragon. 
(Parte XVIII. P.) 

I. Parte 3 ' (ancient). 
I. Parte 3 (ancient). 

I. Parte 6. 

I. Parte 3 (ancient). 

I. Parte 2. 

I. Parte 2. 

I. Parte 6. 

I. Parte 3 (ancient). 

I. Parte 3 (ancient). 

I. Parte 2. 

I. Parte 6. 

I. Parte 3 (ancient). 

I. Parte 3 (ancient). 

I. These signs. I. Parte 5, etc. (= Tomo I, Parte 3) refer to the lettering 
of the volumes in Chorley's collection now in the British Museum. 



Carbonera (La). (Parte XXII, 
Madrid, 1635.) 

Casamiento (El) \ 
en la Muerte, y He- I , . 

chosde Bernardo del ( 
Carpio. | 

Cerco (El) de Viena, y So- 
corro por Carlos V. 

Ciudad (La) sin Dios. 

Competencia (La) en los 
Nobles. (MS. Brit. Mus. licens- 
ed November 16, 1628.) 

Contra Valor no ay Desdi- 
cha. (Parte XXIII. Dif. 31.) 

Creacion (La) del Mundo. 
(C. N. Amst. 1726, and XXIV, 
Madrid, 1640, according to 
Nicolas Antonio.) 

Dama Melindrosa (La). 
(Parte IX. Los Melindres de 

David Perseguido, y Montes 
de Gelboe. 

Defensa (La) en la Verdad. 

Desprecio agradecido (El). 
{Vega del P. Parte XXV.) 

Dios haze Reyes. (Parte 

Dineros son Calidad. (Parte 
XXIV, Zaragoza, 1633. 
Escog., VI, Zaragoza, 1653.) 

Donayres (Los) de Matico 
(P. El Matico. Parte I.) 

Doncella, Viuda y Casada : 

I. Parte 3 (ancient). 


I. Parte 
I. Parte 

Parte i 
» 3 



I. Parte 3 (ancient). 

I. Parte i. 

I. Parte 6. 

I. Parte 6. 

I. Parte 2. 
I. Parte 3. 

I. Parte 2. 

I. Parte 3 (ancient). 

I. Parte i. 

I. Parte 3 (ancient). 



« deun Ingenio. » (Parte VII, 

Viuda, Casada y Doncella.) I. Parte 6. 

Doncellas(Las)deSimancas. I. ^ Parte i and 
Parte I. ( Parte 3 (ancient). 

-|- Dos Agraviossin Ofensa ' . [This can- 
not be by Lope. In the concluding verses i 

lio pri- f 

the poet styles himself, an « ingenio p 
merizo ». In the Osuna collection there ( 
is a Slid t a of this title bearing the name ] 
of Caspar de Alarcon : it may be identic- j 
al with the present play.] 

Dos Soldados (Los) de 
Christo. (Parte XXIV, Zara- 
goza, 1 64 1. MS. Holland, 161 1. 
Barlan y Josafa.) 

I. Parte 3 (ancient). 

En la mayor Lealtad mayor 
Agravio, y Favores del Cielo 
en Portugal. 

Engaiio (El) en la Verdad. 

Enmendar un Dano a Otro. 
[Doubtful : this piece belongs 
to the school ofCalderon.] 

Esclava (La) de su Galan 
(Parte XX\'). 

Estrella (La) de Sevilla. 
[Sevilla (?; 1680 (?).] 

Fianza satisfecha (La). 

Fuerza lastimosa (La). 
(P.Partell.C.iV.Amst. 1726). 

I. Parte 

P. Quinas de Portugal. 
(Parte XXII, Zaragoza, 1630). 
Lealtad en el Agravio. 
I. Parte 4 (ancient). 

I. Parte ^ (ancient). 

I. Parte 4 (ancient). 

I. Parte 2. 

I. Parte 4 (ancient). 

I. Parte i (ancient). 

I. Parte i (ancient). 

I. Not by Lope. 



Gallardo Catalan (El). 
(Parte II.) 

Hermosa Fea (La). (Parte 
XXIV, Zaragoza, 1641.) 

Hijo (El) sin Padre. (MS. 
Duran. In Parte XXIV, of 
Madrid, 1640, according to 
Nicolas Antonio). 

Hombre(El) de bien. (P^ 
Parte VI.) 

Honra (La) por la Muger. 
(Parte XXIV. Zaragoza, 1633. 
MS. copy, Holland.) 

Ingrato (El) « de Calderon ». 

(Parte XXIV, de Madrid, 1640, 

according to Nicolas Antonio.) 

Jardin (El) de Vargas, y la 

Gata de Mari-Ramos. 

Labrador (El) de Tormes. 

Lealtad (La) en la Traycion, 
y el Honor en el Agravio. (MS. 
Duran, 1617.) 

Lo que hade ser. (Parte XXII. 
Zaragoza, 1630. — Parte XXV.) 

Locos (Los) de Valencia. 
(P. Parte XIII.) 

Marques (El) de las Navas. 
(Parte XXII, Zaragoza, 1630. 
Escog., VIIL MS. Holland, 

Martires (Los de Madrid. 
{Dif. XXIX.) 

Mas mal ay en la Alde- 
giiela de lo que se suena. 

I. Parte 4 (ancient). 
I. Parte 2. 

I. Parte 4 (ancient). 
I. Parte 6. 

I. Parte 4 (ancient). 

I. Parte 4. 

I. Parte 4 (ancient). 
I. Parte 4 (ancient). 

I. Parte 4 (ancient). 
I. Parte 2. 
I. Parte 2. 

I. Parte 4. 2 copies (ancient). 
I. Parte 4 (ancient). 



(£•m)^^, XLII. El Hijo dc la 
Molinera, « dc Villegas ».) 

Mas vale Salto de Mata que 
ruego de Buenos. 

Mas valeis vos, Antona, que 
la Corte toda. 

Mayor Vitoria (La). (Parte 
XXII, Madrid, 1635.) 

Merced (La) en el Castigo, 
y Premio en la misma Pena. 
(« De Moreto ». Escog.,XXX.') 
(« De Montalvan », whose play 
it seems to be. Escog., XL, with 
the title El Dichoso en Zara- 

Mejor Alcalde (El) el Rev. 
(Parte XXI.) 

Merito (El) en la Templanza, 
y Ventura por el Sueiio. 
(Doubtful. The style is unlike 

Milagro (El) por los Zelos. 
D. Alvaro de Luna. 

Parte primera. 

Milagros (Los) del Despre- 
cio : « De un Ingenio. « 
{Escog., X.) 

Mirad a quien alabais. 
(Parte XVI, and Escog. VI, of 
Zaragoza, 1653.) 

Mocedades (Las) | Dace Coinedias de Lope 

de Bernardo del \ v otros. Parte XXIX, 

Carpio. J Huesca, 1634. Escog., 

\ VI, Zaragoza, 1653, 

I. Parte 4 (ancient). 

I. Parte 4 (ancient). 

I. Parte 4 (ancient). 

I. Parte 2. 

I. Parte 4 (ancient). 
I. Parte 2. 

I. Parte 4 (ancient). 
I. Parte ^ (ancient). 
I. Parte 2 (modern). 

I. Parte I (ancient). 

I. Parte 4 (ancient). 

I. Parte i 
« 3 



Molino (El). (P. Parte I.) I. Parte i. 

Moza (La) de Cantaro. (Z)//. 
XXXVII \) I. Parte ^ (ancient). 

Nacimiento (El) del Alba. 
(Doubtful. Re-cast of Lrt Madre 
de la iiiejor of Parte XVII. See 
alphabetical list.) I. Parte 5 (ancient). 

Niiia (La) de Plata. (Parte 
IX.) 1. Parte 2. 

Nino Diablo (El). I. Parte 5 (ancient). 

Nobles (Los) como ban de 
er. I. Parte 5 (ancient). 

-|- Novios (Los) de Horna- 
chuelos. I. Parte 5 (ancient). 

Obediencia laureada (La) y 
primer Carlos de Ungria. 
(Parte VI. ?\) L Parte 6. 

Obras son Amores. (P-. 
Parte XL) I. Parte i. 

Perro(El)deHortelano.(P^ I. Parte I. 
Parte XL) 

Pleyto (El) por la Honra y 
Valor de Fernandico. (Parte XII 

I. La Barrera (fiatdlogo, p. 708) refers to this volume, which appeared at 
Valencia in 1646, as Parte XXXXXVII. Lest the student should be mislead 
by this misprint, it may be as well to state that the volume is really the 
thirty-seventh of the Diferentes, and that it should have been entered on 
p. 686 of the Catdlogo. Chorley duly informed Gayangos of its existence, but 
Gayangos, apparently, did not communicate the information to La Barrera 
until the printing of the Catdlogo had almost reached its last stage, and in the 
■final hurry of transcription and impression two superfluous X's were inserted. 
The one copy known of this Parte XXXVII, is in the Library of the Univer- 
sity of Bologna. Ticknor (III, 519), thinks this has a false title-page, printed 
later than its date. 




Jt'In/ifvcV /W.Barcelona, 1630.) I. Parte 5 (ancient) 

Por la Puente, juana. (Parte 

Porha (La) hasta el Temor. 
{Dif. XXFIII, and Parte XXIV, 
Madrid, 1640, according to 
Nicolas Antonio.) 

Premio (El) del bien hablar. 
(Parte XXI.) 

Prodigio (El) de Etiopia, 
Santa Teodora. 

Prudencia (La) en el Castigo 
(Escog. XLIV, with the name 
of Rojas Zorrilla). 

Querer mas y sufrir menos. 
{Doce Comedias de Lope y otros, 
Parte XXIX, Huesca, 1634). 

Reyna Juana (La) de Napo- 
les. (Parte VI.) 

San Diego de Alcala {Escog. 

Servir a Buenos. (Parte 
XXIV, Zaragoza, 1641.) 

Servir con mala Estrella. 
(Parte VI. P^) 

Sierras (Las)de Guadalupe. 

Tanto hagas quanto pagues 
(In vol. Illof Moreto, Madrid, 
1 68 1, with the title of La 
Traycion vengadd). 

\'aliente Juan de Heredia(l:l). 
(MS. Osuna). 

I. Parte 2. 

I. Parte 5 (ancient) 
I. Parte 2. 
I. Parte 5, 2 copies (ancient). 

I. Parte 5 (ancient). 

I. Parte 5 (ancient). 

I. Parte 6. 

I. Parte 5 (ancient). 

I. Parte 2. 

I. Parte 6. 

I. Parte 5 (ancient). 

I. Parte 3 (ancient). 

I. Parte 5 (ancient). 
Valor, Lealtad y [ Parte Primera. ] 
Ventura deles Tel- ^ (Parte XXI). I. Parte I. 

los de Meneses f ParteSegunda. | 



Ventura (La) de la Fea. 
[Imperfect : leaves 2-7 miss- 
ing.] I. Parte 5 (ancient). 

Ventura y Atrevimiento. I. Parte 5 (ancient). 

Yerros [read Hierros] (Los) 
por Amor. L Parte 5 (ancient). 


Angelica en el Catay. (P. 
Parte VIIL) 

Buen Vecino (El). (Dif. 
XX XI I I.) 

De quando aca nos vino. 
(Parte XXIV, Zaragoza, 1633.) 

Castigo (El) sin Ven- 
ganza. With the sub- 
title : — Quando Lope 
quiere, quiere. 

I. Parte i. 

V. Parte 6. 

I. Parte I. 

I. Parte 6. 
(Printed in Parte XXI, 
of Lope. MS. autog. 
Ticknor, 163 1.) (Frag- 
ment of a volume hi- 
therto unknown, ff. 43- \ 

64 '•) ; 

En los Indicios la Culpa. 
(Parte XXII, Zaragoza, 1630.) I. Parte 6. 

Enemigo engaiiado (El). 
(P. Dif. XXXII.) L Parte 6. 

Niiiez (La) del Padre Roxas. 
{Escog. XVIII. MS. 1626. 
Holland.) I. Parte 6. 

Paloma (La) de Toledo. 
(Z)o;^6' Coinedias de Lope y otros, 

I . Chorley notes : « It has been recently (April, 1864) discovered to be a part 
of Varios de Lisboa, 1647. » For this very rare volume, see Alphabetical list 
under Fuei:^a lastimosa (La). See also Barrera, p. 704. 


Parte XXIX, Huesca, 1634.) I. Parte 6. 

Scmbrar (El) en buena 
Tierra. (P^ Parte X.) I. Parte 6. 

Silencio agradecido (El). 
(Dif. XX XL) I. Parte 6. 

[Without the author's name, but written by Lope, according 
to the MS. Indices of Gamez and Casal : see La Barrera, p. 583.] 

Sufrimicnto (El) del Honor. 
(Dif. XXXII.) I. Parte 6. 

Vargas (Los) de Castilla. 
(Parte XXVII, extravagante, 
Barcelona, 1633.) I. Parte 6. 

Ventura (La) en la Des- 
gracia {Escog. XXVIII). I. Parte 6. 

Vitoria (La) por la Honra. 
{Dif. XXXIIL Printed in Parte 
XXI, of Lope.) I. Parte 6. 


Pieces known in this form only. 

I. Acertar errando y Embaxador iingido. J.R.C. 

*2. Alcalde (El)de Zalamea. (MS. Duran.) Holland; J.R.C. 

3. Amar como se ha deAmar. Osuna. Tomo 131. 

4. Bernardo del Carpio. Segunda Parte. J.R.C. 
*5. Burlas veras. Duran; Holland; J.R.C. 

*6. Ccrco (El) dc Viena, y Socorro por Carlos \ . \^icnna. 
Holland; J.R.C. 

*7. Ciudad (La) sin Dios. Duran ; J.R.C. 

8. Como ban de ser los Nobles. Duran ; J.R.C. 

9. Compctencia (La) en los Nobles. (MS. copy, with the 
license of 1628. Brit. Mus.) Duran; J.R.C. 

*io. David pcrseguido y Montes de Gelboe. Vienna; J.R.C. 


II. Defensa (La) en la Verdad. Duran; Holland ; J.Il.C. 

Diablo Nino (El). Holland, see Nifio. 
*I2. Doncellas (Las) de Simancas. Brit. Mus. ; J.R.C. 

13. Engaiiar a quien engaiia. Osuna. Tomo 132. Duran. 
[This does not seem to be by Lope. J.R.C] 

14. Engaiio(El) en la Verdad. Osuna. Tomo 131 ; Duran; J. 

*I5. Estrella (La) de Sevilla. Holland ; J.R.C. 
*i6. Fianza satisfecha (La). Holland ; J.R.C. 

17. Guerras de Amor y Honor. Parte primera. Arl. ; Brii. 
Mus. ; Duran . 

18. Hermanas (Las) Bandoleras. Salva. 

19. Hierros (Los) por Amor. Duran ; J.R.C. 

20. Hijo (El) sin Padre. Vienna; J.R.C. [stated by Nicolas 
Antonio to be in Parte XXIV. Madrid, 1640]. 

21. Ingrato (El); Brit. Mus. ; J.R.C. [In sueltas \m\\\ CdX^c- 
ron's name. Stated by Nicolas Antonio to be in Parte XXIV, 
Madrid, 1640.] 

22. Jardin (El) de Vargas, 6 la Gata de Marirramos. Duran; 

23. Labrador (El) delTormes. Duran ; Holland ; J.R.C. 

24. Lealtad (La) en la Traycion, y el Honor en el Agravio. 
(MS. Duran, 1617 ; J.R.C.) 

25. Madrastra (La) honrada. Osuna, Tomo 133. 

26: Mas valeSaltode Mata que Ruego de Buenos. J:R.C. 

27. Mas valeis vos, Antona, que la Corte toda. Duran; J.R.C. 

28. Mayor Prodigio (El) y Purgatorio en la Vida. Duran. 
*29. Milagro (El) porlos Zelos, D. Alvaro de Luna. Holland; 


30: Nino Diablo (El). Holland ; J.R.C: 

Nobles como ban de ser. J.R.C. See Como han de. ser: 
31. Pedro de Urdemalas. Parte segunda. [With Montalvan's 
name.] Duran. 

*32. Prodigio (El) de Etiopia, Santa Teodora. Osuna; 
Tomo 132; Holland; J.R.C. 


33. Sierras (Las) de Guadalupe. Osuna, Tomo 131.J.R.C. 
*34.Tanto hagas quantopagues. Arl.; Brit. Mus.; J. R. C. [Print- 
ed in the third volume of Moreto, Madrid, 1681, with the title 
La Trayciou vcngada. It is not in Moreto's Part III of 1672 or 

35. Trabajos (Los) dc Job. Brit. Mus. 

36, Valiente Juan de Heredia (El). MS. Osuna; J.R.C. 

*37. Valor, Lealtad y Ventura de los Tcllos de Meneses. 
Vienna: (Printed in Parte XXI of Lope.) 

38. Ventura (La) de la Fea. J.R.C. [Incomplete : leaves 2-7 
are missing. J 

39. Ventura 3- Atrevimiento. J.R.C. ; Duran ; Salva. 
Yerros (Los) por Amor. See Hierros. 


Doubtful Pieces. 

1. Adultera penitente (La); S. xviii century : Gayangos 

I Medcl cites an auto by Lope entitled La Adultera perdo- 

2. Enmendar un Daiioaotro: Arl.; Brit. Mus.; Duran; J.R. C; 
[A work of Calderon's school.] 

Infanzon (El) de Illescas : « RepresentolaAvendano. » Snelta 
xviii century. Brit. Mus. 

[Printed in Doie Comedias de Lope de Vega y otros Atitores, 
Barcelona, 1630, and in Parte XXVII, extravagante, Barcelona, 
1633, under Lope's name. There is a MS. copy ascribed to 
Gabriel Tellez, in the Cat. Bib. Nac. No. 1593, with a license 
dated Zaragoza, Dec. 30, 1626, Acad. /X.J 

I This play is no longer doubtful and should not figure in 
this list. I 

3. Merito (El) en la Templanza, y Ventura por el Sueno. 
Duran ; J.R.C. 

[A feeble and affected play, with no trace of Lope's style.] 


4. Nacimiento (El) del Alba. Arl.; Brit. Mus.; Vienna; Hol- 
land; J. R.C. 

5. Valor perseguido (El) y Traycion vengada. Osuna, Tomo 

[A play with this title exists in a siiella (J. R.C.) which 
bears the name of Montalvan.] 

Printed in this form only 28 

Doubtful 5 


OF 1865) '. 

Pieces admittedly by other known authors are marked +. 

Amor enamorado (El). Fega del P. 

Animal (El) de Ungria. (Modern.) Parte IX. S. ; J. R.C. 

Animal Profeta (El). (By Mescua?) S. ;J.R.C. 

[Published as Lope's in the Academy's edition, Vol. IV. J 

-|- Antes que te cases, etc. S. ; J. R.C. [This is Alarcon's 
Examende Maridos.] 

Arcadia (La). (Modern.) Parte XIIL S. ; J.R.C. 

Batalla (La) de Honor. Parte VIL S. ; J.R.C. 

Bella Andromeda (La). S.; J.R.C. (Fabula de Perseo. Parte 

Boba discreta (La). S. ; J.R.C. (Dama boba. Parte IX.) 

Burlas veras (Las). S.; J.R.C. 

+ Si el Caballo vos han muerto. S. ; J.R.C. (By Guevara.) 

+ Capitan Belisario (El). S. ; J.R.C. (ByMira de Mescua.). 

Carbonera (La). S. ; J.R.C. 

Casamiento (El)en la Muerte. Parte I. S.; J.R.C. 

Castigo (El) sin Venganza. Parte XXL S. ; J.R.C. 

Cerco (El) de Viena, etc. S. ; J.R.C. 

I. Plays marked * have been printed since Chorley's time. Total... 28. This 
Inventario \ya.s issued bv the Director of the Biblioteca Nacional. 


[Ciudad(La) sin Dios. S.; J.R.C. Hartzenbusch's list.] 

[Competencia (La) en los Nobles. S.; j.R.C; Hartzenbusch's 

Contra Valor no ay Desdicha. Parte XXIII. S. ; J.R.C. 

Creacion (La) del Mundo. S. ; J.R.C. 

+ Cruz (La) en la Sepultura. [Huesca, 1634. % Calderon.J 
S. ; Brit. .Mas. 

Dama melindrosa (La). S. ; I.R.C. (Parte IX. Los Melindres 

David perseguido. S. ; J.R.C. 

Defensa(La) en la Verdad. S.; J.R.C. 

Desprecio agradecido (El). Fega del P. Parte XXV. S. ; Brit. 

[Escog. XXXIX, with the title La Dicha par el Desprecio, and 
ascribed to Matos Fragoso:] 

Dineros son Calidad. Parte XXIV. Zaragoza, 1632. S.; J.R.C. 

Doncellas (Las) deSimancas. S. ; J.R.C. 

+ Dos Agravios sin Ofensa. S. ; J.R.C. [Supposititious work.] 

[Enemigo enganado (El). Dif. XXXII; J.R.C. fragment; Hart- 
zenbusch's List.] 

[Enganar a quien engafia. MS. copy. J.R.C. Doubtful; Hart- 
zenbusch's List.] 

[Enmendar un Dano a Otro. S., J.R.C. Doubtful; Hartzen- 
busch's List.] 

Estrella (La) de Sevilla. S. ; J.R.C. 

H- Fernan Mendez Pinto. Parte Primera y Segunda. S.; J.R.C. 
[By Enriquez Gomez. J 

Fianza satisfecha (La). S. ; J.R.C. 

Fuerza lastimosa(La). (Modern.) Parte II. S. ; J.R.C. 

+ Gran Cardenal (HI) de Espana. [By Enriquez Gomez]. 

Guante (El) de Dona Blanca. Fega del P. S. ; Brit. Mus. 

Guerras de Amor y Honor. S. ; Brit. Mus. 

Hijo (El) de los Leones. Parte XIX. S. ; Brit. Mus. 

Horca (La) para su Dueno.S.; Holland; Parte XV. (La hermosa 


+ Industria (La) contra el Poder.S.; Brit. Mus. ; J.R.C.[This 
play is generally ascribed to Calderon, but in the Vcrdadcni 
Oiiinta Parte (^16'^)^') o{C:i\(\Qron, it is mentioned as one of the 
coinedias which pass under his name but which he did not 

Jardin (El) de Vargas. S. ; J.R.C. 

[Labrador (El) del Tormes. S.; J.R.C. Hartzenbusch's List.] 

+ Loquees un Coche en Madrid. S.; J.R.C. [By Mendoza.] 

Locos (Los) de Valencia: Parte XIIL Modern. 

Marques (El) de las Navas. Parte XXIL Zaragoza, 1630. S. ; 

Martires (Los) de Madrid. S. ; J:R.C. 

Mas mal ay en la Aldeguela, etc; S.; J.R.C. 

[Mas valeis vos, Antona, etc. S.; J.R.C. Hartzenbusch's List.] 

Mayor Vitoria (La). Modern. Parte XXII, Madrid, 1635. [It 
is not in the edition of Zaragoza, 1630.] S. ; J. R.C. 

Mayor Vitoria (La) de Alemania. Vega del P. Parte XXIV, 
Zaragoza, 1641. 

Mayor Prodigio (El). 

Mayor Virtud (La) de un Rey. Vega del P. 

Merced (La) en el Castigo. Doubtful. S. ; J.R.C: 

[Merito(El) en laTemplanza, etc: Doubtful. S.;J.R.C.; Hart- 
zenbusch's List.] 

Milagro (El) por losZelos. Modern. S. ; J.R.C. 

Milagros (Los) del Desprecio. Escoc;. X. S. ; J.R;C. 

Mocedades (Las) de Bernardo del Carpio. Parte XXIX de 
Huesca. S.; J.R.C. 
Moza (La) de Cantaro. Modern. Dif. XXXVII. S. ; J.R.C. 

Nacimiento (El) del Alba. S. ; J.R.C: 

Nacimiento (El) de Christo. Parte XXIL Zaragoza, 1641. 

[Niiio Diablo (El). S. ; J.R.C. ; Hartzenbusch's List.] 

[Nobles (Los) como han de ser. S.; J.R.C; Hartzenbusch's 

Obras son Amores. Parte XL S. ; J:R.C. 


Palacio confuso (El). [Dif. XXr/// (Huesca, 1634); stated 
by Nicolas Antonio to be in Parte XXIV (Madrid, 1640). In 
Eco^.XXFIII (1667) it is ascribed to Mescua.] 

Pedro de Urdemalas : « de Montalvan». 

Plevto (El) por la Honra, etc. S., J.R.C. 

Porfi.indo vence Amor. Fega del P . 

Premio (El) del bien hablar. Modern. Parte XXI. S. ; J.R.C. 

Prodigio (El) deEtiopia. S. ; J.R.C. [Academy IV.J 

Rey don Pedro (El) en Madrid, y el Infanzon de lUescas : 
« de Calderon ». S. ; Brit. Mus. ; Infanion dc lUescas : « de Lope ». 

San Isidro, Labrador de Madrid. Parte VII. Escog. XXVIII . 

Si no vieran las Mugeres. Modern. Vega del P. 

Tres Diamantes (Los). Parte II. S. ; Brit. Mus. 

Urson y Valentia. Parte I. 

Valor, etc... de los Tellos de Meneses. Parte Primera y 
Segunda. S. ; J.R.C. [The Parte Primera is in Parte XXI de Lope.] 

Ventura (La) en la Dcsgrnch. Escog. XXVIII. 

Ventura y Atrevimiento. S. ; J.R.C. 

Villano (El) en su Rincon. Parte VII. 

Yerros (Los) [Hierros] por Amor. S. ; J.R.C. 



The following list is taken from the Catalogo de las Pie^as de 
Teatro que se conservan en el Departamento de Manuscritos de la 
Biblioteca Nacumal by D. Antonio Paz y Melia, Madrid, 1899. 
In it are included the collections of the Duke of Osuna and of 
D. .\gustin Duran, which are respectively indicated below by 
the letters O and D. 


Acertar errando, 6 El Embaxador fingido. Printed in Seis 
Comedias de Lope y otros. Sevilla or Lisboa, 1603, according to 
Schack, Nachtrnoe, p. 40, but such a volume is unknown to 
me. Copy (O). 

Alcaide (El)de Madrid. Doubtful. Copy (O). 

Alcalde (El) deZalamea. Copy(D). Exists asasiielta(Ho\hnd, 
Chorley). Printed in KlassischeBilhnendichtimgeii der Spanier, von 
Max Krenkel, Leipzig, 1887. (Cat. B. N. No. 420, the fifth 

Aldehuela (La) y el gran Prior deCastilla. Copy (O. 1623). 
Escog. XLII. 

Alexandro el segundo, Cesar el primer Traidor; Copy, but 
marginal note on last leaf of Act I, in Lope's hand (O). 

Almenas (Las) de Toro. Copy (O). Parte XIV. [Rocamora, 
Cat. says Acts I and Hare in Lope's hand.] 

Amantes y Celosos, todos son Locos. Copy. [Re-cast of a play 
by Lope.] 

Amar como se ha de Amar. Copy, with a license of 1643 

Amar por Burla. Copy (O). 

Amar, servir y esperar. Copy (O). Parte XXIL 

Amazonas (Las). Copy (O). [The opening lines show that 
this is the comedia of the same title by Solis, which has likewise 
been printed anonymously with the title Las Amazonas en Escitia. 
The play has also been ascribed to Calderon, but in the Vcrdadera 
Ouinta Parte of Calderon (Madrid, 1694), the editor distinctly 
states that it was written by Solis. Tirso's Amazonas en laslndias 
is now printed in the edition by Cotarelo {Nueva Bib. de Ant. 
Esp.). Vol. I, 1906. 

Amigo (El) hasta la Muerte. Copy (O). Parte XL 

Amistad y Obligacion. Copy (modern). Parte XXII (Zaragoza, 
1630). [With slight changes, it is the same, so Duran says, as 
Montalvan's Lucha de Amar y Amistad, v. Mod. Lang. Revieiv 
(1906), p. 96.] 


Amor (El) Bandolero. Copy, with censura of 1645 (D). 
Parte XXIV (1632). 

Ainor con Vista. Autograph (O), dated December 10, 1626. 
Printed hiLihros Riiros, Vol. VI. Madrid, 1873. 

Amor, Pleito y Desafio. Autograph (D) dated November 23, 
1 62 1. Printed in Libras Raros, Vol. VI (1873). 

Amor secreto hasta Zelos. Copy. [Re-cast of comedia in 
Part XIX.] 

Arminda celosa. Copy (D). [This is copied from the auto- 
graph of 1622, according to Duran. But see Life of Lope, p. 304, 
n. I.] 

Audiencias delRey Don Pedro. Copy (O). [Ascribed to Lope 
by Schack and Menendez y Pelayo. Academy IX.] 

Barlaan y Josafat (Los dos Soldados de Cristo). Copy (O). 
Primera Parte. Parte XXIV (1641). 

Batuecas (Las) del Duque de Alba. Copy. Parte XXIII. 

Bella (La) mal maridada, 6 la Escuela de las Casadas. Copy. 
[It is a re-cast of Lope's play in Part II.] 

Blason (El) de los Chaves de Villalba. Copy. Parte X. Academy 

Boba (La) fingida, 6 Enganar para Reynar. Copy. [A re-cast. | 

Boba (La) para los otros y Discreta para si. Copy (O). 
Parte XXI. 

Brasil (El) restituido. Copy(D). [The autograph, dated Octo- 
ber 23, 1625, is now in the Lenox (New York Public) Library.] 

Buen (El) Vecino. Copy (D). Difemites, XXIIL 

Burgalesa (La) de Lerma. Copy(O), 161 3. Parte X. 

Cardenal (El) de Belen, San Jeronimo. Copy (D). 
Parte XIII. 

Carlos V en Lrancia. Copy. Parte XIX. 

Casamiento (El) por Cristo. Copy (O). [Duran says it is iden- 
tical with Santa ftisla, referring to Las Auroras de SevilJa, in 
Escog. XXFIL Doubtful.] 

Celos(Los) de Rodamonte. Copy (O). [It is probable that 


the play with this title ascribed to Mescua in Doce Comedias de 
varios Autores, Tortosa, 1638, is by Lope. Huerta cites one by 
Rojas Zorrilla, of which there is a siicUa in the Imp. Lib. at 
Vienna (M-B, p. 15s); La Barrera also ascribes the latter play 
to Rojas, and a play with this title is in Parte I of his Comedias, 
Madrid, 1640.] 

Ciudad (La) sin Dios. Copy. (D). Escog.II. {a.s El Inobediente, 
6 la Ciudad sin Dios, by Claramonte). [It is ascribed to Lope in 
Parte XXVI, extravagante, 1632-33. It is a re-cast by Claramonte 
of Lope's play : Academy III.] 

Comendadores (Los) de Cordoba (El Honor desagraviado). 
[The MS. numbered 635, Cat. B. N. p. 100, is given in the 
« Adiciones », p. 721, as an autograph of Claramonte. Lope's 
coiuedia in Parte II, is quite different.] 

Competencia (La) en los Nobles. Copy (D). Suelta, J.R.C. 
and Bib. Nac. 

Contienda (La) de Garcia de Paredes y el Capitan Juan de 

Copy, dated 1600, Cat. B. N. No. 1750. Acad. XL 

Cordobes (El) valeroso, Pedro Carbonero. [Autograph, dated 
Ocaiia, August 26, 1603.] Parte XIV. 

Corona (La) de Ungria y la injusta Venganza. [Copy 
(modern) of the autograph, which latter, dated December 23, 
1633, is in the Archives of the Marques de Astorga.] 

Cuerdo loco (El) 6 Veneno saludable. Copy. (D). [The auto- 
graph, dated November 11, 1602, is in the collection of Lord 
Holland (Chorley). On page 526 of Cat. B. N. Duran is quoted 
as saying that the autograph of this coinedia, dated at Madrid, 
November 11 , 1 602, with various licences down to the year 1 6 1 7, 
was formerly in the Archives of the house of Astorga. As these 
Archives have been notoriously plundered, not only of MS., 
but also of printed books, it may account for Lord Holland's 
ownership of this autograph.] 

Dama (La) boba. [Autograph, (O) dated Madrid, April 28, 
1613.] Parte IX. 


De Cosaiio a Cosario. [A MS. of the nineteenth century is 
indicated in Cat. B. N. No. 3740, p. 584.] Parte XIX. 

Dc cuando aca nos vino (O). [Written in collaboration with 
Fr. Alonso Remon. The first and third acts are in Lope's hand, 
the second in that of Remon. Moreto's De fiicra vcndrd is taken 
from this play.] Parte XXIV, Zaragoza, 1633. 

Defensor (El) de las Mugeres, 6 El Premio del bien hablar. 
[This MS. is a re-cast of Lope's play in Parte XXI.j 

Del Monte sale quien el Monte quema. Autograph (O), dated 
October 20, 1627. 

Desden (El) vengado. Autograph (O), signed at Madrid, 
August 4, 1617. Escog. XVI, as being by Rojas Zorrilla. 

Devocion (La) del Rosario (?). Copy (D). [Ascribed to Lope 
and different from Diamante's play of the same title. Cat. B. N. 
No. 899.] 

Dineros son Calidad. Copy (O). Parte XXIV, Zaragoza, 
1633 ; Escog. VI . 

Discordia (La) en los Casados. Autograph (O), dated Madrid, 
August 2, 161 1. 

Discreta (La) Enamorada. Copy. Escog. Ill . [This is one ot 
the sources of Moliere's Ecole des Maris.^^ 

Divina (La) Vencedora. Copy (D). Third act only. 

Don Lope de Cardona. Copy (O). Parte X. 

Doncella Teodor (La). Autograph (D), according to Cat. B. 
N. No. 996 : undated. Parte IX. 

Enemigo (El) enganado. Copy (D). This MS. is copied from 
a siiclta. S ueha (Dman) : Difcrentes XXXII . 

Enganar a quien engafia. Copy. SueJta (Osuna ; Duran). 

Engano (El) en la Verdad. Copy. (O). « Representola Va- 
llejo ». Cat. B. N. No. 420. Doubtful. [This differs from the 
sitelta (Osuna; Duran; J.R.C.)] Paz y Melia says this play is 
different from one of the same title signed by Jacinto Lopez. MS. 
No. 1 103 of a play called El Engano en la Verdad \s entirely dif- 
ferent from No. 420, and is ascribed by Duran to Matias de los 


Enmendar un Dano a otro. Copy (D). Stwlla {Duran ; J.K. 
C). Doubtful. 

Esclava (La) por Amor. A re-cast of LaEsclava de su Galan in 
Parte XXV. 

Esclavo (El) fingido. Copy. Ascribed to Lope. La Jkirrera in 
a note thinks this may be Lope's Esclavo por su Gusto. Doubtful. 

Escolastica (La) celosa. Copy (O). Parte L 

Favor (El) agradecido. Autograph (?), dated at Alba de Tor- 
mes, December 19, 1593. Parte XV. 

Fianza (La) satisfecha. Copy (O). Ascribed to Calderon. 
Suelta (Holland; J.R.C). Academy V. [Rocamora, Cal. No. 
583, gives it as Lope's.] 

Flores (Las) de Don Juan y Rico y Pobre trocados. Copy 
(O). Parte XIL 

Fortuna (La) merecida. Copy. Parte XL 

Fray Diablo (El Diablo Predicador). Copy, dated Madrid, 
October i, 1630. Inedited. 

Fuerza (La) lastimosa.Copy, xvii century (O). Parte II, and 
in Couiedias Nnevas. Amst, 1726. 

Fundacion (La) de la Alhambra de Granada. Copy. Very 
doubtful. Printed in Sets Comedias de Lopey olros, Madrid & Lis- 
boa, 1603. 

Gallardo (El) Jacimin y el Hidalgo Abencerraje. Copy (O). 
Printed in Parte XVII with the title El Hidalgo Abencerraje. 

Gata(La) de Mari-Ramos (El Jardin de Vargas). Copy (D). 
The third act is wanting. Suelta (Duran). 

Glorioso (El) San Martin. V. San Martin. 

Gran Capitan (El). Copy (O). Attributed in the MS. to 
D. Diego Aguayo. « En el Indice de Medel se atribuye esta come- 
dia a Lope; en el de Huerta, a Aguayo; aunque, segun opinion 
no fundamentada, de Chorley, por m.era errata de imprenta. » (D) 
Duran registers it as Lope's, and says that it may be identical 
withLcf Mayor Victoria deAlemania. To judge by the lines given 
in Paz y Melia's Cat., No; 1408, it is a different play. Doubtful. 


Gran Columna fogosa (La) : San Basilio Magno. Copy, and 
entitled: Grn)i CoJiniiim fnmosa ; original Aprohacioncs at Plasen- 
cia, 1629. Printed in Academy, VI. 

Guante (El) de Doiia Blanca. Copy. Dif . XXIX, Valencia, 
1636 : XXX, Zaragoza, 1636; XLIV, Zaragoza, 1652 : Vega del 
Paniaso : Obras Sueltas, IX. 

Guardar y guardarse. Copy (O). Parte XXIV, Zaragoza, 

Hazaiias (Las) del Cid y su Muerte, con la toma de Valencia. 
Copy. See Cat. B. N. Nos- 895 and 1476. Printed at Lisboa and 
Madrid, 1603. This play is certainly not Lope's. 

Hechos (Los) de Garcilaso de la Vega y Moro Tarfc. Copy. 
Acad. XL 

Hermosura aborrecida (La) y Desdichada firme. Copy. Parte 

Hijo (El) por Engano, Cerco de Toledo y Rey D. Alfonso de 
la Mano horadada. Copy (D). In Dt^e Coviedias uucitas, Barce- 
lona, 1630. Acad. VIII. 

Hijo (El) sin Padre. Copy (D). Parte XXIV, Madrid, 1640. 
This is a different play from El Hijo de si mismo in P., andP-. 

Honra (La) por la Muger. Copy, dated 1622 (O). Parte 
XXIV, Zaragoza, 1633. Though Sr. Paz y Melia says that it is 
not in this volume, I find it in my copy. La Barrera ascribes it 
to Luis Gomez, who was the copyist. 

Infiinzon (El) de Illescas : El ReyD. Pedro en Madrid. Copy 
(O). In Cat. B. N. No. 1593 we read : « Comedia de Fr. Gabriel 
de Tellez. Licencias de Zaragoza, 30 de Diciembre de 1626 ». Is 
this ascription to Fr. Gabriel de (^sic) Tellez on the MS. or was 
it added by Sr. Paz ? Cotarelo (Tirso de Molina. Iiivestigacioiies, 
etc., Madrid, 1893, P- 121), speaking of this Osuna MS. says 
that it is composed of two distinct manuscripts, the most ancient 
consistingof the parchment cover and the last two leaves, with 
the license dated Zaragoza. 1626. The rest of the MS. according 
toMend-ndez y Pelayo (Academy, IX, p. clxxii) is « tambien de 


hiepoca », and that its author is given as Andres de Ciaramontc. 
Alluding to this same MS. Mcn^ndcz further says (p. clxxiv) : 
« La copia manuscrita de El Rey D. Pedro de Madrid, que se 
titula Comedia famosa de Andres de Claramonte, y que aparece 
hecha por un tal Francisco de Henao y Romam, para Juan Acacio 
Bernal y Bergara, etc. Juan Acacio was a well known aitlor de 
comedias (theatrical manager) of the time. Claramonte died on 
September 19, 1626 at Madrid. See my Spanish Stage in the 
Time of Lope de Vega, New York, 1909, pp. 411, 455. £"/ Infanxpn 
dc lUescas is printed in Parte XXVII (extravagante), Barcelona, 
1633, under Lope's name. It was plagiarized by Moreto in his 
Valientejusticieroy Ricohombre de Alcalci. Academy, IX. 

Labrador (El) del Tormes. Copy (D). Duran says it is identi- 
cal with Lo que puede un Agravio. Snelta(Dm2in; Holland; J. R. 

Laura perseguida. Copy. Parte IV. 

Leal (El) Criado. Copy. Parte XV. 

Lealtad (La) en la Traycion y el Honor en el Agravio. Copy 
(D). Duran copied this from a siielta owned by D. Manuel Casal. 
La Barrera states that there was a MS. of this play, dated 1617, 
in the Duran collection. 

Ley (La) executada. Copy (Gayangos) of the impression ot 
1633. Cat. B. N. No. 3910. Parte XXIV, Zaragoza, 1633. 

Libertad (La) de Castilla por el CondeFernan Gonzalez. Copy. 
Printed at Lisboa and Madrid, 1603. It is not Lope's. 

Lo que pasa en una Tarde. Autograph, dated Madrid, Novem- 
ber 22, 16 1 7. Inedited ? 

Loco (El) por Fuerza. Ascribed to Lope in a copy of the xvii 
century and mentioned by Medel and Huerta. 

Locos (Los) de Zaragoza. Copy, modern. It is Los Locos de 
Valencia of Parte XIII. 

Llegar en ocasion. Copy (O). No. 1937 of Cat. B. N. is Lope's 
play, printed in Parte VI. No. 1936 is a different play. 

Madre Teresa de Jesus (La) : Fundadora del Carmen (O). 



Cat. B. X. Xo. 1941. Leaves 6-10 of Act 2 are said to be in 
Lope's hand. This is the play that was printed in Dace Coiitedias, 
etc. Tortosa, 1638, under the name of Luis Velez de Guevara, 
and which has been re-printed in Acad. v. Prof, Restori (Z///. 
XXII, 282) found at Parma an anonymous MS. entitled Fida y 
Muerte de S\ Teresa de Jesus which differs greatly from the above 
play, though the second act is substantially the same, while shew- 
ing many and important variations. There is another MS. 
Xo. 3489 in the Bib. Xac. The latter seems, from the opening 
line, to be the same as the Parma manuscript. 

Maestro (El) de Danzar. Copy. The original was dated Alba, 
1594. Escog. III. 

Marmol (El) de Felisardo. Copy. (O). Parte VL 

Martires (Los) de Japon . Copy (O). It is ascribed to Lope in 
this MS. (No. 2034) though on the title-page of the third act it 
is attributed to Mira de Mescua. Copy made at Lisboa in 1637. 
Academy v., with the m\e Los pritneros Martires del Japan. 

Mas pueden Zelos que Amor. Copy (D) : incomplete, 
with some autograph pages. Escogidas, III. 

Mas valeis vos, Antona, que la Corte toda. Copy (modern) ot 
a suelta belonging to Casal, with the added title La Duqiiesa de 

Mayor Corona (La). Copy (O), incomplete . 

Mayor Dicha (La) en el Monte y la Gloria en el Martirio. 
Copy (O). Inedited. 

Mayor Hazana (La) de Alejandro Magno. Copy (O). Diffe- 
rent from Las Gra}jde:^as de Alejandro. Inedited. 

Mayorazgo (El) dudoso. Copy (O). Parte II. 

Mejor Enamorada (La): la Magdalena. Copy (O). No. 2120, 
Cat. B. N. Another MS. No. 3979. (Acts II and III only) 
with corrections in the hand of Don Francisco de Roxas, is from 
the Gayangos collection. Inedited. 

Merito (El) en la Templanza, y Ventura por el Sueiio. Copy, 
made bv Diiran from Casal's suelta. 


Montanesa famosa (La) : (La Amistad pagada). Copy (O). 
Parte L 

Mudanzas (Las) de Fortuna, y Succsos de D. Beltran dc Ara- 
gon. Copy. (O), with date 1610 on title-page. [Rocamora says 
this is an autograph.] Parte III, oi Comedias de Lope y otros, 1612. 

Muertos vivos (Los). Copy. (D). Parte XVIL 

Necedad (La) en el Discreto. Copy (O). Attributed to Calde- 
ron. This cannot be Lope's La Necedad del Discreto of Parte XXV, 
to judge by the opening and closing lines. It is ascribed to 
Lope in Rocamora's Catalogue^ No. 909. 

Ninez (La) del Padre Rojas (Primera Parte de so Vida). 
Autograph (O), dated at Madrid, January 4, 1625. Escog. 

Niiio Diablo (El). Primera Parte. Copy (O). This is not 
Lope's, for the name Lauro in the concluding lines shows that it 
is by Luis Velez de Guevara. 

Nobles (Los) como han de ser. Copy (D). Suelta, J.R.C. 

Noche (La) Toledana. Copy (O). Parte III de Lope y olros. 

Novios (Los) de Hornachuelos. Copy. Ascribed in this MS. to 
Velez de Guevara and Medrano. Another copy, Osuna, incom- 
plete, ascribes it to Guevara. See below. Academy, X. 

Nuestra Senora de la Candelaria y sus Milagros y Guanches de 
Tenerife. Copy (O). To judge by the beginning and concluding 
lines this cannot be Los Guanches de Tenerife y Couqnistade Cana- 
ria of Parte X. At the end of the MS. a second part is promised. 

Nueva Victoria (La) de D. Gonzalo de Cordoba. Autograph, 
signed at Madrid, October 8, 1622. Printed in Parte XXIV, 
Zaragoza, 1641, and in the I' ega del Parnaso, 1637, with the 
I'nleLa mayor Victoria de Alemaniade D. Gonzalo de Cordoua. It has 
nothing to do with the Great Captain. See Life of Lope, p. 299, 
and n. i. 

Nuevos (Los) Sucesos del Gran Duque de Moscovia. Copy. 
(O). It is El gran Duque de Moscovia of Parte VII. 


Xunca niucho costo poco. Copy (O), with license ot 
January 4, 1643. Parte XXII, Zaragoza, 1630. There is also ano- 
ther Osuna MS. 

Obediencia (La) laureada y Primer Carlos de Ungria. Copy. 
(O). Parte VI. 

Ocasion perdida (La). Copy (O). Parte II. Cat. B. N. No. 
2436. [The lines there given as the concluding ones of the 
segunda Jornada are the last lines in act I.] 

Paloma (La) de Toledo. Copy (O). Dif. XXIX, Huesca, 
1634. Academy, X. 

Pastoral Albergue (El). Copy. « Esta comedia se hizo 18 dias 
en Sevilla. » Printed in Comedias incdiias, Madrid, 1873. 

Pastoral (La) de Jacinto. Copy : only the first and third acts, 
the first incomplete. It is also called La PastoraJ de Jos Celos. 
Printed in G. y Lope, Madrid, 16 17, as Los Jacinios, y El Celoso de 
si mismo. It also occurs with the titles La Pastoral de Albania, 
and La Selva de Albania. Parte XVIII and Academy, V. 

Perdida honrosa (La), 6 Los Caballeros dc San Juan. Copy 
(D), from a siiclta. Academy, XII. 

Perdidas (Las) del que juega. Copy (O), of the first and 
second acts only. [Rocamora, Cat. No. 1021, says this is an auto- 

Piadoso Aragones (El). Autograph (O), dated Madrid, 
August 17, 1626. Parte XXI : Academy, X. 

Pleito (El) por la Honra, 6 el Valor de Fernandico. Copy 
(O). Printed in Docc Comedias nneiias de Lope \ otros a 11 tores, Bar- 
celona, 1630. It is the second part of Lope's La desdichada Este- 
fania, which precedes it in the volume of Barcelona. La Barrera, 
p. 707. 

Poder (El) en el Discreto. Autograph (O), dated at Madrid, 
May 8, 1623. 

Porfia (La) hasta el Temor. Copy(O). Parte XXIV, Madrid, 
1640 : Dif XXVIII. (163.)) : and Parte XXVIII (cxtravagante), 
Zaragoza, 1639. Barr. p. 683. 


Principe (El) despeiiado. Autograph (?) with censuras from 
1607 to 1611. Parte VII. Academy, VIII. Menendez y Pclayo 
{Ibid., p. xxvii) says : « Lope de Vega signed this play on Novem- 
ber 27, 1602 : the licenses for its representation in Madrid and 
Valladolid are of 1603 and 1604. He printed his text from the 
autograph in thepossession'of the Condesa de Torre-Isabel. » The 
MS. in the Bib. Nac. Cat. No. 2726, which is also called an auto- 
graph, was formerly in the possession of D. Salustiano de 016- 

Principe (El) perfecto : (Primera Parte). The MS. bears an 
imitated signature of Lope de Vega, with the date December 23, 
1 6 14. Parte XL Academy, X. 

Principe (El) perfecto : (Segunda Parte), with the alternative 
title : Como ha de ser un buen Rey. Copy (O), with a license of 
1 62 1. Parte XVIII. Academy, X. For these two plays see the 
alphabetical list. Both these comedias are given as autographs 
by Rocamora. 

Prueba (La)de los Amigos. Autograph, dated Toledo, Septem- 
ber 12, 1604. From the Olozaga collection : see below. Printed 
in Comedias ineditas, Mad. 1873. 

Pusosemeel Sol, saliome la Luna : Santa Teodora. Copy (O), 
lacking the beginning of Act III. It is ascribed in this MS. (Cat. 
B. N. No. 2783) to Lope de Vega, though it is generally attribut- 
ed, for no good reasons, so far as I am aware, to Claramonte. 

Querer su propia Desdicha (6 la Muger singular). Cat. B. N. 
No. 411 1 . It is a re-cast of Lope's play. 

Quien ama no haga Fieros. Copy (O). Parte XVIII. 

Quien bien ama tarde olvida. Copy (O), dated 1624. Parte 
XXII, Zaragoza, 1630. 

Quien todo lo quiere. Copy(O). Parte XXII, Madrid, 1635. 

Ramirez (Los) de Arellano. Copy (modern). Parte XXIV, 
Zaragoza, 1641. 

Rey (El) por su Semejanza (en Asiria). Copy (D), ascribed to 
Lope in the second act. It is by Juan de Grajales. 


Rey (El) por trueque. Copy (D). 

Rico y Pobre trocado, v. Flores (Las) de Don Juan. 

Robo (El) de Dinn. Copy (modern). Parte XXIII. Academy, 

Rosario (El) de los Hijos de Maria. Copy (O). [Not cited by 
Duran or La Barrera.] 

Roxillas — a mojiganga, signed on the last page by Lope at 
Madrid, April 28, 161 3. Cat. B. N. No. 2943. 

Ruysenor (El) de Sevilla. Copy (D). Parte XVIL 

San Agustin (El divino Africano). Copy. (D). Parte XVIIL 

San Isidro Labrador de Madrid. Copy. Parte VIL Escog. 
XXVIII. Academy, IV. 

San Isidro Labrador, de Madrid, y Victoria de las Navas de 
Tolosa, por el Rey Don Alfonso. Copy. A different play from 
the preceding. Cat. B. N. No. 545 ^ 

San Julian de Alcala de Henares, 6 El Saber por no saber. (La 
Vida de San Julian, lego de Alcala.) Copy (O). Parte XXIV. 
Academy, V. 

San Martin. — l^his coiuedia seems to be entirely unknown, 
except that it is mentioned in P\ In the Cat. B. N. No. 545, a 
MS. comedia is noted entitled : El glorioso San Martin. It is in a 
hand of the xvii century. Is this perhaps Lope's comedia ? 

San Segundo(de Avila). Comedia finished at Alba, August 12, 
1 594. Copy (D). Cat. B. N. No. 548 (8"'. Academy, IV.) 

Santa Casilda. Copy: at the end a second part is promised. 
Doubtful. Perhaps it is by Phelipe de Medina Pores, for whose 
name Lope's has been substituted on the title-page. 

Santiago el Verde. Copy. (O). Parte XIII. 

Santo Niiio de la Guardia (El). Segundo Cristo. Copy (D), 
with A censma at Malaga, January 7, 1638. Parte VIII (El Niiio 
inocente de la Guardia). 

Secretario (El) de si niisino. Copy (O). Acts I and II only. 
Parte VI. Rocamora does not note that it is by Lope. Cat. No. 


Sembrar (El) en buena Tierra. Copy (O). Parte X. [Autog. 
in Brit. Mus.] 

Si no vieran las Mugeres. Copy (O). Fega del Parnaso : Obras 
SueJtas, X. 

Sin Secreto no ay Amor. Copy (D). [Autog. in Brit. Mus. | 

Suerte (La) de los Reyes, 6 los Carboneros. Copy (D) of Acts 
Hand III. 

Terceros (Los) de San Francisco. (La Tercera Orden de San 
Francisco). Copy (D). [This play was written by Lope and Mon- 
talvan.] Academy, V. 

Toledano (El) y Zeloso vengado. Copy (O). 

Trabajos (Los) de Jacob. (Sueiios hay que Verdad son). Copy. 
Parte XXIL See Schack, vol. II, p. 321. 

Valiente (El) Juan de Heredia. Copy (O). Inedited. 

Valor (El) de Malta. Copy (D). Academy, XII. 

Vargas (Los) de Castilla. Copy. Academy X, 

Veneno (El) saludable (El Cuerdo Loco), q.v. The autograph 
of this comedia, dated at Madrid, November 11, 1602, was for- 
merly in the Archives of the house of Astorga. 

Ventura (La) sin buscarla; Re-cast of Lope's play. Another 
MS. « comedia burlesca », perhaps a parody on Lope's comedia. 

Ver y no creer. Copy, with aprobacion of August 25, 16 19. 
Parte XXIV, Zaragoza, 1633. 

Vida (La) de San Pedro Nolasco. Copy. Parte XXIL Aca- 
demy, V. 

Vida y Muerte de Santa Teresa de Jesus. Copy, v. Restori, 
Ztft. XXII, p. 282. 

Viuda (La) Valenciana. Copy. Parte XIV. 

Besides those mentioned in the above list there are several 
manuscript comedias ascribed to Lope de Vega in the following 
work : Catalogo abreviado de lo<: Mamiscritos de la Biblioteca del 
Excmo. Sehor Dnque de Osuna c Infantado, por D. Jose Maria 
Rocamora. Madrid, 1882. 1 give the numbers in the Catalogue : 

356. El Caballero de Olmedo, Lope de Vega (con censura). 


[For this manuscript, see Life of Lope, p. 165.] 

367. El Capitan Bclisario. Lope de Vega. 

[No. 521 of the same catalogue reads : « Ejemplo mayor de la 
Desdicha. Mira de Amescua, con la censura de Lope de Vega 
(autografo). This is the alternative title of El Capitan Belisario, 
which is therefore undoubtedly Mescua's. Cat. B. N. No. 1057.] 

416. El Conde Don Pedro Velez, Lope de Vega. 

[This is a copy : the autograph, signed by Luis Velez de Gue- 
vara is in the Bib. Nacional. Cat. No. 670.] 

475. La Despreciada Querida. Lope de Vega, Copy. 

[The autograph, signed by Juan Bautista de Villegas on May 
15, 1 62 1, is in the Bib. Nac. No. 888 (Third Act only). J 

487. Dios haze Justicia a Todos. Lope de Vega. 

[This coniedia is by D. Francisco de Villegas, and is printed in 
Escog. XLII. MS. Bib. Nac. Cat. No. 929.] 

574. Lafamosa Montaiiesa. Lope de Vega. (H.) 

[This comedia is mentioned in P. as La Montahesa. It is the 
alternative title of La Amistad pagada and is printed under this 
latter title in Parte L This Osuna MS. is now in the Bib. Nac. 
Cat. No. 2200. j 

671. La ilustreFregona. Lope de Vega, 

[This is a burlesque by Canizares on Lope's comedia printed 
in Parte XXIV. (Zaragoza, 1641.) 

950. Los Novios de Hornachuelos. Velez de Guevara (auto- 

There were two MSS. in the Osuna library, according to 
Rocamora, one of which he calls an autograph. There are two 
manuscripts now in the Bib. Nac, presumably the same two, 
though only the second one is marked (O). They are registered 
by Paz y Melia, Cat. B. N. under No. 2391, but not a word is 
said about an autograph. The first MS. bears a license dated 
Valencia, October 15, 1629, and is ascribed to Luis Velez de 
Guevara and Medrano. Each act is in a different hand, the first by 
a hand oi the xviii century. The otlier MS. (Osuna) consists 


only of acts I and U, written by the same hand that wrote act III, 
of the previous MS. It bears a date 1627. The play occurs as a 
siielta with Lope's name, but on the authority of these manu- 
scripts it has often been attributed to Guevara. [Menendez y Pelayo, 
however, has published it as Lope's in Academy, X.] 

12 14. El Santo Negro Rosambuco, 6 sea el Negro del Serafin 
Santo Nigro (^/V). Lope de Vega (con censura). f Paz y Melia, 
Cat. B. N. No. 2290, says the play contained in this MS. is by 
Luis Velez de Guevara. J 

1346. El Valor de Fernandito. Lope. 

[This is Lope's El Pleito por la Honra.] 


La Prueba de los Amigos. Autograph, dated September 12, 
1604. P^ (MS. copy^ Duran). This is now in the Bib. Nac. Cat. 
No. 2762. 

Carlos Quinto en Francia. Autograph, dated November 20, 
1604. P-. Parte XIX. MS. copy, Rubi') This autograph is now 
in Philadelphia. 

La Batalla del Honor. Autograph, dated April 18, 1608. P-. 
Parte VI. 

El Bastardo Mudarra. Autograph, dated April 27, 1612. Parte 
XXIV, 1 64 1. 

I do not know where the last two manuscripts are now : 
they are not in the Bib. Nac. El Bastardo Mudarra was repro- 
duced in f^ic-simile at Madrid, in 1864. 


La Encomienda bien guardada. — Autograph, dated April 16, 
1 610. Parte XV, as La buena Guarda. 



El Maestro de danzar. Copy. (P. Escog., III.) Cat. B. N. 
No. 1951. 

El Esclavo fingido. Copy. (S. Osuna. Tomo 132.) Cat. B. N. 
No. II 60. 

Los Hechos de Garcilaso de la Vega, y Moro Tarfe. Copy, 
undated. (P. Garcilaso de la Vega.) Cat. B. N. No. 1477. 


Lo que ha de ser. Copy, dated September 2, 1624. Parte XXV. 
This MS. is described as an autograph in the Cat. of the Brit. 
Mus. V. Life of Lope, p. 311. 

i Ay. Verdades ! que en Amor. Autograph, dated Novem- 
ber 12, 1625. (Parte XXI.) 

La Competencia en los Nobles. — Copy, with a license dated 
November 16, 1628. 

1 . This particular section was drawn up by La Barrera, who stated tliat his 
MSS. of El Maestro de Danzar and El Esclavofingido were autographs. He repeat- 
ed the assertion in his Catdlogo, p. 437. However, in a letter to Chorley, 
dated April t866 he admitted that both were merely copies, though he believ- 
ed (so he said), that El Maestro de daniar was copied directly from the auto- 
graph. These manuscripts of La Barrera were transferred after his death to the 
Biblioteca Nacional. 

2. In two quarto volumes, Egerton MSS. '547 and 548. 

Vol. I (5 comedias). Vol. H (5 coiuedias). 

1 . La hcrmosa Ester. i . Lo que ha de ser. 

2. La Nina de Plata y Burla vengada [?] 2. \ Ky, verdades ! 

3. El Galan de la Menbrilla. 3. Sin Secreto no ay Amor. 

4. Santiago el Verde. 4. La Conpetencia en los Nobles. 

5. El Sembrar en buena Tierra. 5. El Argel fingido. 

Las Bi^iirrias de Belisa is bound by itself, in a separate volume (Additional 
MSS. 10,529). As regards the second piece in vol. I, which has been hitherto 
confounded with La Nina de Plata in Parte IX, see Life of Lope, p. 210, «. 2. 


The corrections have been said to be in Lope's handwriting, 
but this is a mistake. See Life of Lope de Vega, p. 318, n. i. 

Sin Secreto no ay Amor. — Autograph, dated July, 18, 1626. 
(Copy, Duran.) 

Pubhshed by me from this MS. and the rare sitcha, Bahi- 
more, 1894. 

Las Bizarrias de BeUsa. — Autograph, dated May 2^, 163^. 
{Vega del P.) 

La hermosa Ester. — Autograph, dated April 5, 16 10. Parte XV. 

El Galan de la Menbrilla. — Autograph, dated April 20, 161 5. 
Parte X. ?\ 

Santiago el Verde. — Autograph, dated 161 5. Act II, is miss- 

[See my article in Modern Language Notes, June 1893.] 

El Sembrar en buena Tierra. — Autograph, dated January 6, 
161 6. Parte X. P\ 

El Argel fingido. P. Parte VIII. 

[According to Schack the play is dated 1610: but this is 
impossible, for the piece is mentioned in P. The last leaf is 
missing in the Brit. Mus. copy.] 


El Castigo sin Venganza. — Autograph, dated August i, 163 1. 
Parte XXI. 

[See Life of Lope, pp. 339 and foil. J 


El Marques de lasNavas. — Autograph, dated April 22, 1624. 
(Parte XXII, Zaragoza, 1630.) 

Barlan y Josafa. — Autograph, dated February i, 16 11. 
(Parte XXIV, Zaragoza, 1641;) 

El Caballero del Sacramento. — Autograph, dated April 27, 
1610. (P^ Parte XV.) 



El Cucrdo loco. — Autograph, dated November ii, 1602. 
(P. Parte XIV.) 

Antonio Roca. P. [Copy (?)). 

Peribanez y el Comendador de Ocaiia. (P-. Parte IX.) 

Copy, with corrections that seem to be in Lope's hand. 

La Villana de Getafe. — Copy. (Parte XIV.) 

Las Perdidas del que juega. — Copy. [According to La Barrera 
the autograph was in the Osuna Collection : see Catalogo, 
p. 435. Rocamora, No. 1021, also notes it as an autograph. 
Cat.B. N. No. 2576. J 

El Valor de Malta. Copy. [Another copy was in Duran's Col- 
lection. See Cat. B. N. No. 3409. J 

San Basilio. — Copy. [Another copy in Duran's Collection. 
La gran Colnmna fogosa. Cat. B. N. No. 14 12. J 

El Duque de Berganza. (Parte VIII. El mas galan Portiigites.) 

Fuente Ovejuna. — Copy. (Parte XII.) 

La Noche de San Juan. — Copy. (Parte XXL) 

[Copied, says the first draft of this bibliography, in 1635. 
Lope wrote the play in June 1631 : see Life of Lope, pp. 337- 

La Honra por la Muger. — Copy. (Parte XXIV, Zaragoza, 

1633.); S.;J.R.C. 

La Humildad y la Soberbia. — Copy. (P-. Parte X.) 

-j- Lo que es un Coche en Madrid. — Copy. [This is Anto- 
nio Hurtado de Mcndoza's piece : Los Riesgos que tiene un Cache.] 

Al pasar del Arroyo. — Copy. (Parte XII.) 

[Finished on January 23, 1616. The following are said to be 
copies of plays by Lope : so far as I could judge, when I was 
able to examine them, I thought they were not his. — J.R.C.] 

La Soberbia de Nembrot, y Primero Rey del Mundo. 

[Played at the Prado Theatre by F. Martinez de Mora, 
August 5, 1635. It is probably the work current as a suelta 
(J.R.C.) with the name of Enriquez Gomez attached to it.j In 
his Samson Naiareno, printed at Rouen in 1656, Enriquez Gomez 


mentions Las Soherbias de Neinbrot among the comedias that lie 
had written. There is a MS. in the Bib. Nac. Cat. No. 3137, 
in which it is also ascribed to Enriquez Gomez. 

La Orden dc Redencion. y Virgcn dc los Remedios. [Chorley 
appends the query : « By Calderon, or by F. Villegas and Jose 
Rojo ? » However, it does not appear in the list given in Calde- 
ron's Verdadera Quinta Parte. The play by Villegas and Rojo 
{Escog., XXF) is entitled : La Esclavilitd mas dichosa y Firgeii de 
los Remedios. 

Amar por ver amar. — Dated 1659. License dated 165 1. [This 
is El Perro del Hortelano. \ 

El Paraiso de Laura y Florestas del Amor. — Dated 1680. 

+ El Sol en el Nuevo Mundo : Nuevo Mundo en Castilla, 6 
Descubrimiento de las Batuecas, por Juan de la Hoz y Lope de 

[Hoz was probably born in the third decade of the seventeenth 
century : he was still living in 17 14. He re-cast Lope's coniedia, 
Las Batuecas, Parte XXIIL In Duran's Collection there was a 
MS. (no doubt of this same work) entitled El Descubrimieuto de 
las Batuecas del Duque de Alba por Juan Claudio de la Hoz : see 
Cat. B. N. No. 869. It is an autograph and bears his signature. 
Another re-cast of Lope's play by Matos Fragoso is given in 
Escog. XXXVII, under the title El Nuevo Mundo en Castilla. See 
Restori, Ztft., XXX, p. 234.] 


Quien mas no puede. — Autograph, dated September i, 
16 1 6. [I owe a copy of this autograph to the kindness of my 
friend, Professor James Fitzmaurice-Kelly.] 


Los Melindres de Belisa. — Fragment of autograph consisting 
of the first Act only. (P^ Parte IX.) 


El Vaso (ie Eleccion, S. Pablo. MS. of the beginning of the 
xvii century. Medel : S. Pablo : Vaso de Eleccion. 

IN THE GAYANGOS COLLECTION. (La Bari'era, p. 436.) 

La Ley executada. Copy (xviii century) of the play in 
Parte XXIV (1633). Cat. B. N. No. 3910. 

La mejor Enamorada. La Magdalena. P'. La Magdckna. [MS. 
of the xvii century, incomplete. Cat. B. N. No. 3979. Cf. 
No. 2120. 

Querer su propia Desdicha 6 La Muger singular. Re-cast of 
Lope's comedia. Cat. B.N. No. 4111. 

La Noche Toledana. MS. (xix century). Copy of Lope's play. 
Cat. B. N. No. 4013. 

La Viuda Valenciana. Re-cast of Lope's play (xix century). 
Cat. B. N. No. 4301. 


El Principe despeiiado. — Autograph, dated November 27, 
1602. Parte VII ; Tomo 131 (Osuna) ; Academia, \1II. 


Hartzenbusch, Comedias de Lope, IV, p. x\"i : « Me ha remi- 
tido hoy, 13 de Oct. de i860, un grueso tomo en 4° MS. cuyo 
titulo es : « Libro de Comedias antiguas no imprcsas de Lope de 
Vega... escritas y hrmadas de su propia mano y letra : sacadas de 
sits Totnos originales... que se hallan en cl Archivo del... Duquc de 
Sessa : — por D. Miguel Sanz de Pliegos, su archivero. » Accord- 
ing to La Barrera (letter written in 1863), the copy was made 
in 1 78 1 and is styled Toffw IL This volume is described in Cat. 
B. N. \o. 371 : for a description of Vol. IV, see ibid. No. 1750. 
Are volumes I and III lost? Vol. II contains the following 
copies : El Blason de los Chaves. (P. Parte X. Los Chaves de 


Dated at Chinchon, August 20, 1599. 
Laura perseguida. (P. Parte IV.) Dated at Alba, October 12, 


El leal Criado. (P. Parte XV.) Dated at Alba, June 24, 1594. 

Carlos V. en Francia. (P-. Parte XIX.) Dated at Toledo, 
November 20, 1604. 

The original is now in the library of Mr. J. T. Stetson, Phil- 

IN THE CHORLEY COLLECTION. (All these are copies.) 

Amar por ver Amar. (P- . El Perro del Hortelano. Parte XI.) 
Dated 1659. 

Enganar a quien engaiia. (S.;Duran; Osuna, and Tomo 132.) 

Espanoles (Los) en Flandes. (Parte XIII.) 

Grandezas (Las) de Alexandro. (Parte XVI.) 

Lo que esta determinado. {Escog., III.^ 

Llave (La) de la Honra. {Escog., III.) 

Maestro (El) de danzar. (P. Escog., III.) (MS. Copy, La Bar- 
rera, 1594.) 

Mas pueden Zelos que Amor. (Escog., III.) 

Portuguesa (La) y Dicha del Forastero. {Escog., III.) 

Prados (Los) de Leon. (P^ Parte XVI.) 

Serrana (La) de Tormes. (P. Parte XVI.) 

Trabajos (Los) de Jacob. (Parte XXIL Madrid, 1635.) 

Discreta enamorada (La). (P-. Escog., III. S. ; Holland.) 


(La Barrera, p. 436.) 


[These MSS. are in the above-mentioned Vol. IV, described 
in Cat. B. N. No. 750.] 

El Cuerdo Loco y Veneno saludable. (P. Parte XIV.) Dated 


Madrid, November ii. 1602. [This seems to be the autograph 
already noted as being now in the Holland collection.] 

La Corona merecida.'(P. Parte XIV.) Dated 1603. Lost? 

La Corona de Ungria, 6 la injusta Venganza. Dated Decem- 
ber 23, 1633, with aaiisiira of January i, 1634. (Schack quotes 
this as among the autographs belonging to Duran, but, accord- 
ing to Cat. B. N. No. 716, Duran's was simply a copy.) 

Las Persecuciones de David. Ancient MS. (S. Brit. Mus. ; 
J.R.C. David perscgnido.) [La Barrera merely says that this MS. 
was « cited by Duran » : he unfortunately omits the owner's 
name. Stolen ?J 

CITED IN SALVa's CATALOGUE, Pai'is, 1 829-34. 

(La Barrera, p. 437.) 

Los Comendadores de Cordoba. MS., contemporary with the 
author. (Parte K. [? P.J Los Coiiiciidadores.) 

El Enemigo enganado. MS., contemporary with the author. 
(P. Dif. XXXILS. Duran.) 

El verdadero Amante (P. Parte XIV) y gran Pastoral Belarda. 
Ancient MS. 

Of the autographs in the list on the previous pages, the fol- 
lowing are inedited, or at least are not known to have been 
printed as yet : 

1. La Discordia en los Casados (1611). 

2. Lo que pasa en una Tardc (1617). [Edited by Prof. 
Petrof (?).J 

3. El Poder en el Discreto (1623). 

4. Del Monte sale, etc. (1627). 

The following, though not autographs, are of interest as being 
ancient and (mostly) dated copies: (i) El Maestro de danxfir, 
P., Escog. III. (La Barrera), January 1594. (2) El leal Criado, 
P., XV (Bib. Nac), June 24, 1594. (3) San Scgnndo de Avila, 
P., Acad. /F(Bib. Nac), August 12, 1594. {4) Laura perseguida, 


P., IV (Bib. Nac), October 12, 1594. (5) Bclardo el Fnrioso, 
P., Acad. V [undated]. (6) El Blason de los Chaves, P., X (Bib. 
Nac), August 20, 1599 [with z figiira del donayre]. (7) La Con- 
tienda de Garcia de Paredes, P., Acad. XI (Bib. Nac), February 15, 
1600. (8) El Cordobes Valeroso (Pedro Carboncro), P., IV (Bib. 
Nac), August 26, 1603. (9) Las Mudan:^as de Forliina y Siicesos 
de D. Belt ran de Arag07i, P^., Parte III, Barcelona, 161 2 : dated 
1610. (lo) Argel fingido. P., VIII^ (Brit. Mus. undated ; assigned 
to 161 3). (11) La Bnrgaksade Lerma, P-., X(Bib. Nac), Novem- 
ber 30, 1613. (12) El Principe perfecto,PsiTtl,P-., XI(Bib. Nac), 
December 23, 16 14. (13) £"/ Principe perfeclo. Part II, P^, XVIII 
(Bib. Nac), January 16, 1616. (14). Al pasar del Arroyo. P^, 
XII (Holland), January 23, 1616. {i^)La Lealtad enla Traycion, 
S. (Bib. Nac), November 22, 1617. (16) Ver y no creer, XXIV 
[Zaragoza, 1633]. (Bib. Nac), August 25, 1619. (17) En los 
Indicios la Culpa, XXII [Zaragoza, 1630] (Osuna : not in Bib. 
Nac), 1620. (18) Z-fl! Aldegiiela, S., and Escog., XLII (Osuna : 
not in Bib. Nac), November 9, 1622. (19) Lo que bade ser, 
XXII [Zaragoza, 1630]. (Brit. Mus.), September 2, 1624. {26) La 
divina Vencedora. P. (Acts I and II only, at Parma), 1624. (21) 
£"/ Infanxpn de Illescas, with a license at Zaragoza, December 30, 
1626. (22) La Conpetencia en los Nobles, S. (Brit. Mus.), Novem- 
ber 16, 1628. (23) La gran Cohimna fogosa, Acad. /F., (Bib. 
Nac), 1629. (24) La Noche de San Juan, XXI., (Ho\hnd ; undat- 
ed, played on June 24, 163 1). (25) El Animal Profeta, San 
Julian, Acad. IF. (Bib. Nac), 163 i. (26) La Corona de Ungria. 
Inedited. Copy (Bib. Nac). The autograph was formerly in the 
Astorga Archives, dated December 23, 1633. 


The titles of inedited plays, or plays not known to be in print, 
are given in italics. Manuscripts only known through the state- 
ments of Salva and Duran are marked and are not taken into 
numerical account. 



All the plays mentioned by Salva and Duran are in print. 

1. Alcalde (El) de Zalamea. (S. Holland; J.R.C.) Duran 
(Cat. B. N. No. 420.) 

2. Akaydc (El) de Madrid. (Medel). Osuna (Cat. B. N. 

No. 74)-" 

3. Amar como se ha de amar. S. (Osuna^ T. 131.) Osuna 
(Cat. B. N. No. 121) and Parma. 

4. Amor por Biirla. (xMedel). Osuna (Cat. B. N. No. 123). 

5. Amar por veramar. (ElPerrodel Hortelano). (P-. Parte XI). 
Holland; J.R.C. 

6. Amar^ servir y esperar. Osuna (Cat. B. N. No. 124). 
Parte XXII, Madrid, 1635. 

7. Amigo (El) hasta la Muerte. Osuna (Cat. B. N. No. 132). 
Parte XI. 

8. Amistad (La) pagada. (La Montaiicsa.) Osuna (Cat. B. N. 
No. 2200). Academy, VII. 

9. Amistad y Obligacion. Osuna (Cat. B. N. No. 140). 
Parte XXII. 

10. Amor (El) Bandolero. Osuna (Cat. B. N. No. 145). 
Parte XXIV, Zarag., 1633. Censura de 1645. 

11. Antonio Roca. Ined. Holland. Osuna (Cat. B. N. No. 220). 
[According to this catalogue the MS. bears no name. Sr. Paz 
says : La 4'\ (sic) Jornada autografa de Lanini Sagredo.] 

12. Argel fingido. Brit. Museum. 

13. Aniiiiida celosa. [See LZ/i' of Lope, p. 304, ;/. i. Cat. B. N. 
No. 252.] 

14. Audiencias del Rey D. Pedro. (Medel). Anon. Osuna 
(Cat. B. N. No. 278). 

15. Batuecas (Las) del Duque de Alba. (Cat. B. N. No. 351), 
XXIII. Academy, XL 

16. Boba (La) para los otros y Discreta para si. S. MS. 
Osuna (Cat. B. N. No. 375. XXL) 

17. Buen (El) Vecino. Osuna (Cat. B. N. No. 420). Dif. 


i8. Casamiento (El) por Cristo. Medel. Fajardo. Osuna (Cat. 
B. N. No. 527). 

19. Celos (Los) de Rodamonte. Osuna (Cat. B. N. No. 568). 
Ascribed to Mescua in Doce Comedias, Tortosa, 1638. 

20. Ciudad (La) sin Dios. Osuna (Cat. B. N. No. 420). 

Comendadores (Los) de Cordoba. (P\ Parte IL Los Comcn- 
dadores. Quoted by Salva. The MS. in the B. Nacional, Cat. 
No. 635, is Claramonte's. v. ibid., p. 721. 

David perseguido. (S. J.R.C. With the title : Persecuciones 
de David). Quoted by Salva. 

21. De cuandoaca nos vino (with Fr. Alonso Remon ?). P-. 
XXIV. Zarag. 1635. Cat. B. N. No. 825. 

22. Devocion (La) del Rosario. Cat. B. N. No. 899. Duran. 

23. Dineros son Calidad. Osuna (Cat. B. N. No. 928), v. 
Alphabetical list. 

24. Discreta Enamorada (La). Escog.^ III. (Cat. B. N. 
No. 934)- J-R-C. 

25. Divina Vencedora (La). Inedited. Duran (Cat. Bib. N. 
No. 947). Third act only. 

26. Don Lope de Cardona. Parma, Osuna (Cat. B.N. 
No. 985). P\ X. 

27. Doncella Teodor (La). Autog. (?) undated. D. (Cat. 
B.N. No. 996). IX. 

28. Don Gil dela Mancha. Ined. Osuna (Cat. B. N. No. 983, 
ascribed to Rojas Zorrilla). 

Enemigoenganado(El). Cat. B.N. No. 1090. (Dif. XXXII. 
S. J.R.C.) Quoted by Salva. 

29. Engaiiar a quien engafia . Osuna (Cat. B.N. No. 420); 
J.R.C. (S. Osuna. Tomo 132). 

30. Engafio (El) en la Verdad. Osuna (Cat. B. N. No. 420). 
Doubtful . 

31. Enmendar un Dano aotro. Duran (Cat. B. N. No. 11 09). 
Doubtful . 

32. Esclavo fingido (El). Cat. B. N. No. 11 60. (Osuna, 
Tomo 132. Fajardo, Comedias dc Scvilla). 


33. Escolastica (La) celosa. Osuna (Cat. B. N. Ko. 1166). 
P. I. 

34. Espanoles (Los) en Flandes. (Parte XIIL) J.R.C. 

35. Fianza (La) satisfecha. Osuna (Cat. B. N. No. 1265). 
Academy, V. 

36. Flores (Las)de Don Juan y Rico y Pobre trocados. Osuna 
(Cat. B.N. No. 1307). P^ Xri. 

37. Fortuna(La) merecida. Duran (Cat. B. N. No. 13 18). XL 
Academy, IX. 

38. Fray Diablo (^El Diablo Predicadoi-) . Duran (Cat. Bib. 
Nac. No. 1324). This MS., however, is dated at Madrid, 
October i, 1630. Inedited. 

39. Fuente Ovejuna. P-. (Parte XII). HoUand. 

40. Fuerza (La) lastimosa. Osuna (Cat. B. N. No. 1339). 
P. II. 

41. Fundacion (La) de la Alhamhra de Granada. Duran (Cat. 
B. N. No. 895). Lisboa, 1603. 

42. Gallardo Jazimin (El). (El Hidalgo Abencerraje). Osuna 
(Cat. B. N. No." 1358). XVII. 

43. Gata (La) de Mari-Ramos. (El Jardin de Vargas). Duran 
(Cat. B. N. No. 1374)- 

-(- 44. Gran Cardenal (El) de Espana. Parte Segunda. (Fajardo, 
XXVII, extravagante). Medel. Osuna (Cat. B.N. No. 1409) 
[By Enriquez Gomez, but La Barrera ascribes to Lope a Gran 
Cardenal de Espana, D. Pedro Gon^ale:^ de Mendo:;ja.] 

45. Gran (El) Capitan. O. (Cat. B. N. No. 1408). See Alpha- 
betical list. 

46. Grande/as (Las) de Alexandro. (Parte XVI.) j.R.C. 

47. Guante (El) de Dona Bianca. (Cat. B. N. No. 1429,) v. 
Alphabetical list. 

48. Guardar y Guardarse. Osuna (Cat. B. N. No. 1432). 

49. Hcchos (Los) de Garcilaso de la Vega y Moro Tarfe. La 
Barrera (Cat. B. N. No. 1477). Acad. XI. 

50. Hermosui:a (La) aborrecida [y Desdichada firmej. (Cat. 
B.N. No. 1491.) VII. 


51. Hijo (El) per Engaiio, Cerco de Toledo y Rcy D. Alfonso 
de la Mano horadada . Duran (Cat. B. N. No. 1522). Acad- 
emy, VIII. 

52. Hijo (El) sin Padre. Duran, modern (Cat. B. N. 
No. 1525). S., J.R.C. Parte XXIV. Mad. 1640. 

53. Honra (La) por la Muger. Holland. Parte XXIV. Zara- 
goza, 1633. (S., J.R.C.) (Cat. B. N. No. 1543, Osuna). 

54. Humildad (La) y la Soberbia. Holland. Parte X. 

5 5 . Labrador (El) del Tormes (Lo que puede un Agravio) . 
Duran (Cat. B. N. No. 420). 

56. Lealtad (La) en la Traicion y el Honor en el Agravio. 
Duran (Cat. B. N. No. 1734). It is a copy of a suelta. 

57. Ley (La) executada. Gayangos. (Cat. B. N. No. 3910.) 
Copy of Parte XXIV, Zarag. 1633 . 

58. Loco (El) por Fuerza. (Cat. B. N. No. 1900.) M. ; H. 

59. Locos (Los) de Zaragoza. (Cat. B. N. No. 1905). 
Parte XIII. (Los Locos de Valencia.) 

+ Lo que es un Coche en Madrid. [This is Antonio de Men- 
doza's Los Riesgos que tiene un Cache.] Holland (S., J.R.C). 
Parte XXVI, extravagante, Zarag. 1645. 

60. Lo que estd determinado. Escog. III. J.R.C. 

61. Llave (La) de la Honra. Escog. III. J.R.C. 

62. Llegaren Ocasion. Osuna(Cat. B.N. No. 1937). No. 1936, 
which bears the same title is a different play. P-. VI. 

63. Madre (La) Teresa de Jesus, Fundadora del Carmen. 
Osuna (Cat. B. N. No. 1941 : it is partly autograph : Act II, 
11. 6-10). Doce Comedias, Tortosa, 1638. For the MS., Cat. B.N. 
No. 3489: Vida y Muerte de Santa Teresa de Jesus, v. Restori, 
Z///., XXII, 282. 

64. Marmol (El) de Felisardo. Osuna (Cat. B. N. No. 2023). 
P. VI. 

65. Martires (Los) del Japon. Osuna (Cat. B. N. No. 2034). 
Medel : « De Mescua. » 

()(>. Mas pueden Celos que Amor (La Dama Comendador). 
Duran (Cat. B. N. No. 2057). Parma. Escog. III. 


67. iVLis galan (El) Portugues. Holland. (Parte VIII). 

68. Mas valeis vos, Antona, que la Corte toda. Duran (Cat. 
B. N. No. 2061) with the added title Duquesa de Bretana. 

69. Mayor Corona {La). Osuna (Cat. B. N. No. 2080). 

70. Ma\or Dicha {La) en el Vontc. (Cat. B. N. No 2084), 
with the added title : La Gloria en el Martirio. (Medel.) 

71. Mayor Ha:^aiia (Im) de Alexandro Magno. Osuna (Cat. 
B. N. No. 2087). (Medel). 

72. Mayorazgo dudoso (El). Osuna (Cat. B. N. No. 2099 : 
Parma). P., 11. 

73. Mejor Enaniorada {La) la Magdalena. Inedited ? Osuna 
(Cat. B. N. No. 2120). An imperfect MS. (Gayangos), lacking 
Act I, is registered No. 3979. 

74. Melindres (Los) de Belisa. Rayon. Imperfect. Parte IX. 

75. Merito (El) en la Templanza y Ventura por el Sueno. 
Duran (Cat. B. N. No. 215 1). Copy of a suella. Montanesa 
(La), V. La Amistad pagada . 

76. Muertos (Los) Vivos. Duran (Cat. B. N. No. 2235). 
Parma. XVII. 

77. Necedad (La) en el Discreto. Osuna (Cat. B. N. 
No. 2286). P^ XXV (La Necedad del Discreto). 

78. Nobles (Los) como han de ser. Duran (Cat. B. N. 
No. 2366). Como han de ser los Nobles. 

79. Noche Toledana (La). Osuna (Cat. B. N. No. 2379 and 
4013). Parma. P-. Parte III de Lope y otros, Barcelona, 16 12, etc. 

Nuestra Senora de la Candelaria y sus Milagros y Guanches 
de Tenerife. Osuna (Cat. B. N. No. 2398)[Inote this MS. here 
because it is an entirely different play from Los Guanches de 
Tenerife in Parte X]. 

80. Nuevos (Los) Sucesos del Gran Duquc de Moscovia. 
Osuna (Cat. B. N. No. 2416) (El Gran Duque de Moscovia). 

81. Nunca mucho costo poco. Osuna (Cat. B. N. No. 2422). 
XXII, Zaragoza, 1630. 


82. Obediencia laureada (La) y primer Carlos de Hun^ria. 
Osuna (Cat. B. N. No. 2426). P\ VI. 

83. Ocasion (La) perdida. Osuna (Cat. B. N. No. 2436). 
P. IL 

-h 84. Ordeu {La) de la Redencion. Holland. Ined. Doubtful. 

85. Paloma (La) de Toledo. Osuna (Cat. B. N. No. 2490). 
Dif. XXIX, Huesca, 1634. Acad. X. 

86. Paraiso {El) de Laura. Holland. Medel : anon. Doubtful. 
Co})i. ined. 

87. Pastoral (Un) albergue. Duran (Cat. B. N. No. 2526) 
Com. inld. Madrid, 1873. 

88. Pastoral (La) de Jacinto. Cat. B. N. No. 2527, v. Alpha- 
betical list. 

89. Perdida (La) honrosa. Duran (Cat. B. N. No. 2575). It is 
Ij)s Cahalleros de San Juan, published in Academy, XII. 

90. Perdidas (Las) del que juega. Osuna (Cat. B. N. 
No. 2576). Holland. (Medel). 

91. Peribaiiez. (P-. El Comendador de Ocaiia) Parte IV. Hol- 
land . 

— Perro (El) del Hortelano : see Amar por ver amar . 

— Persecuciones de David: see David perseguido. 

92. Pleyto (El) por la Honra 6 el Valor de Fernandito. Osuna 
(Cat. B. N. No. 2644). Doce Comedias de Lope y olros, Barce- 
lona, 1630. S., J.R.C. 

93. Porfia (La) hasta el Temor. (Cat. B. N. No. 2674) (420). 
S . (ancient) at Parma . 

94. Prados (Los) de Leon. J.R.C. Parte XVI. 

95. Quien ama no hagaPieros. Osuna (Cat. B. N. No. 2797). 

96. Quien bien ama tarde olvida. Osuna (Cat. B. N, 
No. 2798). Parte XXIV, Zaragoza, 1630. 

97. Ramirez (Los) de Arellano. (Cat. B. N. No. 2824.) XXIV, 
Zaragoza, 1641 . 

98. Rey (El) por Trueque. Duran (Cat. B. N. No. 2912). 
Inedited . 


99. Rcvna (La) Doiia Maria. Academy, VIII. 

100. Robo (El) de Dina. (Cat. B. N. No. 2924.); XXIII. 
Academy, III . 

101. Rosario (El) de los Hijos de Maria. Osuna (Cat. B. N. 
No. 2941)- 

102. Ruvsenor (El)de Sevilla. Duran(Cat. B. N. No. 2948). 
Parma. P^'XVII. 

103. San Agustin (El divino Africano). Duran (Cat. B. N. 
No. 3004). P\ XVllI. 

104. San Isidro Labrador de Madrid. (Cat. B. N. No. 3013 •) 
MS. No. 3013. (No. 545-) entitled San Isidro Labrador de 
Madrid, y Victoria dc las Navas de Tolosa is an entirely different 
play . 

105. San Julian de Alcala de Henares, 6 el Saber por no saber. 
(La Vida de San Julian de Alcala). Osuna (Cat. B. N. No. 3018). 
XXII. Academy, V. 

106. San Pablo, Vaso de Eleccion. Rayon. (Medel). Acad- 
emy, III. 

107. Santa Casilda. Osuna (Cat, B. N. No. 3029). Medel. 
Santa Teresa de Jesus, v. La Madre Teresa de Jesus. 

108. Santiago el Verde. Brit. Museum. Osuna, copy (Cat. 
B. N. No. 3037). XIII. 

109. Santo Niiio (El) de la Guardia. Segundo Cristo. Duran 
(Cat. B. N. No. 3041): it has a censura, dated Malaga, January 7, 
1638. VIII (El Nino inocente de la Guardia). 

no. Secretario(El)desi mismo. Osuna (Cat. B. N. No. 3057): 
Acts I and II only). P^ VI. 

111. Serrana (La) del Tormes. — J.R.C. Parte XVI. 

112. Si no vieran las Mugeres. Osuna (Cat. B. N. No. 3106). 
Fega del Parnaso. Obras Sueltas, X. 

113. Suerte (La) de los Reyes, 6 los Carboneros. Duran (Cat. 
B. N. No. 3192 : Act I wanting). 

1 1 .4. Terceros (Los) dc San Francisco (La Tercera Orden de 
San Erancisco). Duran (Cat. B. N. No. 3227). Academy, V. 



115. Toledano (El) y Celoso veiigddo. Osuna (Cat. B. X. 
No. 3270). Parma (?), v. List. 

116. Trabajos (Los) de Jacob. (Suenos hay que Verdad son.) 
(Cat. B. N. No. 3294.); J.R.C. (Parte XXII, Madrid, 1635). 

iry. Valiente (El) Juan de Heredia. Osuna (Cat. B. N. 
No. 3399). S., J.R.C. 

Valor (EI) de Fernandito. v. El Pleyto por la Honra. 

118. Valor (El) de Malta. Duran (Cat. B. N. No. 3409). Hol- 
land. Academ}^ XII. 

119. Vargas (Los) de Castilla. (Cat. B. N. No. 3422) (i. c. 
No. 420 (6''')). Parte XXVII, extravdgante ; Academy, X. 

120. Ver y no creer. (Cat. B.N. No. 3464) (anon.) with 
original aprobdciones of Dr. Luis Navarro (Zaragoza. August 25, 
1 6 19 and Thomas Gracian Dantisco, Oct. 16, 161 9. 

0. Verdadero Amante (El). Quoted by Salva. Parte XIV. 

121. Vida(La)de San Pedro Nolasco. (Cat. B. N. No. 3479.); 
Academy, V. 

122. Vida y Muerte de Santa Teresa de Jesus. Osuna (Cat. 
B.N. No. 3489). V. La Madre Teresa de Jesus; and Alphabet- 
ical list. 

123. Villana (La) de Getafe. Holland. Parte XIV. 

124. Viuda(La) Valenciana.(Cat. B. N. No. 3525.); P. XIV '. 


[Among these are included plays known only through the 
Catalogues of Medel and Huerta.] 

1. Alcayde(El) de Madrid. —(Medel); Osuna, Cat. B. N. 
No. 74 ; Rocamora, No. 229. 

I. At this point Chorley inserts a Table of Manuscript Coiiifdias in the 
Library formerly belonging to D. Agustin Duran, according to the Inventario 
published in 1865 by Juan Eugenio Hartzenbusch. I omit it, as all of Duran's 
MSS. are now in the Biblioteca Nacional. See above, pp. 74-89. 


2. Alcxaadro el segundo, Cesar el primer Traidor. — Cat. B.N. 
No. 97. 

3. Amar porBurla. — (Medel); H. ; Parma ; Osuna, Cat. B.N. 
No. 123 ; Rocamora, No 243. 

4. Antonio Roca. — H- ; Holland ; Osuna, Cat. B. N. No. 

5. Arminda celosa. — H. ; Duran, Cat. B. N. No. 252. 

6. Casamiento (El) por Cristo. — H; Osuna, Cat. B. N. 
No. 527 ; Rocamora, No. 379. Doubtful. 

7. Corona (La) de Ungria. — Copy, Bib. Nac. Cat. No. 716. 

8. Del Monte sale quien el Monte qucma. — M. ; H.; MS. 
autog. Osuna, dated October 20, 1627. Cat. B. N. No. 848; 
Rocamora, No, 461. 

9. Devocion (La) del Rosario. — Copy, Duran, Cat. B. N. 
No. 899. 

10. Discordia (La) en los Casados. — H. (anon.); MS. autog. 
(Osuna), Cat. B. N. No. 933, dated Madrid, Aug. 2, i6ri; 
Rocamora, No. 488. Said to be printed anonymously. 

11. Divina(La) Vencedora. — MS. copy dated 1624 of Acts 
I and II at Parma. (See Restori, p. 21) ; copy of Act III (Duran), 
Bib. Nac. Cat. No. 947. 

12. Don Gil de la Mancha. — Cat. B. N. No. 983. Very 

13. Fray Diablo. — Copy; Cat. B. N. No. 1324. 

14. Gran Capitan (El). — Cat. B. N. No. 1408. Medel as- 
cribes it to Lope. Doubtful. 

15. Loco (El) por Fuerza. — M.; H.; Cat. B. N. No. 1900. 

16. Lo que pasa en una Tarde. — Autograph (Osuna), dated 
November 22, 1617 ; Cat. B. N. No. 1772. Rocamora, No. 749. 
Inedited ? 

17. Mayor (La) Corona. — M. ; H. ; Cat. B. N. No. 2080; 
Rocamora, No. 818. 

18. Mayor (La) Dicha en el Monte. — H. ; Osuna, Cat. B.N. 
No. 2084 ; Rocamora, No. 820 . 


[The pieces marked (Om.), liiougli written before i6iS, are( 

:ed from the PeregrinoVist date.] 





Dale of A 



El Favor itgriideciih. 


Comedbs .\V. 

(Duran). Bib. Nac. 


19. 159!' 

flz- — 


1 602 

El ciurdo Loco. 


Comcdias XIV. 


II, 1602. 



El Principe detpei'iatlo. 


Conu-dias VII. 

Condcsa de Totre- 


27. 1602. 



El Cordobei xttlcroto, Pedro 


Comedias XIV. 

Bib, National (Osu- 

August 26 

i6oi. _ . 

i.L. _ 



La Coioiicl mcrciija. 


Comcdias XIV. ^ 




La Pnteba de lot Aiitigoi, 


Comedias inedilas. 

Bib. Nacional (016- 


12, 1604. 



Carlos V. ett Fraticia. 


Comcdias XIX, 

J. T. Sieison, Jr. 


20, 1604, 



La BatalladelHotior. 


Comcdias XV. 


April iS, 




La Immoia Eilir. 


Comcdias XV. 

Brit, Museum. 

April i, 16 



hi htciia GaarJa. 


Comcdias XV. 

April 16, 




El CahilUro del Sacraiiietilo. 


Comcdias XV. 


.\pril 2;, 




Barlan y joiofa. 


Comcdias XXIV. 


, 1611. 




L\ Difcordia fit hi Caladoi 

Printed anonymous. 

Bib. Xxional (Osu- 

August 2, 




"">■ » 



El JIailaido Mi,d.„,a. 


faalcs de Lara. 

Comcdias XXIV. Za- 
rag. 1 64 1. 


April 27, 




La Dama holla. 


Comcdias IX. 

Bib. Nacional (Osu- 

April 28, 

61). _ 



El Galan di la Meiibrilla. 


Comcdias X. 

Brit. Museum. 

April 20, 




Saiititi^o el Kit*. 


Comcdias XIII. 

Brit. Museum. 




El Seiihnir en l.ima Tima. 


Comcdias X. 

Brit. Museum. 

January 6 




Qiiien iim m piiede. 


Comcdias XVII. 

Jolin Murray. 


t, 1616. 

1. FortlieMS.(Brii. Mus.)o(Z.j Nitut de Plala v Bu 
Lope, see Li/eof Lope, p, 210, w, 2. 

2. Assigned conjcctu rally to 1615 : the last leaf is missing. 
J. An ii«/o jiJcraiMi'f//ii/, entitled La hla del Sol. dated April 6, 

(Osuna). Cat. No. 1641. 

igada, dated January 29, 1613, and erroneously ascribed to 
last two leaves autograph, is in the Bib. Nac. 




Mciion.J .1. 








&cosid.1i. XVI.. 

Hib. Xjcional (Osu- 

.August 4, 1617. 


Lo ijne p>iia en tiiiii Turtle. 


Incditcd > Pub. bv 
Prof. Pclrof.C?) 

Bib. NacionnI (Osii- 

November 23, 16171. 



Jm«r. Pleih , D,.«>o. 

Conicdils In^dil.AS. 

Bib. (l)u- 

November 2j. i6zi. 


ill iiufm Victoria lie Don 
Goinalo de Cordojia. 

vol. I, Mad. 187J. 
Vi.-g.i del Pnniaso. 

Bib. Nacional (Osii- 

Octobers. 1622. 


El Paler m el Diierelo. 

Incditcd ? 

Bib. Nacional (Osu- 

May 8, 162J. 



El Marguci de las Navas. 

Comcdins XXII, Za- 

H 011.1ml, 

April 22. 1624, 



La Nini^ del Poire Rojat. 

ragoza, i6}o. 
Escogidas, XVIII. 

Bib, Xacional (Osu- 

January ,}. 162). 


El Biatil reilituido. 

Academia. XIII. 

Public Library, Xcw 

October 25. if2$. 



! Av, Veidadet I tjiie en Amoi . 

Comcdias XXI. 

York (Lenox). 
Bril. Musuutii. 

November 12. 1625. 



Sin Seerelo no ay Amor. 

SiidtJ.ed. H.A.Rcn 
iitn. Baltimors . 

Brit. iVIuM.-iiin. 

July 18. 1626- 


El piadasa Arogoncs. 

Conlcdias XXI. 

Comedias Iniditas, 
vol. I, Madrid, 

Bib. N.Kional (Osi:- 

Bib. Nacional (Osu- 


Augiist 17. 1626. 
December 10, 1626. 



Del Monte sole<]uien el Montr 


Bib. Kacional (Osu- 

October 20. 1627. 



El Cattigo sin Vengan^a. 
Lit Corona de Ungria. 

Comedias XXI. 

Ticknor Library. 
Asiorga .Archives. 

August 1. i6ji, 
December 2j, i6}j. 


Las Bi^orrias de Bclisa. 

Vega del I'arnaso. 

Bril, Museum, 

M.iy 24. i6)4- 

4. In lliib volume the pl.iy beats Rojas Zorri! 

5 . The autograph of Lope's aulo sacramailal 
of Lope's aiilo siicrnmaital entitled Olnui ioii An 
read ; Autograph, signed at Madrid on May ;i 

mitled Liu Haitii'uu del itgimdo David is dated April 28, 1619: the autograph 
rci is dated 1620 : but kc Life 0/ Lope, p. 281. In Cal. B. N. No. 243 j, wc 
1615 (subsequently emeoded, 1628 (sic): probably means 1618. 


19. Mayor (La) Hazaiia de Alexandre Magno. — H. ; Osuna, 
Cat. B.N. No. 2087; Rocamora, No. 823. 

20. Mejor (La) Enamorada, la Magdalena. — M. ; H. ; Osuna, 
Cat. B. N. No. 2120; see also No. 3979. 

21. Orden (La) de la Redencion y Virgen de los Rcmedios. 
MS. copy (Holland) ; doubtful. 

22. Paraiso (El) de Laura y Florestas de Amor. — Copy 
(Holland), dated 1680 ; doubtful. 

23. Perdidas (Las) del que juega. — M. (anon.); H. ; copy 
(Osuna), Cat. B. N. No. 2576, and Holland. 

24. Poder (El) en el Discrete. — Autograph (Osuna), dated 
Madrid, May 8, 1623 ; Cat. B. N. No. 2649 ; Rocamora, No. 

25. Rey (El) por Semejanza. — Cat. B.N. No. 29 11. Very 

26. Rey (El) por Trueque. — Copy, Duran, Cat. B. N. No. 

27. San Martin. — P^ ; Medel. There is a MS. in the Bib. Nac. 
Cat. No. 545 (cited as No. 4), which may possibly be Lope's 
San Martin. It bears the title : El glorioso San Martin. 

28. Santa Casilda. — H.; Osuna, Cat. B.N. No. 3029. Doubt- 

29. Suerte (La) de los Reyes, 6 los Carboneros. Copy (Duran) 
of the last two Acts. Cat. B. N. No. 3192. 

30. Toledano (El) y Celoso vengado. — Osuna, Cat. B. N. 
No. 3270; Rocamora, No. 1285, gives it as £"/ Toledano vengado, 
under which title it is cited by Huerta. 

31. Valiente (El) Juande Heredia. — H. ; copy (Osuna), Cat. 
B. N. No. 3399; Rocamora, No. 1399. Chorley possessed a 
sueha of this play. 


Princeps : Sevilla, Clemente Hidalgo, 1604.4°. (H. A. R.) 


[The Aprovacio)! was given at Valladolid on November 25, 
1603 : the dedication was signed by Lope at Seville on Decem- 
ber 31, 1603.] 

Second Edition : Madrid, 1604. 12 mo. 

Third Edition : Barcelona, Cormellas, 1604. 4to. 

Fourth Edition : Barcelona, Cormellas, 1605. 8vo. 

Fifth Edition : Bruselas, 1608. 12 mo. (H. A. R.) 

Sixth Edition : Madrid, Viuda de Alonso Martin, 1618, 8vo. 
(H. A. R.) 

Seventh Edition : Madrid, Martinez Abad, 1773. 4to. 

Eighth Edition : Vol. V. of Obms siultas, Madrid, Sancha, 

In the Prologue to this book the poet says : « Para mi lo son 
[enemigos] los que con mi nombre imprimen agenas obras. 
Agora han salido algunas Comedias, que, impresas en Caslilla, 
dicen que enLisboa» [alluding, apparently to the volume entitled 
Scis Comedias de Lope yotros, Lisboa, 1603, but which were also 
printed in Madrid in the same year. It is probable, as Lope says, 
that the book was really never actually printed in Lisboa], « y 
assi quiero advertir a los que leen mis escritos con aficion... que 
no crean que aquellas son mis comedias, aunque tengan mi 
nombre : y para que las conozcan, me ha parecido acertado 
poner aqui los suyos [? titulos] porque se conozcan », etc. Upon 
this follows a list (P.) of 219 titles : to which was added after- 
wards in the Sixth Edition of i6i8,a supplementary list (P\)of 
208 more, making a total of 427 which Lope recognized as his 

Until La Barrera, in revising the present Catalogue, called 
attention to the edition of 161 8 — which, as he stated afterwards 
in his Catd logo general (M:idr\d, i860, p. 423), « el propio Lope 
repitio ' » — the supplementary list was only known from its 

I. Lope received the first privilege and license of the king to print his Peie- 
orino (or ten years, on December 6, 1603. In the edition of 1618 we read 


being included in the Madrid edition of 1733 : and it was erro- 
neously supposed to have been published for the first time 
almost a hundred years after the poet's death, its authority was 
ranked below that of the original list. It should be noted that 
Cerda y Rico, when publishing the fifth volume of the Ohras 
siteltas (ic Lope in ijj6, cited the editions of 1604, 1605, 1608 
and 1733 as the First, Second, Third and Fourth Editions respec- 
tively; and, so far as I am aware, until La Barrera drew up the 
above list, in no other work was there any description of the 
princeps of Sevilla (1604), or of the more important 1618 edi- 
tion of Madrid. We are indebted to him for restoring to the sup- 
plementary list the authority which it lacked so long as it was 
not proved to have been published during Lope's lifetime and — 
so La Barrera impUes — v/ith his revision. 

Thus we now have two authentic lists of comedias written 
by Lope — 219 previous to the year 1604, and 208 others pre- 
vious to the year i6i8'. But neither list includes the titles of 
all the pieces which he had written up to these dates respecti- 
vely. As to the original list, in the very Prologue which con- 
tains it. Lope resumes his remarks after giving the list, and 
speaks of 230 comedias — instead of 219 actually in the list — 
« sin mitchas de que no nic acuerdo. » And at the same point, in the 
Prologue to the edition of 161 8, where the titles amount to 
427, he speaks — not of this number, but — of 462. 

that he received the privilege « for another four vears », on December 17, 
i'6i4. As the« fee de erratas » of this latter edition is dated February 13, 1618, 
it is probable that Lope may have had a hand in making up this supplemen- 
tary list. On the other hand, as this edition was printed at the expense of 
Lope's friend, Alonso Perez, it may he due to the latter. In any event, it was 
doubtless inserted with Lope's knowledge and sanction. [H.A.R.j 

I. It may be well to observe that in the edition of 1618, the list of 1604 
was simply repeated, line for line, and 113 titles were added. The additional 
list was not drawn up very carefully, moreover, as a number of titles are repeat- 
ed from the first list. [H.A.R.J 


(i) But even the latter number does not reach the total ot 
comcdias which he had composed as far back as 1609 : for, in 
the Arte nnevo de hacer comedias, published in that year, he says 
that he had already written 483 comedias. 

(2) Nor does it greatly exceed balfihe number of those which 
he had actually written up to 16 18 : for in the Prologue to 
Parte XI of his Comedias, the Aprobacion to which is dated 
February 16 18, he says that the number had already reached 
800. [See Life of Lope, p. 269 . ] 

There are a number of plays, even among those that have been 
preserved, which, as they do not contain 2iny figiira del donayre, 
were probably written before the end of the sixteenth century, 
though not cited in the 1603 list : 

El Desposorio encubierto. Parte XIII, 1620. 

El Exemplo de Casadas. Flor de Comedias, V, 161 6. 

Las famosas Asturianas. Parte XVIII, 1623. 

La Imperial de Oton. Parte VIII, 16 17. 

El Casamiento en la Muerte. (P-.) Parte I, 1604. 

Lo fingido Verdadero. (P-. El mejor Representantc.) Parte 
XVI, 1621. 

La Amistad pagada. Parte I, 1604. 

El Niiio inocente de la Guardia. (P-.) Parte VIII, 1617 '. 

Whatever may have been the cause of the difference between 
the lists and the Prologues, and of the deficiencies of the lists as 
regards the actual number of Lope's works prior to 16 18 — 
whether due to the author's own carelessness or neglect on the 
part of the printers — it is certain that no exclusive authority 
can be ascribed to these lists. It is absurd to quote them — 
unless supported by other reasons — as justification for rejecting 
any piece attributed to Lope. We are not entitled to deprive him 

I . At this point Chorley had cited a number of plays as lacking in the List 
of 161 8. Willi one or two exceptions, however, the plays mentioned are all in 
this list. 


of a play merely because he does not quote it in the Peregrino 
lists. Nevertheless La Barrera has done this more than once, as 
will appear from the appended list of Titles. 


Plays marked have no figiira del doiiayre ' : 

1. Abderite (La). 

2. Abindarraez y Narvaes. (Parte XIIL El Remedio en la 

3. Adonis y Venus. Parte XVL 

4. Africano cruel (El). 

5. Alcayde (El) de Madrid. Medel ; MS. (Osuna). 

6. Alfonso el afortunado. 

7. Amantes (Los) sin Amor. 

8. Amatilde (La). 

9. Amazonas (Las). (Parte XVL Las Mugeres sin Hombres.) 

10. Amigo (El) por Fuerza. Parte IV. 

11. Amor constante (El). 

12. Amor desatinado (El). 

13. A mores (Los) de Narciso. 

14. Angelica en el Catay. Parte VIIL 
i^. Antonio Roca. Medel ; MS. Osuna. 
16. Arenal (El) de Sevilla. Parte XVL 
17. Argel fingido (El). Parte VIIL Copy (Brit. Mus.). 

I. Hhe Jig lira del donayrc was first introduced by Lope in La FraiicesiUa, 
which, as appears from the Dedication (Parte XIII), was written before 1602. 



1 8. Barbara (La) del Ciclo. Mcdel. anon. 

19. Barbaro gallardo (El). 

20. Basilca (La). 

21. Batalla naval (La). (Parte XV. La Santa Liga.) 

22. Belardo furioso. 

23. Bella Gitana (La). 

24. Bella mal maridada (La). Parte IL 
25. Benavides (Los). 

26. Biedmas (Los). 

27. Bosque amoroso (El). 

28. Buen Agradecimiento (El). 

29. Burlas de Amor. 


30. Caballero (El) de Yllescas. Parte XIV. 

31. Caballero (El) del Milagro. Parte XIV. [This has more 
than one Jigiira del donayre.] 

32. Caballero mudo (El). 

33. Cadena (La). 

O 34. Campana (La) deAragon. Parte XVIIL 

35. Capitan (El) Juan de Vrbina. (Contienda de Garcia de 
Paredes y el Capitan Juan de Urbina.) 

36. Casamiento (El) dos veces. 

37. Catalan valeroso (El) (? Parte IL El gallardo Catalan.) 

38. Cautivos (Los). (? Parte XXV. Los Cautivos de Argel.) 

39. Cegries y Bencerrages. (Parte XXIII. La Embidia dc la 

40. Cerco (El) de Madrid. 

41. Cerco (El) de Oran. 

42. Cerco (El) de Toledo. Mcdel. anon. 

43. Chabes (Los) de Villalba. Parte X. 


44. Circe Angelica (La). 

45. Ciruxano (El). 

46. Comendadores (Los). (? Parte IL Los Comendadores de 

47. Competencia enganada (La). 

48. Conde (El) de Yrlos. 

49. Conde (El) D. Thomas. 

O 50. Condesa (La). (? Parte IL La Condesa Matilde.) 

51. Conquista (La) del Andaluzia. 

52. Conquista (La) de Tremezen. 

053. Corona (La) nierecida. Parte XIV. Autog. (Astorga), 

54. Cortesano (El) en su Aldea. 

055. Cuerdo Loco (El). Parte XIV. Autog. (Holland.) 


56. Dama desagraviada (La). 

57. Dama estudiante (La). 

58. Degollado fingido (El). 

59. Desdichado (El). 

O 60. Despenado (El). (? Parte VII. El Principe despenado.) 

O 61. Difunta (La) Pleyteada. [Chorley takes this to be the 
piece ascribed to Rojas in Escog, XX, in which work there is 
no gracioso.] 

62. Divina (La) Vencedora. MS. Duran. 

O 63. Domine Lucas (El). Parte XVII. [Chorley doubts 
whether the character of Decio can be called a gracioso . ] 

64 . Duque (El) de Alba en Paris. 

65. Embidia (La) y la Privanza. 




O 66. Embustes (Los) de Ribia. Parte XXV. 

O 67. Enemigo (El) enganado. S. J. R. C; Duran ; Dif. 

68. Engano (El) en la Verdad. S. (J. R. C; Osuna; Duran). 

O 6^). Enredos (Los) de Celauro. Parte IV. Los Embustes 
de Celauro. 

O 70. Esclavo (El) de Roma. Parte VIIL 

71. Esclavo (El) porsu Gusto. 

72. Esclavos (Los)libres. Parte XIIL 

073. Escolastica (La) celosa. Parte L 

74. Espiritu (El) fingido. 

75. Faxardos (Los), [This may he the play in Parte VII, El 
primer Faxardo, which has no figura del donayre.] 

O 76. Favor (El) agradecido. Parte XV. Autog. (?) Duran, 


O 77. Fe (La) rompida. Parte IV. 

O 78. Ferias (Las) de Madrid. Parte II. 

79. Firmeza (La) de Leonarda. 

O 80. Franccsilla (La). Parte XIIL 

8 1 . Fray Martin de Valencia . 

82. Fregosos y Adornos. 

O 83. Fuerza lastimosa (La). Parte II. 

84. Galan (El) agradecido. 

85. Galan (El) escarmentado. 

O 86. Galiana (La). (Parte XXIII (?) Los Palacios de Ga- 
O 87. Gallarda (La) Toledana. Parte XIV. 
88. Gallardas (Las) Macedonias. 


89. Ganso (El) de Oro. 

O 90. Garcilaso de la Vega. (Hechos de Garcilaso de la Vega 
)r Parte I, El Cerco de Santa Fe.) 

91. Ginobesa (La). 

92. Gobernadora (La). 

93. Gran (La) Pintora. 

94. Grao (El) de Valencia. 

95. Guelfos y Gibelinos. 

96. Guerras civiles (Las) . 

97. Guzmanes (Los) de Toral. 


O 98. Hermosura (La) de Alfreda. Parte IX. 

99. Hero y Leandro. 

O 100. Hijo (El) de Reduan. Parte L 

loi. Hijo (El) de si mismo. 

102. Hijo (El) venturoso. 

O 103. Horacios (Los). Parte XVIIL El honrado Hermano. 


104. Imperial Toledo (La). 

105. Inclinacion (La) natural. 

106. Infanta (La) desesperada. 

107. Infanta (La) Labradora. 

108. Ingratitud (La) vengada. Parte XIV. 

109. Ingrato (El) arrepentido. Parte XV. 


O no. Jacintos (Los). Parte XVIIL La Pastoral de Jacinto. 

III. Jardin (El) de Falerina. 

O 112. Jorge Toledano. Parte XVII. 

113. Jueces (Los) de Ferrara. 


O 114. Lacayo (El) fingido. Gongora-Lope. 

Oil). L:iura pcrseguida. Parte IV. 

O 116. Leal (El) Criado. Parte XV. MS. Rubi, 1594. 

O 117. Locos (Los) de Valencia. Parte XIIL 

O 118. Locos (Los) por el Cielo. Parte VIIL 

O 119. Lucinda perseguida. Parte XVIL 


O 120. Maestro (El) de danzar. Escog. III. 

121. Marmol(El)de Felisardo. Parte VL 

O 122. Marques (El) de Mantua. Parte XIL 

O 123. Matico (El). Parte L Donayres de Matico. 

124. Matrona (La) constante. 

O 125. Mayorazgo (El) dudoso . Parte IL 

126. Medico (El) enamorado. 

127. Meson (El) de la Corte. 

O 128. Mocedad (La) de Roldan. Parte XIX. 
O 129. Molino (El). Parte I. 

130. Monstruo (El) de Amor. 

131. Montaiiesa (La). Medel. Montanesa famosa = La Amis- 
tad pagada. Parte I. 

132. Monteros (Los) de Espinosa. 

133. Mudable(La). 

134. Muerte (La) del Maestre. 

135. Muerto vencedor (El). 

136. Muertos (Los) vivos. Parte XVIL 

137. Muza furioso. 


O I 38. Nacimicnto (El)[? Nacimiento de Christo, Parte XXIV. 
Zaragoza, 164 1. It con\.;i\nsJigiiras deldonayre.] 


O 139. Neroii cruel. (? Parte XX. Roma abrasada.) 
O 140. Nuevo (El) Mundo. Parte IV. Nuevo Mundo descu- 
ierto per Colon. 


141. Ocasion (La) perdida. Parte II. 

142. Otomano (El) famoso. 

143. Padres (Los) enganados. 

0'i44- Padrino (El) desposado. Parte II. 

145. Page (El) de la Reyna. 

146. Palabra (La) mal cumplida. 

147. Pastoral (La) de Albania. 

148. Pastoral (La) de 4os Zelos. 

149. Pastoral (La) encantada^ 

150. Pastoral (La) de la Siega. 

151. Pedro Carbonero. Parte XIV. 

152. Peraltas (Los). 

153. Perdicion (La) de Espaiia. [La Perdida de EspaiiaPJ 

154. Peregrina (La). 

O 155. Perseguido (El). Parte I. Carlos el Perseguido. 

O 156. Pimenteles y Quinones. Parte XVIII. La Piedad 

O 157. Pleyto (El) de Inglaterra. Parte XXIII. 

O 158. Pobreza (La) estimada. Parte XVIII. 

O 159. Pobrezas (Las) deReinaldos. Parte VII. 

160. Ponzella (La) de Francia. 

O 161. Primer (El) Rey de Castilla. Parte XVII. 

O 162. Primero (El) Medecis. Parte II. La Quinta de Flo- 

163. Principe (El) inocente. [? Medel : El Principe ignorante.] 


164. Principe (El) melancolico. 

O 165. Principe (El) de Marruecos. [Parte XI. El Bautismo 
del Principe de Marruecos.] 

166. Prision(La) de Muza. [See No. 137.] 
O 167. Prision (La) sin Culpa. Parte VIII. 
168. Psiques y Cupido. 

169. Quinas (Las)de Portugal (? Parte XXII, Zaragoza, 1630. 
La Lealtad en el Agravio.) 


170. Rey (El) de Frisia. 

O 171. Rey Vamba (El). Parte I. Vida y Muerte del Rey 

172. Reyna (La) de Lesbos. 

173. Reyna (La) loca. ^ 

174. Rico (El) avariento. 

175. Roberto (El). 

176. Romulo y Remo. 

177. Roncesvalles. 

O 178. Rufian Castrucho (El). Parte IV. El Galan Cas- 

179. Salteador(El) agraviado. 

180. San Andres Carmelita. 
i8r. San Julian de Cuenca. 

182. San Roque. 

183. San Segundo de Avila. 

184. San Tirso de Espaiia. 

185. Saracinesy Aliatares. 


186. Semiramis (La). 

O 187. Serrana (La) del Tormes. Parte XVL [Cf. the charac- 
ter of Tarreno, Capigorron.] 

188. Serrana (La) dc la Vera. Parte VIL 

189. Sierra (La) de Hspadan. 

O 190. Sol (El) parado. Parte XVIL 
O 191. Soldado(El) Amante. Parte XVIL 

192. Suerte (La) de los tres Reyes. (Medel.) 

193. Sufrimiento (El) premiado. Parte L 

194. Testimonio (El) vengado. 

195. Toma (La)de Alora. 

196. Tonto (El) del Aldea. 

O 197. Torneos (Los) de Aragon. Parte IV. 

198. Torneos (Los) de Valencia. 

199. Torre (La) de Hercules. 

O 200. Traicion (La) bien acertada. Parte L 

201. Tragedia(La) de Aristea. 

O 202. Tres Diamantes (Los). Parte IL 

203. Triunfo de la Limosna. 

204. Triunfos (Los) de Octaviano. 

205. Turco (El) en Viena. (? Cerco de Viena. S.) 
O 206. Tyrano (El) castigado. Parte IV. 


O 207. Urson y Valentin. Parte I. Nacimiento de Urson y 

208. Urson y Valentin. Segunda Parte. 



209. Valeriana (La). 

210. Vaquero (El) de Morana. Parte VIII. 

211. Varona (La) Castellana. Parte IX. 

212. Venganza (La) de Gayferos. 

O 213. Verdadero (El) Amante. Parte XIV. 

214. Viage (El) del Hombre. 

215. Villanesca (La). 

216. Viuda (La) Valenciana. Parte XIV. 

217. Vizcayna (La). 

218. Zelos (Los) de Rodamonte. MS. Osuna- 

219. Zelos (Los) satisfechos. 


Pieces marked * are repeated here from the first list. 


1. Albanillo(El). Medel. 

2. Acero (El) de Madrid. Parte XL 

3. Achaque quieren las Cosas. 

* African© (El) cruel. 

4. Alcalde Mayor (El). Parte XIII. 

5. Alcazar (El) de Consuegra. 

6. Alexandre (La de). 

7. Al passar del Arroyo. Parte XII. 

* Amantes (Los) sin Amor. Parte XIV. 

8. Amigo (El) hasta la Muerte. Parte XL 

* Amigo (El) por Fuerza. Parte IV. 

I. To tliib List of the Peregrino of 1618, I have added more than ninety 
titles that were omitted in La Barrera's and Chorley's Lists. A leaf seems to 
have been missing (•!•' 4) in the copy used bv La Barrera. 


9. Amistad (La) pagada. Parte I. 
* Amor (El) desatinado. 

10. Amor secreto hasta Zelos. Parte XIX. 

11. Amor Soldado (El). 

12. Animal (El) de Ungria. Parte IX. 

13. Anzuelo (El) de Fenisa. Parte VIII. 

14. Arauco domado. Parte XX. 

15. Arcadia (La). Parte XIII. 

16. Arellanos (Los). 

17. Arminda celosa. MS. Duran. 

18. Asalto (El) de Mastrique. Parte IV. 

19. Asturianas (Las). (? Parte XVII. Las famosas Asturia- 

20. Atalanta (La). 

21. Ausente (El) en el Lugar. Parte IX. 


22. Barlaan y losaphat. MS. autog. (Holland), 1611. 

23. Batalla (La) del Honor. Parte VI. MS. autog. (Olozaga), 

24. Batuecas (Las). Parte XXIII. 

25. Bobo (El) del Colegio. Parte XIV. 

26. Boda (La) entre dos Maridos. Parte IV, 

27. Brauo (El) Don Manuel. (Don Manuel de Souza ?) 

28. Brauo (El) Don Manuel. Segunda Parte. 

29. Buena (La) Guarda. MS. autog. (Pidal), 16 10. 

30. Burgalesa (La) de Lerma. Parte X. MS. (Osuna), 1613. 

*0 Caballero (El) de Yllescas. Parte XIV. 

31. Caballero (El) del Sacramento. Parte XV. MS. autog. 
(Holland), 16 10. 

32, Cada uno haze como quien es. 


33. Capellan (El) de la Virgen. Parte XVIII. 

34. Cardenal (El) de Belen. Parte XIII. 

3). Carlos V. en Francia. Parte XIX. MS. autog. 1604. 

36. Caruaxalcs (Los). Parte XIX. (La inocente Sangre.) 

37. Casamiento (El) en la Muerte. Parte I. 

38. Casta (La) Penelope. 

39. Castelvines y Monteses. Parte XXV. 

40. Castigo (El) del Discrete. Parte VII. 

41. Castigo (El) exemplar. 

42. Comendador (El) de Ocana. Parte IV. (Peribaiiez y el 
Comendador de Ocaiia.) 

43. Conde (El) Fernan Goncalez. Parte XIX. 
* Conquista (La) del Andaluzia. 

44. Conquista (La) de Cortes. 

45. Conquista (La) de Tenerife. Parte X. Los Guanches de 

46. Con su Pan se lo coma. Parte XVII. 

47. Cortesia (La) de Espaiia. 

48. Cuerdo (El) en su Casa. Parte VI. 


49. Dama (La) boba. Parte IX. MS. autog. (Osuna), 1613. 

0. De donde diere. 

1. Desconfiado (El). Parte XIII. 

2. Desden (El) vengado. MS. autog. (Osuna), 1617. 

3. Del mal lo menos. Parte IX. 

4. De quando aca nos vino. Parte XXIV. 

5. Despertar a quien duerme. Parte VIII. 

6. Desposorio (El) encubierto. Parte XIII. 

7. Dicha (La) del Forastero. Escog. III. 

8. Dicha (La) muerto su Dueno. 

9. Discreta (La) Enamorada. Escog. III. 
60. Don Beltran de Aragon. Parte III, De Lope y otros. 


61. Don Diego de Noche. Escog. VII. ascribed to Rojas 

62. Don Juan de Castro. Parte Primera. [ „ ^.„ 

63. Don Juan de Castro. Parte Segunda. \ 

64. Don Lope de Cardona. Parte X. 

65. Donzella Teodor (La). Parte IX. 

66. Doiia Ynes de Castro. 

67. Duque (El) de Osuna. 

68. Duque (El) de Verganca. Parte VIIL (El mas galan Por- 

69. Duque (El) de Viseo. Parte VL 

70. Duques (Los) de Saboya. 

71.EII0 dira. Parte XIL 

72. El no esperar a Mafiana. 

O* Embustes (Los) de Fabia. Parte XXV. 

73. Enemigos (Los) en Casa. Parte XIL 

74. Esclava (La) de su Hijo. (El Pastor Soldado.) 

75. Espada (La) pretendida. 

76. Exemplo (El) de Casadas. {Flor de Comedias, Parte V. 
Alcala, 161 5 ; Barcelona, 1616.) 

77. Fabula (La) de Perseo. Parte XVI. 
* Fe rompida (La). Parte IV. 

78. Firmeza (La) en la Desdicha. Parte XII. 

79. Flores (Las) de Don Juan, 6 el Rico y Pobre trocados. 
Parte XIL 

80. Fortunas (Las) de Beraldo. [? Belardo.J 

81. Fuente Ovejuna. Parte XII. 


82. Gahm (El) dc la Menbrilla. Parte X. MS. autog. Brit. 
Mus. 161 5. 

83. Galan (El) Mendoca. 

84. Gallardo Jacobin (El). [See Alphabetical list.] 
83. Ginoves (El) liberal. Parte IV. 

S6. Godo (El) ilustre. 

87. Guia (La) de la Corte. 

88. Gran Duquc (El) de Moscovia. Parte VII. 


89. Halcon (El) de Federico. Parte XIII. 

90. Hamete (El) de Toledo. Parte IX. 

91. Hcrmano (El) Francisco. [El Rusticodel Cielo (?)] Parte 

92. Hermosa (La) Ester. Parte XV. 

93. Hermosura (La) aborrecida. Parte VII. 

94. Hidalgos (Los) del Aldea. Parte XII. 

95. Hijo(El)del Olmo. 
*0 Hijo (El) de si mismo. 

96. Hijo (El) sin Padre. Parte XXIV, Madrid, 1640 (?). 

97. Historia (La) de Tobias. Parte XV. 

98. Hombre (El) de bien. Parte VI. 

99. Hombre (El) por su Palabra. Parte XX. 

100. Honrado Hermano (El). Parte XVIII. 

1 01. Honrado pcrseguido (El). 

102. Hiunildad (La) y la Soberbia. Parte X. 


103. Iniperio (El) por Fuerza. 

io.|. Imp()siblemayor(El). (El mayor Imposiblc. Parte XXV.) 



* Jorge Toledano. Parte XVII. 

105. Juan de Dios. San Juan de Dios, Parte X. 

106. Jueces (Los) de Castilla. [Moreto, Tn his Parte I. (?)J 

107. Juez (El) en su Causa. Parte XXV, and Parte XXIV, 
Madrid, 1640. 

108. Laberinto (El) de Creta. Parte XVI. 

109. Lazarillo de Tormes. 
no. Libertad (La) vendida. 

111. Lo que ay que fiar del Mundo. 

112. Lo que passa en una Tarde. MS. autog. (Osuna), 

113. Lo que pueden Celos. 

114. Locura (La) por la Honra. Parte XL 

115. La Lucrecia. 

116. Llegar en Ocasion. Parte VL 


117. Madre (La) Teresa de Jesus. Medel; MS. (Osuna.) 
Santa Teresa de Jesus. 

1x8. Magdalena (La). Medel; MS. Gayangos. La mejor Ena- 
morada : la Magdalena. 

119. Mai casada (La). 

120. Martyr (El) de Florencia. 

121. Mas vale saber que auer. 

122. Mayordomo (El) de la Duquesa de Amalfi. Parte XL 

123. Mejor (El) Moco de Espana. Parte XX. 

124. Mejor (El) Representante. Parte XVI. Lo fingido verda- 
dero. San Gines Representante. 

125. Melindres (Los) de Belisa. Parte IX. 


126. Miente quiL-n jura y ama. 

127. Moca Gallega (La). 
*0 Mucrto (El) Vencedor. 

128. Mugeres (Las) sin Hombres. Parte XVL 

129. Mugeres y Criados. 


130. Necedad (La) del Discrete. Parte XXV. 

131. Nina (La) de Alcorcon. 

132. Nina (La) de Plata. Parte IX. 

O 133. Nino (El) inocente. Parte VIIL El Nino inocente de 
la Guardia. 

134. Noche Toledana (La). Parte 111, de Lopeyotros. 


135. Obediencia (La) laureada. Parte VI. (El primer Carlos 
de Ungria.) 

136. Obrasson Amores. Parte XL 

137. Octava (La) Maravilla. Parte X. 

138. Oste morena. 

139. Paces (Las) de los Reyes. Parte VIL 
*0 Padrino (El) desposado. Parte II. 

140. Pedro de Urdemalas. S. Duran. [Las Burlas de Pedro 
de Urdemalas (?)] 

141. Peligro (El) de alabarse. 
*0 Peraltas (Los). 

142. Pcrro (El) del Hortelano. Parte XL 

143. Piadoso (El) Vencciano. Parte XXIIL 
* Pimenteles y Quinones. 

144. Platcro (El) del Cielo. 


145. Poder (El) vencido. Parte X. 

146. Ponces (Los) de Barcelona. Parte IX. 

147. Porceles (Los) de Murcia. Parte VIL 

148. Postrer Godo (El) de Espaiia. Parte VIII and Parte 
XXV. El ultimo Godo. 

149. Prados (Los) de Leon. Parte XVI. 

150. Premio (El) de la Hermosura. Parte XVI. 

Primer (El) Carlos de Vngria. (It is La obediencia laiircada, 

151. Primer (El) Christiano. 

152. Principe (El) Carbonero. 
* Principe (El) inocente. 

153. Principe (El) perfeto. Primera Parte. Parte XL 

154. Principe (El) perfeto. Segunda Parte. Parte XVIII. 

155. Prision (La) de los Bencerrages. 

156. Prudencia (La) vitoriosa. 

157. Prueba (La) de los Amigos. Medel. MS. autog. (016- 
zaga), 1604. 

158. Prueba (La)de los Ingenios. Parte IX. 

159. Quien mas no puede. Parte XVII. MS. autog. (Mur- 
ray), 1 61 6. 

160. Quinta (La) de Florencia. [This appears to be the 
same as El primer Med ids. Parte II.) 


161. Ramilletes de Madrid. Parte XL 

162. Remedio (El) en la Desdicha. Parte XIII. 
* Reyna (La) de Lesbos. 

163. Rey (El) sin Reyno. Parte XX. 

164. Robo (El) de Flora. 

165. Rodulpho y Oton. 


1 66. Roma abrasaJa. Parte XX. 

167. Roque Dinarte. 

168. Ruiscnor (El) de Sevilla. Parte XVII, 

169. San Adrian y Santa Natalia. 

170. San Agustin. Parte XVIII. El divino Africano. 

171. San Angel Carmelita. 

172. San Antonio de Padua. 

173. San Isidro de Madrid. Parte VII. 

174. San Juan de Dios. (?) Parte X. Juan de Dios 
y Anton Martin.) 

175. San Martin. 

176. San Nicolas. San Nicolas de Tolentino (?) Parte XXIV. 
Zaragoza. 1641. 

177. Santiago el Verde. Parte XIII. 

178. Santo (El) de Valencia. 

179. Santo Negro (El). Parte III, de Lope y otros ; El Santo 
Negro Rosambuco. 

180. Santo Tomas dc Aquino. 

181. Secretario (El) de si mismo. Parte VI. 

182. Secreto (El) bien guardado. 

183. Sembrar (El) en buena Ticrra. Parte X. MS. autog. 
(Brit. Mus.), 16 16. 

184. Serafin (El) humano. Parte XIX. 

185. Serrana (La) de Burgos. Parte Primera. 

186. Serrana (La) de Burgos. Parte Segunda. 

187. Servir a Seiior discrete. Parte XL 

188. Servir (El) con mala Estrella. Parte VI. 

O 189. Siete (Los) Infantes de Lara. Parte XXI\', Zara- 
goza, 1 64 1. (El Bastardo Mudarra, MS. autog. (Olo/aga), 1612.) 

190. Sortija (La) del Oluidado (i/V). Parte XII. La Sortija 
del Oluido. 


191. Testigo (El) contra si. Parte VI. 
* Tirano (El) castigado. Parte IV. 

192. Todo es facil a quien ama. 

193. Toma (La) de Longo per el Marques de Santa Cruz. 
Parte XXV. (La Vitoria del Marques de Santa Cruz). 

194. Tres (Los) Consejos. 

195. Truhan (El) Napolitano. 


196. Valiente (El) Cespedes. Parte XX. 

197. Valor (El) de las Mugeres. Parte XVIII. 

198. Vandos (Los) de Sena. Parte XXI. 
*0 Vaquero (El) de Morana. Parte VIII. 

199. Vellocino (El) de Oro. Parte XIX. 

*0 Veneno (El) saludable. (It is El ciierdo loco of the first 

200. Venganza (La) venturosa. Parte X. 

201. Ventura (La) sin buscalla. Parte XX. 

202. Villana (La) de Getafe. Parte XIV. 

203. Villano (El) en su Rincon. Parte VII. 

204. Virtud, Pobreza y Muger. Parte XX. 

205. Vitoria (La) del Honor. Parte XXI. La Vitoria de la 

206. Viuda (La), Casada y Doncella. Parte VII. 

207. Vuelta (La) de los Espanoles en Flandes. 

208. Zelos (Los) sin Ocasion ', 

I . The list of P^. in Cliorley's Catalogue contained 113 titles; the above list 
has, therefore, been increased by 95 titles. 




Of the 219 pieces named in the original list (P) of 
1603 (including some which probably exist under other 
titles, but omitting those which, though noted by Medel, 
have not reached us) there survive in print or in manu- 
script 103 . 

Of the 208 pieces named in the supplementary list (P-) 

ot 1 6 18, there survive in print or in manuscript 150. 


Of the 427 pieces named in the two lists, there are 
inedited or lost 174 • 



The poet first introduced the figitra del donayrc in La Francesilla 
(Parte XIII). This play, as he tells us in the dedication, was 
written before 1602, and perhaps even before the end of the 
sixteenth century. The character was received with so much 
applause that it subsequently became almost indispensable. Of the 
coinedias played from the first third of the seventeenth century 
till the downfall of the National Theatre, none is without this 
role ; and it is practically certain that not only Lope, but also all 
the dramatists of his time, introduced ihejigura del donayre into 
the coinedias which were written after La Francesilla. Thus, 
speaking generally, we may presume (with a high degree of pro- 
bability) that the coinedias (by Lope or others) in which this 
character is absent date from before the year 1602. As appears 
from the foregoing list of the coinedias by Lope, issued in his 
Special Collection, there are at least 72 without a gracioso; and 
of these we may assign the majority (if not the whole) to his 
first period — the closing decade of the sixteenth century. 

The comedias of this class — the titles of which are given in 


the original list of the Peregrino — do not include all those in 
print, and hence it may be conjectured that they precede La Fran- 
cesilla in point of time. In the Special Collection of Lope's Comc- 
dias, for example, we find the following — all without a Jigura 
del donayre — and their style and construction are not character- 
istic of Lope in his maturity : 

Amistad pagada (La). Parte L 1604. 

Casamiento (El) en la Muertc. P\ Parte L 

Desposorio (El) encubierto. P-. Parte XIIL 1620. 

Exemplo (El)de las Casadas. P-. Flor de Coinedias, Parte V. 

Famosas (Las) Asturianas. P-. Parte XVIII, 1623. 

Fingido (Lo) verdadero. P'. El mejor Representante, Parte 
XVI, 1 62 1. 

Nino (El) inocente. P\ Parte VIII'. 

It is not, however, to be understood that Lope, after inventing 
the gracioso, introduced this character into all his subsequent 
pieces. Proof to the contrary is afforded by El Bastardo Madarra, 
which exists in an autograph dated 1612, and has no figura del 
donayre. And I imagine that in other plays which Lope wrote 
towards the beginning of the seventeenth century — plays on 
historical subjects, and the plays which he called tragicomedias — 
the not unfrequent omission of the comic personage is deliber- 
ate. Perhaps among this class were : 

Las famosas Asturianas. 

La Imperial de Oton. 

Lo Fingido verdadero. 

Moreover, it should be observed that even when graciosos are 
introduced into plays of this kind, Lope presents these charac- 
ters most discreetly. He never allows them to degenerate into 
impertinence, as did the other dramatists of his period in their 

I. The comedia La Lealtaden la Tmycion has no figura del donayre, though 
the MS. noted by Hartzenbusch and La Barrera (see ante, p. 81) is said to be 
dated 1617. But there may be some mistake as to the year. 


serious plays : and as Calderon, and his contemporaries, did in 
still greater measure. As examples of Lope's fine judgment in 
this matter, take the comedias entitled : 

El Conde Fernan Gonzalez, Parte XIX, and, Las Batuecas 
Parte XXIIL 

Here the jests are few in number, and are allotted to plebeians. 
His good taste is further illustrated by his assignment of comic 
passages to the servants in such pieces as 

Las Cuentas del Gran Capitan and La Inocente Sangre. 
In the following plays, which have no comic role, there were 
probably special reasons for its omission : 

El Premio de la Hermosura, Parte XVI. We learn from the 
dedication that this piece was written — not for the public 
theatre, but — by command of the Queen (Philip Ill's wife, 
Doiia Margarita of Austria) who died in 1611. It was destined 
to be played in the Palace before the royal family and court, 
and we are expressly informed — «^ que la traia fue de las damas ». 
It would appear that this comcdia was written very shortly before 
161 1, for the dedication implies that the Infantes acted in the 

Dios hace Reyes, Parte XXIIL The author inaugurated the 
Alcazar Theatre' (Casiano Pellicer, I, p. 161) with this play on 
July 28, 1621, the corrales having been closed from March 31 
on account of Philip Ill's death. Pellicer adds : « the representa- 
tion was such that there was no dancing in it. » This was probab- 
ly due to the fact that the period of mourning was not yet 
over; and for the same reason, it may be presumed that Lope 
purposely refrained from presenting a ^rflJc/aso in a play written for 
the occasion. [J. R. C.] 

I. There is a slight mistake here: there was no Alcazar Theatre in Madrid. 
Alcazar is a mis-reading for Alcaraz [Diego Lopez de], the name of the atitor de 
comedias whose theatrical company gave the first representation when the 
theatres were again opened at Madrid. See my Spanish Stage, ^. 229, and note 4. 



For the convenience of readers who may wish to have a con- 
spectus of the plays ascribed to Lope de Vega, the following 
alphabetical list of titles has been drawn up. Incases where the 
ascription is admittedly mistaken, the fact is noted, and the 
name of the real author has been given when it was possible to 
do so. Appended is the key to the abbreviations used in this 


Acad. :=:z Obras de Lope de Vega, publicadas por la Real Academia Espa- 
nola. Madrid, 1890 -to date. Thirteen volumes, edited by D. Marceliuo 
Mentodez y Pelayo. _ — TjCckJ . ^-^ ' 

Tffl^. Brit. Mus. r= Collection of the Earl of Arlington, now in the Brit. e<S '^ *- ^ Ci 


Bib. Nac. 1^ Biblioteca Nacional, Madrid. 

Brit. Mus. = British Museum. 

Cat. B. N. =1 Catalogo de las Piezas de Teatro que se conservan en el 
Departamento de Manuscritos en la Bib. Nac. Por A. Paz y Melia. Madrid, 

Com. ined. 1873 = Comedias ineditas de Frey Lope Felix de Vega Carpio. 
Tomo primero (y unico) Madrid, Rivadeneyra, 1873. [Colecciou de Libros 
Espanoles raros 6 curiosos. Tomo sexto.J It contains four plays. 

Dif. = Comedias de Diferentes (or Varios) Autores. La Barrera, Calidogo, 
pp. 683 and foil. 

Duran. = Formerly in Agustin Duran's collection (now in the Bib. 

Escog. = Comedias escogidas de los mejores Ingenios de Espana (1652- 
1704), forty-eight volumes. The contents of these volumes are given in 
Schack, Geschichte, Vol. Ill, pp. 523-544; and in La Barrera, Catalogo, pp. 687- 


Fajardo = MS. Index of Comedias by Juan Isidro Fajardo : M. 53 in Bib. 

Gayangos :=. In Pascual de Gayangos's collection, now in the Bib. Nac. 

GL. 1 61 7 1^ Cuatro Comedias famosas de D. Luis de Gongora y Lope de 
Vega, recopiladas por x\ntonio Sanchez, Madrid, 161 7. 

H. =: Noted in the catalogue of Vicente Garcia de la Huerta (1785) ; when 
followed by a roman numeral = the Comedias Escogidas de Lope de Vega, 
edited by Juan Eugenic Hartzeubusch. 


^^. XLV >L\/. 

H . A . R . -::i In Hugo Albert Rennert's coUectioii . 
' Hdlland4= In the possession of Lord Hollands — "if^ryvvyiAv (fejlMi^ /m»> 

Hoz y Mota r= Juan de la Hoz y Mota. wyvW^ 

J.R.C. =: In John Rutter Chorley's collection. 

M. := Noted in the catalogue of Medel del Castillo (1755)- 
<"Vo '■'^^^^b'^.) Mes Rom. — Mesonero Romanos, Vols. XLV aad-XLVII of the BibHo- 
:i>'o» dl Ia^cjt teca de Autores hspanoles. 
^ c^*- <-'>'*^^ Mod. Lang. Rev. ;— Modern Language Review. Articles by H. A. Ren- 

MS. aut. = Autograph manuscript. 

MS. copv :=: Copy of original manuscript. 

Obr. suelt. = Coleccion de las Obras sueltas, assi en Prosa como en Verso 
de Frey Lope Felix de Vega Carpio. Madrid, Sancha. 1776-79. 21 vols. 

Osuna -^ Formerly in the Duke of Osuna's Library (now in the Bib. 

P and P^ =^ The Lists of Lope's comedias contained in the Prologue to El 
Peregriiio en su Patria, in the edition of 1604 and 1618 respectively. 

Parma ^^^ In the Biblioteca Palatinaat Parma [A. Restori, Una CoUeiioue di 
Coiiniu'die di Lope de Vega, Livorno, 1891]. 

Restori — Prof. Restori's reviews of the Academy's edition of Lope in the 

Rocamora r= Catalogo abreviado de los Manuscritos de la Biblioteca del 
Excmo. Seiior Duque de Osuna e Infantado, por Don Jose Maria Rocamora . 
Madrid, 1888. 

S. nr Stielta. 

Vega del P. = Vega del Parnaso. Por el Fenix de Espana, Frey Lope Felix 
de Vega Carpio. Madrid, 1637. 

Ztft. = Zeitschrift fiir romanische Philologie, particularly the articles by 
Prof. Restori. 

The Roman numerals refer to the large collection of Lope's Comedias, con- 
sisting of twenty-five Parts, which are described in the text (see pp. 10-34), 
and which appeared between 1604 and 1641. 

*An asterisk indicates that nothing is known of the play except that it is 
mentioned in the works indicated by the letters that follow. 

Abanillo (El). — P^ ; M. ; H. ; MS. copy (Parma). El Abanillo 
was represented before the King by the company of Antonio de 


Prado in February, 1623. v. Mod. Lang. Review (1907), p. 331, «/<'av N'JD.,^ 
*Abderite (La). — P. v. Z///. XXIII, p. 45i.\/. J^l^c^ M^ 
*Abindarraez y Narvaez. — P. (See El Remedio en la Desdi- 

^Abraham. — Conicdia attributed to Lope in a list of plays 
in the possession of Juan Jeronimo Almella in 1628. Bnllelin 
Hispanique (1906), 376. v. Rcstori, Uii Eleuco de Comedias dc 
1628. Torino, 1912, p. 830. 

Acero (El) de Madrid. — P^; XI; H., L, 365. MS. copy 
(Parma). This is the First Part only. On the source of this play 
V. Ztft.fiirfraii:^. Sprache it. Litt. (1898), vol. XXII, pp. 190-229. 
The opening scene is imitated by Moreto, in De juera vendrd. 

Acertar errando. — MS. copy (Cat. B. N. No. 420) ; Parma. 
S. (J. R. C). According to Schack (Nacblrdge, p. 40), it is the 
same as ElEmbajador fingido, printed for the first time at Lisbon 
or Seville, about 1603. [Schack says that he has grounds for 
presuming the existence of such a volume : no Spanish biblio- 
grapher, however, has ever seen it or mentioned it.] And while 
we read the same statement in the Cat. B. N. No. 420, this is 
mere conjecture. It is not in the Seis Comedias de Lope de Vega 
Carpio, Lisboa, Pedro Crasbeeck, 1603, nor in the Madrid issue 
of the same year. See La Barrera, Catdlogo, p. 679, and LifeoJ 
Lope de Vega, p. 157. n. Chorley thinks that Schack is mistaken, 
and that this play is later than La Francesilla. He bases his opin- 
ion on the maturity of the style and on the fact that a Jigura 
del donayre is introduced in the person of Tarquino. He points 
to Acertar errando as a play which alone suffices to refute the 
assertion that the Spanish drama is weak in the drawing of char- 
acter; and notes that the expedient employed by Aurora to get 
speech with Carlos is appropriated by Calderon in El mayor 
Encanto Amor. Invention apart, Chorley ranks Lope's play much 
above Calderon's performance, and bestows warm praise on the 
First Scene of the Second Act. The suelta ends thus : 


Carlos. Y va que se acaba, seaado, 

el Etnhaxador fiiigido . 
Aurora. Y aqui el Accrtar erratido. 

The play held the stage for many years and was represented 
by Adrian Lopez on January 6, 1653. aA^la^^ Z^- /^, '^^ 

*Achaque quieren las Cosas. — P-. ; M. 

Achaques de Leonor. — Mes. Rom. Doubtful. [Mesonero 
Romanos gives this title as Achaques de Honor. ^ 

Adonis y Venus. — P.; M.; XVI; H.,.IV., 417; Acad. VI., 
also called simply El Adonis : see Life of Lope, p. 290. According 
to the dedication this is a Fiesta real. Frondoso, the pastor gra- 
cioso, is a simple, hut not a true figiira del donayrc. v. Ztft, XXIII, 
p. 434, and foil. 

Adultera penitente (La). — S. (Gayangos). Doubtful. Medel 
mentions an Adultera Penitente, and there is an auto by Lope 
(MS.) in the Osuna collection, entitled La Adultera perdonada. 
[This auto is now printed in Acad. III. The comedia is probably 
by tres ingenios : Moreto, Matos and Cancer. See Cat. B. N. 
No. 50. It is printed in Escog. IX.] In my copy of the suella of 
this play (Madrid, Antonio Sanz, 1738), it is ascribed to the 
three ingenios just mentioned. 

Ad versa Fortuna (La) de D: Bernardo de Cabrera. — H. 

In Doce Comedias de Lope de Vega y otros autores, Huesca, 1634, 
where it is ascribed to Lope, but La Barrera queries whether it 
may not be Mescua's (Cat. p. 683). According to Duran the 
author of this play uses the pseudonym Lisardo ; so, too, in 
Arniinda celosa. \ Lisardo is the pseudonym of Luis de Vargas 
Manrique. a brother of the Condesa de Siruela, D\ Isabel Man- 
rique de Vargas ; he was a friend of Lope, and wrote plays, as is 
well known. He wrote comedias in Madrid in 1585 (?) for Mateo 
de Salcedo. v. Life of Lope, p. 29 ; Bonilla, Anales, p. 151]. \A-tM~ 

Adversa Fortuna (La) del Infante D. Fernando de Portugal. 
— H. Osuna. Tom. 132. ff. 95. La Barrera says the story is the 
same as Calderon's El Principe constante, Fajardo states that this 


comedia is contained in : Comedias de Lope dc Vega Carpio y otros 
Autores, Sevilla (?). La Barrera, Caldloc^o, p. 683. Very doubt- 

*Afi-icano (El) cruel. — P. ; P^ 

Agraviado (El) leal. — (See La Firinexa en la Desdicha.) 

Agravio (El) dichoso. — This is the alternative title of La 
Locura por la Hour a, Parte 11. 

Alcaide (El) de Madrid. — P. ; M. ; H. (anon.); MS. copy 
(Osuna), Cat. B. N. No. 74. Rocamora, No. 229. In the opin- 
ion of Menendez y Pelayo it is doubtful whether the Osuna 
MS. is identical with the comedia cited in Lope's list. A^ <V- A -/» ^ ^r- 

Alcalde (El) de Zalamea. — H.; S. (Holland and J. R. C); 
MS. copy (Duran and Parma). Cat. B. N. No. 420. v. Ztft. XXXI, 


Printed together with Calderon's play of the same title in : 
Max Krenkel, Klassische Buhnendichtiingen der Spanicr. Vol. Ill, 
Leipzig, 1887; Acad. XII. « Calderon's comedia is based on Lope's. 
Lope's play bears only a remote resemblance to the 47''' tale of 
the Novell i?20 of Masuccio Salernitano. » M. y P. v. Krenkel, III, 
p. 56. Lope took the argument of his play from the fourth part 
of the Cronica general. 

Alcalde mayor (El). — P^ ; XIII. ( « Representola Riquel- 
me ») ; H. IV,, 25 . 

*Alcazar (El) de Consuegra. — P-.; M. 

Aldeguela(El) y el gran Prior de Castilla. — MS. copy (Osuna). 
«Traslad61a Martin Navarro. En Toledo en 6 de Mayo de 1623. » 
Cat. B. N. No. 95. Rocamora, No. 231. Printed in Escog. Parte 
XLII. (1676) in the name of D. Francisco de Villegas, with the 
title El Hijo de la Molinera, and suelta, as Lope's, under the title : 
Mas mal hay en la Aldegikla de lo que se siiena ; Acad. XII. La 
Barrera, Cat. p. 435, mentions a manuscript copy of El Aldc- 
guela, formerly in the Osuna Library, « signed by the copyist, 
Luis C — , on November 9, 1622. (NnevaBiog. p. 377.) Restori, 
Ztft. XXXI, 493, prints many variant readings from an ancient 
suelta at Parma . 



Alexandre el scgundo, Cesar el primer Traidor. — MS. Cat. 
B. N. No. 97. This is an autograph, according to Duran, 
though the handwriting differs from Lope's. Only the marginal 
note on the last leaf of Act I. seems undoubtedly in Lope's hand. 
Duran says the title in nowise suits the play. /t^<-W^- /v.-// ^' 

*Alexandro (La de). — P'. This may be the preceding piece. 

*Alfonso el afortunado. — P. 

Almenas(Las) de Toro. — XIV ; Acad. VIII ; S. (Gayangos). 
MS. Cat. B. N. No. 104. (Rocamora, No. 232 : « Acts I and II 
autograph)).) « Representola Morales, y hizo la gallarda lusepa 
Vaca a Dona Elvira. )) Restori, Ztft. XXVI, 506. 

A lo que obliga el ser Rey. Ascribed to Lope in the fragment 
of a volume of collected Comedias, ff. 21-39 (J. R. C.) • [Stie- 
fel (Ztft. XKX, p. 554) fits this fragment into one of the extra- 
vagantes, perhaps XXIX.] The play is by Guevara, Escog. X. It 
is ascribed to him in the Osuna MS. (Rocamora, No. 233 ; in 
the Cat. B. N. No. 7, however, this Osuna MS. is said to attri- 
bute the play erroneously to Calderon). There is a siielia'm the 
Munich Library. « Representola Prado ». 

Al pasar del Arroyo. — P'. ; XII; MS. copy (Holland and 
Parma); H. I., 387. Chorley attaches the date January, 23, 1616 
to the Holland MS. The comedia must have been written shortly 
after November 19, 161 5. v. Hartzenbusch, Comedias Escogidas 
de Lope, I, p. 393. For the closing scenes, cf. La Noche 

Alvaro de Luna (Don). — (See El Milagro por Jos Celos.) 

Amante (El) agradecido. — ■ X. MS. copy (Parma). «/^<**V«^-^ 

Amante (El) al uso. — (See La ilustre Fregona.) 

Amantes (Los) sin Amor. — P. ; P-. ; XIV. This comedia, 
Lope tells us, was represented by Pedro de Morales. El Peregrine, 
ed. 1604, fol. 263 v°. cf. Cervantes's novel El cnrioso hnpcrli- 
nente. iA^tJ»^- ^ JjL. ^<^. 

Amantes y Celosos todos son Locos. — MS. copy. Cat. B. 
N. No. 120 : (re-cast). 


Amar como se ha de amar. — H. ; S. (Osuna) ; MS. copy 
(Osuna, Parma). Cat. B. N. No. 121; Rocamora, No. 240. 
According to Fajardo this is in Parte VI, printed at Seville. 
« Representola Suare>:. » The play was in the possession of 
Andres de la Vega in November, 1632. Perez Pastor, Nnevos 
Datos,^. 226. Mod. Lang. Rev. (1^06), 103; Salva, I, 548, pos- 
sessed a fragment paged : fols. 214-233. t/^-AV- /V. /^ , ^ S^ > 

Amar por Burla. — H. ; MS. copy (Osuna; Parma) ; Cat. B.N. 
No. 123 ; Rocamora, No. 243. This is certainly not Lope's 
Burlas Veras, to judge by the opening and closing lines of the 
MS. /f^<w- /V.I, (SZr 

Amar por ver amar. — P\ ; MS. copy (Holland and Chorley): 
both copies are dated 1659; XI. 

It is El Perro del Hortelano, entitled La Condesa de Beljior in a 

Amar, Servir y Esperar. — XXII, Madrid, 1635 ; MS. copy 
Cat. B. N. No. 124. That it was written for Roque de Figueroa 
the end of the play shows : « Roque os ama, Lope os sirue » . 
This would incline me to place the date about 1625 or there- 
after. There is a record of its representation by Juan Martinez on 
May 22, 1635. Mod. Lang. Rev. (1907), 336. ,yi^j9^ ~ ^jU, ^^^ 

Amar sin saber a quien. — XXII, Zaragoza, 1630; and 
Madrid, 1635 : H. II, 443. Don Quixote is mentioned on fol. 
136''. ed. of 1630 : ^^ 

Ines. Don Qiiixote dela Mancha, 
perdone Dios a Cerbantes, 
fue de los extravagantes 
que la Coronica ensancha . 

According to Northup (Calderon's La Selva Coufiisa, in 
Revue Hisp.., XXI, p. 48. Amar sin saber a quien was written 
between 1618 and 1623. 

*Amatilde(La). —P. 

Amazonas (Las). — P. La Barrera says it is probably Las 


Mugeres sin Hombres, XVI. A MS. Osuna, in the Cat. B. N 
No. 128, ascribes the play to Lope, but the opening Hne shoNv 
that the MS. in question is the conicdia of the same title b 
Solis, which has likewise been printed anonymously, with tb 
title Las Aiiiaionas dc Escitia. This play has also been attribute 
to Calderon, though in the Verdadera Oninta Parte de Comedic 
dc D. Pedro Calderon, Madrid, 1694, the editor mentions Lc 
Ania:^onas as one of the comedias which Calderon did not writ( 
and he says, moreover, that it was written by Solis con iantos ac'm 
tos como las demas. See the Advertencia to this volume . But wh 
the author of the Briichsiiick that was translated by Schlege 
under the title Die Ania~onen, may be, I do not know. Perhaj 
it was August Wilhelm v. Schlegel. In his Parte cuarta, Madric 
i635,Tirso de Molina has a comedia, Las Ama:(onas en las Indie 
(the Second Part of Las Haxahas de los Pi:^arros, now printed i 
Cotarelo, Comedias de Tirso de Molina, Vol. I. Madrid, 1907, ' 
Ibid. Vol. II, p. iii. 

Amigo (El) hasta la Muerte. — P-. ; XI; H. IV., 323. Thei 
is a MS. (Osuna) in the Bib. Nac. Cat. No. 132, called El Amii 
hasta la Muerte, ascribed to Lope de Vega, but both the open in 
and closing lines there given are entirely different from the co 
responding lines in Lope's comedia, and I doubt whether it 1; 
his. Moreover, no character in Lope's play begins w^ith th 
letters An. I presume that it is this same MS. which is registere 
by Rocamora as No. 248. Restori states that there is a MS. cop 
of Lope's play at Parma. Lope announces at the end of his conn 
dia that it is the First Part. 

Amigo (El) porFuerza. — P. ; P^ ; IV. S.(Brit. Mus.; J. R. C 
Gayangos; London Library). Tliis-play has no Ji^uiuiuid-JauAyi: 

Amigos (Los)enoiados, y verdadera Amistad. Printed in Se 
Comedias de Lope de Vega Carpio y otros, etc., Lisboa or Sevilli 
1603, according to Schack {Nachtrdge, p. 40), but no sue 

hffl ^ -j ^ k f iow -tt:; at all events the Lisbon volume of 1603 do( 
not contain this play. In his Catdlogo, p. 679, La Barrera sa) 

vJe^f7. [^^^j^^^ -fU.Vo^. 


that this coinedia is not Lope's, and remarks that it does not 
appear in the Peregrino lists. Chorley, however, observes that 
this objection is not to the point, and refers to his note on 
p. 112. ^/t-ts^^ A/JTI, 2.ef. 

Amistad (La) pagada. — ■?-.;!; Acad. VIL MS. copy Cat. 
B. N. No. 2200. It bears the additional title : La fainosa Mon- 
tahesa. In Chorley 's opinion La Amistad pagada is one of Lope's 
early pieces. See Life of Lope, p. 157, n. Restori, Ztft. XXVI, 

486. ^^^^u.^ 

Amistad (La) y Obligacion. — XXII, Zaragoza, 1630; S. A^^jVfcsi^^^^ 
(J. R. C. and Gayangos); MS. copy Cat. B. N. No. 140. Duran '^'^'^^'^^ 
and Mes. Rom. assert that this is (with some variations) the "^ — ^^-^ • ^ ,,-li 
same play as Montalvan's Lncha de Amor y Amistad, but Chor- ^. ^- /Ahr^- 

ley notes that Montalvan's is an ohra divina. He is mistaken, 
however. The two works are identical, except that the first, 
twenty-nine lines of Lope's comedia are omitted in Lucha dc 
Amor y Amistad. The cnmedia is undoubtedly Lope's, v. Mod. 
Lang. Rev. (1906), p. 96. J-^JS^^ /\/M^,OZ<i. 

Amor Bandolero (El). — XXIV, Zaragoza, 1633; MS. copy 
(Duran), Cat. B. N. No. 145, with a. cens7tra dated at Cordoba, 
September 18, 1645. y^-^av^ /^JJj(( ^f/ 

Amor con Vista. — -M. ; Com. ined. Madrid, 1873. MS. autog. 
(Osuna), Cat. B. N. No. 149, signed by Lope at Madrid, 
December, 10, 1626, with licenses to represent, dated Zaragoza, 
February 13, 1627; Madrid, December 11, 1627, (perhaps 
this should be 1626) and Lisboa, December 12 and 14, 1630. 
Copy (Parma). « Representola Antonio de Prado ». 

Amor (El) constante. — P. La Barrera questions whether this 
may not be the play of the same name by Guillen dc Castro, 
published in Doce Comedias famosas, Valencia, 1608. Mesonero 
Romanes suggests that the title should be El verdadero Amor. 
[Lope states in P. that he wrote a play entitled El Amor con- 
stante : this no longer exists. Guillen de Castro wroteaplay bear- 
ing the same title; this play is still extant.] 

*Amor (El) desatinado. — P. 


Amor (HI) enamorado. — Fega del F. ; Obr. siiell. X.; Escog. 
XXXI., as of Juan de Zavaleta. Acad. VI. In his Catalogue, La 
Barrera also gives this play with the additional title Jupiter y 
Dafne, and attributes it to Lope. Chorley conjectures that the 
title should be Feho y Dafne. Menendez y Pelayo says this, to 
judge by its style, must be one of the last plays of Lope. Acade- 
niin, VI, p. Ixxvi ; v. Ztft. XXIII, 449. 

Amor (El) Invencionero. — Fajardo. Apparently an error, for 
this is the alternative title of La EspahoJa de Florciicia, which is 
not by Lope, though Stiefel ascribes it to Lope in the Zeitschrift 

The latest editor of L^7 Espahola, Rosenberg (Philada., 1912) 
attributes the play to Calderon. See Burlas de Amor. 

Amor, Pleito y Desafio. MS. autog. Cat. B. N. No. 171, dated 
Madrid, November 23, 1621, with a ccnsiira of Vargas Machuca, 
Jan. 14, 1622. (It was first represented by the companj^ of Pedro 
de Valdes; Jeroninia de Burgos taking the part of the servant 
Lconor and Valdes the part of the servant Sancho.^ The play bear- 
ing this title in Partes XXII and XXIV (Qaragoca, 1633) of 
Lope is Alarcon's Ganar Ainigos. Printed in Comedias ined. 
1873. See Life of Lope, p. 294. 

Amor secreto hasta Zelos. — P^. ; XIX ; MS. copy (Parma), 
and Cat. B. N. No. 174, a re-cast by D. Dionisio Solis. k^^-^&l^^A 

*Amor Soldado (El). — P ; P^ ^ 

Amores de Carlos. — (See Los PaJacios de Galiana.) 

*Amores (Los) de Narciso. — P. Menendez y Pelayo conjec- 
tures that some reminiscence of this play may be left in Calderon's 
Eco y Narciso. 

Angelica en el Catay. — P. ; VIII. MS. copy (Parma). This 
play has no figiira del donayrc. « This comcdia is one of the very 
early ones of Lope, of the time of Belardo and Lucinda... It has 
nothing to do with his poem La Hennosura de Angelica. » 
Academy, XIII, p. cxxi. 

Animal (El) de Ungria. — P^; IX. S. (Brit. Mus. ; J. R. C; 
Gayangos • H. A. K.) .y^^^- ^' dC^ ^f ^ ■ 


Animal (El) Profeta, San Julian. — H.; S. (Brit. Mus. and 
Holland), where it is also called ; y dichoso Patricida ; MS. 
(Osuna), dated 163 1, Cat. B. N. No. 211. There were two 
Osuna MSS. according to Rocamora, No. 271, and in both, 
according to him, the play is ascribed to Mescua. I have an 
ancient i'/zcZ/rt which attributes this play to Lope. See Schack, III, 
p. 553, and Nachtrdge, p. 57 ; Acad. IV. « In my opinion », 
says Menendez y Pelayo, « the play is Lope's, which does not pre- 
clude the belief that it may have been re-cast later by Mira de 
Mescua or some other )). Fajardo alleges that this play was in 
Parte V., published at Seville, v. Ztft. XXII, 276. 

Antecristo (El). — M.;H. ; MS. copy of the beginning of the 
XVII century (Parma) ; Acad. Ill ; entirely different from the 
Antecristo of Alarcon. Schach, II. 703. v. Restori, p. 18, and also 
in Ztft. XXII, 123. 

Antonio Roca. — P. (La Muerte mas venturosa) ; H. ; MS. 
[copy ?J (Holland) and copy (Osuna), Cat. B. N. No. 220, where 
it is said that the 4''' {sic^ act is in the hand of Lanini 
Sagredo. v'^-f f:^-^ i^\ S. (^f- 

Anzuelo (El) de Fenisa. — P^; VIII; H., III., 363. MS. copy 
(Parma). This coinedia is founded on Boccaccio's Decameron, 
VIII, 10. 

Arauco domado. — P-. ; XX; Acad. XII. c< This coinedia must 
have been written shortly before 1625. » M. y P. There is a 
sueltamxhe. Brit. Mus. but it is a fragment ofXX(ff. 77-101). 
Ztft. XXXI, 500. 

Arcadia (La). — P^ ; XIII ; H. III., 155; Acad. V. ; S. (J. R. C.) 
This play has no true figiira del donayre : for, though Bato is a 
simple and Cardenio a ri'istico, neither is a gracioso. Chorley 
thinks that La Arcadia, though (in its present form) it is much 
later than La Francesilla, was among the earlier pieces of the 
author, who re-touched it before publication in 1620. Crawford 
Mod. Lang. Rev. Vol. Ill, says it was probably written in 161 5. 
« Representola Riquelme. » 


*Arellanos (Los). — P^ 

Arenal (El) de Sevilla. — XI ; H. III., 527 ; MS. copy 
(Parma). This play has no figura del donayre. Chorley points 
out that the piece dates after January 1601, for in Lucinda's 
speech (Act in.) there is a reference to the removal of the Court 
to X'alladolid. 

Argel (El) fingido y Renegado de Amor. — P ; VIII. MS. 
copy (Parma) and Brit. Mus. (undated and incomplete). Chor- 
ley believes that this play was written soon after Philip Ill's 
marriage at Valencia (April, 1599). We have seen {Life of Lope, 
p. i-|i) that Lope visited Valencia on this occasion. « Represen- 
tola Vergara. » J^--^^ M Mi ^6 f 

Argolan, Rey de Alcala, is El Padrino desposado, II. ; P. ; H. ; 

Arminda celosa. — P'. ; H. ; MS. copy (Duran), Cat. B. N. 
No. 252. According to Duran the author is Lope, and this MS. 
is copied from what La Barrera describes as the autograph of 
1622. See Life of Lope, p. 304. 11. i. The play has been attribut- 
ed to Mescua. In the Cat. B. N. we read : v comedia by the 
CabalJeroLisardo, the action of which passes in Madrid in 1622.)) 
Lisardo was the poetical name of Lope's friend Luis de Vargas 
Manrique, brother of the Condesa de Siruela, Da. Isabel Man- 
rique de Vargas, and was well known as a writer of plays in 
Madrid about 1585. v. La adversa Fort una de D. Bernardo de 
Cabrera. X*aw. /V, ^ j; ^ f J, 

Arrogante (El) Espaiiol. — See El Caballero del Milagro. 

Asalto (El) de Mastrique por el Principe de Parma. — P^;IV; 
Acad. XII. V. Ztfl. XXXI, 499. 

Ascendenciade los Maestresde Santiago yCalatrava. — Fajardo. 
(See El Sol par ado.) 

Asturianas (Las). — P-. (Las famosas Asturianas.) M. ; H. ; 

*Atalanta (La). — P^ H.; M. « La Atalanta, ch'io sospetto 
non esser altro che Y Adonis y Venus. » Rcstori, Z///, XXIII, 451. 


'he title Adonis y Feints is in the Hst of 1604. There is an autog. 
[S. comedia, La Atalanta in the Bib. Nac. Cat. No. 271, signed 
Y Caspar Ovando, October 15, 1615. 

Atrevimiento y Ventura. — Lope ? Represented at Court on 
muary 6, 1623, by Antonio de Prado. The play was in the 
ossession of the aiitor de comedias Juan Jeronimo Aimella in 
628. Bull. Hisp., VIII, 376. 

Audiencias del Rey don Pedro. — H. (anon.). Acad. IX; MS. 
Dpy (Osuna) of the xvii century with many corrections, Cat. 
. N. No. 278 (anon.); Attributed to Lope by Schack and 
lenendezy Pelayo. Rocamora, No. 279. « Lope must have \vrit- 
;n this comedia in Seville. » M. y P. 

Auenturas de don Juan de Alarcos. — XXV. This is the 
econd Part of D. Juan de Castro slightly altered at the end. 

Ausente (El) en el Lugar. — P^ ; IX ; H. I., 249. MS. copy 

i Ay Verdades ! que en Amor... — MS. aut. Brit. Mus. dated 
lovember 12, 1625, with a license at Madrid, February 4, 1626. 
copied this MS. man}' years ago: the variations of the printed 
lay are exceedingly few. It is also printed in Dif. XXIX. 
'^alencia, 1636. /-f-c^^tV^ /V^ JH , To 2., 


Baldovinos y Carloto. — See El Marques de Mantua. ^<vvi J^ <^ .^ <^ 
Barbara (La) del Cielo. — P. ; M. ; H (anon.). Perhaps it is ^^a^ y^,^^ fj 
M Santa Barbara, attributed a? a suella (Brit. Mus., and J. R. C.) 
o Cuillen de Castro. See also Aulos sacraiiieiitaks, con quatro 
Zomedias nnevas,tic., Madrid, 1655 (Barr., p. 709), where the 
)lay is entitled El Prodigio de los Montes, y Martir del Cielo. 
vienendez y Pelayo says : ^c The play which is current as asuelta 
mder the name of Guillen de Castro, entitled : El Prodigio de 
OS Montes, y Martir del Cielo, Santa Barbara, does not seem wor- 
hy, from its style, of either Lope or Guillen de Castro. » Acad. 



y. p. Ivi. Restori thinks there may be some trace of Lope' 
Barbara del Ciclo in Arboreda's Arco de Pa:;^ del Cielo or in the Pro 
digio de los Mantes just cited. Ztft. XXII, p. 294. 

*Barbaro (El) gallardo. — P. 

Barlan y Josafa (Los dos Soldados de Cristo). — P-. ; MS 
aut., Holland, dated February i, 161 1; MS. copy(Osuna); Cat 
B. N. No. 336; Rocamora, No. 319: XXIV, Zaragoza, 1641 
Acad. IV. This is the First Part. S. (J. R. C.) 

*Basilea (La). — P. 

Bastardo (El) Mudarra. — XXIV, Zaragoza, 1641 ; P'.; (Lo; 
siete Infantes de Lara, and this is repeated in the Aprobdciones o 
the autograph); MS. aut. formerly in possession of Sr. Olozaga 
dated April 27, 16 12. I have a fac-simile reproduction, Madrid 
1864: Acad. VII. Although written in 16 12, it has no gracioso 
V. Restori, Ztft., XXVI, ^2- 

Batalla (La) de dos. — M. ; H. ; very doubtful. Fajardo gives i 
as anonymous. There is a MS. copy of La Batalla de los dos 6 Sa? 
Luis Bertran, by don Francisco de la Torre y Sevil, in the Cat 
B. N. No. 346. 

Batalla (La) del Honor. — V\ ; VI ; MS. autog. (Olozaga) 

^0^ dated April 18, 1608 ; Escog. XV., where it is ascribed to Fer 

nando de Zarate ; it is attributed to Lope in Conicdias de los riiejo 

res y mas insignes Ingenios de Espaha, Lisboa, 1652. (La Barrera, 

Caidlogo, p. 708.) J-^^eu/^ /V. M, 5'?<f, 

Batalla (La) Naval. — P ; (SeeLa Santa Liga.) 

Batuecas (Las) del Duque de Alba. — P-. ; XXIII, « en lengur 
antigua » ; Acad. XL MS. copy Cat. B. N. No. 351. 

Matos Fragoso's £■/ Niicvo Miindo en Castilla, Escog. XXXVII. , 
is a re-cast of this play; there is a Holland MS. entitled El so, 
en el Nuevo Mundo, by Juan Claudio de la Hoz y Mota and Lopt 
de Vega. This alleged collaboration is incredible, as Hoz waj 
probably not born earlier than the third decade of the xvii cen- 
tury and died shortly before December 12, 1714. It is merel;y 
are-cast of Lope's Las Batuecas, v. p. 469, and Restori, Ztft.. 
XXX, 234. 


Bautismo (El) del Principe de Marruecos. — (See La Tragedia 
del Rey don Sebastian^. 

Belardo el Furioso. — P.; MS. copy (date?) : Acad. V. «Thc 
composition of this comedia must date back to the early years 
of Lope's youth... and the plot of the first Act, though with 
slight variations and with changed names, agrees with that of 

the Dorotea and confirms the identity of its protagonist, 

D. Fernando with Lope, who appears upon the scene under his 
well-known pseudonym Belardo. » M. y P., Ibid., Ixii. 

Bella (La) AndromWa. — S. (J. R. C. ; Holland, and Vienna); 
(See El Perseo ; La Fabiila de Perseo). Ztft., XXIII, 443. 
Bella (La) Aurora. — XXI; Acad. VI; Ztft., XXIII, 449. 
*Bella (La) Gitana. — P. 

Bella (La) mal maridada. — P. ; II; MS. Cat. B. N. No. 357 ; 
it is a re-cast of the play with the added title: La Escnela de 
Casadas. Of the original Lope says : « La hizo Rios Mar de 
donayre y natural gracia. » El Peregrino, fol. 263. 

In later impressions of Parte IL, Chorley notes that there is 
a curious omission in the Third Act. In the Third Scene between 
Lisbella and the bawd Marcela, after the verse — Fete y bolveras 
despues — the rest of the passage is missing. Again something is 
omitted when Leonardo surprises his wife with the Count's 
letter in his sleeve; and there is also wanting the beginning 
(at least) of the scene of which the verse — A I fin qiialqniera me 
agrada — forms part. rA-tj^W ^ /^iHt €(Z 

Benavides (Los). — P. ; II ; Acad. VII. v. Ztjt., XXVI, 
p. 504. 

Bernardo del Carpio, Segunda Parle. — « Reprcsentola Aven- 
daiio. » S. (J. R. C), a very rare copy, perhaps unique. This 
diifers completely from Lope's other two plays on the same 
hero : Las Mocedades de Bernardo del Carpio and El Casaniiento en 
la Mnerte. Judging from internal evidence, Chorley suspects 
this play to be a re-cast by some alitor de comedias of two pieces 
by Lope which are now unknown. In its present form Chorley 


cannot accept the \vhole play as authentic, but some passages 
may (he thinks) be by Lope. In a copy of Chorley's Catalogue 
which he gave to Ticknor, is the following note in Chorley's 
hand : « Bernardo del Carpio. Segiinda Parte. It is undoubtedly 
Lope's, and what makes it more precious is that it completes 
the trilogy (imperfect up to this time) in the life of the hero. 
The three parts are : I. Mocedades de Bernardo. II. Bernardo del 
Carpio. Segunda Parte. III. El Casamiento en la Muerte. » v. 
Restori, Ztfl., XXVI, 492. J-^jkV M M, €<r/, 

*Biedmas (Los). — P. 

Bienaventurada (La) Madre Santa Teresa dc Jesus. — v. La 
Madre Teresa de Jesus. 

Bizarrias (Las) de Belisa. Fega del P. ; MS. autog. Brit. Mus. 
dated May 24, 1634. According to Fajardo it is in Parte V. of 
Lope, Sevilla ; Obr. siielt., IX.; H. II., 557. S. (Brit. Mus.; J. 
R. C.;H. A. R.). 

Las Vicarrias de Velisa was represented by Andres de la Vega 
on May 11, 1634 {sic^, according to El Averigiiador, I. This, of 
course, is a mistake, as the play was not finished at that date. The 
money (800 reals) was received by Andres de la Vega on Octo- 
ber 29, 1635, for four particnlares given before the king in 
April and May, not of 1634, but, in all probability in 1635, 
as Philip IV, seems to have paid promptly for his plays. Mod. Lang. 
Rev., Ill, p. 55. 

Blason (El) de los Chaves de Villalba. — H. ; Acad. XL MS. 
copy (Rubi), dated August 20, 1599. Cat. B. N. No. 371. (See 
Los Chaves de Villalba^. 

Boba (La) discrcta. — S. (J. R. C. and Duran). (See La Dama 

Boba (La) para los otros y discreta para si. — XXI; S. (Brit. 
Mus. ; J. R. C, and Gayangos) ; H. II., 523. MS. copy (Osuna), 
Cat. B. N. No. 375 ; Rocamora, No.' 333. One of Lope's best 
plays, it was represented by Manuel Vallejo in the Pardo on 
January 25, 1635. According to Duran, this comedia has been 


ascribed to Rojas Zorrilla. The MS. noted in Cat. B. N. No. 374, 
is a re-cast of Lope's pla3\ 

Bobo (El) del Colegio. — P\ ; XIV; H. I., 179. « Represen- 
tola Tom as Fernandez. » 

Boda (La) entre dos Maridos. — P-. ;IV. It is founded on 
Boccaccio's Decamerone, X, 8. 

Bohemia (La) convertida. — (See El Hijo piadoso.) 

*Bosque (El) amoroso. — P. Cervantes wrote a play of the 
same title which is also unknown. 

Brasil (El) restituido. — MS. copy Cat. B. N. No. 407. The 
original autograph, dated October 23, 1625, formerly in the Lenox 
Library, is now in the Public Library, New York. See my 
article in the Mod. Lang. Rev. (1906), p. 109, where the orig- 
inal cast is given. The comedia was represented by Andres de 
la Vega, November 6, 1625. Mod. Lang. Rev. (1907), 334. v. 
Ztft.,XXXl, 501. 

*Brauo (El) don Manuel. — P-. 

*Brauo (El) don Manuel. — Segunda Parte. — P-. 

*Buen (El) Agradecimiento. — P. 

Buen (El) Vecino. — H. ; MS. copy Cat. B. N. No. 420 ; 
Tomo 132 (Osuna) : Dif. XXXIII. (J. R. C. Fragment of Dif. 
XXXIII, Valencia, 1642; if. 204-21.) 

Buena (La) Guarda. — (Entitled in the closing verses La 
Encomienda bien guar dado) \ P-.; MS. autog. dated April 16, 1610, 
in possession of the Marquis Pidal. XV; H. III., 325 ; Acad. 
V. « Representola Riquelme ». v. Ztft., XXII, 281. _ 

Burgalesa (La) de Lerma. — P-.[7 MS. copy (Osuna), dated ' 
November 30, 1613. See Cat. B. N. No. 422; Rocamora, No. 
344. There is also a MS. copy at Parma. 

Burla (La) Vengada. — (See. La Nina de Plata.) 

Burlas de Amor. — P. Three different plays are quoted with 
this title : /fccW^ /V^ ■J', 3f- 

I.) Burlas veras. — M. ; H. ; S. (J. R. C. ; Duran; Salva, and 
Holland). This | is unquestionably by Lope. See the edition by 


S. L. M. Rosenberg, Philadelphia, 19 12; Salva, Cdldlogo, I, 


2.) Riirlas y Eurcdos de Benito. GL. Madrid, 1 617. It is anon}'- 

mous in GL. (i6i7)and also in the Cordoba edition of 1613. 
La Barrera states that it is not by Lope. On the other hand, 
Chorley savs he thinks it possible that Lope is the author, though 
he would not venture to affirm it positively. The play, which 
has no figiira del donayre, is in Lope's first manner, and it is not 
unworthy of him. There is a MS. (Osuna) of this coniedia in 
the Bib. Nac. Cat. No. 434, in which, however, it bears the 
slightly altered title : Las Bttrlas de Benitico. Of this MS. Sr. 
Paz says : « En las guardas hay varios recibos de alquileres de 
vestidos para el dia del Corpus, Magdalena, etc . , tornados a Luis 
de Benavides en 1586 por diferentes vecinos de las villas de Pes- 
qucra, Montemayor, etc. ». On the fly-leaf of the MS. conie- 
dia. El Tirano Corbanto (Cat. B. N. No. 3255) Schack {Nach- 
trdge, 22) found the following note : « Perdone Vm. senor vena- 
vides por la tardanca, que no emos podido mas : aqui llevan esta 
comedia del Rey corvanto y la otra del Gigante Goliat, y aca 
qucda la comedia de leandro. Procurarse (5/f) a enviar antes de 
pasqua con el primer mensajero que ubiere, que por no estar 
sacado mas de la media no se envia. Ella estara alia a mas tardar 
El Viernes u el sabado. De peiiafiel a quatro de mayo de 1585 
aiios . » Likewise at the end of the MS . of El cerco y libertad de 
sehilla, etc. (Cat. B. N. No. 585), we read : «A gloria de dios 
se represento en Balladolid por Villegas autor de comcdias aiio 
de 1595 • Es de Luis de Venabides cste original » (Schack, ihid.^. 
Sr. Pax queries whether Benavides may be the author of Las 
Burlas de Benitico, but, from the above it follows that Benavides 
was merely the owner of these plays ; in all probability he was a 
sort of theatrical broker — one who furnished costumes and plays 
for festivals. Los Enredos de Benitillo, doubtless the same play, 
was represented at Nava del Carnero on August 8, 1593 by 
Gabriel Nunez, autor de coniedias. Perez Pastor. Nnevos Datos, 


37. If this be Lope's comcdia, then it bears the eadiest date of 
any of his plays that have been preserved. 

3.) Biirlas veras o El Amor invencionero y Espaholade Florencia. 
— Fajardo. This comedia is ascribed to Caideron in Escog. XII, 
and in a sudta (J. R. C). Restori {Studj di FiloJogia roinan~a, 
fasc. XV (1891), p. 132), describes a snclfa : Sevilla, Viuda de 
Fr'°. Leefdael, in which it is also attributed (erroneamente, he 
says) to Caideron. With the title o( Espahola de Florencia Vera 
Tassis cites it among the apocryphal plays that pass under Cal- 
deron's name. A passage in Lucrecia's speech (Act I) contains an 
allusion which seems sufficient to prove that Lope cannot have 
written this comedia : 

Huyo de todo extreme como vicio, 
Entre Goiigora y Lope, decir puedo, 
ni mui facilidad, ni mui enredo. 

See Schack, Geschichte, III, 280, who thinks it may be Calde- 
ron's . This play has also been published by Rosenberg (Phila- 
delphia, 191 1), who ascribes it to Caideron. On La Espahola de 
Florencia see Stiefel in Zlft. XXXVI, 437, who has collected a 
mass of data to show the probable authorship of Lope de Vega, 
rheir cumulative effect is very strong and he has made out a 
vQxy good case. Certainly he has greatly shaken the ascription to 
[Caideron. See also an article by the same scholar in Bausteine. 
^om. Pbilologie, Halle, 1905, p. 337. 

There is also a fourth comedia, by Julian de Armendariz, 
mtitled Las Burlas veras, preserved in an autograph manuscript 
n the Bib. Palatina at Parma, v. Restori. Loc. cit., p. 17 ; and 
Jlosenberg's ed. of Lope's Burlas veras. 

Caballero (El) de Cristo. — A comedia in possession of the 
lutor de ^o;«(jflf/^5 Juan Jeronimo Almella in 1628. Bull. Hisp., 
VII, 376 and foil. Very doubtful. 


Caballero (El) de Illescas. — P. ; P*. ; XIV. This play has no 
figiira del donayre. « Representola el famosoRios. » Nicolas de los 
Rios also represented this play in Valladolid in 1605. Cortes, 
Una Carte Uteraria, p. 34; Pinheiro da Veiga, p. 112. 

Caballero (El) del Milagro. (In the closing verses it is called : 
El arrogante Espafiol.) — P. ; XV. << Representola Vergara. » 

*Caballero (El) mudo. — P. There is a snelta of the same 
title attributed to Guillen de Castro. 

Caballero (El) de Olmedo. — XXIV, Zaragoza, 1641 ; S. 
(Gayangos) ; H. II., 367; Acad. X. See Life of Lope, p. 165, n; 
the MS. (Osuna), Cat. B. N. No. 444, entitled El Caballero de 
Olmedo, La Vinda por casar, dated 1606, is not by Lope, 
though it is ascribed to him. It has been published by Schaeffer: 
Ocho Comedias desconocidas, Leipzig, 1887. Rocamora, No. 356. 
also attributes this MS. to Lope. v. Ztft . XXIX, 358. Lope's 
Caballero de Olmedo is a later play than the one in the above 
MS. Of it Menendez y Pelayo says : « The correctness of the style 
and the mastery of execution are characteristic of Lope's latest 
manner ». 

Caballero (El) del Sacramento. — P-. ; XV : « Representola 
Balbin. » Acad. VIII. MS. autog. (Holland), dated April 27, 
1 6 10. It is also called El Blason de los Moucadas : (La Barrera). 
It is different from Moreto's El Eneas de Dios y Caballero del 
Sacramento, which is an imitation of Lope's coined ia . \. Ztft. 
XXVI, 514 and note. v. :i\so Acad . Ill, p. clxxxiv. 

Caballeros (Los) de San Juan. — (See La Perdida honrosa). 
4- Caballo (El)voshan mucrto. — S. (J. R. C). "Represen- 
tola Luys Lopez. » The play is really by Velez de Guevara. S. 
(Brit. Mus.), entitled Si el Caballo vos ba)i Miierto. Cf. the 
romance beginning : 

Si el cauallo vos ban muerto, 
Subid, Rey, en mi cauallo. 

Cane. General, ed. 1604, fol. 511. 

-^ / / .<a>- / ^y/^ ^- //P7/ 


On this romance, see Menendcz y Pclayo, Antologia, XII, 
pp. 165-166. 

*Cada uno haze como quien es. — P-. 

*Cadena(La). —P. 

Campana (La) de Aragon . — P.; XVIII; S. (J. II. C.) ; 
H. III., 35; Acad. VIII. MS. copy (Parma). — This play has 
no fig lira del donay re. v. Restori, Ztft. XXVI, 511. It was imi- 
tated by Vera Tassis in his La Corona en tres Hermanos 
(Schaeffer) . 

Capellan (El) de la Virgen (San Ildefonso). — P\ ; XVIII ; 
MS. copy (Parma). From Lope's dedication it is to be inferred 
that the play is much earlier than 1623. 
■^ Capitan Belisario (El). — Escog. VI, Zaragoza, 1653, S. (J, 
R. C.) with the title El Exeniph Mayor de la Desdicha . It is ascrib- 
ed to Lope also in Comedias de los mejores y mas insignes Ingenios 
de Espaha, Lisboa, 1652. La Barrera, Ca;^. p. 708. The question 
of authorship is settled by the autograph MS. of Mescua, 
which bears an autog. censur a oi I^o^q, dated July 1625. Cat. 
B. N. No. 1057. 

Capitan Diego de Paredes. — Mes. Rom . Probably a mistake j^y 
for La Contienda de Garcia de Paredes . / 

Capitan (El) Juan de Urbina. — (La Contienda de Garcia de 
Paredes, y el Capitan Juan de Urbina) ; ^crt^ . XL MS. copy 
(Duran) dated February 15, 1600. Cat. B. N. No. 1750, and 
below La Contienda de Garcia de Paredes. 

Caruaxales (Los). — P-. — (See La inocente Sangre.^ 

Carbonera (La) XXII. — Madrid, 1635 ; Acad. IX. S. (Arl., 
Brit. Mus.; Duran; J. R. C.) entitled Dona Leonor de Gn~man, 
Hermana de D. Pedro el Cruel. The incomplete autograph of 
La Carbonera (Third Act only) is said to have been in Duran's 
collection. It is not given, however, in Paz y Melia's Catalogue. 
« This comedia was written in Lope's old age. » M. y P. 
p. clxxvi : Ztft. XXIX, 127. La Carbonera was represented by 
Pedro de la Rosa in the Retire on June 25, 1636. Mod. Lang. 
Rev. II, 334. 


Carboneros (Los). — (See La Sucrle de los Reyes.) 

Cardenal (El) Je Belen, San Jeronimo. — P^ ; XIII, « Repre- 
scntola Balbin »: H. Ill, 589; Acad. IV. MS. copy Cat. B. 
N. No. 499. Restori, Ztft. XXII, 275 . 

Carlos el Perseguido. — P. (EI Perseguido) ; I (Valladolid, 
1604); also in Seis Comedias de Lope de Fega y olros. Lisboa and 
Madrid, 1603, as El Perseguido. It has no figiira deldonayre. This 
comedia is founded on a novel of Bandello, Pt. IV, 6 ; Schaef- 
fer, II, 316. Medel notes Lope's play and another, anonymous, 
with the same title. 

Carlos V en Francia. — P^ ; XIX; Acad. XII. MS. copy, 
Cat. B. N. No. 371. The autog. MS. (formerly Olozaga) is 
now in possession of Mr. J. T. Stetson, Jr. Philadelphia. A 
play called La Primcra Parte de Carlos V . was represented 
before the King on May 28, 1623, by the company of Antonio 
de Prado : and two comedias entitled Carlos V, Primera y 
Segunda Parte., were represented by Prado on July 17 and 22, 
1626. Mod. Lang. Rev. II, 335. 

*Casamiento (El) dos vezes — P . 

Casamiento (El) en la Muerte, y Hechos de Bernardo del 
Carpio. — P-. ; M. (La Peiia de Francia); I; Acad. VII. S. 
(Brit. Mus.,and J. R. C.) According to Fajardo, the play was 
printed at Seville (^Comedias deLope de Fega Carpio y otros autores) 
under the title of Nuestra Sehora de la Peiia de Francia . Tomo 
132 (Osuna). La Barrera, Cat. p. 683, and Life of Lope, 
p. 438. Ludwig, Lope de Vega's Dramen ans dem Karoliug. 
Sagenkreise. Berlin, 1898, p. 3, identifies El Casamiento 01 la 
Mtierte with the unknown comedia, Ronccsvalles in P.; Ztft. 
XXVI, 492 . 

Casamiento (El) porCristo. — H. ; Mes. Rom.; MS. copy 
(Osuna), Cat. B. N. No. 527. Rocamora, No. 379. Duran says 
it is identical with Santa fiista, referring to Auroras de Sevilla 
by three wits. Fajardo gives it as anonymous. Doubtful. «y^/"?J- / 

*Casta Penelope (La). — P^ ; H. ; M. 


Castelvines y Monteses. — P^ ; XXV; H. IV., I. Founded 
)n the novel of Bandello. v. Litlcraliirblalt (1889), p. 67; Schaef- 
er, II, 317. 

Castigo (El) del Discreto. — P\ ; VII. C «^^< '^^''' 

*Castigo (El) exemplar. — P-. 

Castigo (El) sin Venganza. — XXI; S. Barcelona, Pedro la 
;^aballeria, 1634; MS. autog. in Ticknor Library, dated August 
,1631, with a license of May 9, 1632. See my article in 
^eitschrift, XXV, p. 411. I n some impressions, such as th e 
iecond Part of Vari os, Lisboa. 1 647^Js^ntitled OuandoLopc 
niiere, quiere. In the Cat. of the Brit. Mus. we read : « ElCas- 
igo sin Vcnganga. Tragedia [Lisboa, 1647], ff. 43-64, of a collec- 

ion : Dos Coined ias las mas grand iosas Segunda Parte » . 

rhis fragment belonged to Chorley. v. La Fiierga lastimosa 
nd Barrera, Cat . p . 704 . El Castigo sin Vengan:^a was repre- 
ented by Manuel Vallejo on February (?) 3, 1632, and hy Juan 
/lartinez on Sept . 6, 1635. Mod. Lang. Rev. (1907), p. 335. 
Jbras Suelt. VIII. fjj (^ ^ ^ 

Castros y Andradas . — (See La desdichada Estefanid) . 
^Catalan (El) Valeroso, — P. Also entitled El gallardo Catalan 
nd El valeroso Catalan, q . v. and Menendez y Pelayo, Antolo- 
ia, XII, p . 273 . El Catalan valeroso was represented by the 
ompany of Pinedo on May 22, 1603 at Toledo. Perez Pastor, 
3ibl. Madrilena, II, p. 92 . 

Cautivo (El) coronado. — (See El Leon aposlolico.) 

*Cautivos (Los). — P. ; (Los Cautivosde Argel ?) 

Cautivos (Los) de Argel. — XXV; on some of leaves of 
^ctl., it is entitled Los Esclavos de Argel. Though there is a 
racioso in this play, Chorley was inclined to believe that it was 
ratten not long after Philip Ill's marriage (1599), mentioned 
Q Act III. See Los niievos Mar tires de Argel. 

Cegries y Bencerrages . — P. ; (See La Envidia de la Noble^a) ; 
IXll. Acad. XI. Menendez y Pelayo doubts the identity of 
hese two plays. He says: « The style and versification ot La Envi- 

— — ^^-Ji^. ^ 


dia di' hi NobIe~a, and especially the abundance oi decinun induce 
me to think that it is much later and of the last years of the 
poet. . . Perhaps Lope treated the same subject twice, a not 
unusual thing in him. » (p. ix): Restori, Ztft . XXX, 216. 

Celos (Los) de Rodamonte. — P.; MS. copy (Osuna), Cat. 
B. N. No. 568; Rocamora, No. 394; it is probable that the 
play with this title, ascribed to Mescuain Doce Comedias devarios 
autoreSy Tortosa, 1638, is by Lope; Huerta cites one by Rojas, 
of which there is a siicJta in the Imp. Lib. at Vienna; La Bar- 
rera says this latter was written by Rojas, and is in Part L ot 
his Comedias, Madrid, 1640. A play entitled Rodamonte Aragone's 
was played by the company of Olmedo in 1622. Schack, Nach- 
trdge, p- 67. Printed in Academy^ XIII (v. p. cxviii.) 

Celos (Los) por la Alabanza. — A coined ia in possession ot 
ih(^ antor de comedias ]ua.x\ Jeronimo Almella in 1628. Bull. Hisp. 
VII, 376. Very doubtful. 

*Celos (Los) satisfechos . — P . 

Celos (Los) sin Ocasion. — P*. ; M. Restori says: « It seems 
probable that Lope was thinking of El mas galan Portugiies, 
Duque de Verganca (which at the end also bears the title Injustos 
Celos^ when he was drawing up the list for the Peregritw, which 
was done justat this time and published in 1618, puttingit down 
with the title : Celos sin Ocasion ». Ztft. XXIX, 365. 

*Celoso (El) de si mismo. — (See La Pastoral de Jacinto.) 

*Cerco (El) dc Madrid. —P. 

*Cerco(El)deOran. — P. 

Cerco (El) de Santa Fe y ilustre Hazana de Garcilaso de la 
Vega. — P. (Garcilaso de la Vega?) I; S. (Madrid, 1731) 
Parma; Acad. XI. This play has no figura del donavre. Restori 
places this play after i^^j, in which year the Romancero 01 
Gabriel Lobo Laso de la Vega was published. Ztft. XXX, 
221 . 

Cerco (El) dc Toledo. — P. ; M. and H. (anon.). Perhaps this 
is the same as El Hi jo por Engaiio y Toma de Toledo. 



-^Cerco (El) de Tunis por Carlos V. — Mes. Rom. This is 
probably a mistake . A play of somewhat similar title, ascribed 
to Miguel Sanchez, is in the Doce Comedias de varios Autores, Tor- 
tosa, 1638. 

Cerco (El) de Viena y Socorro por Carlos V. — P. (El Turco 
en Viena); H. ; S. (J. R. C. ; Holland; Parma and Vienna); 
Acad. XII. See 2///. XXXI, 488. 

Chaves (Los) de Villalba. — P.; (see El Blason de Jos Chaves). 
H.; X. xMS. copy (Parma). The character of the servant Toledo 
amounts, so Chorley thinks, to a figura del donayre. Lope finish- 
ed I,05 C/j^wi ^^ Villalba \n Chinchon on August 20, 1599. 
The original autograph existed in the Archives of the Duke of 
Sessa in 1781. C(7/. B. N. No. 371. 

Cierto (Lo) por lo Dudoso. — XX ; H. I., 453; Acad. IX. 
Stielta of 44 pages, Brusselas, en casa de Huberto Antonio Velpio, 
1649. Salva,I, 548; S. (H. A. R.). 

*Circe Angelica (La). — P. 

Ciro, Hijo de la Perra (or Zirro. Medel. anon.). According to 
Fajardo, this is identical with Contra Valor no hay Desdlcha, 
q. V. 

*Ciruxano (El). — P. 

Ciudad(La)sin Dios. — H.; S. (J. R. C. andDuran); MS. 
copy Cat. B. N. No. 420. Printed in Escog. II, as El Inobe- 
diente, 6 La Ciudad sin Dios, by Claramonte ; it is attributed to 
Lope in Parte XXVI, extravagante, 1 632-1633. It is a re-cast 
by Claramonte of Lope's play ; Acad. III. Salva, I, p. 580, pos- 
sessed a very old siielta in the name of Lope. Schack, Nachtrdge, 
p. 40, says that he has good grounds for believing that this 
play, together with Acer tar errando and Los Aniigos enojados, were 
printed in a volume of Comedias of Sevilla or Lisbon,, 1603: 
this volume is unknown. According to Duran, La Coric del 
Demonio by Velez de Guevara is upon the same subject. 

Comedia (La) de Bamba. — v. Vida y Miterte del Rey 


Comendador (El) de Ocana. — P-. ; see Perihahe:{. 

Comendadores (Los) de Cordoba, 6 Honor desagraviado, — 
P. ; II ; Acad. XI. There is an autograph MS. by Claramonte of a 
coiiicdia which bears the same title in the Bib. Nac. Cat. Nos. 635 
(and V. p. 721), but it is an entirely different work and Menen- 
dez y Pelayo observes that it is not Claramonte's, because it is 
well written and in good veise, while Claramonte's versification 
was very incorrect. The MS. in Claramonte's hand is really Alvaro 
Cubillo de Aragon's La mayor Vengan:^a de Honor of Parte X of 
Escog. Madrid, 1658. v. SchaefTer, II, 96; Restori, Ztft. XXX, 
228 . « It seems probable », Menendez y Pelayo says, « that Los Co- 
mendadores de Co/Y/o/'rt was written in Toledo, to which Lope made 
frequent visits in the early years of the xvii century » (p. Iviii). 
The play, in fact, was written in 1593 o^ earlier, for Gabriel 
Nuiiez agreed to represent the play at Nava del Carrero on July 9, 
1593. Perez Pastor, Niievos Datos, p • 3 6 . Restori thinks Los Comen- 
dadores was written before 1587. Ibid., p. 227. The play contains 
no figur a del donayrc. 

Como ha de ser un buen Rey. — (See El Principe perfeto . 
Parte II.) 

Como ha de usarse del bien y ha de prevenirse el mal. — 

It is Los Gii:{inanes de Toral. q. v. 

Como han de ser los Nobles. — S. (Duran); S. (J. R. C.) 
entitled Los Nobles como ban de ser: and so mentioned by H. A 
xMS. in Duran's collection bore this second title : it is now in the 
Bib. Nac. Cat. No. 2366. 

Como se vengan los Nobles. — M. La Barrera asserts that 
this is El Testimonio vengado, P. ; I . But Chorley inclines tc 
think that this view may be mistaken. In El Teslinwnio vengado 
Ramiro avenges — not himself, but — his step-mother (consorl 
of Don Sancho el Magno), whose three children bear false 
witness against her. 

I have a suelta by Moreto entitled : Como se vengan los Nobles ; 
with this title it is also given in Parte III. of his Comedias 


(Valencia, 1703, in my cop}^), and in Escog. XXIX. This play 
of Moreto's is founded on El Testimonio vengado. Schaeffer, 
Gcschichie, I, 116, says : « witii the title Coiiio se vengan las Nobles 
Lope wrote two pieces, one with the supplementary title Ln 
Pntdencia en el Castigo, the other with that of El Testimonio ven- 
gado. » Chorley's objection is not to the point. 

Competencia (La) en los Nobles. — H.; S. (Brit. Mus.; Bib. 
Nac). « Representola Tomas Fernandez. » MS. copy, B. N. 
Cat. No. 420; MS. copy Brit. Mus., dated November 16, 1628. 
There is also an ancient suella^t Parma, v. Life of Lope, p. 318, 
n. I. The incomplete autograph was alleged to be in the Duran 

*Competencia (La) enganada. — P. 
-J-' Conde (El) de Yrlos. — P. There is a comedia by Guillen 
de Castro with this title in Parte L of his Comedias. A suelta 
by Cubillo (J. R. C. and Vienna) bears the same title, but is 
otherwise quite distinct from Castro's play. 

Conde (El) Fernan Gonzalez. — At the conclusion of the 
comedia it is called : La Libertad de Castilla por el Conde Fer- 
nan Gon^alei. — P^ ; XIX; Acad. VII. MS. copy (Parma), v. 
Zlft. XXVI, 501. 

This differs wholly from another play upon the same subject : 
De la Libertad de Castilla por Fernan Gon:^ale:(, « en lengua anti- 
gua, )) by Hurtado de Velarde, printed in Seis Comedias de Lope 
de Vega Carpio y deotros, Lisboa (and Madrid), 1603. Linan de 
Riaza also wrote a comedia entitled El Conde de Castilla, accord- 
ing to a letter of Lope de Vega, but this play appears to be 
^ Conde (El) Don Pedro Velez. — H. ; S .(Osuna, Tomo 132, 
H". 95-145). This so-called suelta seems to be a fragment of the 
volume of Comedias by Lope and others, printed at Seville and 
recorded by Fajardo . There was also a MS . in the Osuna col- 
lection . Rocamora, No. 416, in which it is ascribed to Lope. 
In the Bib. Nac. Cat. No. 670 there is an autog. MS. signed 


by Luis \'elez de Guevara entitled : El Condc Don Pedro Vele:^ y 
D. Sanchoel Deseado. 

*Conde (El) don Tomas. — P. 

*Condesa (La). — P. (La Condesa Matilde ?) 

Condesa (La) de Belflor. — (See El Perro del Horlelano.) 
-^ Condesa (La) Matilde perseguida, y Capuchino escoces. H. 
S. (Brit. Mus.) « de un Ingenio » . This play is almost certain- 
ly not by Lope ; La Barrera ascribes it to Felix de Adsaneta, 
who svas not born till 1691, more than half a century after Lope's 
death . 

Condesa (La) Matilde y la Resistencia honrada. — IL Also 
ascribed to Lope in a MS. at Parma. This play has no figuradel 
donayre . La Condesa Matilde was represented by Caspar de Porres 
before May 7, 1605. Perez Pastor, Nuevos Datos, p. 90. As Por- 
res and Lope were on very friendly terms, there can hardly be a 
doubt that this play and the Condesa of P . are identical . 
4. Confusion (La) de Ungria. — Fajardo asserts that this was 
printed in the edition of Lope's Comedias published at Seville. 
The play seems to be by Mescua, Escog. XXXV. Salva, Cat . I, 

*Conquista (La) del Andalucia. — P.; P- . 

Conquista (La)de Canaria . — P-. ; (See Los Guanches de Tene- 
rife^. La Conquista de Tenerife. P^. 

*Conquista (La) de Cortes. — P^ « It appears from the 
Catalogue of the heirs of Medel del Castillo that this play was on 
sale in 1725 . » M. y P. 

*Conquista (La) de Tremezen . — P . « In the volume Doce 
Comedias de Varios, Tortosa, 1638, there is a Cerco de Treniecen, 
attributed-to Guillen de. Castro, which, in effect, seems to me 
to be his and not Lope's. » Menendez y Pelayo, Acad. XIII, 
p. xli. 

Consu Pan selocoma. — P-. ; XVII. « Representola Valdes. » 
MS. copy (Parma). An auto entitled Con sn Pan se lo coma was 
represented by Juan de Morales Mcdrano in i6i-j. BitU . Hisp. 
(1907), P- S79- 


Contienda (La) de Garcia de Paredes y el Capitan Juan dc 
Jrbina. (See EI Capitan Juan de Urbina.') Acad. XI. The auto- 
graph MS. (dated February 15, 1600) was in the Sessa Archi- 
7esas late as 1781 . Duran had a copy which was made from it. v. 
Zat. B. N. No. 1750. This comedia was represented by the 
mtor de. comedias Becerra at Jaen on January 17, 16 14, and 
)y the company of Antonio Granados at Court on July 15, 1626. 
7. the important remarks of Restori, Ztft. XXX, p. 231, and 

Contra Valor no hay Desdicha, y Primero Rey de Persia. — 
KXIII; Dif. XXXI; H. III., i; Acad. VI. S. (Brit. Mus., 
md J. R. C). According to Fajardo, the alternative title is 
Ziro, Hijo de la Pcrra, and Ciro y Arpago. Medel mentions an 
monymous play called Zirro. v. Lope. ed. Hartzenbusch, IV, 
3. xxxi : and Ztft. XXIII, 451. This is one of the latest comedias 
:hat Lope wrote, as is showai by the concluding verses: 

Lope : Y aqui dio fin el Poeta, 

(que aun vive para serviros), etc. 

The play Ciro y Arpago was represented by Pedro de la Rosa 
in the gallinera o( the Retiro on August 9, 1636. Mod. Lang. ^ , 

Rev., II, 336. _ ^ ,^Z 

""Cordobes (ElJValeroso, Pedro Carbonero. — P^ ; XIV ; MS. ^ oh^n^ 

mtog. Cat. B. N. No. 714, signed at Ocana, on August 26, ^' , \ '^■ 

1603, ^\tX\ censiiras of 1603, 1604, 16 10 and 16 17. Lope calls 

it a Tragi-coinedia. « Representola [Antonio] Granados, y el 

Pedro Carbonero famosamente. » Acad. XI. From the reparlo 

we learn that the part of Cerbin was taken by Benavides, and 

that of El Rey by Antonio Villegas. H f^, /f^^, )-. -^7/ 

Corona (La) de Ungria, y la injusta Venganza. — MS. copy 
(Duran) Cat. B. N. No. 716. The autograph, dated December 
23, 1633, is said bv Duran to be in the Archives of the Marquis 
of Astorga. In 1628 the antor de comedias j nan Jeronimo Almella 
owned a comedia entitled La Corona de Ungria. Bull. Hisp. 



Mil (1906), 376 and ioU. Perhaps 1633 is a mis-reading for 
1623 in the autograph. J^<^- A/^ jT^ ^ Oy 

Corona (La) derribada y Vara de Aloises. — Acad. III. MS. 
copy (Parma), of the beginning of the xvii century, and bears 
the alternative title La Milagrosa Elecion. See Restori, p. 19: 
Academia, III, p. Ixxiv. Doubtful. It is by Godinez ? 

Corona (La) merecida. — P.; XIV; H. I., 227; the autog. 
MS. dated 1603 existed in the Astorga (Sessa) Archives; 
Acad. VIII. « Representola Granados ». On the two versions of 
the legend of Maria Coronel, v. Restori, Ztjt. XXVI, 515. The 
play has no figura del donayre. 

Cortes (El) Galan. — v. La Nina de Plata. 

*Cortesano (El) en su Aldea. — P. ; (El Cortesano embus- 
tero?). MS. copy (Parma). Restori, p. 20, and Ztjt. XXVI, 
515. Restori thinks that the Parma MS., El Cortes ano emhii sj 
may be the j) lay of Lope, that is supposed to be lost.VIt is found- 
ed on a novel of Ciuzio Giraldi, Ecatommiti^~Deca. decima, 
No. 5, according to Restori, who shows that this is the same 
play as La Ginohesa of the first list of the Peregrhw. v. Genova ncl 

Teatro classico di Spagna, pp. 30-3. 2,,_-^ " ~ ->,^ /^ 

:!ofteT;iT'(I:ayiie Espaiia. — P^; XII; MS. copy (Parma)/ 

Creacion (La) del Mundo y primera Culpa del Hombre. — 
XXIV, Madrid, 1640 (according to Nicolas Antonio); Coinedias 
nuevas, etc. Amsterdam, 1726; S. (Arl., Brit. Mus. ; J. R. C; 
H. A. R. and Vienna). At Parma there is an ancient siielta and 
one, Madrid, Antonio Sanz, 1744. Restori, Z///,XXII, 116. 

Crueldades de Ncron. — See Roma abrasada. 

Cuando Lope quiere, quiere. — See El Casligo sin Vengan~a, 

Cuentas (Las) del Gran Capitan. — XXIII ; Acad. XI. « This 
play, which certainly belongs to the closing years of the poet's 
life, was written to flatter his patron the Duke of Sessa, a de- 
scendant of the immortal conqueror of Naples. » M. y P. v. 
Restori, Ztjt. XXX, 229, who also prints an interesting romance 
on the Great Captain. 


Cuerdo (El) en su Casa. — P.^ ; VI; H. Ill, 44.3. 

Cuerdo (El) loco, y Veneno saludable. — P. ; P-. ; XIV ; MS. 
autog. (Holknd), dated November 11, 1602; MS. copy (Duran) 
in Cat. B. N. No. 1750. « Representola Granados. « See also 
No. 3438, and post, El Veneno saludable. This play has no figiira 
del donayre. ^ f'^ , /fd, V,^ . ^^^. 


Dama (La) boba. — P^ ; IX; H. I., 297 ; S. (J. R. C. , La 
Dama discreta). MS. autog. (Osuna), dated at Madrid, April 28, 
1613. Cat. B. N. No. 810; Rocamora, No. 450. At the end 
Lope calls it La Coinedia boba. 

Dama (La) Comendador. — See Mas pueden Zelos que Amor. 

*Dama (La) desagraviada. — P. 

*Dama (La) Estudiante. — P. 

Dama (La) melindrosa. — H.; S. (Brit. Mus. and J. R. C). 
See Los MeUndres de Belisa. 

David perseguido, y Montesde Gelboe. — H. ; S. (J. R. C. 
and Vienna). There are many sueltas of this play : I have one 
«^ En Barcelona, por Juan Serra y Nadal », without date ; there 
are others of Madrid, Antonio Sanz, 1745 and Madrid 1756 
and 1 79 1 in the Brit. Mus. Duran's MS. copy is entitled : 
Persecuciones de David, v. Ztft. XXII, 122. Printed in Acad. 

De Cosario a Cosario. — XIX; H. III., 483 ; a MS. copy, 
abridged for representation is noted in Cat. B. N. No. 3740, 
MS. copy (Parma). There is an edition of this play: En Bruselas, 
Huberto Antonio Velpio, 1649. Salva, I, p. 548. 

De cuando aca nos vino. — P\ ; XXIV, Zaragoza, 1633; 
H . III., 199 ; written by Lope and Fr. Alonso Remon in collab- 
oration. A so-called suelta is merely a fragment of the above 
Parte XXIV. Rocamora, No. 457. MS. (Osuna). Cat. B. N. 
No. 825. The first and third Acts are in Lope's hand, the 


second in that of Remon . The play was represented in Perpi- 
gnan sometime after March, 163 1, by the company of Pedro de 
Valdes. Morel-Fatio. CaJderon: Revue Critique, etc., p. 65. The 
comedia is there called : De (juando aca nos viuo \ Gradas de San 
Felipe. Moreto's De fucra vendrd is taken from this play, 

*De donde diere. — P-. 

Defensa (La) en la Verdad. — H. ; M. (anon.); S. (J. R. C. ; 
Duran ; Salva; Holland and Parma). According to the suelta: 
« Representola Olmedo. » 

Defensor (El) de las Mugeres. — (See El Premio del bien 

*Degollado (El) lingido. — P. 

Del mal lo menos. — P-. ; IX. In addition to Lope's comedia 
there is a play of this title by Tirso de Molina (more generally 
called Averigiklo Vargas : Del mal el menos), and another by 
Antonio de Cardona, Escog. XXXVIII. There is a suelta which 
seems to have formed part of the volume: En Brusselas, Huberto 
Antonio Velpio, 1649. Salva, I, 548. 

Del Monte sale quien el Monte quema. — H. ; M. ; MS. autog. 
Cat. B. N. No. 848 (Osuna), dated October 20, 1627, with 
licenses as late as 1636. Rocamora, No. 461. t/^^.«V /K JZ^^^ 

Desconfiado (El). — P-. ; XIII ; « Representola Ortiz, famoso 
Representante ». 

Descubrimiento (El) de las Batuecas. — (See El Sol en el 
Nuevo Muudo'). 

Desden (El) vengado. — P-. ; MS. autog. (Osuna), Cat. B. 
N. No. 871, signed by Lope at Madrid, August 4, 16 17, with 
licenses of that year and of 1622. Rocamora, No. 466. There is a 
play of this title in Escog. XVI, witbliojas.ZojriHa's name attach- 
ed to it. This comedia was probably written by Lope for the 
Valencianos, autores dc comedias. It was in the possession of Juan 
Jeronimo Almella in 1628. Bull. Hisp. VIII, 376. Cf. Bandello, 
Part III, Nov. XVII. 

Desdichada(La)Estefania. — XII. Also printed in Doce Comedias 


nvevas de Lope y otros , Ba.rcQ[ona., 1630 (Barr., p. 707), with its 
second part : El Pleito por la Honra, 6 el Valor de Feruandico : 
see Acad. VIII. In the closing lines the play is called La Desdi- 
chada inocente; according to Barrera it is also known as Los Cas- 
tros V Andradas. The same story is used by Guevara in Los Zelos 
hasla los Cielos. S. (J. R. C). See also, as belonging to this series 
of plays, Servir con mala Estrella. The story of Fernan Ruiz de 
Castro and his wife Estefimia, daughter of the Rmperor 
Alfonso VII, is related by Prudencio de Sandoval, Cronica del 
Emperador Alfonso VII, Madrid, 1600; and by Arze Solorzcno, 
Trashed ias de Amor, Madrid, 1607. See Academy, VIII, and Ztft. 
XXVI, 513, where Restori, also cites Flores, Reinas Catolicas, I, 

*Desdichado (El). — P. 

*Despenado(El). — P. (El Principe despeiiado, in Parte XII ?) 
This play has no figura del donayre. 

Despertar a quien duerme. — P-.; VIII. According to Fajardo 
it is also in Parte XXVI, extravagante, Zaragoza, 1645; H. Ill, 
345. MS. copy (Parma). The first and second Acts are imitated 
by Moreto in La misma Conciencia acitsa (Schaeffer). 

Desposorio (El) encubierto. — P-.; XIII. This play has no 
Hgura del donayre. « Representola Vergara » . 

Despreciada (La) Querida. — XXIV, Madrid, 1640, (accord- 
ing to Nicolas Antonio) ; Dif. XXVIII; « Representola Antonio 
de Prado ». H. II., 327. MS. copy (Osuna), dated 1628. But 
Hartzenbusch states that the true author of this comedia is Juan 
Bautista de Villegas, whose autograph of Act III (dated Valencia, 
May 15, 1621) was said to be in Duran's collection. [Both MSS. 
are now in the Bib. Nac. {Cat. No. 888)J. See also La Barrera^ 
Cat., p. 495. The suelta in the Brit. Mus. is a fragment of Dif. 

Desprecio (El) agradecido. — XXV; Vega del P. ; Escog. 
XXXIX, with the title La Dicha por el Desprecio, and ascribed to 
Matos Fragoso ; H. II., p. 251. Fajardo asserts that it was in 


Parte v., published at Seville. It is a late play, written probably 
after 1633, as it refers {Fega del P. fol. 153) to the Parte ven- 
tiseisde Lope, one oi \host c2\\qA extravagantes . 

Devocion (La) del Rosario. — MS. copy (Duran), in Cat. B. 
N. No. §99, ascribed to Lope, and different from Diamante's 
play of the same title. The last line of the MS. is : « Y ansi os lo 
ofrece Velarde. » = Velardo (?) A^Q^~ M jl^ ?<i 

Di Mentira, sacaras Verdad. — XXII, Zaragoza, 1630. S. (J. 
R. C). La Barrera's conjecture (Cn/^/o^o, p. 681) that this may 
be the play of Matias de los Reyes, is correct, for at the end we 
read : 

« Aqueste es el fm que dio 
a la fabula Batilo. » 

BaliJo is the poetical pseudonym of Matias de los Reyes, 
■t Diablo (El) Nino. — M. ; H. ; S. (Duran ; Holland). Chorley 
possessed a sueha of this play entitled El Nino Diablo. The Osuna 
MS. El Nino Diablo, Cat. B. N. No. 2308, ascribed to Lope de 
Vega (Rocamora, No. 923) is doubtless by Luis Velez, who 
uses his poetical name Lauro, at the end of the play, and promises 
a second part. 

Diablos son Mugeres. — (See Los Milagros del Desprecio). 

Dicha (El) del Forastero. — P\ ; (see La Portngmsd). This 
comedia was in the possession of the autor de comedias Andres de 
la Vega, in November, 1632. Perez Pastor, Niievos Datos, 
p. 226. 

*Dicha (La) mueno su Dueno. — P-. 

Dichoso (El) en Zaragoza. — (See La Merced en el Cdstigo.) 

Dichoso (El) Patricida. — H. ; (see El Animal Profeta). 

*Difunta (La) Pleyteada. P. According to La Barrera, the 
play of this title in Escog. XX, to judge by its style, may well 
be Lope's. It is there ascribed to Rojas; but, as Chorley observes, 
in his authentic plays Rojas introduces a gracioso. There is no 
such character in the present comedia, which is probably a re- 


cast of Lope's piece. See the very interesting study : La dijunla 
pkiteada by D^ Maria Goyri de Menendez Pidal, Madrid, 1909. 
Schaeffer (II, 122) ascribes the above play in Escoi^. XX, to 

Dineros son Calidad. — XXIV, Zaragoza, 1633; Escog. VI, 
Zaragoza, 1653; it is also ascribed to Cancer in a siiella; MS. 
copy (Osuna), Cat. B. N. No. 928; Rocamora, No. 486. H. III., 
59. S. (Brit. Mus. ; J. R. C. ; Parma; H. A. R.). The play is 
unquestionably Lope's, though portions show the hand of an- 
other. It has been imitated by Cancer, Zabaleta and Martinez in 
La Ra{oii hace Dichosos and by Vera Ordonez and Jose de Ribera 
in Mcrccer dc la Forhuia Ensal:ia)nie}itos dichosos, and suggested 
toTirso de Molina the scene of the marble statue of the Comcn- 
dador in El Biirlador dc Scvilla. Schaeffer, I, 143 ; v. also : 
Menendez y Pelayo, Acadcmia, IX, p. clxv. Dineros son calidad 
was represented by Felipe Sanchez Echeverria, in September 1623 . 
Mod. Lang. Rev. (1907), p. 338. 
^ Dios hace Justicia a todos. — M.; H. ; doubtful. The Osuna 
MS. is ascribed to Lope, according to Rocamora, No. 487 : in 
the Cat. B. N. No. 929, the comedia is ascribed (by Sr^Paz ?) 
to D. Francisco de Villegas, and says that it is in the hand of 
Matos Fragoso. Escog. XLII, as by Villegas, to whom, in the 
opinion of La Barrera it belongs. Schaeffer suggests that Villegas 
may have imitated Lope's play (II, 225). 

Dios haze Reyes (y los Hombres las Leyes). — XXIII. S. (J. 
R. C). This play has no figura del donayre, but see note on 
p. 132. The play was written before July, 1621. v. Lifeof Lope, 
p. 294, and n . 

Discordia (La) en los Casados. — H. (anon.); MS. autog. 
(Osuna), Cat. B. N. No. 933, dated Madrid, August 2, 16 11, 
with licenses ofFr. Alonso Remon to represent in Madrid, 161 5, 
and others in Granada, 161 5 and Lisboa, 1^18. Rocamora, 
No. 488. Printed anonymously, t/l^taj^ /V. Jl ^ /^S~ 

Discreta (La) Enamorada. — P\; Escog. Ill; H. I., 155; MS. 


(modern), Cat. B. N. No. 934. Copy (dated 1735) Parma. This 
play is one of the sources of MoHere's Ecole des Maris. S. (Hol- 
land). The play is founded on Boccaccio, Decamenvie, III. 3. It 
was imitated by Matos Fragoso in his La Tia dc la Menor (Schaef- 
fer). The siidla in the Brit. Mus. is a fragment of Escog. III., 

Discreta (La) Venganza. — XX; Escog. XXXIX, where it is 
ascribed to Moreto. H. III., 303. 

Divina (La) Vencedora. — P.; MS. copy (Duran), Act III 
only. Cat. B. N. No. 947. Another MS. copy (of first two Acts 
onlv) dated 1624, at Parma. The title of the Parma MS. is: 
La dibina Beiicedora y famosos Hechos de Medeliii Gallinato y Toina 
dc Moron. Restori, p. 21. 

Divino (El) Africano, San Agustin. — P-. San Augustin ; 
XVIII ; Acad. IV; MS. copy (Parma), v. Ztfi. XXII, 275. 

Domine (El) Lucas. — P. ; XVII ; « Representola Melchor de 
Villalba ». H. I., 43. MS. copy (Parma). This play, written 
at Alba de Tormes, as the dedication states, is no later than 
1595. Chorley does not think that the character of Decio, capi- 
gorron, can fairly be called a figiird del donayre. See Lope's 
Domine Lucas and related Plays by G. T. Northup, Mod. Lang. 
Rev. (1909), 462. 

Donaires (Los) de Matico. — P. (El Matico). — I. 

Don Beltrande Aragon. — P-. S. (Holland). Sec Las Miidan- 
:;as de la For tuna. 

4 Donde no esta su Dueiio esta su Duelo. — Lope (?) This 
corned ia is attributed to Lope in Dif. XXIX, Huesca, 1634 
(foliation $8-81), and likewise in a suelta in the Bib. Nac. See 
my article in Mod. Lang. Rev. (1906), p. 106. On this siielta 
we read : « Representola Prado. » In another suelta it is ascrib- 
ed to Guillen de Castro, v. SchaefFer, I, 230, and Stiefel in 
Zifl. XXX, 551. It was represented before the king by Hernan 
Sanchez de Vargas on September 3, 1623. v. Mod. Lang. Rev. 
(1907), pp. 331 and 338. SchaefFer is not sure that the play is 


Don Diego de Noche. ~ P-. ; this comedia in a MS. ascribed 
to Lope was in the possession of the aiUor de comedias Juan jero- 
nimo Ahnella in Valencia in 1628. v. H. Merim^e, in Bidl. 
Hisp. (1906), p. 378. In Escoo. VII, this play is ascribed to D. 
Francisco de Rojas. 

• Don Gil de la Mancha. — Almost certainly not by Lope ; H. 
cites it as by Rojas, to whom it is also attributed by a MS. in the 
Bib. Nac. Cat. No. 983. 

Don Gonzalo de Cordoba. — XXIV, Zaragoza, 1641 ; it 
appears in the Vega del P. as La mayor Vitoria de Alemania de 
D. Gojigalo de Cordoiia. (See La niieva Victoria de D. Gonzalo de 
Cordoba.^ The victory was won in 1622, and the autog. MS. 
(Osuna) is dated October 8, of that year. Cat. B. N.No. 2409. 

Don Juan de Austria en Flandes. — MS. copy (Parma), with 
a license of October 14, 1606. v. Restori, Una Colle^. 22-23; 
Acad. XII . This comedia was represented by Alonso de Heredia 
sometime before July 29, 1604. v. Nuevos Datos, 354; and 
the same actor bought it in August 1605 (BuU. Hisp. 1907, 
372) paying 350 reals for 4 comedias : El Rey Alfonso el Cas- 
io, La Fiindacion de la Orden de la Trinidad, El Rey por su Inge- 
nio and Don Juan de Austria en Flandes. Roque de Figueroa 
represented Don Juan de Austria en Flatides before the king on 
March 28, 1628. Mod. Lang. Rev. (1907), 339; ^tfl. XXXI, 
498. This comedia is entirely different from Montalvan's El 
Senor D. Juan de Austria. 

Don Juan de Castro, Parts I and 11. — P% ; XIX ; (Parte II. 
has the alternative title : El Ha^er hien a los Muertos) ; H . IV., 373 
and 395. The second part of this comedia also appears in Parte 
XXV, with the title Las Aventuras de don Juan de Alar cos. T\\tvc\s 
no change in the play except two lines at the end and the changing 
of the name Clarinda to Lucinda.iMS. copy (Parma) of Parts I and 
II ; here the second part is also called Don Juan de Alarcos. v. 
Schaeffer, I, 141. The same subject is better treated in El mejor 
Amigo el muerto, by Belmonte, Rojas and Calderon. Schaeffer, 
II, 283. 


Don Lope de Cardona. — P^ ; X ; MS. copy (Osuna and 
Parma). Cat. B. N. No. 985; Rocamora, No. 506. It is called 
at the end: La 'nijnsta Pcrscciicion de Don Lope de Cardona. It is 
the source of Shirley's The young Admiral, v . Stiefel, in Herri/s 
Archil' (i^oj). 

> Don Manuel de Souza. — M. (see El Naufragio prodigioso). 
Cf. Tirsode Molina's Escarniicntos para el Cuerdo. v. Schack, II, 
588. According to Fajardo this play is found in a volume of 
coniedias printed at Seville. 

Doncella (La) Teodor. — P\ ; IX; S. (Brit. Mus. and J . R. 
C). MS. autog. (Duran) without date. Cat. B.N. No. 996. 
[I doubt that this is an autograph. It is unsigned.] MS. copy 

Doncella, Viuda y Casada. — M. ; S. (Brit. Mus. and J. R. 
C.) : « de un Ingenio ». See Viuda, Casada, y Doncella. 

Doncellas (Las) de Simancas. — H. ; S. (Brit. Mus. ; H. A. 
R.). Acad. VII. This play has no figura del donayre. See Schaef- 
fer, I, 184. 

Doiia Ines de Castro. — M. ; H. ; P-. Doubtful. The play in 
Parte Hide Lope y otros is by Mejia de la Cerda. 
■f Dos Agravios sin Ofensa. — M.; H. ; S. (J. R. C. ; Duran). 
According to Fajardo this appeared in Parte XXVI, extravagante, 
Zaragoza, 16.^5. Chorley thinks that this play can scarcely be by 
Lope. In the closing lines the poet styles himself un ingenio pri- 
nieri^o. A suelta entitled Dos Agravios sin Ofensa was in the 
Osuna collection, with Caspar de Alarcon's name attached to it, 
and he may, in Chorley's opinion be the real author. [No dra- 
matic writer with this name is known. He was probably the 
copyist, or perhaps an aiitor de coined ias\. 

Dos (Las) Bandoleras v Fundacion de la Santa Hermandad de 
Toledo. — This play was first printed in Part II of Do:^e Conie- 
dias nncvas de h^pe de Vega y otros. Barcelona, 1630 (La Bar- 
rera, p. 707) ; Acad. IX. Fajardo gives the title as Las Hernianas 
Bandoleras. « Representola Avcndaiio «. Ztft. XXVIII, 231. See 
Las Lier mantis Bandoleras . 


Dos (Las) Estrellas trocadas y Ramilletes de Madrid. — P'. ; 
XI; H., IV., 303. 

Dos Soldados (Los) de Cristo. — (See Barlan y Josafa.^ XXIV, 
Zaragoza, 1641. 

V Duque de Alba (El) en Paris. — This play was represented 
by Diego Lopez de Alcaraz on February 29, 1606, Nnevos Datos, 
p. 94; and at Shrovetide in 1628 by Antonio de Prado. Mod. 
Lang. Rev. (1907), 339 : it seems to be lost. 

*buque(El) de Osuna. — P^ The MS. (B. N. Cat. No. 
2869). El Renu'dio en el E?tgaho (El Diiqne de Osiind) can hardly 
be this play : the second part called Los Hechos del Duque de 
Osuna (No. 1479) shows that it is a « comedia burlesca ». 

Duque (El) de Verganza. — P-. ; MS. copy (Holland). See 
El mas gnlan Portugues : this play also bears the alternative 
title Injustos Celos. « La Tragedia del Duque de Verganza by Alvar 
Cubillo de Aragon has no relation whatever with this play 
of Lope ». (M. y P.) : v. also Antologia de Poelas I'lricos, XII, 
p. 296 , n. \^ ^^ 

■"T^uquesa (La) de Bretana. — See Mas vakis vos, Antona, que 
la Corte tod a . 

*Duques (Los) de Saboya. — P- . This play was still in exist- 
ence in the xviii'^ century, as it is mentioned in the catalogues 
of Medel and Huerta. 

*E1 no esperar a Maiiana. — P-. 

El Saber por no saber, y Vida de San Julian dc Alcahi. - 

El Saber puede daiiar. — XXIII; H. III., 113. 

EUo dira. — P^ ; XII. MS. copy (Parma). 

Embaxador fingido (El) — M . ; H. (see Acertar errando). 

Embustes (Los) de Zelauro. — P. (Enredos de Zelauro) ; W ; 
H. I., 89. This play has no fi gum del donayre. 



Embustes (Los) de Fabia. — P. ; P^ ; XXV. MS. copy (Parma). 
This play has no fii^ura del donayre. Chorley notes that the text 
of Act III is so corrupt as to be ahiiost unintclUgible. Some 
scenes appear to be missing, while others are introduced awk- 
wardly. The versification and general style also indicate that this 
is an early play, 

Emperador (El) perseguido. — (See El gran Diique de Mos- 

Encomienda (La) bien guardada. — (See La Buena Giiarda.^ 
" Enemigo (El) enganado. — P. ; H. ; S. (Duran) ; Dif. XXXII, 
Zaragoza, 1640; MS. copy (Duran), Cat. B. N. No. 1090. This 
coiuedia has no Jig lira del donayre : Chorley considers it to be an 
early play. The siiel la in the Brit. Mus. is a fragment (pp. 164- 
208) oiDif. XXXII : the MS. in the Bib. Nac. was copied by 
Duran from a suelta in possession of D. Manuel Casal. 

Enemigos (Los) en Casa. — P\ ; XII. MS. copy (Parma). 
- Engaiiar a quien engana. — H. ; Osuna, Tomo 132; S. 
(Duran); MS. copy (Osuna), Cat. B. N. No. 420. The style of 
this play is so extravagant and obscure that Chorley inclines to 
reject the ascription to Lope. 

- Engaiio (El) en la Verdad. — P. ; H. ; S. (J. R. C. ; Duran; 
Osuna, Tomo 131.) « Representola Vallejo. » MS. copy 
(Osuna), Cat. B. N. No. 420. Rocamora registers but one 
Osuna MS. oi El Engano en la Verdad, in his catalogue, No. 
528, in which it is ascribed to Lope. The MS. No. 420 is the 
same text as the sueltas. There seem, however, to have been two 
Osuna MSS. with the same title. The second play, entirely dif- 
ferent from the first is found in B. N. Cat. No. 1103. This, it 
appears, is signed by Jacinto Lopez, who was an actor and theat- 
rical manager about 1636. — The first play has a Jigura del 
' Engaiio (El) venturoso. — Mes. Rom. Doubtful. 

En la mayor Lealtad mayor Agravio, y Favores del Cielo en 
Portugal. H. ; S. (J. R. C.and Osuna), According to La Barrera 


this play was printed in Parte XXII, Zaragoza, 1630, under the 
title La Lealtad en el Agravio (fols. 195-217). It figures in P. as 
Las Qtiinas de Portugal : with this title there is also a conieilia 
by Tirso de Molina. 

En los Indicios la Culpa. — XXII, Zaragoza, 1630. La Bar- 
rera (Crt/. p. 435, col. i), says that a MS. apparently an auto- 
graph (dated 1620), of this coiiiaiia, formerly existed in the 
Library of the Duke of Osuna. It must have disappeared before 
1882, the date of Rocamora's Catalogue, for he does not men- 
tion it. There is a MS. copy at Parma. The suelta in the Brit. 
Mus. is a fragment of XXII. Zaragoza, 1630, ff. 217-238. 

Enmendar un Daiio a otro. — H. ; S. (Brit. Mus. ; Arl. ; Duran 
and Parma). MS. copy (Duran) Cat. B. N. No. 1109. This play 
is so much in the manner of Calderon's school that Chorley 
doubts the accuracy of the ascription to Lope. 

Enredos (Los) de Benito. — GL. 1617, where it is anony- 
mous. Its proper title is Las Biirlas y Enredos de Benito . See the 
note to Burlas de Amor. 

Enredos (Los) de Celauro. — (See Los Einbustes de Zelauro.) 

Envidia (La) de la Nobleza. — XXIII. Acad. XL (See 
Cegries y Bencerrages .^ At the end it is called: Prision de los 
Ben:;errages . Menendez y Pelayo seems to have some doubt that 
La Envidia de la Noble:{a is the same as Cegries y Bencerragcs . 
The latter is cited in P . , and must be an early play . Menendez 
says, speaking o{ La Envidia delaNol)le:ia: « Its style and versifi- 
cation, and especially the abundance of decimas, induce me to 
believe that it is much later and that it belongs to the poet's later 
years. » Academy, Vol. XI. From the forms of the Arabic names, 
Restori thinks this comedia (La Envidia) later than 1608, the 
date of the appearance of Bermudez de Pedraza's Aniiguedad 
y Excelencias de Granada, Madrid, Luys Sanchez, 1608 . Zeiischrift, 
XXX, 216. 

*Envidia (La) y la Privanza. — P. (See La Forluna niere- 
cida . ) 


Esclava(I,a)dcsu Galan. — XXV; H.IL, ^87.S.(Brit. Mus. ; 
J . R . C . ; H . A . R . ) . There is a re-cast of this called La Escla- 
va par Amor, MS. in the Bib. Nac. Cat. No. 1150. There is 
a modern edition of this play by A. Kressner, Leipzig, 1889. 

'^Esclava (La) de su Hijo. — P'. (See El Pastor Soldado.) 
Juan Jeronimo de A\me\h, alitor decomedias, possessed in 1628, 
in Valencia, a coniedia entitled : La Esclava de su Hijo. Bull. 
Hisp. VIII, 376, fF. J^j^- /v. JI, ''^A 

Esclavo (El) de Roma. — P. ; VIII ; Acad. VI. MS. copy 
(Parma). This pla}' has wo fignra del donayrc . The Andronio 
is ihc Androcks of Aulus Gellius. « La comedia vale poco. » 
M. yP. 

Esclavo (El) de su Hijo (El Azote de su Patria). — This play, 
attributed to Moreto, and published under his name in his Ter- 
cera Parte, Madrid, 1681, and in Escog. XXXI\\ Schaeffer, 
II, 183, ascribes to Lope de Vega, as it is written wholly in 
Lope's style. 

— Esclavo (El) de Venecia y Amante de su Hermana. — - Doubt- 
ful. MS. of first half of the xvii century . Restori, Una Colle^ione, 
p. 24. One of the personages in the cast : Selin, Gran Turco 
appears in Lope's coniedia. La Santa Liga (La Batalla Naval). 
Barrera notes an anonymous play El Esclavo en Venecia, a suelta (?), 
and probably the above play. 

-Esclavo (El) fingido. — M. ; H. ; Tomo 132 (Osuna) taken 
from a volume oi coniedias (Ji. 171 et seq .^ by Lope and others- 
printed at Seville ; MS. copy in the Library of La Barrera, now 
in Bib. Nac. Cat. No. 11 60. 

*Esclavo (El) por su Gusto. — P. La Barrera thinks this may 
be the same as the preceding, but Chorley doubts it. 

Esclavos (Los) de Argel. — (See Los Cautivos de Argel.^ 

Esc]avos(Los) libres. — P. ; XIII. The Moor Zulema, though 
valiant, has the part oia gracioso. « La hizo Granados, gallardo, 
galan, gcntil hombre, y de la tierradelPeregrino ». EliPercgrino, 
fol. 263. 


Escolastica (La) celosa. — P. ; I.; MS. copy Cat. B. N. No. 
1 1 66. This play has no figura del donayre. 

*Espada (La) pretendida. — P-. 

Espanola (La) de Florencia. — Ascribed to Caldcron in Esco- 
gidas XIL Stiefel, Ztft., XXXVI, 437, attributes it to Lope. See 
above, under Bur las Vcvas (3). 

Espaiioles (Los) en Flandes. — XIII ; Acad. XII . « Represen- 
tola Riquehne » v. Ztft., XXXI, 497. 

*Espiritu (El) fingido . — P . 

Estrella (La) de Sevilla. — H.; S. (J. R. C. and Holland; < ^^^^ ^ ^ 
H. I., 137); published in Boston, 18^2, the first Spanish co;y/<?^/rt ^^ y^c^^ <^^v»^ 
printed in the United States ; Acad. IX. The snelta in the Bib. j S-^^y^^-^^ 7 ' 
Nac. and the one which Salva possessed (Catdlogo, I, p. 548) //^<^ Joi.-^ 
are really portions of an old volume of cow^^/a^ and are paged i'Pa^i^ So\rr^^^ 
ff. 96-120. Stiefel believes that this fragment may be a part of /-^-z/J^^r^ 

Extravagantes XXIX. Ztjt. XXX, 554. There is, besides, at the dbo c^ ^'^ ^' 

Bib. Palatina at Parma a genuine siielta of the close of the xvii ^i^'^'-^' 

century, v. Ztft. XXVIII, 231: the only copy in the Brit. Mus. 
is also a genuine snelta, which Chorley thinks was printed at 
Seville (?) about 1650. The MS. of Za Estrella de Sevilla in the 
Imp . Library at Vienna is a modern copy of the suella, and, 
hence, useless for the construction of a better text. 

Excelente (La) Portuguesa, Dona Beatriz de Silva. (See El 
Milagro por los Zelos.) 

_ Exemplo (El) de Casadas, y Prueba de la Paciencia. — P-, 
Printed in Flor de Coiiiedias de Espana de diferentes autores. Oiiinta 
Parte, Alcala, 161 5 ; Barcelona, 1616. Chorley suspects that this 
play, though not mentioned in P., may have been written 
before the close of the sixteenth century. The absence of the 
figtira del donayre and (still more) the style tend to confirm the 
suspicion. Chorley notes the piece as a very good one of that 
period. Schaeffer (I, 170) thinks the play was probably printed 
from a rough draft of Lope's. It is the story of Griselda, and is 
founded on Boccaccio's Decamerone, X,. lo. 


Fabula (La) de Perseo. — P^ ; XM ; (El Perseo). S. entitled 
La Bella Andromeda {]. R. C; Holland and Vienna); Acad. \l. 

Famosas(Las)Asturianas. — P\ ; XVIII; MS. copy (Parma); 
H. III., 465; Acad. VII. V. Ztft. XXVI, 490. 

Favor (El) agradecido. — P. ; XV; « Representola Vcrgara ». 
MS. aiitog^-(?); First Act only (Duran), dated at Alba de 
Tormes, December 19, 1593, Cat. B. N. No. i24i.V- ^ft, \V 

*Faxardos (Los). — P. This may be El Priwcr Faxardo, 
printed in Parte VII, but Chorley doubts it. 

Felisarda (La). — XVI. This play Lope dedicated to D. Juan 
Antonio de Vera y Zuniga, Conde de la Roca, the falsan'o of 
the Centon Epistolario. 

Ferias (Las) de Madrid. — P. ; II. MS. copy (Parma). This 
play has no figura del donay)x. 

±. Fernan Mendez Pinto. — H. (Parts I and II). S. (J. R. C. 
and Holland). The author of this play is Antonio Enriquez 
Gomez who, in the Prologue to El Sanson Na:^arcno, Rouen, 
1652, gives a list of his comedias, and observes that — « a 
todas ellas, 6 las mas que imprimen en Sevilla, les dan los 
impresores el titulo que quieren, y el dueiio que se les antoja. » 
Among these are four pieces which have been wrongly ascribed 
to Lope : (i) El Cardenal Albornoz (Two Parts) ; (2) Fernan 
Mendez Pinto (Two Parts) : (3) Las Soberbias de Nembrot; (4) 
El Trono de Salomon. 

Fe (La) rompida. — P. ; P-. ; IV. This pla}' has no figura del 

Fianza (La) satisfecha. — H. ; S. (Brit. Mus. ; J. R. C. ; Hol- 
land ; Parma (Madrid, Antonio Sanz, 1745); H. A. R. \'allado- 
lid, Alonsodel Riego). Acad. V. MS. copy Cat. B. N. No. 1265, 
attributed to Calderon. This is the Osuna MS. In Rocamora's 
Cat. No. 583, it is ascribed to Lope. v. Ztft. XXII, 282. 

Fingido (Lo) verdadero, San Gincs Representante. — XVI ; 


lead. IV. In the closing verses the akennitive title is given as 
7 mejor Representante. A comedia with the same theme and also 
ntitled Lo Fingido verdadero, is printed in Escog. XXIX, as the 
^ork of three Itigenios (Cancer, Martinez de Meneses and 
osete Nino). It is an independent piece, though the second 
;ene of Act. Ill is derived from Lope's penultimate scene, 
'his play has no figura del donayrc. Salva (I. p. 623) gives the 
tie ot his suelta as El mejor Representante, 6 Vida, Muerte y 
iartirio de S. Gines. It is ascribed to Lope. 

*Firmeza (La) de Leonarda. — P. 

Firmeza (La) en la Desdicha, y Agraviado leal. — P-. ; XII. 
IS. copy (Farina). 

Flores (Las) de don Juan, y Rico y Pobre trocados. — P-.; 
Ill; H. I., 409; MS. copy (Parma; Osuna), Cat. B. N. No. 
307; Rocamora, No. 591. « Bellisima parabola dramatica ». 
L yP. This play is imitated by the brothers Figueroa in Pohreza 
Imor, y Forluna, Escog. XIII. Agustin de Rojas, Viage entrete- 
ido, (1603) p. 97, mentions a play Los Amigos trocados. 

Fortuna (La) del Cielo. — (See En la mayor Lealtad mayor 

Fortuna (La) merecida. — XI; Acad. IX. MS. copy (Parma) 
nd Cat. B. N. No. 1318. According to the closing verses this is 
he First Part only. [Restori thinks that La Envidia y la Pri- 
'an:(a may well be the Second Part of this play. La Fortuna 
nerecida is not mentioned in P\ (1618) though Parte XI appear- 
d in the same year. With the same title and also with the 
.Iternative uileoiMerccer para alca}t:{arx.heve. is a play by Moreto 
;Parte III, Madrid, 1681), v. Ztft. XXVIII, 233. Restori says : 
( Lope finishes his play promising a second part. This should 
;reat of the fall and murder of the famous privado Alvar Nuiiez de 
Dsorio, and from the concluding verses it appears that the title 
should be La Etieria de la Envidia or something similar. Now, 
imong the inedited comedias of Lope, or those N\hich have 
been considered lost down to the present date, is La Envidia 
y la Privan^a, which may well be this Second Part. » 



Francesilla (La). — P. ; XIII. « Representola el famoso Rios ». 
In the dedication to « el licenciado Juan Perez [de MontalvanJ 
en la Universidad de Alcala », Lope states that this was the 
first play in which the Jii^iirn del donayre was introduced, adding: 
« quando yo la escriui no auia nacido [MontalvanJ. » Montalvan 
was born in 1602. Speaking generally, those of Lope's pieces 
in whicii the said fi^iira does not appear may perhaps be taken 
as being written earlier than 1594, and possibly even a good 
deal earlier : for in the Maestro dc daiiiar, composed in 1594, 
the character of the servant Belardo suggests the gracioso type. 
At the same time, though no doubt i\\t figiira del donayre appears 
in most of Lope's comedias subsequent to La Francesilla^ there 
are notable exceptions in the case of plays dealing with serious 
or historical themes. Among such pieces is Las Doncellas de 
Siniancas which, judging by the style, must belong to a more 
recent period, and El Basiardo Miidarra, which was signed in 
1 612. On the other hand, the comic character appears in Los 
Chaves de Fillalba(x.he MS. of which is dated 1599), and again 
in El Arenal de Sevilla (which is assigned to 1601). For the 
circumstances attending the production of Dios ha~e. Reyes, and 
for the question of the figitra del doiiaxre in general, see the 
note p. 132 ff. 

Fray Diablo (El Diablo Predicador). — MS. copy (Duran) 
Cat. B. N. No. 1324; Inedited. The MS. 'contains emendations 
in the hand of Francisco de Rojas. Signed by Diego de Anun- 
zibay, and dated October I, 1630. Cf. Rouanet, El Diablo Predi- 
cador, p. 8. This latter play by Belmonte was represented in 
1623. Lope's play must be earlier ; Belmonte's coined ia is an 
imitation of Lope's. ^/f-^LA^. /V, jl^ /?(, 

*Fray Martin de Valencia. — P. 

*Fregosos (Los) y Adornos. — P. Play founded on the feuds 
of tiiese two Genoese families; on this lost play of Lope is based 
/:/ Vlcilo del Demonio con la Virgen by three wits. v. Restori, 
Genimi nel Teatro di Spagna. pp. 46, ff. 

A..!^ roe- ^-r ^ ^-/.-ii^^i:^^ 

(jTT^^ i^^ 


Fuente Ovejuna. — P^ ; XII ; H. III., 633 ; Jcad. X. MS. 
copy (Parma; Holland). 

Fuerza (La) del Exemplo. — Doubtful. It was represented at 
Court by Antonio de Prado in February, 1623. It was ascribed 
to Lope in a collection of comedias possessed in Valencia in 
1628 by the aulor de comedias Juan Jeronimo Almella. .v. Meri- 
mee, BiiU. Hisp. VIII.; Mod. Lang. Rev.U, 341. 

Fuerza (La) lastimosa. — P. ; II; Comedias nuevas de los mas 
ceJebres Aiitores. Amsterdam, 1726 ; H. III., 257; S. (Brit. Mus. ; 
J, R. C). I have asnella : Libreria de Quiroga, 1792 and also 
the vol. of 1726). MS. copy (Osuna), Cat. B. N. No. 1339 ; 
Rocamora, No. 602. This play has no figiira del donayre. The 
subject is the story of the Conde Alarcos. On this ballad is 
founded the comedia. El Conde Alarcos oiT>. Guillen de Castro, 
a play with the same title by Mira de Mescua (which is identical 
with that attributed to Rojas) and El Valor perseguido y Traicion 
vengada of Montalvan (this latter in the Osuna Tomo 132). 
La Fiter:^a lastimosa was represented for the first time by Bal- 
tasar Pinedo, « maravilloso entre los que en Espana han tenido 
estc titulo ». El Peregrino en sit Patria, fol. 263. Lope says that 
it was also represented by the Spanish slaves in Constantinople. 
V. Lope de Vega, Obras sueltas, VIII, 95 ; Navarrete, Vida de a ^ ^ //f^ '^ 
Cervantes, 361. In the Brit. Mus. Catalogue we read : « Fuerza ^r- y^j^^j* "^^ 
lastimosa (La), comedia famosa. pp. 63. [Lisboa, 1647]. » I have ^3^0,. ^xa>^ 

sought in vain for any notice of this volume elsewhere. The J^^.^^-^'^- ^^^^ 
fragment in the Brit. Mus. seems to be the only one known. T-{yM 'jj^-^iif^ 
It is thus described : « Doze Comedias las mas gramdiosas q,ue j, j^ /^^?J. 


TAS. Segunda Parte. [MS. note [by J. R. Chorley]. [Lisboa. 
1647.] 4°. 11728. h. 9 (13). Imperfect: wanting all before 
p. 265, )) V. Menendez y Pelayo, Antologia de Poetas liricos, 
XII, p. 539. 

Fundacion(La)dela Alhambra de Granada. — (In Seis Come- 
dias de Lope de Vega y otros, Lisboa and Madrid, 1603; MS. copy 


Cat. B. N. No. 895 and 1341. Choiiey does not think that Lope 
is the author. 

Fundacion (La) dc hi Santa Hermandad de Toledo. — (See 
Las dos Bandokras). 

*Galan (El) agradecido. — P. « La hizo Villegas, celebrado 
en la propicdad, afectos y efectos de las figuras ». El Peregrino, 
fol. 263. 

Galan (El) Castrucho. — P. ; IV. P. (El Rufian Castrucho.) 
This play has vxofiguro del donayrc. 

Galan'(El) de la Menhrilla. — P^ ; X ; Acod. IX. MS. autog. 
Brit. Mus., dated at Madrid, April 20, 1615, with a license at 
Madrid, May 18, 161 5. Lcopied this autograph MS. many years 
ago.-The variaius-*Fe=few. MS. copy (Parma). 

Galan (El) de Meliona. — Mes. Roman. (See El Hainete de 

^Gahn (El) escarmentado. — P. /froV- ^ -^ ^<^ 

*Galan(El) Mendoca. — P^ 

Galiana (La). — P. (Very probably Los Palacios de Galiana, 
q. v.). 

Gallarda (La)Toledana. — XIV, « Representola Granados ». 
This play has no fignradel donayre. 

Gallardo (El) Catalan. — II ; S. (J. R. C. and Holland) ; 
Acad. VIII. (See El valeroso Catalan). This piece has a figtira 
del donayre. It was played by Pinedo in the Sala de Aynnla- 
miento of Toledo at the festivals to celebrate the birth (April 8, 
1605) of Philip. IV. v.Ztfl. XXVI, 514. 

Gallardo (El) Jacobin. — P-. This may be a misprint for El 
gallardo Ja:jmin. — Restori x.\\\nks El gallardo Jacobin may be a 
different play and may be founded on the murder of Henri III 
on July 30, 1589, by Giacomo Clement. Ztji. XXX, 217 ; but 
see Acadeniia, VI, p. cxl. 


Gallardo (El) Jazimin. — M. ; H. ; (El Hidali^o Abencerraje.) 
Under the latter title it appears in Parte XVII of Lope ; MS. 
copy (Osuna), Cat. B. N. No. 1358, with the double title. 
Rocamora, No. 608. v. FJ Hidal^^o Aboiccrraje. 

*Ganso (El) de oro. — P. The fable of Jupiter and Leda. 
Z///. XXIII, 451. A^ol4. ^,J', /^O, 

Garcilaso de la Vega. — P. See the note to El Cerco de Santa 
Fe, the MS. copy of which (says La Barrera) difTers from Fl 
Cerco de Santa Fein Parte I, « y el original ineditode aquella «. 
(See Hechos de Garcilaso de la Vega.) [I know of no MS. copy 
of El Cerco de Santa Fc, nor do I know whence Chorley took 
this information. La Barrera once possessed a MS. copy of Los 
Hechos de Garcilaso de la Vega. 

. Gata (La) de Mari-Ramos(El Jardin de Vargas). — M. (anon) ; 
S. (Duran); MS. copy (Duran) of first two Acts. Cat. B. N. 
No. 1374. 

Ginoves (El) liberal. — P^ ; IV. For the historical incident 
on which this play is founded « la famosa soUevazione dclle 
Cappette nel Marzo 1507 », v. Restori, Genova nel Teatro classico 
diSpagna, p. 42, and p. 46, note 3. 

*Ginobesa (La). — P. Restori shows that this play is iden- 
tical with La Cortesia de Espaha, q. v. , xi-H '•- • '-' 
> Gloria (La) de Napoles. — Mes. Rom. (ano >H .) Doubtful. 
Medel cites it as anonymous. 

''^Gloria (La) de San Francisco. — H. This play seems to be 
lost. (See Fl Serafin hiimano). v. Ztft. XXII, 292. 

*Gobernadora (La). — P. 

*Godo (El) ilustre. — P^ 

Gonzalo (Don) de Cordoba. — (See La nueva Victoria de D. 
Gonial de Cordoba). 

Gran (El) Capitan de Espaiia. — xM ; H. quotes a play of 
this title by Aguayo, but this is a slip : he has accidentally 
transposed the order of the titles as given by Medel. See Cat. 
B. N. No. 1408. This play is not identical with Lope's Mayor 
Vitoria de Alemania, as Duran conjectures. ^/^.^^^iV- /^- -^ 1 -^ ^ ^- 


Gran (El) Cardenal de Espaiia, D. Gonzalo de Mendoza (Gran 
Cardenal D. Pedro Gonzalez de Mendoza). Fajardo gives this as 
being in Parte V. published at Seville. See Life of Lope, p. 474. 

Gran (La) Columna fogosa : San Basilio el Magno. — MS. 
copy (Duran; Holland) ; Cat.B. N. No. 1412, containing orig- 
inal Aprobacioms, dated Plasencia, 1629. Acad. IV. v. Ztft. 
XXII, 275. 

Grandezas (Las) de Alejandro. — XVI ; Acad. VI : « desatinada 
pieza». M. yP. v. Ztft. XXIII, 451. 

Gran Duque (El) de Moscouia, \ Emperador perseguido. — 
P-. ; VII; H. IV. 225 ; Acad. VI. This coiiiedia was copied in 
Orche (Province of Guadalajara), in 1613. Bull. Hisp. (1907), 
p. 378. It was represented towards the close of 16 14 at the 
• ^eLV"* beatification of St^ Theresa de Jesus. Bibl. Madrilena, II, p. 358. 
<^ « The Emperor known by the name of the false Demetrius 

<^V appeared in Poland in 1603 and was killed in Moscow in 1606. 

We are unable to fix the date of the representation -of the play, 
but it must have been considerably earlier. At the time Lope was 
writing this play the news of the death of the protagonist had 
not yet reached Spain. » M. y P. AcaJ. VI, cxxxiii. El Principe 
perseguido by Luis de Belmonte, Moreto and D. Antonio Mar- 
tinez, is a re-cast oi El gran Duque de Moscouia. V- ) ^~F^, // ^ * 

*Gran (La) Pintora. — P. ; M. gives this comedia as by 

Gran (El) Prior de Castilla. — (See El Hijo de la Molinera, 
y el Aldegikla). r zn 

/*Grao (El) de Valencia. — P. A^<^. M -i, ^''^^ 

Guanches (Los) de Tenerife, y Conquista de Canaria. — P-. 
(Conquista de Tenerife). M. and H. give the play with the title 
of Nuestra Sehora de la Candelaria. X; Acad. XI. MS. copy 
(Parma). There is a MS. with the title Nuestra Sehora de la 
Candelaria in the Bib. Nac. Cat. No. 2398, but is an entirely 
diff'erent play. v. Ztft. XXX, 228. 

Guante (El) de Dona Blanca. — H. ; Vega del P. ; Dif. XXX 


(Zaragoza, 1636 : reprinted in Seville in 1638 by Andres Grande 
V. Ztft. XV, 22_j) ; Dif. XXIX (Valencia, 1636) ; XLI\' (Zara- 
goza, 1652; Obms suelt. IX; H. II., 17; Acad. IX. MS. copy 
Cat. B. N. No. 1429. According to Fajardo this play was 
printed in Parte V., published at Seville. « This delightful 
comedia must be one of the latest of Lope » M. y P. See also 
Restori Ztjt. XXVIII, 233. It is one of the best written in 
Lope's repertory and Dieze (trans, of Velazquez, p. 333) says 
that it also bears the title Lo que puede Lope, and that in it 
Lope observes all the rules of the theatre. 

Guardar y guardarse. —XXIV, Zaragoza, 1641 ; H. II., 385 ; 
MS. copy (Osuna). Cat. B. N. No. 1433 ; Rocamora, No. 626. 

*Guelfos y Gibelinos. — P. H. notes a play of this name by 
Malaspina ; it is the alternative title of his comedia : La Fuerxfi 
de la Ferdad, Escog. XIV. This latter is an imitation of El Diablo 
Predicador. Schaeffer, II, 267. 

*Guerras Ciuiles (Las). — P. [De Granada? In any event it 
must differ from La Envidia de la Noble:ya, which is cited in P. 
with its primitive title Cegries y Bencerrages]. 

Guerras de Amor y Honor. — H. ; S. (Brit. Mus. ; Arl.; 
Duran and Parma). It is stated in the closing verses that this is 
the First Part. Salva possessed an ancient siielta, declaring : 
« Representola Prado ». 

*Guia (La) de la Corte. — P\ ; M. ; H. 

Guzmanes (Los) de Toral. — P. ; (o Como ha de usarse del 
Bien y ha de prevenirse el Mai), published by Dr. Antonio 
Restori, Halle, 1899. Restori thinks that the play was written in 
the last decade of the XVI century. Ztft. XXX, p. 228. 


Halcon (El) de Federico. — P\ ; XIII ; « Representola 
Riquelme ». Reprinted by R. Anschiitz, Boccaccio's Novelle vom 
Falken, etc., Erlangen, 1892. El Halcon de Federico is founded 


on Boccaccio's Dec. V. 9. The same subject is treated by Tirso 
de Molina's Palabras y Plumas. 

Hamete (El) de Toledo. — P^ ; IX. Mes. Rom. gives El 
Galan de Meliona as the alternative title of this play. Another 
Hamete de Toledo, entirely different in substance, bears the names 
of Belmonte and Martinez. Escog. I. There is also a comedia 
hiirlesca of the same title by « tres ingenios » in Escog. XLI. 
-V Haxanas (Las) del Cid, y su Muerte, con la Toma de Valen- 
cia. — Printed at Lisbon and Madrid, 1603 ; MS. copy. Cat. 
B. N. Nos. 895, 1476. Published by A. Hiimel, Halle, 1910. It 
is certainly not Lope's. 

Hazer bien a los Muertos. — (See Don Juan de Castro, 
segunda parte). 

Hechicera (La) de Argel. — (See La mayor Desgracia de 
Carlos v.). 

Hechos (Los) de Bernardo del Carpio (See El Casamiento en 
la Muerte.). 

Hechos (Los) deGarcilaso de la Vega y Moro Tarfc. — Acad. 
XI; MS. copy, in Bib. Nac. Cat. No. 1477. See Life of Lope, 
p. 96. Restori doubts whether this be the earliest comedia of 
Lope extant : until better proof be furnished, this honor 
belongs to El Verdadero Amante. v. Ztjt. XXX, 220 ; Stiefel, in 
Jahresbericht, VII, II, 234. 
^ Hermanas (Las) Bandoleras. — Salva (I, p. 608) possessed an 
ancient siielta of this comedia bearing Lope's name. He says : 
« It is not in the Partes. » 

*Hermano (El) Francisco. — P-. (El Rustico del Cielo ?). 
This play was in the possession of Caspar de Porres, aiitor de 
comedias, in May, 1605. Nuevos Datos, p. 90. 

Hermosa (La) Alfreda. — P. ; (La Hermosura de Alfreda); 
IX.*" MS. copy (Parma). This play has no fgura del donayre. It 
was in the possession of Caspar de Porres, autor de comedias on 
March, 20, i6or. Nuevos Datos, p. 53. 

The play that bears this title in the Indice of Medel is ascrib- 


ed to Calderon, notwithstanding the assurance ot Vera Tas- 
sis that Calderon did not write it. It is Lope's Las dos Bandolcras, 
reprinted in Academy, IX. Schaefter says this play served as a 
model for the comedia of Matos and Villaviciosa : A Jo que 
obliga unAgravio, y las HeiDianas Baiidoleras. Geschichte, I, 133. 
See also Las dos Bandolcras. 

Hermosa (La) Ester. — (La Soberbia de Aman y Humildad 
de iMardocheo). — P^ ; XV ; « Representola el famoso Sanchez 
con notable autoridad y aplauso. » Acad. Ill; MS. autog. {I^a 
bella Ester) Brit. Mus., dated April 5, 1610 ; the S. (Holland 
and Duran) with the title : La Horca para su Duehois by Godinez : 
there is said to have been an autog. MS. of it, signed by 
Godinez, in the Osuna Library. See Rocamora, No. 11 15, 
where it bears the title Lat Reina Esther. In the Cat. B. N. No. 
2849, we are told that it is written in various hands, and is 
dated 16 13. 1 possess a suella entitled : Aman y Mardogueo, por 
otro titulo La Horca para su Diieno, Valencia, 1777. It is 
ascribed to Doctor Don Felipe Godinez. Fowi>e^'/, /7/- /f-^- 

Hermosa (La) Fea. — XXIV, Zaragoza, 1641 ; H. II., 349; 
S. (Brit. Mus. and J. R. C.; H. A. R.) It was represented at 
Valencia by Cristobal de Avendaiio before April 26, 1632. Mod. 
Lang. Rev. Ill, 43. 
^ Hermosa (La) Florinda. Comedia ascribed to Lope in the pos- 
session of Juan Jeronimo Almella in Valencia in 1628. Merimee, 
in Bull. Hisp. VIII, 378. The play seems otherwise unknown. 

*Hermoso(El) Peligro. — A comedia mentioned in a letter 
(without date ; 1628-30?) by Lope to the Duke of Sessa. La 
Barrera, Nueva Biog. 648. 

Hermosura (La) aborrecida, y Desdichada firme. — P- ; VII ; 
MS. copy Cat. B. N. No. 1491. According to the closing 
verses, this is the First Part. 

*Hero y Leandro. — P. The only known play with this 
title is by Mira de Mescua. 


Hidalgo (El) Abencerraje (El Hidalgo Jacimin). — XVII ; 
Acad. XI. MS. copy (Osuna) entitled El gallardo Jaciiiiiii y el 
Hidalgo Abencerraje, Cat. B. N. No. 1358 (Rocamora, No. 608. 
MS. copy (Parma) with title El Hidalgo Aheuceiraje. M. notes 
El gallardo Jacimin. This is probably meant for El gallardo 
Jacobin, given in P' . Restori says : « this second title, El gallar- 
do Jacimin, leads La Barrera and Menendezy Pelayo to conjecture 
that it maybe the same play cited in the Peregrino of 1618 (P- ) 
with the title El gallardo Jacobin. The old conjecture of Schack 
(III, 90) has always better pleased me, that, in El gallardo 
Jacobin the subject treated is entirely different from that of the 
chivalrous Abencerraje Jacimin ; that it treats of the young 
Jacobin Giacomo Clement, who assassinated Henry III on July 
30, 1589. » Ztft. XXX, 217 ; hut see Acad. VI, p. cxl. 
Hidalgos (Los) del Aldea. — P^; XII. MS. copy (Parma). 
Hierros (Los) porAmor. — S. (J. R. C. and Duran). Mcdel 
gives the title as Yerros por Amor. 

Hijo (El) de la MoHnera, y el gran Prior de Castilla. (Mas 
mal hay en la Aldegiiela de lo que se suena) . Escog. XWI, 
under the name of Francisco de Villegas, with only the first title. 
The play is by Lope. See El Aldegiiela. 
*Hijo(El)del Olmo. — P\ 

Hijo (El) de los Leones. — XIX; S. (Brit. Mus. ; Arl.); H. 
II., 217. See Restori, Una Colleiione, p. 13. At Parma there is 
an ancient suelta s. 1. n. a. and one of Madrid, 1730; Salva, I, 
p. 609. 

Hijo (El) de Reduan. — P. ; I ; Acad. XL This play has no 
figiira del donayre. v. Ztft. XXX, 217. 

*Hijo (El) de si mismo. — P.; P-. Chorley does not think 
that this can be El Hijo sin Padre. In fact both coniedias are 
registered in P^ . 

>- Hijo (El) piadoso y Bohemia cqnvertida. — M. ; H. Fajardo 
states that this play was in the volume of Comcdias by Lope 
and others, published at Seville. La Barrera originally asserted 


that a fragment of the volume, containing this piece, was in 
the Osuna collection (Tomo 132), but this appears to he a 
mistake. See the contents of these Tomos colecticios, pp. 36-37. 

Hijo (El) porEngaiio.yToma de Toledo. — M. ; H. (anon.); 
printed in Dace Coinedias nneva^ dc Lope yotros A 11 lores : Scginidn 
Parte. Barcelona, 1630. (La Barrera, p. 709) ; Acad. VIII ; MS. 
copy, with the additional title : v Rey don Alfonso de la Mano 
horadada. Cat. B. N. No. 1522. In the opinion of Men^ndez y 
Pelayo, this cotiiedia may, at most, be a re-cast, barbarously done, 
of Lope's El Cerco de Toledo (p. xxxii). On the other hand Res- 
tori says that this comedia is the work of Lope and not a later 
re-cast, as Menendez suspects, v. Ztft. XXVI, 509; La Barrera, 
Cat. 578. 

Hijo (El) sin Padre. — ?-.; Nicolas Antonio says that this 
play was in Parte XXIV, Madrid, 1640 ; S. (J. R. C. and 
Vienna). MS. copy (Duran), Cat. B. N. No. 1525. This is evi- 
dently a different play from El Hijo de si misnio, as indeed, 
Chorley had observed. Both plays are given jn the list of P^ 

*Hiio(El) venturoso. — P. ^^' M,^/ ^^/, 

*Historia (La) de Maragatos. — M.; H. ; Fajardo alleges that 
this play was printed in Parte V of Lope and others, published 
at Seville. M. and H. both give the last word of the title as 
Ma:^agatos, but this is probably a mis-print. Cf. the Second Act 
oi El Pleyto por la Honra, where in the antepenultimate scene, 
the servant asks : 

I Si ha de aver 
la de Maragatos ? 

Historia (La) de Tobias. — P-. ; XV; « Representola Ri- 
quelme ». Acad. III. 

Hombre de bien (El). — P\ ; VI ; H. IV., 187. S. (Brit. Mus. ; 
J. R. C.) i^FF, /f/i r -^^f- 

Hombre (El) por su Palabra. — P'. ; XX. 

Honor (El) en el Agravio. — (See La Leal lad en Traycion.) 


Honra(Li)por la Muger. — XXIV, Zaragoza, 1633 ; S. (J. 
R.C.; Munich). MS. copy (Parma; Holland ;Osuna): Cat. B. N. 
No. 1543 ; the latter copy was made in 1622. Rocamora,No. 662. 
Paz y M^lia alleges that it is not contained in the above edition 
of Zaragoza, 1633 ; nevertheless, I find it in my copy of that 

Honrado (El) con su Sangre. — According to Nicolas Antonio 
this play was in Parte XXIV, Madrid, 1640. A 5//^//^ of this 
title in the Osuna library bore Claramonte's name. It is likely 
to be a re-cast — perhaps of Lope's play. 

Honrado (El) Hermano. — P\ ; XVIII; Acad. VI. MS. copy 
(Parma). This play has no fioura del donayre. Chorley classes it 
as an early composition, v. Stiefel, in Ztft. XXIX, 333; and 
Ibid. XXX, p. 332. Menendez y Pelayo thinks it the same play 
that, under the title oi Los Horacios, is cited in the first list (P.) 
of the Peregrino. It is also reprinted in Ochoa. Tesoro del Tealro 
Espaiiol, Pans, 1838, Tomo 11^ 515 : see also Restori, Ztfl., 
XXII, 452. 

*Honrado (El) Perseguido. — P^ 

*Horacios (Los). — P. It is probably El honrado Hermano. 

Horca (La) para su Dueno. — (See La hennosa Esler). S. 
(Duran and Holland.) The coniedia was copied in Orche (Prov- 
ince of Guadalajara) in 1613. Bull. Hisp. (1907), 378. 

Huelfos y Gebelinos. — P. (See Guelfos y Gibelinos). 

Humildad (La) de Mardoqueo. P. (See La hennosa Ester.) 

Humildad (La) y la Sobcrbia. — P.- ; X; MS. copy (Holland; 
Parma). The play bears this title in the Tahla, but in the body 
ot the volume it is headed El Trinnfo dc la LIuntildad v Soherbia 


Ilustre (La) Fregona, y Amante al uso. — XXIV ; Zaragoza, 
1641. The MS. of this play in the Osuna Library is ascribed to 


Lope in Rocamora's Cat. No. 671. Paz y Melia, however, says 
{Cat. B. N. No. 1570) that the Osuna MS. is a burlesque upon 
Lope's play, and that it is by Canizares — Lope's comedia was 
written before April, 163 1, for Castillo Solorzano mentions it in 
Las Harpias de Madrid, saying that it was represented by « la 
mayor coraica que ahora se conoce, que es Amarilis ». i. e. 
Maria de Cordoba. Edition of Madrid, 1907, p. 84. 

Ilustre (La) Hazana de Garcilaso de la Vega. — (See El Cerco 
de Santa Fe.^ 

Imperial (La) de Oton. —VIII ; Acad. VI. MS. copy (Parma). 
« Este drama contiene bellezas de primer orden » M. y P. v. 
Zlft. ,452. f 3n^/!>« eA',/" ^f^ 7S-- 

*Imperial (La) de Toledo. — P. 

*Imperio (El) por Fuerza. — P-. 

Imposible (El) mayor. — P-. (See El mayor Imposible). 

*Inclinacion (La) natural. — P. 

infanta (La) desesperada. — P. /ir^<^> ^- ^J~, <'^y, 

*Infanta (La) Labradora. — P. 

Infanzon (El) de Illescas : El Rey don Pedro en Madrid. — 
Printed in Dou Coinedias de Lopey otros Autores, Barcelona, 1630. 
La Barrera says that this comedia likewise appeared in Parte 
XXVIl (extravagante, Barcelona, 1633, under the name of Lope; 
but, as Chorley points out, this Parte does not now exist. (Catd- 
logo, p. 682). It survives only in fragments, and El Infanzon de 
Illescas is not among the fragments which have been saved. At 
the end of a copy of Parte XVII (1621) that belonged to Tieck 
(now in the Berlin Library) El Infan:^on de Illescas is substituted 
as the twelfth play in place of El Hidalgo Abencerraje. It was 
also printed in Comedias de Calderon, Parte V, Barcelona, A. de 
la Caballeria, 1677, where it occupies the fifth place (La Barrera. 
Cat., p. 52). This is one of the Partes falsely ascribed to Calde- 
ron, which he himself rejected. A MS. copy of this play, ascrib- 
ed to Gabriel Tellez (?) is given in the Cat. B. N. No. 1593, 
with a license dated Zaragoza, December 30, 1626. This is the 


version published in Academy IX. It is interesting to note that 
tliis copy was made for Juan Acazio Bernal y Bergara, a well- 
known alitor de comcdias . According to Restori, the play is earlier 
than 1 61 8, since it contains a flattering allusion to the Duke of 
Lerma, whose fall occureJ in that year. See the important article 
of Prof. Restori, who gives all the variants of the volume of Bar- 
celona, 1677, in Zeilschrift XXIX, p. 105, ft'.; 'd. also: Comc- 
dias de Tirso de Molina, ed. Hartzenbusch (Bib. de Aiit. Espaho- 
les), p. 716, and Academy. IX, p. cxlii. There is likewise 
a suelta containing many variant readings in the Munich 
Librarv : v. Stiefel, Ztft. XXXI, 476 where it is attributed to 
Calderon. Concerning the MS. of 1626 in the Bib. Nacional, 
mentioned above, my friend, the late Sr. Menendez y Pclayo 
(whose kindness to me I can never forget) wrote to me years 
ago : « No es exacto, a pesar de lo que dice el indice impreso, 
que el manuscrito de El Infan:{on de Illescas, que, procedente de 
la Biblioteca de Osuna. paro a la Nacional, atribuya la comedia 
a Gabriel Tellez (siendo de advertir, por otra parte, que jamas 
el Maestro Tirso uso su nombre verdadero en las comedias pro- 
fiinas). En ese manuscrito, formado por la union de otros dos, 
la pieza esta atribuida a Andres de Claramonte. Con nombre de 
Tirso, no se conoce manuscrito alguno de dicha comedia, mas 
que un moderno que Hartzenbusch dice que vio ». Lope's play 
is closely followed by Moreto, in his El valieiilc Jiisticiero {El 
Ricohombre de Alcahi.) « Moreto debe a Lope absolutamente 
todas las bellezas historicas del Ricohombre de Alcald. » M. y P. 
Acad. VII, p. clxxxv. 

Ingratitud (La) vengada. — P.; XI\'; « Representola Osorio 
el autor antiguo ». Cervantes mentions this play, Don Quixote, 
I, Cap. xlviii. 

Ingrato (El). — According to Nicolas Antonio this play was 
in Parte XXIV, Madrid, 1640. S. (Brit. Mus., and J. R. C.) 
with Calderon's name. 

Ingrato (El) Arrepentido. — M. ; P. ; XV. « Representola 
Rios ». This play lias no Ji}^iira del donayrc. 


Iniusta(La) Venganza. — (See La Corona de Uiigria.) 

Inobediente (El). — (See La Cittdad de Dios.') 

Inocente (La) Laura. — XVI; H. IV., 475. The closing ver- 
ses of tiiis play disclose an alternative title : Las Traycioncs de 
Ricardo. The alusion ot Lope to himself {Belardo) in this play 
(Act III, Sc. III.) are very curious. 

Inocente (La) Sangre. — XIX; H. IV., 349; Acad. IX. MS. 
copy (Parma). In the dedication and in the closing verses the 
alternative title is given as Los Carvajales. Chorley notes that 
this is an old play. Lope himself says so in dedicating it to 
Sebastian de Carvajal : « anos ha que escriui este suceso)). Yet, 
despite the early period of composition and the fact that the 
author calls the piece a iraaedia, a figiira del doiiayre is introduc- 
ed. Restori says : « It is certain, however, that Lope retouched 
the play on printing it, otherwise it would be innpossible to 
understand the allusion to La Gloria deNiquea, which was writ- 
ten in April, 1622, and represented on May 15 of the same year. » 
Z//L XXVIII, 233. 

Intencion (La) castigada. — XXII, Zaragoza, 1630; MS. copy 

Isla (La) Barbara. — This play bears Lope's name in the 
volume entitled: Doce Comedias devarios Autores, Tortosa, 1638, 
but it was really written by Miguel Sanchez. It has been reprint- 
ed by me (Boston, 1896) with the true author's name attached 
to it : La Giiarda ciiidadosa and La Isla Barbara, two comedias 
by Miguel Sanchez (El JDivino), etc. A. Restori, Appiinli Tca- 
Irali spagniioli, {Stitdj di filoL roman^a, Ease. 20), 1898 


Jacintos (Los). — (See La Fasioral de Jacinto.) 
Jardin (El) de Amor. — (See Los Ponces de Barcelona). 
Jardin (El) de Vargas. — H. ; (La Gata de Mari-Ramos), S. 
(Chorley and Duran). The incomplete autograph, bearing the 



second title, and formerly in Duran's collection, is now in the 
Bib. Xacional: Cat. No. 1374. In all probability it is not an 
autograph. The third Act is wanting. 

*Jardin (El) de Falerina. — P. Calderon wrote a play witli the 
same title, published in Part \\ of his comcdias, Madrid, 1694. 

Jorge Toledano. —P.; P^; XVII. MS. copy (Parma). The 
play has no figiira del donayre. Lope informs us in the dedication 
that it is an early piece. He saN's : « Hazia el lorge Toledano 
aquel insigne representante de Toledo Solano, a quien en la 
figura del galan por la blandura, talle y aseo de su persona, nadie 
ha ygualado ». (Madrid, 1621, fol. 26 r.) As the play was first 
represented by the company of Caspar de Porres, to which 
Solano belonged in 1595, tiie play was probably written not 
long before that date. 

Juan de Dios y Anton Martin. — P'. X. (San Juan de Dios) ; 
Acad. V. MS. copy (Parma), v. Ztjt. XXII, 278. 

ludia (La) de Toledo. — (See Las Paces de los Reyes). Mescua 
also wrote a comcdia entitled La Jndia de Toledo, v. Rcnncrt, in 
Revue Hispaniqiie, VII. 

Jueces (Los) de Castilla. — P.-; M. : Acad. VII. The original 
coniedia of Lope no longer exists. The play published in Acad. 
VII, is the beautiful piece by Moreto. Menendez y Pe'layo says : 
« A play is found under the name of Moreto in ihe Priniera Parte 
of this Comedias (1654 and 16^]), bearing the same title as 
Lope's : Los Jueces de Castilla; it is also printed in the Verdadera 
Tercera Parte of the same author (1676 and 1707), afterwards in 
siieltas and finally in Moreto's Comedias {Bib. de Autores Espa- 

fioles) I believe firmly that Moreto's Jueces de Castilla is only 

a re-cast of Lope's play, and that it may be substituted approxi- 
mately for Lope's lost play. » (Acad. VII, clxxvii.) All the 
Partes o( Moreto's Comedias that I have seen, and all those that 
I possess, except the Tercera Parte of Madrid, 1681, are spurious 
and lack Aprobaciones and Licencias. I find the above play in Ter- 
cera Parte of 1703. V, Salva, Catdlogo, I, No. 1327; Ztft. XXVI, 


500; Schaeffer, II, 175, 240. It may be added that La Barrcra 
considered the play of this title that has been preserved to be an 
authentic play by Moreto : as « legitima suya » ; while Chorley 
is not convinced and inclines to the belief that it may be merely 
a re-cast of Lope's piece. 

*Jueces (Los) de Ferrara. — P. 
— Juez (El) de su misma Causa. — According to Nicolas Anto- 
nio this play appeared in Parte XXIV, Madrid, 1640. 

Juez (El) en su Causa. — P. ; P.^ ; XXV, Zaragoza, 1647; 

Dif. XXVIII. Chorley thinks this may be identical with El Jitc\ 

m su misma Causa. It is doubtless the same play. The siiclla in 

Site- Brit. Mus. fragment ot Dif. XXVIII. « Representola Aven- 

ano ». 

Julian Romero. — H.; Osuna, Tomo 133, fols. 101-122. 
Apparently a fragment of Parte XXVII. extravagante, quoted 
by Fajardo. « Representola Antonio de Prado. » v. Salva, 
Catdlogo, I, p. 613. 

^Juventud (La) de San Isidro. — H. ; In Relacion de las Fiestas, 
stc, Madrid, 1622 ; Obras siieltas, XII; Acad. IV. 

Laberinto (El) de Amor. — (See La Pnieba de los Iiigeiiios.') 

Laberinto (El) de Creta. — P.- XVI; Acad, VL, also called 

imply El Laberinto. See Life of Lope, p. 113; Ztjt. XXIII, 

Labrador (El) del Tormes. — H.; S. (J. R. C. ; Duran and 
Holland) ; MS. copy Cat. B. N. Nos. 420 and 17 18. The closing 
/erses give an alternative title : Lo que piiede un Agravio. 

Labrador (El) venturoso. — XXII, xMadrid, 1635; Dif. 
XXVIII ; « Representola Roque de Figueroa ». Acad. MIL 
According to Nicolas Antonio, this play was contained in Parte 
KXIV, Madrid, 1640. Fajardo repeats this statement, and adds 
that the piece likewise appeared in XXVIII, extravagante. It was 



represented before the Queen by Cristobal de Avendano, between 
October 5, 1622 and February 5, 1623. v. Schack, Nachlnige, 
p. 67; Ztfl. XXVI, 505. The siicJta in the Brit. Mus. is a frag- 
ment of D//. XXVIII. 

Lacayo (El) fingido. — P.; M. (anon.); GL. 161 7. MS. copy 
(Parma). This phiy has no figiira del donayre. 

Lagrimas (Las) de David. — M.; H. There is a phiy with this 
title by Godinez ; but the entry in Medeland Huerta may be mere- 
ly a slip for David Pcrsegitido. 

Lanza por Lanza, la de Ltiis de Almansa (Parts I and II); 
Acad. IX, (Part one). Tomo 133, ff. 21-38 (Osuna). S. (Part I, 
Holland). « Representola Avendaiio. » Fajardo alleges, and. La 
Barrera repeats the statement of his predecessor, that this play is a 
fragment of Parte XXVII, cxtravagante. Barcelona, 1633. Part 
II of this play seems to be lost. 

Laura perseguida. — P. ; IV; MS. copy, dated Alba de Tormes, 
October 12, 1594. Cat. B. N. No. 371. In his Peregrino, Lope 
says of this play: « La hizo Porras, autor famoso ». There is a 
reference to Alba, and the Duke Albano on fol. 16% ed. of Pam- 
plona, 1614. 

*Lazarillo de Tormes. — P-. 

Leal (El) Criado. — XV; « Representola Vergara ». MS. 
copy, dated at Alba de Tormes, June 24, 1594. Cat. B. N. No. 
371. The original autograph of this comedia, as well as the 
originals oi Los Chaves de ViUalba, Laura perseguida and Carlos 
V. en Fraiicia, existed in the Archives of the Duke of Sessa, 
in 1781. This play has no true figura del donayre. The criado 
leal of the title is Uberto, and not the servant or criado Julio, 
who is also one of the personages. Julio has some few witticisms 
alloted to him, but the gracias are soon abandoned. This come- 
dia belonged to the autor de comedias Luis de Vergara, who had 
a license to represent it on October 30, 1595. Sanchez-Arjona, 
Teairo en Sevilla, 108. 

Lealtad, Amor y Amistad. — M.; U.; Parte XXVI, exlrava- 


rmite, Zaragoza_, 1645, which was probably first pubHshed be- 
:ween 1632 and 1633. Chorley is somewhat sceptical as to this 
iarly issue. [But Lope's El Desprecio agradecido shows that it 
nust have appeared before 1635.] See above, concerning these 
Partes extravagantes. 

Lealtad (La) en el Agravio. — XXII, Zaragoza, 1630; Acad. 
VIII. MS. copy (Parma). (Seefw la mayor Lealtad mayor Agra- 
vio^. La Lealtad en el Agravio is probably identical with Las Qiti- 
nas de Portugal in the first list (P.) of El Peregrino. Acad. VIII, 
p. c.;Ztfi.XXYl, 515. 

Lealtad (La) en la Traicion. — H. ; S. (J. R. C.) La Barrera 
says there was a MS. of this play, dated [November 22,] 1617, 
in the Duran collection. There is a copy by Duran of a suelta in 
the Bib. Nac. C^'^No. 1734), which copy bears the additional title 
El Honor en el Agravio. This alternative title is also given in the 
closing verses. « Representola Prado ». There is a suelta of La 
Lealtad en la Traycion, which formed part of a volume of come- 
dias (fols. 41-57) in the Munich Library. Stiefel, in Zift. 
XXX, 554. 

Leon (El) apostolico, y Cautivo coronado. — H. La Barrera 
states that this play is found in a suelta (Osuna), described by 
him as a fragment of the volume de Lope y otros, Sevilla. The 
comedia is in Tomo 132, Osuna, if. 171 ei seq-, and this toino 
colecticio is thought to represent the Comedias de Sevilla, in which, 
according to Fajardo, the piece originally appeared. 

Ley (La) executada. — XXIV, Zaragoza, 1633; H. III., 181 ; 
there is a MS. (copy of.Part XXIV) in the Bib. Nac. No. 3910. Of 
this play Hartzenbusch says: « The style, in various passages, 
does not seem to be Lope's; it appears more like the work of 
three authors than of one ». Schaeffer says that in the first two 
Acts this play follows the old novel Aurelio I Isahela. 

Liberal (El) Genoues. — (See El Genoues liberaf). 
P Libertad (La) de Castilla por el Conde Fernan Gonzalez. — 
Lisboa and Madrid, 1603 ; MS. in Bib. Nac. {enlengua antigua), 



Cat. No. 89). Chorley rejects the attribution to Lope. v. Res- 
tori, Ztfl . XXM, 501. The play is probably by Hurtado de 
Velarde. Menendez y Pelayo, AntoJogia, XI, 240, calls Lope's 
play published in Parte XIX : La Libertad de Castilla por el Condc 
Fenian G(';/-^/t'~, which, in fact, it is called in the closing 
lines. It is wholly different from this play of Hurtado de Velarde, 
printed iii 1603. 

Libertad (La) de San Isidro. — M. ; H. This would seem to 
be La Jnventiid de San Isidro. 

*Libertad (La)vendida. — P^ 

Limpieza (La) no manchada, Santa Brigida. — XIX ; Acad. 
V. MS. copy (Parma). This is El Asonibro de la linipia Concep- 
cion, written by Lope in 1618, and acted on October 29, of the 
same year by the company of Baltasar de Pinedo. See Tirso de 
Molina, La Villana de Vallecas, Act I. sc. V ., in his Comcdias 
Escog., Vol. VI, p. 147 ; Acad. V, p. XLVii ; and Zlft. XXII, 
-^ Lindona (La) de Galicia. — M.; H. A snelta with this title 
bears Montalvan's name. Chorley thinks that this may be the 
play ascribed to Lope. La Barrera, {Caldlogo, p. 268 and 456) 
would identify it with Moreto's La Rica-hembra de Galicia : he 
omits this piece from the long list of Moreto's productions 
(/7;/W. pp. 276-281). This is particulary unfortunate. I have not 
met with any mention of the Rica-hembra elsewhere. 

Loco (El) por Fuerza. — M. ; H. ; MS. copy Cat. B. N. No 
1900, ascribed to Lope. x/j-^tA^- /^- JI , ^ ^^ 

Loco (El) santo. — Lope (?) According to Fajardo, it is the 
Second Part of El Loco ciierdo, which should be El Cnerdo loco, 
y Vcneno salndable. Restori, Una Collexjone, p. 33, says this is a 
double error. At Parma there is a MS. entitled : Cowcdia de la 
primera parte del Truhan del Cielo y Loco santo de Lope de Vega 
Carpio. El Loco santo may, therefore, be the alternative title of 
Lope's Triihan del Cielo. 

Locos (Los) de Valencia. — P. ; XIII ; « Representola Ville- 


gas ». The MS. in the Bib. Nac. Cal. No. 1905, entitled Los 
Locos de Zaragoia, is this same comedia. The alternative title in 
the final verses is given as EI Hospital de las Locos : the play has no 
fig urn del donayre. 

Locos (Los) por el Cielo. — P. ; VIII; Acad. IV. MS. copy 
(Parma), v. Zfft. XXII, 274. 

Locura (La) por la Honra. — P-.; XL MS. copy (Parma). 
There was formerly in the Osuna Library (now in the Bib. Nac.) 
an auto by Lope, with the same title. Cat. No. 1906 ; Rocamo- 
ra, No. 739. In the closing verses the alternative title of the 
comedia is given as El Agravio dichoso. 

Lo que esta determinado. — Escog. Ill, MS. copy (J. R. C.) 
The play has no figura del donayre. 

- Lo que es un Coche en Madrid. — H.; S. (J. R. C.) It is also 
said to be in Parte XXVI, extravagante, Zaragoza, 16^5. The 
play is really Antonio de Mendoza's comedia Los Riesgos que tiene 
un Coche. 

Lo que ha de ser. — XXII, Zaragoza, 1630 ; XXV; H. II., T. h.a.W,^^-^^'*« f 
507; MS. copy in Brit. Mus., dated September 2, 1624. The k-t^. 'S6^ [^ '^[ 
argument of this play is the « pietosa historia di Leandro Spinola ^- ^'^■^ - '^ ' -i 
e Bianca Lomellini ». Restori, Genovanel Teatroclassicodi Spagna, 
p. 33, and p. 35, n. 2. 

Lo que ay que fiar del Mundo. — P-. ; XII. MS. copy (Parma). 

Lo que passa en una Tarde. — P.^; H.;M. (anon.) Inedited(?) 
MS. autog. (Osuna) in Bib. Nac, dated November 22, 1617; 
Cat. No. 1772. Rocamora, No. 749. « Representola Villegas », 
who played the part of Don Felix. The autor de comedias, Juan 
Jeronimo Almella possessed a manuscript of this play in Valen- ^ 

cia, in 1628. v. H. Merimee, in Bull. Hisp. VIII, p. 378. ^J9uJ- hi. Ms ^^f 

Lo que puede un Agravio. — M. ; H. ; suelta (Duran, Holland). 
It is El Labrador del Tormes. See above. MS. copy, in Bib. Nac. 
Cat. No. 1780 and No. 420. 

*Lo que pueden Celos. — P-, 

Lucinda perseguida . — P.; XVII; « Representola Melchor de 


LeoiD). MS. copy (Parma). This play has no Jig ur a del donayre. 
Lope_, in his dedication, speaks of it as : « esta Comedia de las 
primeras que yo escriuia quando tambien eran mis afios 
Acres. » f-fyt> '^- ^f^ ^/ ^^^r J^./- ^^^ 

*Lucrecia (La). — P-. 

L!ave(La)de la Honra. — Escog. Ill ; H. II., 117; MS. 
copy (J. R. C). Cf. La Corona nierecida. 

Llegar(El)en Ocasion. — P.^; VI; MS. copy, B. N. No. 
1937; MS. No. 1936, which bears the same title and is also 
ascribed to Lope, is a different play as the opening and closing 
lines show. There is also an auto with the same title, which was 
represented by Avendaiio in 1621. Bull. Hisp. (1908), 244. 
Lope's play is founded on Boccaccio's Decaimrone, II, 2. 


Madrastra (La) mas honrada. — Osuna, Tomo 133. 

Mndre (La) de la mejor. — P.-; XVII; Acad. III. « Repre- 
sentola Riquelmew. This play, with the title El Nacimiento del 
y^//w is found in Parte XXVI, yv^mi'flo-aw/c, Zaragoza, 1645. It 
also occurs as a siielta, with the title El Nacimienlo del Alba, 
which is, so far as concerns Acts I and II, simply an abbrevia- 
tion and mutilation of the present piece. Act III of the stielia, is 
entirely different, has nothing to do with the preceding Acts, 
and Chorley thought it good enough to pass as Lope's work, 
were it not so unlikely that he should re-cast an old play foi 
insertion in Parte XVII. Restori has pointed out (Z///. XXII. 
p. 118), that this Act III of/:/ Nacimiento del Alba is tlie auti 
ot Lope, supposed to be lost, entitled La Concepcion de Nnestrn 
Sehora. He has since published it: v. Degli v Autos » di Lope di 
Vega Carpio, Parma, 1898, p. 9. 

Madre (La) Teresa de Jesus. — P-. With the added title: 
Fundadora del Carmen, there is in the Bib. Nac. Cat. No, 
1 94 1, an Osuna MS. partly autograph (Act II. leaves 6-10) 


ascribed to Lope. Rocamora. No. 768. (v. Santa Teresa^. 
Acad. V. To judge by the first and last verses of the MS., it is 
the same text that is found in Doce Comedias de varios Anions, 
Tortosa, 1638, where the play^ is attributed to Luis Vclez dc 
Guevara, with the title : La bienaventurada Madre Santa Teresa dc 
Jesus ; this is also the text which has been published by Mcnendcz 
y Pelayo in Acad. V. There is another MS. in the Bib. Nac. Cat. 
No. 3489, entitled : Vida y Muerte de Santa Teresa de Jesus, 
which is also from the Osuna collection, but it is an entirely 
different play. It is also ascribed to Lope. v. Restori Ztft. XXII, 
282; Litteraturblatt, 1902. See La Vida y Muerte de Santa Teresa 
de Jesus. 

Maestro (El) de danzar. — P. ; Escog. Ill; H. II., 71. The 
autograph, written at Alba de Tormes in 1594, has, it seems, 
disappeared. There is a copy in the Bib. Nac. Cat. No. 1951. 
In a letter to Chorley, dated April 22, 1866, La Barrera admitted 
that his MSS . of El Maestro de daniar and El Esclavo fingido 
were not — as he had imagined (Catdlogo, p. 437) — autographs, 
but copies. 

Magdalena (La). — P-. (See La niejor Enaniorada.') 

Mai casada (La). — P-.; XV. « Representola Riquelme ». )CL^i^'' 

H. IIc^^. ^__— £^^ 

Mai Pagador (El) en Pajas. — Mes. Roman-ZHDoubtful. 
Fajardo states that it was in the Comedias de Sevilla. Elsewhere 
he ascribes it to Calderon, and Medel concurs ; but according to 
Vera Tassis the play is supposititious. 

Marido (El) mas firme, Orfeo. — XX ; Acad. VI. « The compo- 
sition of this play cannot be much earlier than 1625, the year 
in which the volume (XX) was published. » M. y P. Lope says : 
« Es Fabula que escriui tres aiios antes que El Licenciado luan 
Perez de Montaluan su Orfeo » ; 1. e. about 1 620-1 621. Come- 
dias, Parte XX : Restori, in Ztjt. XXIII, 446. At the end a . 
second Part is promised, which seems to be unknown. 

Marmol(El)de Felisardo. — P; VI; MS. copy (Osuna), 



Cat.B. N. No. 2023. Rocarnora, No. 792. This play has no 
figura del donayrc. 

Marques (El) Je las Navas. — XXII, Zaragoza, 1630 ; Escog. 
VIII. (as of Mira de Mescua) ; H. IV. ; MS. autog. dated April 
22, 1624 (Holland), and S. (J. R. C. and Holland). MS. copy 
(Parma). Acad. XIII. The same subject is treated by Montalvan 
in Lo que son Juicios del Cielo. v.Ztft. XXXI, 500. 

Marques (El) de Mantua. — P. ; XII ; MS. copy (Parma). In 
the final verses the alternative title is Baldovinos y Carloio. The 
plav has no fignra del dounyre. Acad. XIII. « Es la mejor come- 
dia de su genero entre las de Lope. » M. y P. 

*Marques (El) del Valle. — M. ; H. 

*Martir (El) de Florencia. — M. ; P^ 

Martires (Los) del Japon. — MS. copy Cat. B. N. No. 2034: 
this MS. ascribes the play to Lope, except in the title to the 
Third Act, where it is attributed to Mescua. Duran says it is 
Lope's, but both xMedel and Huerta assign it to Mescua. Acad. 
V. (Los prinwos Martires del Japon'). The date of this play is 
1 6 17. Restori, Ztft. XXII, 292. Los Martires del Japon was acted 
in the Philippines in 161 9. Retana, El Teatro en Filipinas, 
p. 29. A play entitled Los Martires Japones was represented in 
June 1602. Perez Pastor, Nitevos Datos, 75. 

Martires (Los) de Madrid. — H. ; DiJ. XXIX, Acad. V; S. 
(J. R. C). Schacksays there was formerly in the Osuna Library 
a play El Martir de Madrid by Mescua. This MS., autograph 
for the greater part, is now in the Bib. Nac. Cat. No. 2029. 
Rocamora, No. 793 also ascribes it to Mescua. In the Osuna 
Library there were also two copies (Rocamora, No. 796) of a 
play Martires de Madrid y dejar nn Reino por otro, ascribed to 
Matos, Cancer y Moreto. Cat. B. N. No. 2032. Another play 
(apparently) with the same title existed in MS. in the Osuna 
Library, attributed to « tres Ingenios ». See Pa;: y Melia's Cat. 
The usefulness of this catalogue is sometimes lessened by the 
fact that the editor does not always give the name of the author 


or authors which appear on the MS., but, without informing 
us, he sometimes substitutes what he considers the correct name. 
In Escog. XLIV, a phxy with the same title is ascribed to Cancer, 
Villaviciosa and Moreto. v. Ztft. XXII, 278. 

Masgalan (El) Portugues Duque deBerganza. — VIII ; Aaid. 
X;MS. copy (Holland; Parma). It also bears the title lujustos 
Cclos. V. Celos sin Ocasion, and Menendez y Pelayo, Aulolo- 
S^ia, XII, pp. 293, ff. and 306-308. 

Mas mal hay en la Aldeguela de lo que se suena. — (See El 
Hijo de la Moliiiera, y el gran Prior de Castilla). S. (Brit. Mus. 
and J. R. C). The incomplete autograph (Act II. only) was 
said to be in Duran's collection. MS. copy, dated Toledo, May 6, 
1623, by Martin Navarro. The play bears the second title in 
Escog. XLII, where it is ascribed to Francisco de Villegas, to 
whom it is also attributed by Medel under the third title. (See 
El AMegitela.) 

Mas pueden Celos que Amor. — H. ; Escog. III., H. II., 175 ; 
MS. partly autograph. Cat. B. N. No. 2057. MS. copy (Parma). 
The final verses give an alternative title : La Dama Coniendador. 

*Mas vale saber que auer. — P-. 

Mas vale Salto de Mata que Ruego de Buenos. — M. ; H. ; Fa- 
jardo states that it was in Parte XXVI, extravagante, Zaragoza, 
164), (La Barrera, Cat. 682). S. (J. R. C). See Restori, 
p. 13. There is also at Parma a siielta, Sevilla, Francisco de Leef- 
dael, attributed to « un Ingenio de esta Corte». 

Mas valeis vos, Antona, que la Corte toda. — H. ; S. (J. R. 
C. Duran.) MS. modern copy of the suella. Cat. B. N. No. 
2061 , with the added title 6 Duquesa de Bretaha. This supplemen- 
tary title is also noted by Fajardo. In Lope's El Cuerdo en sii 
Casa, (Parte VI, fol. 16'') a musician sings the song beginning: 
« Mas valeis vos, Antona, etc. ». 

Matico (El). — P. (Los Donaires de Matico.) 

*Matrona (La) coiistante. — P. 

Mayorazgo (El) dudoso. — P. ; II; MS. copy (Osuna; Parma). 


Cat. B. N. No. 2099; Rocamora. No. 815. This play has no 
fig lira del donayre. 

Mayor (La) Corona. — M. ; H.; MS. copy (Osuna), Bib. 
Nac. Cal. No. 2080. Rocamora, No. 818. \4-f />i^ Af. H, <7<?6. 

Mayor (La) Desgracia de Carlos V. — [Fajardo notes the 
additional title : y Hechicerias de Argel]. — XXIV, Zaragoza, 
1632 and 1633. MS. copy, (Parma). With regard to this 
play there is some confusion. La Barrera {Cat. p. 687) regards 
it as Lope's, and states that it is ascribed to Jimenez de Encisoin 
Dij. XLIII, Valencia, 1660. The existence of this volume is uncer- 
tain, and we know of it only through a casual mention by Fa- 
jardo. No such piece as La mayor Desgracia de Carlos V. appears 
in the true Dif. XLIII, Zaragoza, 1650, (La Barrera, p. 686 ; 
there is a copy in the Ticknor Library), nor does Jimenez de 
Enciso seem to have written a play with this title. La Barrera 
has evidently reproduced the entry in Fajardo, who mistook 
La mayor Desgracia dc Carlos V. for La mayor Haiahade Carlos V. 
The latter is by Jimenez de Enciso, and is correctly attributed to 
him in Dif. XXXIII Valencia, 1642 ; in Comedias de los mcjores y 
mas insignes Ingenios de Espaha, Lisboa, 1652 (Barrera, p. 708), 
and in z suelta (Brit. Mus.; J. R. C. and H. A. R.). Luis V61ez 
de Guevara, is the author of a comedia entitled La Jornada de 
Argcl, y mayor Desgracia dc Carlos V. This exists in a suelta, but 
it differs altogether from the play with which we arc concerned 
here. The ascription to Lope is maintained by Menendez y Pe- 
layo who reprints the piece in Acad. XII. v. Restori, Ztft. 
XXXI, 489. On the event which forms the subject ot La mayor 
Desgracia, Lope writes as follows in Act I of Los Cautivos dc 
Argel (Part XXV) : 

Cercole Carlos, v t'uc 
el mar con Carlqstan bravo, 
de una hechiccra famosa 
segun dicen conjurado, 


quefue la primer conquista 
que perdi6 en el mundo Carlos ; 
porque contra el mar no av armas, 
experiencia ni soldado. 

Concerning the date of this play, Mcnendez says that it is 
subsequent to 1625, since mention is made in it of the « fati- 
dico tanido de la campana de Velilla en dicho aiio, y se extracta 
el discurso que sobre esta materia publico entonces el Sr. Juan 
de Quiiiones. » 

Mayor (La) Dicha en el Monte. — H. ; MS. copy (Osuna). 
Cat. B.N. No. 2084, with the additional title y la Gloria en el 
Mar//no. Rocamora, No. 820. iA-^LJOuJ ^ /V. ^, 6C, 

Mayordomo (El) de la Duquesa de Amalfi. — XL MS. copy 
(Parma). There is a play by Diego Muxet de Sol is entitled La Ven- 
ganxa de la Diiqnesa de Amalfi, in that writer's Comedias hiimanas 
y divinasy Riinas morales, Bruselas, 1624. The author says that it 
is a continuation of this piece of Lope's. It may be remarked in 
passing that La Barrera (Caldlogo, p. 282) gives La mas dichosa 
Vengan^a as an alternative title to La Vengau~a de la Duquesa de 
Amalfi: But they are, in fact, two distinct works by Muxet de 
Solis. There is a MS. La Mas dichosa Vengania in the Bib. Nac. 
Cat. No. 2040, in which it is ascribed to Antonio de Solis, but 
in Escog. XXV, it is rightly attributed to Muxet de Solis. Lope's 
play is founded on a novella of Bandello, Part I, No. XXVL See 
Kiesow, Die verschiedenen Bearheitungen der Novelle von der Her:^o- 
gin von Amalfi, in Anglia, xvii (1895). 

Mayor (La) Hazaiia de Alejandro Magno. — H. ; MS. copy 
(Osuna), Cat. B. N. No. 2087; Rocamora, No. 823. — Inedited. 
It need not be remarked that this is a different play from Las 
Grandeias de Alejandro of Part XVL t/^^^^ /V> /I, :> ?(^, 

Mayor (El) Imposible. — P^ ; XXV; H. II., 465. It was 
written in 16 14. See Life of Lope de Vega, p. 221. In the second list 
(P'.) of the Peregrino it is given as El Imposible mayor. It is imi- 
tated by Moreto in his comedia. No puede ser. 


Mayor (El) Prodigio, 6 el Purgaiorio en la Vida. — M. ; H. ; S. 
(Duran). v. Schack, Nachlrdge, p. 85; Schaeffer, I, 201, also 
ascribes it to Lope. To Menendez y Pelayo it seems doubtful. 
This play and Calderoii's El Purgatoriode Sail Patricio ixt found- 
ed on Montalvan's work : Vida y Piirgatorio dc S. Patricio, pub- 
lished in 1627. 

Mayor (El) Rey de los Reyes. — M. ; H. (El mayor de los 
Reyes). Fajardo cites it as being by Calderon, to whom it is 
also ascribed in a sucJta (Duran). Schack mentions a manuscript 
in the Osuna collection which bore this title and the name of 
Claramonte, to whom La Barrera attributes the present play. 
But, as Chorley notes, so many of Claramonte's pieces are mere 
re-casts, that the fact of his name appearing on a siielta is far 
from deciding tht: question of authorship. See Cat. B. N. 
No. 2091, which is doubtless the Osuna MS. mentioned by 

Mayor (La) Victoria. — XXII, Madrid, 1635 ; XXIV, Zara- 
goza, 1632 and 1633. H. III., 221. S. (Brit. Mus. ; J. R. C. ; 
H. A. R.) The siielta I possess is a modern one (1804) and 
formed part of a volume, pp. 317-342. Schaetfer (I, 147) desig- 
nates this play as a « Vorstudie » to Si no vieran las Mngeres, 
and says that it is taken from Bandello, Part I, Nov. XVIII. 

Mayor (La) Victoria de Alemania. — Vega del P. XXIV, 
Zaragoza, 1641, with the title Don Gon^alo de Cordoba, q. v. 
Fajardo asserts that it is in Part V, Sevilla, 

Mayor (La) Virtud de un Rey. — Vega del P. Fajardo states 
that it is in Part V, Sevilla; Ohras siielt. IX ; H. III., 77. The 
concluding verses show that it is one of Lope's latest plays, and 
may also rank as one of his best. It is attributed to Matos Fra- 
goso in Escog. XXXVII, where it bears the title El niejor Casa- 

Mazagatos (Los.) — H. (See La Historia de Maragatos). The 
title in H. is a misprint. 

Medico (El) de su Honra. — H. ; Osuna, Tomo 133, ff. 1-20. 


« Representola Avendaiio ». Fajardo states that it is in Parte 
XXVII, extravagaHtc, Barcelona, 1633 ; 0-^ Barrera, p. 682): 
Acad. IX. Calderon's couiedia is a re-cast of this. The complete 
title is : Honor en la Sangria y Medico de su Houra. It was repre- 
sented by Antonio de Prado on October 8, 1628 : Rennert 
Mod. Lang. Rev. Ill, 46. Before this date it had been acted by 
the company of Avendafio, as the extravagante shows, — pro- 
bably between 1621 and 1623. V. Restori, Ztft. XXMII, 255, 
and Schack, Nacbtrdge, p. 82. 

*Medico (El) enamorado. — P. 

Mejor (El) Alcalde el Rey. — XXI ; H. I., 475 ; Jcad. 
VIII. S. (Brit. Mus.; J. R. C; H. A. R.) Mes. Rom. gives 
this under the title of El Tyrano de Galicia. In Escog. XX 
there is a play by Martinez de Meneses entitled EI mejor 
Alcalde el Rey, y no hay cuenta con Serranos, but, as is noted in 
the Tabla to the volume, this piece differs from Lope's (See 
Schaeffer, II, 136.) There is also a siiclta oi El mejor Alcalde 
el Rey at Parma, Madrid, Antonio Sanz, 1741 ; mine is Valen- 
cia, 1793. Of this play, Menendez says : « Es obra de su 
ultima manera y una de las mas excelentes de su teatro. » 
(p. Lv.) V. Z///."^XXVI, 512, 517. 

Mejor (El) Casamentero. — (See La mayor Virlud de 11 n 

Mejor (La) Enamorada la Magdalena. — P-. ; M. ; H.; MS. 
copy (Osuna), Cat. B. N. No. 2120 ; Rocamora, No. 832, 
also MS. copy (Gayangos), No. 3979; this latter lacks Act I. 
According to Menendez y Pelayo, (^Acad. V, p. lvi), this MS. 
is anonymous : v. Ztft. XXII, 294. s/^^lV M M-, <f^f 

Mejor (El) Maestro el Tiempo. — VI. 

Mejor (El) Mozo de Espana. — P-. ; XX; H. III., 609; 
Acad. X. Lope speaks of El mejor Moxp de Espana in a letter 
of July 2, i6ir, as if it were written in that year or shortly 
before. La Barrera, Nueva Biog. p. 167 ; v. also Restori, Ztft. 
XXIX, 364; Cotarelo, ElCondede Villamediana, 239. 


Mejor (HI) Representante. — P-. (See Lo /ingido Verdadero). 
As already noted, the piece on the same subject by Cancer, 
Martinez de Meneses, and Rosete Nino in Escog. XXIX, is an 
independent work. However, Lope's penultimate scene is uti- 
lized in Act III, sc. ii, where Gines, on the eve of martyrdom, 
describes the company of the blessed whose representative 
he is. 

Melindres (Los) de Belisa. — P-. ; IX; H. I., 317 ; it occurs 
as a modern snella (J. R. C.) witji the title La Dama melindrosa. 
Salva (I, p. 623) notes a play La Melindrosa 6 los Esclavos 
supiicsios as the title of the re-cast of Lope's play by Tri- 

Merced (La) en el Castigo, 6 El Premio en la misma Pena. 

— H. ; S. (J. R. C. ; Holland and Parma). According to 
Fajardo this was printed in Part XXVI, extravagante, Zaragoza, 
1645. Chorley questions the statement that Lope is the author. 
Under the title of El Premio en la misina Pma the play is 
attributed to Moreto in Escog. XXX ; wrongly, as Fernandez- 
Guerra holds. With some variation towards the close, and 
with the title El Dichoso en Zarago::a, it is reprinted in Escog. 
XL., and also as a snelta. In both cases it bears Montalvan's 
name, and Fernandez-Guerra concurs in this ascription. Bacon, 
Juan Pire:( de Montalvan, p. 441, classes it among the supposi- 
titious dramas of his author. 

Merito (El) en la Templanza (H.), y Ventura por el Sueno. 

— S. (J. R. C. and Duran) ; MS. copy Cat. B. N. No. 2151. 
A feeble work in which Chorley finds no trace of Lope's 

^Meson (El) de la Corte. — P. /k W- A -T- -^P^- 

*Miente quien jura y ama. — P-. 

Milagro (El) por los Celos (H.), y Don Alvaro de Luna. — 
S. (Chorley; Holland; H. A. R.) Barcelona, 1770. Acad. X. 
There are two MSS. of this play in the Bib. Nac : the Osuna 
MS. No. 2 16 1, is ascribed to Lope ; Rocamora, No. 853, and 


No. 2162, in which it is attributed to Tirso de Molina. Accord- 
ing to tlie concluding lines, the full title is : El Milagro par 
los Cclos, y exalente Portaguesa. Primera Parte. On tlie same 
theme (the story of Dona Beatriz de Silva) Tirso de Molina 
also wrote a comedia, entitled : Favoreccr a todosy aniar a nin- 
guno, which, in the opinion of Menendez y Pelayo, is a better 
written play than Lope's, but neither, he adds, redounds to the 
glory of their authors, v. Cotarelo, Comedias de Tirso de Molina, 
II, p. xviii. El Milagro por los Celos was in possession of the 
autor de comedias Andres de la Vega in November, 1632. Perez 
Pastor, Niievos Datos, 226 ; v. Ztft. XXIX, 363. Both manu- 
scripts in the Bib. Nac. Nos. 2 161 and 2162 are of Lope's 
comedia though both are ascribed to Tirso. 

Milagros (Los) del Desprecio. — Escog. X ; H. IL, 235; S. 
(Chorley), attributed to tin ingenio, and to Montalvan, with 
the title Diablos son Mugcrcs. Fajardo asserts that the play was 
issued in Part XXVII, extrdvagante, Barcelona, 1633; the play 
Diablos son M//o-gf« ascribed to Montalvan, is Lope's Milagros 
del Desprecio, not even the names of the characters, only the 
title being changed. Stiefel, in Ztft. X\\ 221. Los Milagros del 
Desprecio was represented by Jeronima de Burgos sometime 
before December 24, 1632. Mod. Lang. Rev. Ill, 47. 

Mirad a quien alabais. — XVI ; Escog. VI, Zaragoza, 1653 ; 
H. IV., 455 ; S. (Chorley). Cf. Moreto's Lo que puede la Apre- 
hension. v. Schaeffer. II, 166. 

Mocedad (La) de Roldan. — P. ; XIX. This play has no 
figiira del donayre. Chorley calls it a good specimen of Lope's 
early manner. In the dedication Lope says that he composed 
this comedia in his youth « a devocion del gallardo tallc, en 
habito de hombre, de la unica represcntanta, Jusepa Y-Aca » etc. 
Menendez says that it is not likely that it was written before 
1596. Acad. XIIL 

Mocedades (Las) de Bernardo del Carpio. — H. ; Escog. VI, 
Zaragoza, 1653 ; and, according to La Barrera;, in XXIX, extra- 


vagank, Huesca, 1634. S. (Brit. Mus. ; Chorley; Holland; Ren- 
nert). (See also Bernardo del Carpio). v. Restori, Ztft . XXVI, 
492. As the latter observes, there were two siicltas of Las Moce- 
dades, one at Madrid, Calle dela Paz, 1728; the other by Antonio 
Sanz, Madrid, en la Plazuela de la Calle de la Paz, 1742. The 
latter derives from a different and better text than all the other 
impressions. It is the one that I possess. 

Molino (El). — P. ; I ; H. I., 21 ; S. (Brit. Mus. and J. R. C.) 
This play has no figura del donayre. 

*Monstruo (El) de Amor. — P. 

Monstruo (El) de la Fortuna. — Escog. VII, where it is 
ascribed to tres ingenios. It is Lope's La Reina Juana de Ndpoles. 

Montanesa (La) famosa. — H. ; P. ; La Montahesa. — MS. copy 
Bibl. Nac. Cat. No. 2200, with the additional title La Amistad 
pagada, under which name it is printed in Parte I of Lope. In 
his Peregrino Lope says of this piece : « La hizo Santander, 
digno de ser oido, y no de menor cuydado y ingenio [que 
Villegas]. » fol. 263. 

Monteros (Los) de Espinosa. — P.; MS. copy (inedited). Cat. 
B. N. No. 2203. Menendez y Pelayo says « : La que con este titulo 
corre anonima en ediciones sueltas, por ningun concepto puede 
atribuirse a Lope ; parece escrita en el siglo XVIII. » Acad. Vr 
p. xli. 

Montes de Gelboe. — (See David perseguido). 

Moza (La) de Cantaro. — H.; Dif. XXVII ; H. I., 549 ; S. 
(J. R. C; Holland; Parma; Vienna); there is also a re-cast in 
five Acts by Trigueros. MS. copy Cat. B.N. No. 22 1 1 ; M. ; anon : 
whether this be Lope's play or not, I do not know. The date ot 
composition of Lope's play may be inferred approximately from 
the statement in the closing verses that the author had already 
written 1500 coniedias . This would place the date of composi- 
tion towards the close of 1631 or early in 1632. v. Hartzen- 
husch, Cowedias Escog . de Lope de Vega , I, 556. There is an edition 
by M. Stathers, New York, 191 3. It may be convenient to 


oint out that Dif. XXXVII is tlie volume indicated by La Bar- 
era (Catahgo, p. 708) under the title of Doie Comedias nucvas 
e diferentes Autores, las incjores que hasta ahora ban salido, cuyos 
'tulosvaii d la vitelta, Parte XXXXXVIJ . Aiio 1646. \ln Valcn- 
ia, a costa de Juan Sonzoni. La Barrera says that he iicard ot 
his volume through Gayangos, who received his information 
rom Chorley ; but La Barrera has omitted to note that 
CXXXXVII is a misprint for XXXVII. Moreover, he classifies the 
lOok wrongly under the heading of Colecciones Snelias instead of 
ilacing it in the series of Diferentes. This copy, discovered hv 
ficknor in the Library of the University of Bologna, is believed 
o be unique. The MS. in the Bib. Nac. Cat. No. 221 1 is not 
.ope's cotnedia, bust an entirely different play, to judge by the 
)pening and closing lines quoted in the Catalogue. 

*Moza (La) Gallega. ^ P-. 

*Mudable (La). — P. 

Mudanzas (Las) de la Fortuna y Sucesos de don Beltran de 
\ragon. — P-. (Don Beltran de Aragon;) S. (Holland, with the 
lecond title onh') ; Parte III de las Comedias de Lope y otros 
Autores, Barcelona, 1612, 1614; Madrid and Seville, 1613; MS. 
;opy (Osuna), dated 1610, Cat. B. N. No. 2219 ; Rocamora, 
SJo. 881, who says it is an autograph. There is a MS. copy at 

*Muerte (La) del Maestre. — P. « Se referini a D. Alvaro dt 
Luna? » M. y P. 

Muerte (La) mas venturosa. — (See Antonio Rocd). 

*Muerto Vencedor (El). — P. ; P^ ; M. 

Muertos (Los) viuos. — P. ; XVII; a Representola Villalua ». 
MS. copy (Parma and Bib. Nac.) Cat. No. 2235, (Duran). The 
play has a gracioso in the character of the gardener Doristo. On 
the source of this play — Parabosco, Diporti, Nov. 10, v. Stiefel, 
Ztft.f. frani. Sprache u. Litt. XXVII, 258. An early play. 
*Mugeres y Criados. — P^. 
Mugeres (Las) sin Hombres. — P-. ; XVI ; Acad. VI. This 



, t^ phy, which Chorley conjectures to be Las Atnaionas, has £ 

\/ >^ figura deldonayie. v. Ztft. XXIII, 443. 

(Q . ' *Muza furioso. — P. Mes. Rom. states that this piece is iden- 

tical with La Prisiondc Mu^a mentioned in P. Chorley, however^ 
thinks that this is unlikely, inasmuch as both plays are giver 
in the same list. 


*Nacimiento (El). — P. (El Nacimiento de Cristo ?) 

Xacimiento(El) de Cristo. — XXIV, Zaragoza, 1641 ; Acad. 
III. S. (Gavangos). This play, although called a coniedia, and 
divided into three Acts, is an Auio del Nacimiento. It has figurat 
graciosas in the characters of Inocencia (Act. I) and the shepherc 
Bato (Acts II and III). Chorley ranks the play as one of Lope's 
masterpieces. If this play be EJ 'Nacimiento noted in P, it must 
be older than 1603 ; in fact, Menendez y Pelayo says, it 
appears to be one of the oldest of Lope's compositions, v. 
Ztft. XXII, 122. There is, however, anotlier comcdia by Lope 
entitled : « La famosa Coniedia del Nacimiento de Christo Nnestro 
Sehor, con la huelta de Egipto. Por Lope de Vega Carpio. Hablan 
en ella los siguientes : Octauiano, Emperador. Atilio, senador. 
Regulo, Senador. Cleolulo, Senador. lesus, Maria. Josef. Isabel, 
etc... En Valencia Por Pedro Patricio Mey, junto a San Mar- 
tin, 161 3. Vendese en la misma Emprenta. Con una loa ». 
Gallardo, Ensayo, IV, col. 968. This, it will be seen, is an 
entirely different play from the one in Part XXIV. 

Xacimiento (El) del Alba. — H. ; Osuna, Tomo 131. S. 
(Brit. Mus.; Arl. ; J. R. C. ; Vienna) ; Fajardo says that this play 
was included in Parte XXVI, extravagant e, Zaragoza, 1645. 
According to the final verses the alternative title is La Concep- 
cion de la Virgen. (Sec the note under La Madre de la mejor.^ 

Nacimiento (El) de Urson y Valentin. — P. (Urson y Valen- 
tin). I. (I'irst Part). This play has no figura del donayre. 


Nadiese conoce. — XXII, Madrid, 1635. 
Nardo Antonio, Vandolero. — H. Tomo 131, ff. 235-254 
Osuna). Fajardo says this play was printed in Parte Y, Sevilla. 
^ play entitled Bl valiente Nardo A)iloiiio is ascribed to Mescua 
na list of plays possessed by Juan Jeroninio Almella in Valencia 
n 1628. H. Merimec, Bull. Hisp: \Uf, 378 ; Mod. Lang. Rev. 
^1906), 104, 3.nd Ibid. Ill, 55. 

Naufragio (El) prodigioso. — M. ; H. ; Tomo 132 (Osuna). ff. 
— 270, with the title Don Manuel de Soiisa : el Naufragio prodi- 
gioso y Principe trocado. Tirso de Molina treated the same 
subject in his play Escarniientos para el Cuerdo. v. Cotarelo, 
Comedias de Tirso de Molina, II, p. xxi ; v. Ticknor Catalogue, 
p. 105, under Corte-Real. I think the first ed. of the latter 
work appeared at Lisbon in 1594. v. Schack, II, p. 364. 

Necedad (La) del Discrete. — P^ ; XXV ; S. (Munich ; MS. 
(Osuna), Cat. B. N. No. 2286, with the title La Necedad en el 
Discreto, and attributed to Calderon, but in the latter's Qiiinta 
Parte, it is mentioned as existing in MS., and as wrongly 
ascribed to Calderon. Cf. Cervante/s novel El curioso Imperti- 
nent e and Matos's corned ia El Yerro del Entendido. 

Negro (El) del mejor Amo, Antiobo de Cerdena. — MS. 
copy of the early xvii century at Parma. Chorley suggests that 
this may possibly be the alternative title of El Santo Negro 
Rosambnco, but this is a mistake . The play in the Parma MS. 
Prof. Restori says, is entirely different from El Negro del 
mejor Amo by Mira de Mescua, and also from the Santo Negro 
Rosandmco of Lope ; both these latter have for a subject the con- 
version of the negro Rosambuco by San Etnito of Palein.o. 
The Parma play also differs from the Negro mas prodigioso ol 
Diamante, and « from all the other Negros in the catalogues. » 
The above Parma MS. of El Negro del mejor Amo has been 
published by Restori, Degli « Anlos » di Lope de Vega. Parma, 
1898 ; see also : Restori, Una Collei. 28; Ztjt. XXII, 293 ; 
Mod. Lang. Rev. (1906), 97. I have a stielta of Mescua's play. 


Neron cruel. — (See Roma abrasada). 

*Nina (La) de Alcorcon. — P-. 

Niiia (La) de Plata (El Cortes Galan). The latter title is giver 
in the final verses of the play. — P-. ; IX; H. L, 273 ; S. (Brit. 
Mus.; J. R. C. ; Gayangos; H. A. R.); Acad. IX. In the fina! 
verses the alternative title is El cartes Galaii. v. Restori, p. 28; 
Life of Lope, p. 210, n. The MS. in the Brit. Mus. (Egerton, 
547) entitled La Nina de Plata y Buria vengada, dated Montilla, 
January 29, 161 3, is neither in Lope's hand nor signed by 
him : it has nothing in common, except the title, with Lope's 
comedia in Parte IX, so Prof. Fitzmaurice-Kelly assures me. 
There are two siicltas of Lope's comedia, one of Madrid, 1739, 
and one of Valencia 1781 : I possess the latter, v. Restori, in 
Ztft. XXVIII, 234 ff., who gives all the variants of the sueltd, 
which latter is, in fact, a re-cast of the play in Part IX, made, 
not impossibly, by Lope himself. See also Mod. Lang. Rev. 
(1906), 107; Schaefter, I, p. 145. 

Niiiez (La) del Padre Rojas. — Escog. XVIII; Acad. V; S. 
(Holland), MS. autog. (Parte Primera de su Vida), hi Bib. Nac. 
(Osuna) dated at Madrid, Januar}', 4, 1625; Cat. No. 2304 : 
it bears a license of February 2,1625. Rocamora, No. 927. In 
the Tabla the title reads : LasNiiieces, etc. At the end a Second 
Part is promised, v. Zlft. XXII, 281. 

Niiiez (La) de San Isidro. — Published in « Relacion de las 
Fiestas », etc., Madrid, 1622; Obras Sueltas, XII; Acad. IV. v. 
Ztft. XXII, 277. 

Nino (HI) Diablo.— H. ; (See El Diablo Niiio) ; MS. copy (Pri- 
mera Parte) in Bib. Nac. (Osuna). Cat. No. 2308. Rocamora, 
No. 923. S. (J. R. C. and Gayangos). The present play is undoubt- 
edly by Luis Velez de Guevara, as the pseudonym Laiiiv shows. 
A comedia called El Nino diablo was represented by the com- 
pany of Lorenzo Hurtado [de la Camara] on October 5,1631. 
Mod. Lang. Rev. Ill, 48. 

Nino (El) inocente de la Guardia. — P\ (El Nino inocente); 


Ylll; Acad. V. (SeeEl Santo Nihode la Guardia.) MS. copy (Par- 
ma). The autograph (?) reported to be in Duran's collection, 
entitled El santo Nino, etc., is now in the Bih. Nac. Cat. 
No. 3041. This MS. is not an aiitog., and bears a coisiira at 
Malaga, January 7,1638. The play has no ftgura del donayrc. 

* Nino (El) Pastor. — M. H. 

Nobles (Los) como han de ser. — M. ; S. (j. R. C); MS. 
copy (Duran) Cat. B. N. No. 2366, (modern). (See Como ban dc 
ser I OS Nobles.^ 

Noche (La) de San Juan. — XXI ; MS. copy(Holland : 1635). 
Written in 163 1, in three days. « Se ha estudiado y compuesto 
en cinco dias. Representola Avendaiio. » v. Casiano Pellicer, Tra- 
tado hi star ico, tie. II, 168; Life of Lope, 338. 

Noche (La) Toledana. - P". ; Parte III de Lope y otros Aittores, 
Barcelona, 1612, etc.; H. I., 203; MS. copy (Parma; Osuna). 
Cat. B. N. Nos. 2379 and 4013, the latter modern; Rocamora, 
No. 933. La Noche Toledana was written shortly after the birth of 
Philip IV,(April 8,1605). v. Couiedias de Lope, ed. Hart/enbusch, 
I, 208, col . I. Cf. Al pasar del Arroyo. 

No son todos Ruiseiiores. — XXII, Madrid, 1635. S. (Brit. 
Mus. and Gayangos) with Calderon's name attached to it. See 
Schmidt, Calderon,^. 483, 

Novios (Los) de Hornachuelos. — M; H. III., 387; Acad. X; 
Tomo 133 (Osuna). « Representola Fernandez ». S. (J. R. C). 
There are two MSS. of this comedia, both copies, in the Bib. 
Nac. (see Cat. No. 2391). The Osuna MS. contains only the 
first two Acts, and is dated 1627 ; the other MS. reads at the 
end: « Saquela en 12 de Abril de 1629 anos en casa de Barto- 
lome Romero y por su mandado, » and bears a license dated 
Valencia, October 15,1629. In the Osuna MS. the play is ascribed 
to Velez de Guevara ; in the other MS. to Guevara and Medrano 
in a modern handwriting. According to La Barrera's manuscript 
catalogue, the Osuna MS. contained Act I of this play in the 
handwriting of Luis Velez de Guevara, and with his signature 


appended. The only ancient edition of this play known, an exces- 
sively rare siieJta, ascribes the play to Lope de Vega. 

\iiestra Senora de la Candelaria y sus Milagros, y Guanches 
de Tenerife. — H.; (See Los Guanches dc Teiierife.); X; the 
MS. (OsLina), copy, Cat. B. N. No. 2398, is of a play entirely 
different from Lope's, v. Ztft . XXX, 228. 

Nuestra Senora de la Peiia de Francia. — H. ; Tomo 132 
(Osuna). According to Fajardo this is a fragment of the volume 
by Lope and others, printed at Sevilla. It has been suggested that 
this play is by Tirso de Molina, but La Barrera identifies it 
{Catcihgo, p. 683)with EI Casaiiiienio en la Muerte, y Hrchosdi Ber- 
nardo del Carpio, and Chorley is disposed to concur. There is, in 
fact, no doubt as to the identity of these two plays. Tirso de Moli- 
na's La Peha de Francia treats the theme quite independentlv^ 
V. Cotarelo, Coniedias de Tirso de Molina, II, xxx. Ztft. XXII, 294. 

Nueva (La) Victoria de don Gonzalo de Cordoba. — (this is 
the title in the autograph). — Fega del P. where it bears the title : 
La mayor Victoria de Alemania de D . Gonzalo de Cordoba ; 
XXIV, Zaragoza, 1641 ; Obras suelt. X. (See Don GonT^alo de 
Cordoba); MS. autog. (Osuna) signed at Madrid, October 
8,1622. with a license dated October 21,1622. Cat. B. N. No. 
2409; Rocamora, No. 961. Academy XIII . It is probable that 
Lope wrote D . Gon:(alo de Cordoba for the two Valencianos, auto- 
res de coniedias. v. Ztft. XXXI, 503 . The play was in the posses- 
sion of the actor Juan Jeronimo Almella in Valencia in 1628. 
V. H. Merimee. Bull. Hisp. VIII, 376. 

Nueva (La) Victoria del Marques de Santa Cruz . — P\ ; where it 
bears the title La Tonia de Longo por El Marques de Santa Cru~ . 
— Printed in Parte XXV, Zaragoza, 1647 ; Acad. XIII « It must 
have been written in 1604, the date of the action which it com- 
memorates. » M. yP. Ibid. p. xvi. Ztft. XXXI, 500. 

*Nuevo (El) Mundo. — P. Chorley hesitates to affirm that this 
is identical with the next play on the present list. 

Nuevo (El) Mundo descubierto por Christou il Colon . — IV ; 


Acad. XI. This play has no /?_^//.m del danayre. The play has 
also been edited by E. Barry (Paris, Garnier frcrcs, no date). 
This editor had a novel purpose in editing this text. He says he 
might have chosen any one of a number of masterpieces of the 
author, but« on a prefere publier El nnevo Muiuio, punir Lope par 
ou il a trop souvent peche, montrer a quelles monstrueuses pro- 
ductions le conduisait I'application des theories anti-classiques de ^ 
son arte nnevo. » Nevertheless, we think Lope will survive, l/- Pav'^^^/ pliJ-2^ 

Nuevo (El) Mundo en Castilla. — (See Las Batuecas del Dinjiic y.^'J 
de Alha). Fajardo gives this play with the latter title. 

Nuevo (El) Pitagoras. — Schack, II, 340 : apparently other- 
wise unknown. I had always searched in vain for this play and 
in the previous edition of this catalogue, I had marked it very 
doubtful. Prof. Stiefel has, however, found it : v. « Lopede Vega 
und die Comedia£"/ Nuevo Pitagoras », in Roman. Forsch. (1908), 
where the author proves conclusively that this play is not Lope's 
at all, but that it was probably written by Duperron de Castera. 
- Nuevos (Los) Martires de Argel. — Doubtful. Juan Jeronimo 
Almella, an antor de comedias possessed a MS. copy of this play in 
Valencia in 1628, ascribed to Lope. v. Bull. Hisp. VIII, 376. Per- 
haps it is the same as Los Cautivos de Argel or Los Esclavos de Argel. 

Nuevos (Los) Sucesos del Gran Duque de Moscovia. — With 
this title there is a MS. (Osuna), ascribed to Lope in the Bib. 
Nac. Cat. No. 2416; Rocamora, No. 96.]. It is El Gran Dnqnc 
de Moscovia of Parte VII. 

Nunca mucho costo Poco. — XXII, Zaragoza, 1630; MS. 
(Osuna), copy, Cat. B. N.No. 2422, ascribed to Lope de Vega : 
Rocamora, No. <)GG, two copies, the one with a license at Cor- 
doba, January 4,1643. This is the secondary title oi Kw'v/. de 
Alarcon's famous comedia, Los Pechos privilegiados, in which he 
retorts upon Lope : v. Life of Lope, pp. 331-333- There is no 
other resemblance between the two plays, which are entirely 
distinct. The only allusion to the auxiliary title Nunca mucho 
costo poco that I find in Alarcon's play is at the end of Act I. Sc. 


4. But the plav in XXII, Zaragoza, 1630, and in the two Osuna 
manuscripts is undoubtedly Lope's. Surely he, and no other, 
wrote these verses of Belisa's song (Act II) : 

M Van V vienen las olas, madre, 
a las orillas del mar , 
mis males con las que vienen, 
mis biencs con las que van. » 

A play entitled Nunca miicho cuesla poco (sic), probably Lope's 
coDiedia, was represented at court by the company of Andres de 
la Vega on October 28,1625. See Mod. Lang. Rev. Ill, p. 48. 
Fernandez-Guerra, Alarcoii, p. 376, says that the play represent- 
ed on that date was Alarcon"s Los Pechos prmkgiados. He does 
not give his source for this statement : probably it is Villaamil's 
list in the Avcrignador, I. If so, I think he is mistaken. 


Obediencia (La) laureada y Primer Carlos de Vngria — P-. ; 
VI; H. IV., 165; S. (Brit^. Mus. ; J. R. C, and Gayango^.'^ 
MS. copy (Osuna), Cat. B. N. No. 2426 ; Rocamora , No. 968. . 
^Uf.dxCa^l^iU, robras son Amores. — P^; XL S. (Brit. Mus. and J. R. C.) 
Q\ith the additional title of Y no buenas Ra:(ones. MS. copy (Parma). 

Ocasion (La) perdida. — P- ; II; MS. copy (Parma ; Osuna) 
Cat. B. N. No. 2436. Rocamora. No. 974. Chorley says that there 
is no fignra del donayre in this play, but Hernandillo, lacayo, is 
noted as a gracioso on the first page of the play. ^ TC/ ^f/%, ^' ' 

Octava (La) Maravilla. — P^;X. MS. copy (Parma). 

Once )nil Virgenes(Las) : Santa Ursula. Mes. Rom. M. (anon.); 
H.; Doubtful. Mesonero Romanos alone ascribes this play to 

Orden (La)de la Redencion y Virgen de los Remedios. — MS. 
copy (Holland). Doubtful. La Barrera conjectures {Cat. p. 436) 
that the Holland MS. may be Calderon's lost phy, Nuestra Sehora 


le los Remcdios. A comedia with a somewhat similar title. — 
La Esclavitiid mas dichosa y Firgen dc los Reimdios is printed in 
Sscog. XXV and as a suelta with the names of Francisco de 
/iilegas and Jusepe Rojo. Restori suggests that La Ordeii de la 
^edencion may possibly be an alternative title of La Vida dc San 
^edro Nolasco. Ztff. XXII, 277. v. Schacffer, II, 322. 

*Oste^morena. — P-. 

*Otomano (El) famoso. — P. 

Paces (Las) de los Reyes, y Judia de Toledo. — ■ P- ; VII ; H. 
[II., 567; Acad. VIII. V. Zf//. XXVI; 515. J^'"^. ^■/^i^'7A 

*Padres (Los) engaiiados. — P. 

Padrino (El) desposado. — P. ; P\ ; II. MS. copy (Parma). Ac- 
:ording to Fajardo this is an alternative title of Argolan, Rey de 
dlcalci. q. V. This play has no figura del donayre. One of the 
;haracters in the play, Argolan Moro, Rey de Alcala, supports 
Fajardo's statement. El Padrino desposado was represented by Rios 
(who took the character of Argolan) sometime before 1600, in 
Granada, v. Rojas, Viage entretenido, ed. of 1603, p. 1S2. Cf. 
Bandello, Part III, Nov. LIV. (Schaeffer.) 

*Paje (El) de Don Alvaro. — Doubtful. See under Suppositi- 
tious Plays : what is there said would have been more fittingly 
inserted in this place. 

Paje (El) de la Reina. — P. ^^j^ ^^. rt-^^'] 

*Palabra (La) mal cumplida. — P. -.--^ 

Palacio (El) confuso. — i)//. XXVIII, (Huesca, 1634). Nicolas 
Antonio states that it was printed in Parte XXIV, Madrid, 1640. 
It occurs as a siielta (Duran), and in Escog. XXVIII (1667), 
attributed to Mescua. It has been further asserted by La Barrera 
that this play was included in Parte XXVIII (exiravaganie), Zara- 
goza, 1639. Fajardo, however, does not quote it as appearing in 
Parte XXVIII, extravamnte. He ascribes the coniedia to Lope and 


his entry continues : « En su Parte XXIV antigua. Fx. » This is 
meant to convey that Fajardo himself had a copy of the book 
in his collection, and the volume would appear to be the vanished 
Parte XXIV, Madrid, 1640, mentioned by Nicolas Antonio. Fajar- 
do repeats the title, followed by Mira de Mescua's name, as occur- 
ring in « Parte XXVIII Varios », — meaning Escog. XXVIII — 
where, in fact, it is found. In a volume of siieUas in the Munich 
Library described by Stiefel, Ztft. XV, 218, EJ Pnlacio confiiso is 
ascribed to Mescua ; besides, a MS. coiuedia with the same title, 
which was in possession of Juan Jeronimo Almella in Valencia, in 
1628, is also attributed to Mescua. H. Merimee, Bull. Hisp. VIII. 
378. I have read £/ Palacio confuso, and its 'style is certainly very 
much like Lope's but the style of no dramatist of this period, 
perhaps, so much resembles Lope's as does the style of Mescua, 
which makes the question of authorship difhcult to determine. 
El Palacio confuso was first represented by \'alleio. After the 
above was written I noticed that Schaeffer, I. 320, says that the 
first Act oi El palacio confuso may be Lope's, but that the remain- 
ing two Acts, and perhaps the whole play is rather Mescua's 
than Lope's. Huerta thought there were two coiiiedias bearing 
the title El palacio confuso, one by Mescua, the other by Lope. 
Ibid. II, 319. 

Palacios (Los) de Galiana. — P. ; (La Galiana) ; XXIII. In the 
concluding verses the alternative title : Aniorcs de Carlos is given. 
This play has no fig ur a del donayre. Acad. XIII. 

Paloma (La) de Toledo. — H. ; Dif XXIX, Huesca, 1634; 
Acad. X; MS. Copy (Osuna), Cat. B. N. No. 2490 : Rocamora, 
No. 987. Chorley notes in his collection a fragment of Dif. 
XXIX, Huesca, 1634; ff. 121-140; Salva, I. 548. This play 
was represented at Court bv Thomas Fernande/c in October, 1625 . 
Mod. Lang. Rev. Ill, 49 . 

Paraiso (El) de Laura y Florestas de Amor. — MS. copy 
(Holland) dated 1680. Doubtful. H. gives El Paraiso de Laura 
and Las Florestas de Amor as two distinct and separate plays, both 


Pasar (Al) del Arroyo. — (See AJ pa<;ar del Arrow). 

* Pastor Fido (El). — M. ; H. 

Pastor (El) Soldado . — MS. copy (Parma) See Restori, p. 50. 
At the end it is called : LaEiclaua dcsii Hijo. This title is found 
in P -. The play was supposed to be lost. 

Pastoral (La) de Albania , — P. (See Pastoral dc Jacinto). 

Pastoral (Un) Albergue. — Coinedias imd. 1873. MS. copv 
(Duran). Cat. 13. N. No. 2526; Acad. XIII. « A mi juicio es 
muy dudoso que sea de Lope... al fin anadese la noticia de que 
se hizo diez y ocho dias en Sevilla » . M. y. P. ibid. p. cxii. The 
editors of the 1873 ed. say : « after examining the MS. very care- 
fully, we are of the opinion that this comedia is by three wits, 
and that one of the co-authors was Lope de Vega : and tho the 
MS. is not an autograph, the first Act has corrections and emen- 
dations made by Lope : besides some blank spaces left by the 
copyist, either because they were wanting in his original, or 
because they were unintelligible, are likewise written in the hand 
of Lope. This extends, however, only to the first Act. The remain- 
ing two are in two different hands. » 

Pastoral (La) de los Celos. — P. (See Pastoral dc Jacinto). 

* Pastoral (La) encantada. — P. ; 
Pastoral (La) de Jacinto. — XVIII. (P. Los Jacintos; GL. v- >^-^- ^""""Z [. 

16 17, El Celoso desi misnio 6 Los Jacintos). Ticknor says it occurs >Vr, ^ 

as ASiielta with the title : La Sclva de Albania y Celoso de si inisnio. 
MS. Copy (Parma, Restori. p. 29), and Cat. B. N. No. 2527. 
It is the same as La Pastoral de Albania and La Pastoral de los 
Celos. Acad. V. This play has no figura del donayre. « Esta come- 
dia es la segunda en antigiiedad entre las que conocemos deLope, 
despuesde£"/ verdadero Amante. » M. y. P. Ibid. p. lix. v. the im- 
portant remarks of Restori, Ztfl. XXIII, 430. ff". There are two 
MSS. at Parma : one entitled Ja~inio y Zeloso de si iiiisino. The 
concluding verses are diff'erent in the two MSS. 

*Pastoral (La) de la Siega. — P. 

Pedro Carbonero. — P.; XIV. « Representola Granados y el 


Pedro Carbonero famosamente ». (See El Cordobes Valeroso). 
Acad. XI. 

Pedro de Urdemalas. — P' ; S. (Duran). Huerta assigns it to 
Montalvan, and Schack says that it is by Lope. It occurs as a 
sueha under the names of both these poets. See Cat. B. N. No. 
2550, a MS. of a couiedia with this title, apparently by Dia- 
mante. As there are several plays with this title, it is impossible 
to say who was the author of Las Burlas de Pedro de Urdemalas, 
represented by Vallejo's company in 1622, as the plays of both 
Lope de Vega and Cervantes were written before this date- 
Schick, Nacht rage, p. 67. Bacon, Life and Works of Montalvan, 
classes it among the supposititious works of his author (p. 447). 

*Peligro (El) de alabarse. — P-. This play is noted by La Bar- 
rera as anonymous. There is a MS. of a much later coiiiedia in 
the Bib. Nac. Cat. No. 329, entitled : La Bandolera de Bac^a y 
Peligro en alabarse, by the alitor de coniedias, Alonso Caballero. 

Peligros (Los) de la Ausencia. — XXIV, Zaragoza, 1641 ; H . 
II., 405. S. (Gayangos.) 

Pena (La) de Francia. — M. H. ; Fajardo states that it was 
printed in the volume of Comedias by Lope and others, Sevilla. 
A fragment survives in the Osuna collection, Tomo 132. with 
the title Nuestra Sehora de la Fend de Francia, q. v. See also Res- 
tori, Ztft. XXn, 294. 

*Peraltas (Los). — P. : P^; mentioned by Lope in the dedi- 
cation of El Serafin hiimano, XIX. 

^.-Perdicion (La) de Espaiia, y Descendencia de los Ceballos. — 
P. It was represented before the Queen by the company of 
Pedro de Valdes in October, 1622. The play was still in existence 
at the beginning of the xviii''' century, for Fajardo mentions 
it as a suelta entitled : Perdida de Espaha y Descendencia de los 

Perdida (La) honrosa 6 los Caballeros de San Juan. — Acad. 
XII ; MS. copy modern (Duran), of an ancient MS. belonging 
to Sr. Quiroga, of Madrid. Cat. B. N. No. 2575. 


Perdidas (Las) del que juega. — iM. (anon.) ; H. ; MS. copy 
(Osuna), Cat. B.N. No. 2576 : Kocamora, No. 1021, wlio con- 
sidered it an autograph. MS. copy (Holland). 

*Peregrina (La). — P. 

Peribanez y el Comendador de Ocaiia. — P-; (Coniendador j^*^""*-^^ 

de Ocana); IV; H. IIL, 281 ; Acad. X; MS. copy (Holland) : 7^^' eT^-f 
the corrections in this MS. seem to be in Lope's hand. « La fecha ^Z^^^'t^^h^^tjC- 
de esta comedia puede fijarsc con aproximacion enire 1609 y caa^^^-*j^ e^oo^^ 
1614. » M. y P. See Act III, Sc. 5, where Lope says : « A la /<bPP-(^^*'^''-'y^', 
iglesia me acogi ». If this be taken literally the play must have -^^ -< y. a, ,r 
been written in 1614. But Parte ^: appeared in that year! , 

Perro (El) delHortelano. — P^Y H. L, 341 ; S. (Brit. Mus.; 0^- ^-/{/"^V" ' 
J. R. C. and H. A. R.) ; Esco^. XXV. It is found as a siielta, 
ascribed to Moreto, with the title La Condesa de Belflor. With 
the title Amar por ver Arnar it exists in MS. dated 1659, in the 
library of Lord Holland. There is at Parma a suelta : Sevilla, por 
Tome de Dios Miranda, 1676 : Restori. Cf. the saying : 
« Como el perro del hortelano, ni come ni deja comer ». 

Perseguido (El). — P. ; I ; and Lisboa & Madrid, 1603. (See 
Carlos el Perseguido.) « La represento Cisneros, a quien, desde la 
invencion de las comedias, no hay,£comparacion alguno ». El 
Peregrhio, fol. 263. 

Perseo (El). (See La Fabiila de Perseo). 

Piadoso (El) Aragones. — XXI; Acad. X; MS. autograph 
(Osuna), dated Madrid, August 17, 1626, with licenses oi Madrid, 
September 15, 1626; Zaragoza, 1627 and Lisboa, 1631. Cat.B. 
N. No. 2607; Rocamora, No. 1028, v. Ztft. XXIX, 364. 

Piadoso (El) Veneciano. — P^ ; XXIII; H. IIL, 547. It is 
founded on a tale of Cinzio Giraldi, Dec. I, Nov. 5. Schaeffer, II, 
317. Cf. Tirso de Molina's comedia, El honroso Atrevimienlo, 
which contains the same argumeni, with only slight changes : ^ 
Comedias de Tirso de Molina, ed. Cotarelo, II, xxiii. y-^ P tr, U^^^yx . o*^ " 

Piedad (^La) executada. — XVIIL This play has no figiira del 
donayre, though two minor characters in Act I. — D. Juan Men- 


doza's page and Bustamente (the guarda damns) — approach the 

. ^, oracioso type. This comedia is ahnost certainly the old play 

•^ /{. Pimenteks y Quinones : (see below). Two of the most prominent 

■^J^ ,f^ characters in it are D. Fernando de Quinones and D. Juan 

L' Pimentel. On fol. 1 60, we read : 

« La puerta de cpigramas adornada, 
geroglificos, armas, v blasones, 
la diuisa en un quadro coronada, 
que junta Pimenteles, y Quinones. » 

Pimenteles y Quinones. — P. Mes. Romanos identifies this 
with La Piedad excciitada, (Parte XVIII), and Chorley thinks he 
may be right. See La Piedad execiitada. 

*Platero (El) del Cielo. — P-. Antonio Martinez de Meneses 
wrote a play entitled : El Platero del Cielo, San Eloy, which is 
probably founded on Lope's play. 

Platicante (El) de Amor. — Doubtful. It is ascribed to Lope in 
a MS. possessed by the autor de coiiicdias Juan Jeronimo Almella 
in Valencia in 1628. H. Merimee, Bull. Hisp., VIII, 378. 

Pleito (El) por la Honra, 6 el Valor de Fernandico. — H. ; 
Do^e Coniedias nuevas de Lope de Vega y olros Autores, Barcelona, 
ff_//.r-/o^&^} i63o/(La Barrera, 707); S. (Brit. Mus. ; J.R.C.; Holland and 
tw'o suellas at Parma, one apparently of Madrid, the other of 
Valladolid, Alonso del Riego, s. a'!?). Acad. VIII ; MS. copy 
(Osuna), Cat. B. N. No. 2644, w^ith the title El Valor de Fernan- 
dico. It is the second Part of Lope's La desdichada Estefania, 
which precedes it in the volume of Barcelona, 1630. The alter- 
native title is given in the closing verses, v. Zlft. XXVI, 513 
Schaeffer (I, 95) doubts Lope's authorship of this play, as does 
also Menendez y Pelayo, in the corrupt and mangled text in 
which it has reached us. The latter thinks that Caiiizares may have 
had a copy of the authentic play by Lope, and that portions of 
this genuine version are contained in Canizares's ccnicdia '■ 
Por acrisolar su Hcncr, Ccvipelidvr Hijo v Padre (^A lo que ohliga 
el Hi r.i r, y Luelc contra su Padre) . 


Pleytos (Los) de Inglaterra. — P. (El Pleyto dc Ingahuerra) ; 
LXIII. There is no Jigiira del doiiayre in this play. 

Pobreza (La) cstimada. — P. ; XVIII ; H. IV., 137. MS. copy 
Parma). In the concluding verses the alternative title is given 
s La Riqiie:;a iiial nacida. 

Pobreza no es Vile/a. — XX; H. IV., 233 ; Acad. XII. This 
ilay was represented by Antonio de Prado on July 29, 1626. 
Vlod. Lang. Rev. Ill, 49. It is probably not much earlier than 
hat date. « Comedia deliciosamente escrita, como todas las de 
\ ultima manera de Lope ». M. y P. v, Ztft. XXI, 499. 

Pobrezas (Las) de Reynaldos."'— P.; VII; Acad. XIII. This 
day has no Jig ura del donayre. " Pertenece a la primera manera 
.e Lope como todas comedias de este ciclo ". M. y P. p. Ixxxiii. 
t was imitated by Moreto and Matos in El inejor Par de los 
loce. (Schaeffer). %r^^£^l_Ei^ .^ V, ///f, / . e/T. 

Poder (El) en el Discreto. — H. (anon.) ; MS. autograph, 
!ated Madrid, May 8, 1623, with ceiisitras at Madrid, January 18, 
624; Valencia, September ir, 1625 and Zaragoza, January 2, 
626. Cat. B. N. No. 2649; Rocamora, No. 1045. e/^»^^ /^/7, ^^o 

Poder (El) vencido y Amor premiado. — P-. ; X. MS. copy 

* Ponzella (La) de Francia. — P. This play, now lost, was 
epresented on December 25, 1636, by Juan Martinez. Mod. Lang. 
lev. Ill, 49. Menendez y Pelayo says that some reminiscences of 
his tragedy of Joan of Arc may perhaps be found in Antonio de 
'amora's La Poncella de Orleans. In Cat. B. N. No. 2669, an 
Dsuna MS. ascribes it to Zamora and Canizares. 

Ponces (Los) de Barcelona. — P". ; IX. MS. copy (Parma), 
fhe closing verses give the title El Jardin de Amor. 

Por la Puente, Juana. — XXI. According to Fajardo this was 
ncluded in Parte XXVII, extravaganie, Barcelona, 1633 ; H. II., 
141 ;S.(Brit. Mus.;J.R.C.;/andH.A.ll.).Salva(Ca/. 1,548), 10^- ^/-/^;:7^,>W 
iGsst^&e^ a fragment of an ancient volume which contained Por 
a Puente, Juana and Zelos con Zelos se citran, both attributed to 


Lope. The fragment was without foUation, extending from sig. 
C 3 to E 6. 

Porceles (Los) de Murcia. — P-. ; \'ll;At:ad. XL v. Restori, 
Ztft. XXX, 234. 

Porfia (La) hasta el Temor. — According to Nicolas Antonio 
this w-as included in Parte XXIY, Madrid, 1640, and Fajardo 
asserts that it was in Parte XXVIII, extravaganie, [Zaragoza, 
1639 (?). It is in Dif. XXXVIII, Huesca, 1634]. H. II, 311; 
MS. copy Cat. B. N. No. 2674, actually No, 420. S. « very 
ancient » (Parma). « Representola Roque de Figueroa », probab- 
ly after 1624. 

Porfiando vence Amor. — In Vega del Panmso, 1637; Obras 
Suelt. IX ; H. III., 237. Fajardo gives it as being in Parte V. ot 
Lope, printed — not at Seville, but — at Madrid. Medel cites the 
same title under the name of Calderon but Vera Tassis says that 
it is not Calderon's. 

Porrtar hasta morir (Macias el Enamorado). — XXIII; H. III., 
95 ; Acad. X. A comedia entitled Macias, in all probability the 
same play, was represented by Pedro de la Rosa in the Retire on 
June 20, 1636. Mod. Lang. Rev. Ill, 45. « Esta preciosa comedia 
es de los ultimos tiempos de Lope ». M. y P. 

Portuguesa (La) y Dicha del Forastero. — P' (Dicha del 
Forastero). Escog. Ill; H. II, 155 ; MS. copy (J.R.C.). This 
play was written shortly after November 19, 161 5, the date o. 
the entry of Princess Isabel (daughter of Henry IV of France) 
into Madrid. Hartzenbusch. II, 165. 

Postrer (El) Godo de Espana. — P' ; VIII ; printed also in 
XXV. with the title : El idtimo Godo. Acad. VII. v. Zlft. XXVI. 

Prados (Los) dc Leon. - P^ ; XVI; H. W., 434; Acad. 
VII; Ztft. XXVI, 490. Menendez y Pelayo calls attention to 
the fact that this is one of his six plays that Lope seems to have 
esteemed most ; speaking through El Teatro in the Prologo dialo- 
gistico of Parte X\'I, he says : « Mirad a qnieit alabais, El Perseo, 

"■^ y^ ^ ij^U. /-«--^ *-^' _ 




El Laherinlo y Los Prados, El Adonis y La Felisarda estan de 
suerte cscritas, que parcce que se detuvo en cllas". 

Premie (El) del bien habbr. — XXI ; H. I., 493 ; S. (Hrii. 
Mus.; J.R.C.;/and H.A.R.)- Imuran says that this play is a\so /r)/fr-/^'f'ij^''^ 
printed with the additional title of Folver por las Miigeres, and ^<^ </~eci>^^ , 
ascribed to « un ingenio ». v. Cal. B. N. No. 837 ; Cervantes is 
mentioned in Act I of Lope's play, w hich was represented by 
Tomas Fernandez in San Lorenzo el Real before November 18, 
1625. Mod. Lang. Rev. Ill, 50. 

Premio (El) de la Hermosura. — P- ; XVL Naturally there is 
no figura del donayre in this play : a Fiesta Real written by com- 
mand of Philip Ill's consort, Queen Margarita (died 16 11). Among 
the actors were the Infantes, Ana (b. 1601) afterwards wife ot 
Louis XIII; and Philip, afterwards Philip IV (b. 1605) . « las 
dos mejores personas en el mundo », as the courtl}'' poet is careful 
to tell us. 

Acad. XIII. It was represented in the Parque de Lerma on 
November 3, 16 14. v. Comedias incdilas de Lope de Vega, Madrid, 

1873, P- 479- 

* Premio (El) en la misma Pena. — M. ; H. According to La 
Barrera this is La Merced en el Castigo, but Chorley is inclined 

to doubt it. See the note on the latter play. _. f^ ]p^tm<uO -y^ 

Primer (El) Carlos de Ungria. — P^ ; (See La Obediencia lau- 7 Jvxnx,/W ir^ ' 

reada). ^^^'^'^^ ^ 

* Primer (El) Christiano. — P-. Otherwise unknown. A/,-^ "^V- 
Primer (La) Culpa del Hombre. — (See La Creadon del 

Mundo) . 

Primer (El) Faxardo. — P. (Los Faxardos ?) : VII; Acad. X. 
Chorley thinks that El primer Faxardo may be a different play 
from that noted in P., for the piece printed in Parte MI is con- 
cerned only with the first who bore the name. There is an unmis- 
takable gracioso in the person of the MoorZulemilla. Menendez y 
Pelayo thinks they are probably one and the same play, and that 
El primer Faxardo was, therefore, written before 1603, a date 



which seems to be confirmed by the confusion of the plot, « la 
viciosa contextura de la tabula y el desaUno del estilo, que son 
notas caracteristicas de la primera y mas ruda manera de Lope, 
sobre todo en sus piezas historicas y novelescasw. Acad. X, p. ix. 
Primer (El) Rey de Castilla. — P. ; XVII ; « Representola 
Vergara ». Acad. VIII. MS. copy (Parma), v. Restori, Ztft., 
XXVI, 505-506. 

Primera (La) Informacion. — XXII, Madrid, 1635 ; Acad. IX. 
At the end of the play in Parte XXII, we read : « Es de Lope 
Felix de Vega Carpio, no del Doctor luan Perez de Montalvan », 
which shows that it had circulated under Montalvan's name. 

Primero (El) Rey de Persia. — (See Contra Valor no ay 

* Primero (El) Medicis. — (See La Oiiinta de Florencia). It is 
the same play. 

Primeros (Los) Martires de Japon. — Acad. V. MS. copy 
(Osuna) made in Lisbon in 1637, entitled Los Martires del Japon, 
Cat. B. N. No. 2034. ^^ "^^''^s written in 1617, the year of the 
martyrdom, v. Ztft. XXII, 292. A play entitled Los Martires 
Japoneses was represented by Pedro Rodriguez at the end of June, 
1602. Perez Pastor, Niievos Datos, 75. 
Princesa (La) de los Montes. — (See Satisfacer callando). 
Principe (El) Carbonero. — P-. ; M ; H. Ineditei? 
Principe (El) despenado. — VII ; Tomo 131 (Osuna) ; Acad. 
^ r , VIII. MS. autograph, in the possession of the Countess Torr e- 
r k abel , dated November 27, 1602, \<\\\\ aprobaciones -m\^ licenses 

dated at Madrid and Valladolid in 1603 respectively. There is no 
c jignra del donayre in this play, which, Chorley thinks, may be 

pfi'^i identical with HI Despenado noted in P'. There is also a MS 

^7^ ^-^ -^ form e rly ifl-tke-^^essessio n of D. ^S^deX^lxkaga) in the Bib. Nac. 

y Cat. No. 2726, entitled El Principe despefiado, ascribed to Lope, 

which begins : 

Alf. — Que nucvai, hay dc mi esposa r 

the end (incomplete) : 


toma, sol, aquel lugar. 

It will be seen that this must be a different play iVom the one 
published in Lope's Parte VII, although Sr. Paz y Melia says 
that the MS. of the Bib. Nac. is an autograph, with censiiras of 
1607 and 161 1 . According to Restori, there is asuella at Parma 
which adheres more closely to the edition of 1 6 17 than to the 
autograph, but is not identical [with the text of 161 7]. It is 
notable, he adds, that the printed texts (the sueita and the ed. 
of 1617) represent an older text than the autograph. All the 
passages cancelled in the autograph are in the printed texts. 
Where Lope has corrected the text, the printed versions have the 
first reading, not the corrected one. See Ztft. XXVI, 508, where 
many variants are given. 
j— Principe (El) Don Carlos. — Salvd (Catdlogo,\, 639) possessed 
a snelta of this play, ascribed to Lope. Concerning it he says : 
« This edition appears to be prior to 1620, and in it the state- 
ment is made that the play was represented by Olmedo. There 
is an exact reimpression of it in Escog. XXVIII (1667) and there 
it is wrongly attributed to Montalvan, confusing it, doubtless, 
as La Barrera has also done, with El segundo Seneca dc Espaha y 
Principe D. Carlos of the said author. I also possess an impres- 
sion of Valencia, 1773, with the name of D, Diego Jimenez 
Enciso ; but with variations, additions and suppressions of such 
a character that it may be said to have been rewritten by the 
said Enciso. According to a note I have of Duran's, this rejun- 
dicion is found in Parte XXVIII, de las de afuera, Huesca, 1634 ». 

It is true that La Barrera {Cat. p. 684) attributes the piece in 
Esco^. XXVIII, to Montalvan, but in the copy of his Catalogue 
which came into the possession of the Bib. Nac. after his death, 
we find that La Barrera had struck out this ascription to Mon- 
talvan. v. Bacon, « The Comedias of Montalvan », in Romanic 
Review, I, 20. Mesonero Romanos also ascribes a play El Principe 
D. Carlos to Lope. 

Concerning the statement of Salvd, above, the following may 


be observed : i) The impression of Valencia, 1773, is the ver- 
sion of Caiiizares, and agrees with the atitograph MS. of Caiiizares 
in the Bib. Nac. Cat. No. 2727. 2) In Parte XXVIII, Difercntes, 
(Huesca, 1634, of which there is a copy in the Ticknor Library) 
the phiy is attributed to D. Diego Ximenez de Anciso {sic), and 
it is stated that it was represented by Ohnedo : but in nowise 
can it be said that this version (of which there is a MS. (copy) 
in the Bib. Nac. Cat. No. 2728) is identical with that of the 
siielta of Valencia, 1773, for although the work of Canizares i^ a 
re-cast of the comedia of Enciso, the deuonciiiciit is quite diiferent 
and it ends with the death of the prince. 

The version of Dif. (Huesca, 1634), oi Escog. XXVIII, and 
the siit'lla of Salva, all have the same text, with only slight 
variations, and all are the work of Enciso, for no one has denied 
his authorship. The version of the suella of Valencia, 1773, is 
that of Caiiizares. From this it follows that down to the present 
day no coincdia entitled El Principe don Carlos has come to light 
which differs from the two versions mentioned above, and hence 
the comedia of Lope as apocryphal, v. Crawford, Mod. Lang. 
Notes, (1907), 239, who says that the te.xt of 1667 follows that 
of 1634 quite closely. 

A Principe (El) Escanderbeg. — Fajardo names Lope as the 
author, and states that the comedia appeared " en su Parte XXVIII, 
cxtravagante. This is apparently the only ground for attributing 
the play to Lope. The authorship of this piece is doubtful, and 
the ascriptions in print are more than usually confusing. Thus 
in Dif. XXVIII, Huesca, 1634, it bears the name of Luis Velez 
de Guevara ; in a suelta it bears the name of Belmonte. It also 
appears in Escog. XLVIII, under the expanded m\eoi El gran Jorge 
Castriolo y Principe Escanderbeck. Here it is ascribed to Velez de 
Guevara in the text, and to Belmonte in the Tabic, v. Schaeffer, 
II, 318. 

> Principe (El) ignorante. — M; Fajardo; H. A play entitled £/ 
Principe igiioranlc was represented beft)re ihe King between Octo- 


bcr 5,1622 and February 5,162:;, by the company of Avcndano. 

*Principe(El)inocente. — P; P^ h has been conjectured that 
this is the same phiy as El Principe ioiioraiilc . The fact that/?/ 
Principe iiioccnte figures in both hst ot the Peregrino seems to 
preclude such a supposition. 

Principe (El) de Marruecos. — P. Perhaps this is La tragedia 
del Key doii Sebastian y Baiitisino del Principe de Marruecos of 
Part XI. 
>^Principe (El) melancolico. — P. /feo^. /1^^ -^ ? "^^ 

Principe (El) perfeto : Parte I. — P^; XI. — Parte II. P'; 
XVIII; H. II., 93 and 117; Acad. X. There are two MSS. of 
Part I, and one MS. of parte II, in the Bib. Nac. thus described 
by Paz y Melia (Cat. Nos. 2733, 2734) : Parte I : copy, which 
belonged to D. Luis Ramirez de Arellano. License at Zaragoza, 
November 28, 161 6, and signature of Lope de Vega, dated 
November 23,1614. the latter was probably imitated by Phi- 
lipe Conte de Montoya, whose handwriting is on the title of 
Act. III. There is also an Osuna MS. of the xvii century. 

Parte II . Osuna MS. on the last leaf, after the licenses, are 
these lines, which differ from the printed play (which, at the 
end, promises a Third Part) : 

Y aqui l.> comedia acabe 
de como sera un bucn'rey. 

The signature of Lope is also imitated. The MS. is of the xvii 
century, each Act being in a different hand. There is a license of 
1621, and one dated at Jaen on October 14 of the same year, 
in which permission is given to Alonso Riquelme, autor de conie- 
dias, to represent this play, entitled : Conio ha de ser un bnen Key 
V Principe perfeclo. Rocamora (Nos. 1074, 1075) declared that 
both Osuna MSS. where autographs. There are MSS. of both 
parts at Parma. V. Ztft. XXIX, 365 ; LaBarrera, Niieva Biog., p. 
225 . 

Principe (El) trocado. — (See HI Nanfragio prodigioso.) 


*Prision (La) de los Bencerrajes. — P= .[i?<^^Ca^-^'*^'-/^ 
*Prision (L.i) de Muza. — P. (See Muiafiirioso.) 
Prision(La) sin Culpa. — P; VIII. MS. copy ( Parma). There 
is no fig lira del dona y re in tiiis play. 

Prodigio (El) de Etiopia. — H. (Santa Teodora); Tomo 132 
J.f'j'^tt^^ (Osuna); S: (J. R. C./and Holland); Acad.lY. According to 
jj^da^. Fajardo this play was printed in Parte XXVI, ey.travagaute, Zara- 

goza, 1645. « Representola Anias. » In the MS. additions to his 
Catalogue, Chorley says : « Is does not seem absolutely certain that 
this is the piece which is cited with the title Sania Teodora. It 
is true that there is a Teodora in the play and that it is predicted 
of her that she will be reputed as a saint, but she does not become 
a saint in the play, and it is to be observed that not she is the 
Prodigio de Etiopia, but a negro, whose audacity and extraordi- 
nary deeds are the principal subject of the play. To me it seems 
at least possible that Medel cited under this title the comedia of 
Claramonte, Pusosemeel Sol, saliome la Luna, Santa Teodora, which 
is found under Lope's name in Dif. XXIX. and which exists 
as suelta , attributed to him , the subject of which is the life of 
that Saint «. V. Stiefel, Ztft. XXX, 553 ; Restori, Ztft. XXII, 274. 
Lope's play is the original of Moreto, Matos and Cancer's La Ad al- 
tera penitente. 

* Prodigio (El) de India, San fosafat. — Mes. Romanos. Doubt- 
ful; it may possibly be another title o{ Barlan y Josafd. 
■»»«j (li) " Prospera(La) Fortuna de D. Bernardo de Cabrera. — M. (anon). 
^ hf-ynyj - Doce Comcdias de Lop'cde Vega Carpio y olros Autores. Parte XXIX. 
/tu^. A/> Huesca, 163^. (La Barrera, p. 783.) Doubtful. By Mira de Mes- 
?, cua ? 

Prudencia (La) en el Castigo. — M ; H ; Escog. XLIV, with 
RojasZorrilla's name : S. (J. R. C.) with Lope's name. Chorley 
is strongly inclined to ascribe this play to Lope. Schaeffer {Ge- 
schicbte dcs spanischen Nationaldramas, I, p. 116), seems to have 
no doubt that this play is Lope's. He says that Lope wrote two 
plays entitled Comose venganlos Nobles, one with the alternative 


title El Testimoniovciigiuio, the other with the suh-title La prn- 
dencia en el Caslh^o. Schaeffer gives an analysis of the latter, a 
remarkable tragedy which in one of its incidents bears a striking 
resemblance to Lope's ElCastigo sin Feiigania. iif^/ /f^'o, 

*Pradencia (La) vitoriosa. — P-. This seems to be otherwise 

Praeba (La) de los Amigos. — P- ; Comedias ined. 1873; / fjruLc^ 

MS. autograph, [signed by Lope at Toledo, September 12,1604. f Ij"^' 
whith censuras of 1608 and 161 2. At the end of this play Lope 
uses his pseudonym Belardo. 'f{'f^-E'/ /f/i, ^/^ ^/^. 

Prueba (La) de los Ligenios. •— P'; IX. MS. copy (Parma), 
with the added title : y Laherinto deAiiior. This addition is men- 
tioned in the closing verses of the play. 

Prueba (La) de la Paciencia. -^ (See El Exeniplo de Casadas.) 

*Psiques y Cupido. — P. Calderon's comedia A/ Amor sc libra 
de Amor is a dramatization of the same beautiful fable of Apuleius. 

Purgatorio (El) en la Vida. — (See El mayor Prodigio.) 

Pusoseme el Sol, saliome la Luna ; Santa Teodora. — DiJ. 
XXIX, Huesca, 1634, wheretheplay is attributed to Claramonte; 
Parte XXVI, extravagante, Zaragoza, 1645, (La Barrera, 682). S. 
(J. R. C. and Salva); this latter suelta also see was to ascribe the 
play to Lope. La Barrera follows Medel in attributing it to Cla- 
ramonte. The autograph was alleged to be in Duran's collection. 
There is an Osuna MS. ot the xvii century in the Bib. Nac. Cal. 
No. 2783, in which the play is ascribed to Lope de Vega. V. 
Ztfl. XXII, 275. For the title, d. the Letra ajenn in Salinas, 
Poesias, I, p. 1 12 : ' • 

Pusoseme el sol, 
Sali6me la luna, 
Mas me valiera, Madrc, 
La noche escura. 


Quando Lope quierc, quiere. — H; (See Ei Cast'h^o sin Voi- 
i^nii~a .) 

Querer mas y sufrir menos. — Tomo 1 3 1 (Osuna) ; Parle 
XXIX dc Lope y otros, Huesca, 1634 ; S. (J. R . C). \'. Mod. Lang. 
Rev. (1906), 105. 

Querer la propia Desdicha. — XV; « Rcpresentola Riquelme ». 
H. II., 270; a play subsequent to the year 1609. Salva {Cat. I, 
548) notes a sitclta of 44 pages, of this play : Brusselas, por 
Huberto Antonio Velpio, 1649. MS. recast of this play, with the 
additional title LaMuger sinoular in Cat. B. N. No. 3997, page 

Quien ama no haga Ficros. — XVIII H . I.,433 ; MS. copy 
(Parma, Osuna), Cat. B. N. No. 2797; Rocamora, No. 1097, 
reads 'Peros', instead of « Fieros ». 

Quien bien ama tarde olvida. — XXII, Zaragoza, 1630; MS. 
copy (Parma, Osuna), N. the latter dated 1624, Cat. B. N. No. 
2798 ; Rocamora No. 1098. There is also in the Bib. Nac. (Cat. 
No. 2797) an autog. MS. by Francisco Miracle, with the added 
title : Primer Duque de Calabria . 

Quien mas no puede. — P-. XVII ; Representola Pedro 
Cebrian. MS. autog. dated Madrid, September 1,1616, in the 
possession of Mr. John Murray, London. MS. copy (Parma). 
I have a copv of the Murray autograph, due to the kindness of 
my friend Dr. James Fitzmaurice-Kelly. 

* Quien muchoviue. — Doubtful. Comedia ascribed to Lope in 
possession at ihij milor dc roiiicdias . Juan Jeronimo Almella in 
\'alencia in 1628. Bull. Hisp. VIII, 378. 

Quien todo lo quiere. — XXII, Madrid, 1635. MS. copy 
(Osuna), Cat. \\. N. No. 2810; Kocamora, No. 1103. Proverb: 
Quien lodo lo quiere, todo lo pierde; 

Quinas (Las) de Portugal. — P; (Tirso de Molina wrote a 
play with the same title, a MS. of which, signed by him on 


March 8,1638, is in the Bib. Xac. Cat. No. 281 3"^, This, Mcnen- 
dez y Pelayo says is perhaps the same plav as La I^altad en el 
Agravio. (See also En la viaxor Lealtail.) 

Quinta (La) de Florencia. — P- ; II. MS. copy (Parma). La 
Oiiinta de Florencia is also in P., under the title El primer Medici s . 
V. Mesonero Romanos, Cat. cronolot^ico, p. xlix ; Restori, Una 
Colk~ione, p. 31. At the end the play is called : El gran Medicis 
famoso,primero Duquede Florencia. Lope found the outline of the 
plot in Bandello, Navelle, P. II, Xo. xv. V. Schack, II, p. 3^7. f^-..^'/'' ^^' 


Ramilletes de Madrid. — P- ; XI; H. I\'., 302. (See Las 
Dos Estrellas trocadas). MS. copy (Parma. Written probably 
shortly after Xovember, 1615. \'. ed. Hartzenbusch, 3 14, a; Ihid. 
Vol. I, XX; and Life of Lope, 226. 

Ramirez (Los) de Arellano. — XXIV, Zaragoza, i64i;S. 
(Gayangos); Acad. IX; MS. copy Cat. B. X. Xo. 2824, \'. Ztft. , P 

XXIX, 128; Menendez y Pela\-o. Antolooia, XII, 146. f^'^M laiM:6i^t>L?l , 

Remedio (El) en la Desdicha. — P^ ; XIII; H. III., 133; 
Acad. XL Chorley thinks that Ahindarrae- v Narvae' (P) may 
be an alternative title. It is an early play « saquela en mis tiernos 
afios de la prosa de Montemavor ». But Lope apparently re- 
touched it before publication; for the servant Nuno, though a 
brave soldier, inclines decidedly to the gracioso type. There can hard- 
ly be a doubt that Chorley's conjecture is correct and that the above 
are two titles of one and the same play. V. Restori, in Z///.XXX, 
317; Menendez v Pelayo, Antologia, XII, 252. The play was 
first represented bv "■ Rios, unico representante ». 
Renegado (El) de Amor. — (See El Argel fingido.) 
Resistencia (La) honrada. — H. (See La Condcsa Maiilde.) q 

Rev (El) Bamba. — [H ; I . (See Fida y Miierte del Rex Famha.) L ^ 
Rev (El) de Frisia. — P. (Rey de Frigia ? Midas?) 
Rey(El)don Pedro en Madrid.— {See El Infan~on de Illesccis.) 



Rev (El) fingido, y Amores de Sancha. — Mes. Rom. ; M. 
(anon.) Doubtful. /^oV- /^v -^ 4 -^-f , 

Rey (El) por Semejanza. — Doubtful; MS. copy (Duran), 
Cat. B. N. Xo. 291 1 ; on the title the play is ascribed to Gra- 
xales (Juan de Grajales?), and on the fly-leaf of Act. II, the play 
is c.illed El Re\ por su Semejauia, and it is attributed to Lope. A 
play entitled El Rey por su lugeiiio was in possession of Alonso 
de Heredia in August, 1605. Bull. Hisp. (i907)> 372. [A^d-J/I 

'*Rey (El)por Trueque. — MS. copy (Duran), Cat. B; N.No. 
2912. ci^-/V.^,5"^>r. 

Rev (El) Sin Reyno. — P' ; XX. Lope dedicated this play to 
El Capitan Alonso de Contreras. Concerning the friendship be- 
tween Lope and this soldier, see Morel-Fatio, « Soldats Espagnols 
du xvu'- siecle », Bull. Hisp., Ill, p. 141. 

Rey (El) don Sebastian. — H. (See La Trageclia del Rey don 

* Reyna (La) de Lesbos. — P ; P\ 

Reyna (La) dona Maria. — H; Acad. VIII; the MS. [formerly 
in the Osuna collection, seems to have disappeared. Theautog. 
MS. was in the possession of Prince Metternich, according to 
Wo\{ (Sit:^imgsherichle, etc., Wien, 1855). Of this MS. Menendc/: 
V Pelayo wrote to me as follows : « The manuscript of Z.^ Reiiia 
dona Maria which was in the Osuna Library, is the same one 
which the Princess Metternich of Vienna now possesses, and it 
is the same one that I have printed in Vol. VIII, Acad. It is not 
an autograph, but a very bad copy, in spite of Wolf's assertion 
to the contrary. » V. also Ztfl. XXVI, 536. Calderon's Gustos 
y Disgustos no son mas ijue Iniaginacion is upon the same subject. 
V. Schaeffer, II., 28. 

Reyna (La) Juana de Napolcs. — \'I ; S. (Brit. Mus. Salva 

Ul?^ iMoJ'f-^-k ^'""^/i- '^" ^•)' ^^'^'-'^S- VIIj ""^''^^^^ ^'""^ ^"^'"^ El inoustiuo de la Forlu- 

' 'na, and ascribed to tres ingenios. S. {El niarido hien ahorcado); 

Acad. VI. Restori says : « In the Bib. Naxionale at Naples there 

is a MS. of Lope's row^/fl of the early xvu century, which was 


^idently an actor's cop}^ as the two licences show : « Represen- 
•se esta comedia en.M''. a 25 de Margo de 1617. » Zifl. XXIII, 
52. In Escog. XXIV, there is a play entitled EJ inonslnio dc 
Forliina, la Lavandcra dc Na poles, Felipii Cativica, likewise by 
is iiigenios. The first Act, according to Vera Tassis {Cnldcnm, 
irte V.)is by Calderon, the second La Barrera says is by Mon- 
Ivan, and the third by Rojas. It is entirely different from Lope's 

* Reyna(La) loca. — P. (Doiia Juana? ). 

Rico (El) Avariento. — P. There is a coined ia by Mescua so 
ititled in the collection ot Autos Sacramentales, con quatro Come- 
as niievas y siis Loas y Entrcineses, Madrid, 1655. La Barrera, 
ho admits that he had never seen this work, distinguishes 
Mtdhgo, p. 709), between El Rico Avariento and the Vida y 
hierte dc Ld~aro; there are really alternative titles of one and 
;e same play. Under the second title the piece is reprinted in 
scog. IX. (1657), and here also it bears Mescua's name. A 
S. copy (Osuna) of Mescua's plav is in the Bib. Nac. Cat. No. 
^88; see also Cotarelo, Comedias de Tirso de Molina, II, xxxix. 
Rico y Pobre trocados. — ■ (See Las Flores dc Don Juan.) 
Riqueza (La) mal nacida. — (See La Pobrc~a estiniada.) 

* Roberto (El). — P; M. 

Robo (El) de Dina. —XXIII; Acad. III. MS. copv. Cat. B. 
. No. 2924. V. Ztft. XXII, 1 17. 
*Robo (El), de Flora— ^__ iZ.yO-0 <H "^ " -- 

* Rodulpho y Oton.~ — TT 

Roma abrasada. P^; XX; H. IV. , 279; Acad. VI. The final 
irses give the alternative title : Las Cnieldadcs dcNeron- Possibly 
is may be identical v/ith the Neron cruel noted in P. V. Ztft. 
XIII, 452. 

*Romulo y Remo. — P. 

Roncesvalles. — P. This appears to be the same as El Casa- 
ientoen la Muerte : v. Ludwig. Lope de Vegas Dramen, etc. p. 3. 
*RoqueDinarte. — P-. Probably Roque Guinart, the celebrated 


bandolero, mentioned in Don Onixotc, Pt. II, Cap. LX. V. Clemen- 
cin's long and interesting note, and Don Onixotc. ed. Rodrigue/C 
Marin, Madrid, 191 3, vol. VIII, p. 105. 

Rosario (El) de losHijos de Maria. — There is a MS. copy or 
the xvii century of this play, from tlie Osuna Library, which 
Rocamora, No. 1155, says is an aulo, but Paz y Melia asserts is a 
fomedia (Bib. Nac. Cat. No. 2941 ). It is now published in Acad. 
Ill : under the title Los Hijos de Maria del Rosario. See also Cat. 
B. N. No. 1528. 

Rufian (El) Castrucho. — P. (See El Galan Castrucho.^ 

Rustico (El) del Cielo. (El Santo Hermano San Francisco.) 
— P^ ; XVIII; Acad. \. MS. copy (Parma). Written shortly 
after 1599, and represented before Philip. Ill and Queen Marga- 
rita. In the dedication Lope greatly praises the actor Salvador 
for his impersonation of el hermano Francisco. V. Acad. V, p. 
XXXIV ; Restori, Ztft. XXII, 279. 

Ruyseiior (El) de Sevilla. — P'; XVII; « Representola el 
tamoso Rios ». MS. copy (Parma) and B. N. (Duran), Cat. No. 
2948. It is founded on Boccaccio's Decamerone, V. No. 4. 


Saber (El) por no Saber, y VidadeSan Julian de Alcala. — XXIII; 
Acad.V.V. Ztft. XXII, 279. 

Saber (El) puede danar. — XXIII; H. III. ///J 

Salida (La) de Egipto. — Schack, Vol . II, p. 321, says that 
this drama forms a trilogy wiih El Robo de Dina and Los Traba- 
jos de Jacob. Seethe latter play. 

*Salteador (El) agraviado. — P. Mes. Rom. gives the title 
as El Salteador agradecido. 

* San Adrian y Santa Natalia. — P-. This title appears in 
the alphabetical index of coniedias for sale by the heirs of 
the bookseller Francisco Medel del Castillo in 11^35, showing 
that, at that time, the play was still in existence, either as 


L MS. or as a suelta. M. y P. Restori says that tlie comcdias of 
vlatos : Los dos Prodigios deRoma has all the appearance of being a 
c-cast of Lope's San Adrian y Saul a Natalia. Zlft. XXII, 294. 
San Agustin (El divino Africano). — P'; XVIII; MS. copy 
'Duran), Cat. B. N. No. 3164. The Duran MS. was reported to 
36 an autograph, but this seems to be an error. 

* San Andres Carmelita. — P. 

* San Angel Carmelita. — P-. This play was still in existence 
n 1735, and is announced in the sale catalogue of the bookseller 
VIedel del Castillo. This may possibly be identical with the pre- 
;eding piece. 

San Antonio de Padua. — P-. See Cat. B. N. No. 956 ; on 
the two comedias, entirely distinct, entitled El divino Portugues, 
mdboth ascribed toMontalvan, see Ztft. XXII, 294. Medel cites 
this play in his Catdlogo. 

San Basilio el Magno. — MS. (Holland). (See La gran Coliini- 
na fog OS a . ) 

San Benito de Palermo. — (See El Sanlo Negro Rosambnco.) \j.LiJr>.d 

San Diego de Alcala. — Escog. Ill; S. (Brit. Mus.; J. R. C,<^^-^-^'f^^. 
and Holland); H. IV.. 515 ; Acad. .V v. Ztjt. XXII, 277. 

San Francisco. — (See El Serafin huniano.) 

San Gines Representante. — (See Lo Eingido verdadero.) 

San Ildefonso. — (See El Capellan de la Firgen), and Ztft. 
XXII, 275. 

San Isidro Labrador de Madrid. — (P-. San Isidro de Madrid); 
VII; Escog. XXVIII; Acad. IV; MS. copy Cat. B. N. No. 3013. 
A play entitled San Isidro Labrador de Madrid y Victoria de las 
Navas de Tolosa por el Rey D. Alfonso : San Se^undo, is noted in 
the Inventario, p. 104. Chorley, assuming it to be a different play 
from that in Escog . XXVIII, marks it as doubtful . There is a 
MS. of this play in the Bib. Nac. No. 545% referred to in No. 
3013 if'w, ascribed to Lope de Vega, but the opening and closing 
verses show that it is an entirely different play. 

San Isidro. — (See La Nine:^ and La Jiiventud de San Isidro.) 
Ztft. XXII, 277. 


San Jeronimo. — (See EI Cardenal dc Beloi). 

San Jorge. — Doubtful. Coiiwilia (MS.) ascribed to Lope de 
\'ega , in possession of the anior de comcdias Juan Jeronimo 
Almella in 1628, in Valencia. Bull. Hisp. VIII, 378 :v. Cal. B. 
X. No. 2030. 

> San Josafat, el Prodigiode la India. — Mes. Rom. ; H. (anon.) 
Doubtful. It may, however, be another title for Barlan y Josafa. 

San |uan de Dies. — (See Juan de Dios.) 

San Julian. — (See El Animal profeta.') A comcdia entitled 
San Julian was represented by Tomas Fernandez on June 26,1626. 
V. Mod. Lang. Rcv.,\l\, 52. 

San Julian de Alcala de Henarcs (La Vida de San Julian, lego 
dc Alcala). — (See El Saber por no saber.) — Pa« XXIII; Acad. 
V ; MS. copy (Osuna), Cat. B. N.No. 3018. V. Ztjt. XXII, 279. 

* San Julian de Cuenca. — P. 

*San Martin. — P-. Cited in the Catahh^ue of Medel del Cas- 
tillo. There is a MS. comediain a volume formerly in the Duran 
collection, (^Cat. B. N. No. 543, four play) entitled Elglorioso 
San Martin. Can this possibly be Lope's play ? 

San Nicolas de Tolentino. — XXIV, Zaragoza, 1641 ; Acad. 
IV. S. (Gayangos). ZtJt. XXII, 276. The closing verses give the 
alternative title of El Santo de los Milagros. The comedia^j// 
Nicolas in P- is probably the same. , 

San Pablo, Vaso de Eleccion. — H. Sancho Rayon's MS. copy 
is entitled Vasode Eleccion : San Pablo. V. Faso de Eleccion. 

San Pedro Nolasco. — (See La Vida dc San Pedro Nolasco.) 

*San Roque. — P. x.Ztft. XXII, 294. 

San Segundo de Avila . — P; Acad. IV; MS. copy dated Alba 
de Tormes, August 12, 1594 : it is, therefore, one of the oldest 
plays of Lope that have been preserved. Cat. B. N. No. 3023. V. 
La Barrera, Nueva Biografia, 271. 

*San Tirso de Lspaha. —P. A coinedia entitled Tir:{0 (sic) was 
in possession of the anlo>- de comedias Juan Jeronimo Almella in 
Valencia in 1628. \'. Bull. Hisp. VIII, 378. 


*Santa Brigida. — M ; H. according to Mcnendez y Pelayo this 
may possibly be the same phiy as La Liinpie~a no manchada (q. v.) 
among the personages of which this Saint figures. Acad. V.. p. 

Santa Casilda. — H ; MS. copy (Osuna), Cal. B. N. No- 3029, 
the fly-leaf of which reads «de Phelipe de Medina Pores », which 
is erased and Lope's name is substituted. Rocamora, No. 1201. 
The second title of Tirso de Molina's comedia Los Lacros dc San 


Viccnlc (printed in his Parte V) is Sanla Casilda. This is, iiow- 
ever, entirely different fromLope's play. See Restori Ztfl. XXII, 
293; Cotarelo, Comedias dc Tirso de Molina, 11, xxv, who gives 
a brief analysis of the play in the above MS. */^-c.-aV- /V> JZ, 5~G a. 

Santa (La) Liga. — XV. P. (La Batalla naval); Acad. XII; 
« Representola Pinedo y a Selin famosamente » . Lope. The 
original title ot this play is the one under which it is noted in 
P. -.La Batalla naval, wich now appears in the concluding verses 
of the play. Cervantes Batalla naval, now lost, doubtless treated 
the same event, in which he was an actor on that memorable 
October 7,1571. v . Ztft. XXXI, 466 . / f 

* Santa Polonia. — M; H. ' ^ 

Santa Teodora. M; H. (See El Prodigio de Etiopia .) 

Santa Teresa de Jesus . — H ; (see La Madre Teresa de Jesus, 
and Vida y Mucrle de Santa Teresa de Jesus) . 

Santa Ursula y las once mil Virgenes. Doubtful . (See Las 
Once mil Firgines.) 

Santiago el Verde. — P- ; XIII; « Representola Riquelme ». 
MS. autog. (Brit. Mus.) of only a portion, dated 1615. See 
Rennert, Mod. Lang. Notes, June, 1893. MS. copy (Osuna), 
Cat. B. N. No. 3039 ; Rocamora, No. 12 12. « Decian Santiago 
el Verde a Santiago el menor, cuya fiesta celebra la Iglesia el 
dia 1° de Mayo ». A. Fernandez-Guerra, in. Gallardo, Ensayo, I, 
p. 1388 ; and see Julio Monreal, Cuadros viejos, 306. 
<ianto (El) de los Milagros. (See San Nicolas de Tolentino.) 

*Santo (El)de Valencia. — P-. 




Santo (El) Hermano Francisco. — (See El Riistico del 
.,^'' Cielo.) 
]) Santo (HI) Xei^ro Rosambuco de la Ciudad de Palermo. — 

A P' : (El Santo Negro.) Given with the title of Vida y Mucitc 

T^ lo'l del Santo Nei:^ro llaniado San Benito de Palermo, in the 7^7/'//? of 

jL^ Coniedias de Lope de Vega y otros Aulores, Parte III. Barcelona, 

i6i271etc. Acad. IV. The Osuna MS. hearing this title is 
ascribed to Lope by Rocamora, No. 12 14; Paz y Melia, Cat. 
B. N. No. 2290, says that the play contained in this MS. is by 
Luis \'elez de Guevara, who, in fact, mentions his name at the 
end. A MS. copy at Parma attributes it to Lope. v. Ztjt . XXII, 


Santo (El) Nino de la Guardia : Segundo Cristo. — MS. 
copy Cat. B. N. No. 3041. This MS., from the Duran collec- 
tion, is doubtless the one that was supposed to be an autograph. 
(See El Nino inocenie de la Guardia). 

*Santo Tomas de Aquino. — P- ; v. Restori, Ztji. XXII, 
294, who thinks Lanini's El Angel de las Escuelas may be a 
re-cast of Lope's play. 

*Sarracinosy Aliatares. — P. v. Ztft. XXX, 226. 

Satisfacer callando (S. Holland)^ y Princesa de los Montes, 6 
Los Hermanos encontrados. — Escog. W, Zaragoza. 1653. 
Doubtful. In Escog. XXXVII (1671), it is attributed posthu- 
mously to Moreto, and again in his Coinedias, vol. Ill, i68r. 
But Chorley fails to see any trace of Moreto's manner in the 
play. See above, pp.49 and 51. Schaetler (II, 169) says that 
this play seems to be rather by one of Lope's disciples, than 
by the master, but that it in nowise reads like a play of 

Secretario (El) de si mismo. — P- ; VI ; MS. cop}'(Osuna) of 
Acts I and II., Cat. B. N. No. 3057. v- ^f^/ //K/^^^^' 

*Secreto (El) bienguardado. — P-. 

Selva (La) confusa. — H ; Tomo 133 (Osuna), If. 81-100, 
Schack {Nachlrdge, p. 86) says there is a MS. entitled La Selva 


wifusa, in the Osuua library; that this MS. is signed by Cal- 
Jeron, but that he suspected the genuineness of the signature. 
He further says : « In the above-mentioned hbrary there is an old, 
v^ery rare print of this comedia, in which it is ascribed to Lope 
de Vega, but that this ascription is certainly erroneous, for the 
piece is by no means written in Lope's style, as the verses at the 
very beginning show. » The verses, however, which Schack 
quotes, are from the MS., not from the print in the Osuna library. 
Schack does not say that he read the old, rare print in the 
Osuna Library, but speaking of the MS., he says : « There 
is an old impression of this comedia in the Osuna library », 
etc., not : « there is an old impression of a play entitled La 
Selva conjusn ». If Schack's statement is accurate, then all 
discussion is at an end, for the Selva coiijusa of the MS. is 
lertainly by Calderon, and hence the play in the Osuna 
Library (Tomo 133) is also by Calderon. But Schack is not 
infallible (as his ascription to Lope of that farrago of nonsense 
El nuevo Pitagoras shoves) 2iwdi\\Q may simply have recalled the 
same title that he had read in the Osuna volume. Schack 
thought, in fact, that this MS. of La; Selva Coiijusa might be 
Calderon's Certamen de Amor y Celos. La Barrera believes that 
this is a mistake, on the ground that the above play appeared in 
Parte XXVII, extravagante, Barcelona, 1633, while Calderon's 
drama Certamen, etc. was not written till 1640. I shall not here 
repeat Chorley's doubts conterning the existence of these 
Paries extravaganles, for they are given on a previous page, 
where these Partes are discussed. Their existence is immaterial 
in the present issue. The simple fact is that there is a Selva cou- 
fiisa ascribed to Lope, in a fragment ot a volume in the Osuna 
hbrary. If this play is the same as the play in the Osuna MS. 
{Cat. B. N. No. 3071), then it is Calderon's. Only an exam- 
ination of the play in the Osuna volume 133, can decide the 
matter, and though I have inquired for the volume repeatedly, 
I have never been able to see it. It has been used by Menendez 



y Pelayo in preparing the Academy's edition of Lope de Vega : 
I am assured that it is not in the BibUoteca Nacional now. The 
only inference to be drawn is that the Osuna volumes are per- 
haps in Santandcr, and that they have passed into the possession 
of the city with the other books of Sr. Menende/ y Pelayo. The 
question of the authorship of La Selva Cmfiisa is very clearly 
and ably discussed by G. T. Northup in his edition of Calderon's 
Selva confusa {Revue Hispaniqiie, XXI), who believes that a 
Selva confusa by Lope never existed . 

Selva (La) de Albania. — (See La Pastoral de Jacinto). 

Selva (La) sin Amor. — In Laurel de Apolo (1630) ; 
Acad. V : it was represented in the Royal Palace in 1629. Ibid., 
p. Ixix. 

Selvas y Bosques de Amor. — XXIV, Zaragoza, 1633. MS. 
copy (Parma). It was represented before the King on May 7, 
1623, by the company of Manuel Vailejo. Mod. Lang. Rev. Ill, 

Sembrar (El)en buena Tierra. — P- ; X; S. (J. R . C); MS. 
autog. Brit. Mus. dated January 6, 161 6, with a license at 
Madrid, January 12, 1616. I copied this MS. many years ago; 
the variations from the printed edition are unimportant. Copy 
(Parma and Osuna), Cat. B. N. No. 3073 ; Rocamora, 
No. 1228. 

*Semiramis (La). — P. 

Serafin (El) humano. — San Ffancisco. — P- ; XIX (El Se- 
rafin humano); Acad. IV. MS. copy (Parma). As the conclud- 
ing verses show, this is Part I; possibly Part II, was the piece 
mentioned by Huerta : Gloria de San Francisco. This latter play 
seems to be lost. Restori thinks the play entitled Milagros del 
Serafin, by the well-known actor Alonso de Osuna, may be a 
recast of it. v. Fida y Muerle del glorioso ybienaventnrado Padre San 
Francisco ; Zift. XXII, 276, 292. 

*Serrana (La) de Burgos. — P^ ; (Parts I, and II). 

Serrana (La) de Tormes. — P; XVI. MS. copy (J. R. C). 


Lope says that this is an early play ; but he would seem to have 
re-touched it before publication, for the character of Tarreno, 
Capigorron, might pass as -a Jigura del douayre. Salva {Cat., I, 
649), possessed an ancient MS. of this play. 

Serrana (La) dc la V^era. — P; VII ; Acad. XII. v. Fernandez- 
Guerra, Alarcon, p. 377 ; Restori^ Z///. XXXI, 487. The auto- 
graph (dated 1603) of Velez de Guevara's play with this title, 
— the earliest known of his comedias — is noted in Cat. B. N. No. 
3096. The discovery of this autograph is a testimony to Chor- 
ley's critical acumen : the extravagance of Leonarda's character, 
and the irrelevancy of several scenes, lead him nearly fifty years 
ago to reject the ascription of the work to Lope. v. :\\so Anlologia, 
IX, .209 . 

Servir a Buenos. — XXIV, Zaragoza, 1641; H. II., ^25 ; S. 
(Brit. Mus. Gayangos, H. A. R.). rj M T- i^iroS-f )^^- Uv-^^^'^'^^. ^ ^'- 

Servir a Senor discreto. — P- ; XI ; H. IV., 69 ; MS. copy 
(Parma). Founded on a novel (Dec. VI, Nov. 7) of Giraldi 
Cinthio. Schaeffer, II, 317. 

Servir con mala Estrella. — P^ VI;H.IV, 57. S. (Brit. Wi'^.^^^T- i^^^-^, ^^ 
and. J. R. C.). There is also a smlta at Parma : Sevilla, viuda de 
Francisco Lorenzo de Hermosilla, attributed to Enriquez Gomez. 
Restori, Una Coll. 14. Chorley notes that this play may be 
regarded as the prelude to La desdichada Estefania ; it deals with 
the loves of King Alfonso VIII (1106-1151) and Doiia Sancha, 
who is the mother of Estefania. The play is founded on Boc- 
caccio's Decainerone, X, i . 

Si no vieran las Mugeres ! — In Vega del Parnaso, and (accord- 
ing to Fajardo) in Parte V, of Lope, printed at Sevilla; Obras 
sueltas. Vol. X;H. II.,575;MS. copy Ca/. B. N. No. 3106. S. ^ 

Brit. Mus. and jS ayang os). Represented by Luis Lopez ^^^ '~'^^;'^' ^^I^/ J^ 
Aranjuez on May i, 1633, and by Juan Martinez on October 5, 
1635. Mod. Lang. Rev. Ill, 53. There is a reference to the old 
age of Belardo on fol. 276. Schaetfer (I, 151) calls this play one 
of Lope's masterpieces. 


*Sierra (La) de Espadan. — P. aTendria por asunto la ultima 
rebelion de los Moriscos del reino de Valencia ? » -M. y P. 
Acad. V, xlii, 
^ Sierras (Las) de Guadalupe. — H ; Tomo 131 (Osuna) ; 

A ^^ S. (J. R. C, Salva (I, 6j^), and Parma). ~ 

Siete (Los) Infantes de Lara. — P-(See El Bastardo Mudarra.) 
Fajardo savs that this play appeared « en su Parte /V anti- 
gua. » 

Siiencio (El) agradecido. — DiJ. XXXI, Barcelona, 1638 
(anon.); fragment of this volume (J. R. C), ascribed to Lope 
bv Gamez and Casal, apparently with the assent of La Barrera 
{Caldlogo, pp. 583 and 685). Munch-Bellinghausen suspects it 
to be the work of Francisco Toriuio Ximenez, who collected 
the plays in Dif. XXXI. A good play; but in Chorley's opinion, 
too artificial for Lope. 

Sin Secreto no ay Amor. — H ; S. (Rennert), ascribed to 
Montalvan. MS. autograph, Brit. Mus., dated July 18, 1626, 
with licenses at Madrid, August 11, 1626; Zaragoza, November 
13, 1626 and Granada, April 28, 1630. Published by Hugo A. 
Rennert, Baltimore, 1894. ^^ ^^'^^ represented by Roque de 
Figueroa, November 21, 1629. 

Soberbia (La) de Aman. ^ (See La hermosa Ester). 

Sol (El) parado. — P ; XVII; « Representola Rios ». Acad. 
IX; MS. copy (Parma). According to Fajardo another title ot 
this play is Ascendencia de los Macslres de Santiago. Mariana refers 
to the miracles, V, 120, lib. xiii, cap. 20. This play has no 
figttra del donayre. There is a coinedia with the same title by 
Enriquez Gomez, v. Ztft., XXVIII, 231. 

Soldado (El) Amante. — P ; XVII ; MS. copy (Parma). 
« Representola Osorio, Autor antiguo y famoso ». These words 
of Lope's show that this coinedia, though not printed till 1621, 
belongs to the last decade of the sixteenth century, or even a 
little earlier. It may be added that in El Percgritio (fol. 263) 
Lope says that it was also represented by [Diego Lopez dej 


Alcaiaz [son-in-law ofRodrigo Osorio), « unico rcprcscntantc 
y de sutil ingenio. ». 

Sortija (La) del Olvido. — P^ (La Sortija del Olvidado) ; 
XIL MS. copy (Parma). 

Sucesos (Los) de don Beltran de Aragon. — (Sec Lis 
} diidan:^as de Fort una} . -~Jux4^i^_^_^-^ 

Suenos hay que son Verdades. — H; (See Los Trabajos de i~^^\ d^^^ 

Suerte (La) de los Reyes, 6 Los Carhoneros. — P ; H ; MS. ^ . " ,, 

copy (Duran) ot the last two Acts in Ca\. B. N. No, 3192. ^cm-U 

There is a play by Mescua, Los Carhoneros deFrancia, in Escog. .^o^/; 71^7', 

XXXIX. ^ ^r^ /^U^T-^^ 

Sufrimiento (El) del Honor. — H; Dif. XXXII, Zaragoza, -' f-nU/i^ . y 

16^0 ; fragment of this volume, (pp. 296-330)']. R. C. and "jf^y^^u>^^ f>- ^ 

Holland, wrongly described as a snclta. This play has no figura -^ ^-^va^ 
del dona yre. 
'^ Sufrimiento (El) prcmiado. — P. A play with this title 
appears in the second volume of Montalvan's Cam^ifw^ (1638). 
V. Bacon, Life and Works of Montahan, pp. 410, ff. //^^-^^ -^ ^ '^ 


Tanto hagas quantii pagues. — H; S. (Brit. Mus. Arl., ]. R. 
C, and Parma). In the third and posthumous volume of 
Moreto's Comedias, Madrid, 1681, this piece is included under 
the title La Traicion vcngada. As a s/ielta entitled No ay P}a~o 
que no se llegue ni Deuda que no se pague, it is attributed to 
Jacinto Cordero. v. Restori, Una Coll., p. 15. Chorley is in- 
clined to favor the ascription to Lope, v. Litteraturblatt f. germ, 
u. roman. Philologie (1889), pp. 68-69, and (1892), p. 197 ; 
Schaeffer, II, 169, who thinks that Moreto may have re-cast 
Lope's play. 

Tellos (Los) de Meneses. — XXI; H. 1., 67 ; Acad. VII. 

« The play now called the First Part,, was printed in 1635 in 



tlie Vcinte y una Parte verdadera de Lope. The second Part, 

v/^7^/^ >^a^ entitled Valor, Fortuua y Leal tad dc los Tellos de Mencses, is only 

. ;.A /A<r/''^*^"**' {q^jiiJ iji siiellas/». M. y P. Acad. VII, civ. According to 

Hartzenbusch, the ancient siiella which he used for his text of 

the Second Part, bore the title : Falor,, Fortunay Lealtad de los 

Tellos de Meneses, and he adds that in the modern editions it is 

<^'^- ^^i( 24 '- called : Valor, Lealtad v Ventura de los Tellos de Meneses/ Ses,unda 

;jjjf)- l*~ Parte. Hartzenbusch, Cowcif/rt'.f ^c Z-o/>^, I, 545 ; Miinch-Belling- 

/ -/ -7--/^ hausen, p. 154. Hartzenbusch doubts the authenticity of this 

P ^.^ Second Part ; as does Schaeffer (I, 140) ; not so Menendcz y 

I*"- /'-^l^' Pelayo, who publishes it in vol. VII. v. Ihid., clxxi. Menendez 

j^^ i^'V^ thinks Hartzenbusch is mistaken in fixing 1625 as the date 

of this Second Part. v. Restori, Z//>. XXVI, 499. 

* Templo (El) de Salomon. — M ; H. Fajardo likewise notes 

it, and further mentions a play by Alvaro Cubillo de Aragon 

entitled El niejor Rey del Mundo, y Templo de Salomon, which he 

reports as being « en la Parte V de Lope, impresaen Sevilla ». 

Tercera (La) Orden de San Francisco. — Acad. V. Written 

by Lope in collaboration with Montalvan (see the latter's Fania 

postumd). MS. copy Bib. Nac. No, 3227, entitled Z,05- Terceros de 

San Francisco, v. Zljt. XXII, 282. 

Testigo (El) contra si. — P^; VI. 

Testimonio (El) vengado. — P; I; H. Ill, 403 ; Acad. VII. 
(See Conw se vengan los Nobles.) W. Ztft. XXXVI, 657, where 
the text of a modern MS. in the library at Gotha is published by 
Senary, which differs considerably from the printed versions. 
The MS. is only a fragment, but its variant readings arc import- 
ant. Speaking of Moreto's Como se vengan los Nobles, D. Luis 
Fernandez-Guerra says: Lope de Vega had previously treated 
the same historical theme in El Testimonio vengado with that 
beauty and simplicity of style which distinguish him, but with 
great confusion of the plot. Comedias de Moreto (Bib. de Aut. 
Esp.), p. XXXI. Menendez y Pelayo says : « Moreto recast Lope's 
play, or rather he imitated it freely, under the title Como slf 


vengan los Nobles, at the same time greatly improving the plot. » 
Acad. VII, cclvi. 

Tirano (El) castigado. — P ; P' ; IV. This play has no figttra 
del dofiayre. With the same title there is a coniedia by Diamante 
in Escog. XXXVI. 

*Todo es facil a quien ama. — P^ This play is mentioned in 
Lope's Loo- sacramental de los TItulos de Comedias, Acad. Ill, 


Toledano (El) y Celoso vengado. — MS. copy (Osuna), 
Cat.^. N. No. 3270; Rocamora, No 1285, as i:/ Toledano ven- 
gado, under which title Huerta cites it. The concluding lines of 
the Osuna MS., in fact, give the title: El Marido engahado; el 
Toledano vengado. There is a MS. copy at Parma entitled Trato 
de Toledo, Toledano vengado, which may perhaps be the same play. 
Restori, p. 32. t/^-^Lav- /V< -^ S^^^ 

*Toma (La) de Alora. — P. 

Toma (La) de Longo por el Marques de Santa Cruz. — P^ ; 
M ; (see La Niieva Vitoria del Marques de San Cru^ in Parte 

Toma (La) de Toledo. (See El Hijo por Engaho.) 

Tomada (La) de Valencia. (See Las Haiahas del Cid.) The 
play is almost certainly not by Lope. V. p. 12. 

*Tonto (El) de la Aldea. — P. 

Torneos (Los) de Aragon. — P; IV. S. (Gayangos). This 
play has no figura del donayre. 

*Torneos (Los) de Valencia. — P. 

*Torre (La) de Hercules. — P. 

Trabajos (Los) de Jacob, 6 Suenos ay que Verdad son. — 
M; H; XXII, Madrid, 1635, Second 'Part only. v. Schack, 
Vol. II, p. 321. (See La Salida de Egipto and El Robo de Dina). 
Under the title Suenos ay, etc., the play has been attributed to 
Calderon. MS. copy (Osuna) Cat. B.N. No. 3294; Rocamora, 
No. 1300. S. (Brit. Mus.). Acad. III. 
-)- Tragedia (La) por los Celos. — According to Nicolas Anto- 


ni(^ this plav appeared in the vanished Parte XXI\', Madrid, 
1640. This, in all probability, is the play by Guillen dc Castro, 
of which there is a MS. in the Bib. Nac. Cal. No. 3299, declar- 
ing at the end that the play was finished by Guillen de Castro 
on Dec. 24, 1622, and that it was written for Antonio de Prado. 
Published in Libras raros curiosos, Madrid, 1878. \yi i/^^yvy-ii jf-doHiH 

*Tragedia de Aristea. — P. 

Tragedia (La) del Rey don Sebastian, y Bautismo del Prin- 
cipe de Marruecos. — P; XI; Acad. XII. MS. copy (Parma). 
A few jests are assigned to Zulema and to the villano Alfonso, 
but there is no true fignra del donayre in the play. The baptism 
of Prince Muley Xeque took place in 1593, says Casiano Pellicer, 
who adds that in 1602 the Prince frequented the Madrid theatres. 
Was it with the object of seeing the representation of his con- 
version ? He died, as Pinelo informs us, while serving with the 
Spanish army in Flanders. This is probably the same play as La 
Perdida del Rey don Sebastian represented before the Queen in 
October, 1622, by Cristobal de Avendano. v. also Zlft. XXXI, 

Trato (El) de Toledo, v. El Toledano vengado. 

Traicion (La) bien acertada. — P ; L 
jk'Trato (El) muda Costumbres. — M; H. According to Fajardo 
this play appeared in Parte XXVIII, extravagante, Zaragoza, 
1639. Antonio de Mendoza wrote a ^ow^^/^ with the same title 
and Chorley believes that this is the piece wrongly ascribed to 
Lope by Medel and Huerta. 

*Tres (Los) Consejos. — P-. Juan Jcronimo Almella, aulor 
de comedias in Valencia in 1628, possessed a MS. of this play 
attributed to Lope. BitU. Hisp. VIII. 378. 

Tres (Los) Diamantes. — P; II; S. (Brit. Mus., Arl.) In. 
some impressions of Part II a passage in Act III is transposed. 
It occurs in the scene between Lisardo and Enrique, after the 
verse — « En fin ya somos casados ». At this point Crispin comes 
forward with the question — « Quien llama? » This scene — 


as far as the words « Este en buen hora » — should be placed 
earlier, at the end of the colloquy between the Duke and Leo- ^ y 

nato. This closes with Leonato's words — « ha de la (;asa, ha ^ ^-^' ^Cf 
gente » — which gives Crispin the cue for his entry and question ^'' 

— « Quien llama? » Fitzmaurice-Kclly and Ormsby indicate a 
precisely similar transposition of the text in Don Quixote, Part 1, d- i/'^^ 

Chapter XIX : see the Introduction to their sumptuous reprint P<^'** 
of the pr'uiceps (London, 1898-1899). Acad. XIII ; see the dis- 
sertation of Gertrud Klausner, Berlin, 1907^^ il*>^ yoj^^lhiy^- 

Triunfo (El) de la Humildad y Soberbia abatida (vcncida on 
the title-page). — M; X. MS. copy (Parma) ; MS. copy (Hol- 
land), entitled La Hinnildad y la Soberbia. This title is also given 
in the Tabia of Parte X. (See Zrt Humildad y la Soberbia.) 

*Triunfo (El) de la Limosna. — P. 

*Triunfos (Los) de Octaviano. — P. 

Truhan (El) del Cielo, y loco Santo. — Acad. V. MS. copy 
(Parma), v. Restori, p. 32, and Ztft. XXII, 292. « It might be 
supposed that this play is identical with San Antonio de Padua, 
mentioned in P-, but we are inclined to believe that it is differ- 
ent. » M. y P. El Truhan del Cielo is a First Part; the Second 
Part may be the lost Gloria de S. Francisco. Restori. The title in 
Huerta is merely Loco Santo. 

*Truhan (El) Napolitano. — P'. 

Turco (El) en Viena. — P.(See£'/ Cerco de Viena.) 


Ultimo (El) Godo. — XXV; (see El Postrer Godo de 

'■ Un Pastoral Albergue. — MS. copy (Duran). Cat. B. X. No, 
2526. A note states that it ran for eighteen days at Seville. Paz 
y M^lia questions the ascription to Lope. It is printed in 
Comedias ine'ditas, Madrid, 1873. 

Urson y Valentin. — P. ;(see El Nacimiento de Urson, etc.) 


M This comedia or rather this dramatic novel of Lope must have 
been one of the most popular ones of its time, and, on account 
of the irregularity of its composition, must have given the great- 
est offence to the follo'.vers of the classic precepts. M. v P. 
Acad. XIII. 
*Urson (Segunda Parte de). — P. 


♦Valeriana (La). — P. 

Valeroso (El) Catalan. — Acad. VIII. 

Valicnte (El) Cespedcs. — P^ ; XX; S. (Brit. Mus. Arl.). 
Acad. XII. This is the First Part only. The closing verses con- 
tain a promise to continue the story till the hero's death « en la 
Guerra de Granada ». His death occurred July 25, 1569. 

Valiente (El) Juan de Heredia. — H; MS. copy (Osuna), 
Cat. B. N. No. 3399; Rocamora, No. 1399. S. (J. R. C.) ^cu/-i 

Valor (El) de Fernandico. — (See El P lei to par la Honra). 

Valor (El) de Malta. — Acad. XII; MS. copy (Holland, 
Dunin); Cat. B. N. No. 3409. Menendez y Pelayo thinks this 
play wholly unworthy of Lope, because of its entire lack ol 
poetic worth, v. Ztft. XXXI, 496. 

\'alor (El) de las Mugeres. — F ; XVIII; MS. copy (Par- 

Valor, Lcaltad y Fortuna de los Tellos de Meneses. — P; H; 
11. 1., )ii. In two parts. The first is printed in Part XXI, under 
the title Los Tellos de Meneses. The secoTul appeared as a snelta 
(Brit. Mus., J. R. C., and Vienna), v. Miinch-Bcllinghausen, 
1)1. (See Los Tellos de Meneses.) 
7 \'alor (El) perseguido, y Traycion vengada. — Tonio 132 
(Osuna). Doubtful. Chorley possessed a snelta with this title, 
attributed to Montalvan. La Barrera says this play is entirely dif- 
ferent from La Traicion vci/ii^ada, 6 Tanto ha^as guanto pa^^ues, 
likewise ascribed to Lope, and more justly to Moreto. Cat. 



p. 456. Bacon, Life and Worlds of Monlalvatj, p. 450, ranks this 
play among his author's supposititious roiiicJids, hut savs that it 
reads much Hke Montal van's work. 

Vandos (Los) de Sena. — P= ; XXI. Tomo 131 (Osuna), li". 
114-138 : a fragment of this Part XXI. 

Vaquero (El) de Morana. — P; P^; VIII; Acad. VII. Accord- 
ing to Sarmiento {Semanario Eriidito, V, p. 175) these Vaque- 
ros were neighbors of the Maragatos, and of the same origin, but 
they do not supply the theme oi \.\\\s co)ucdia. Here the I'tujnero 
is the Conde D. Manrique who becomes enamoured of King 
Bermudo's sister, is imprisoned, escapes, disguises himself as a 
villano, and is finally pardoned on the intercession of the Conde 
de Castilla. This play has no fi(^nra del donayre. This comedia 
exists as a suclla of 48 pages, which seems to have formed part 
of a volume : En Brusselas, por Huberto Antonio Velpio, 1651. 
Salva, Catdlogo, I, 548 : v. Ztfl. XXVI, 505. 

Vargas (Los) de Castilla. — H. According to Fajardo this 
comedia appeared in Part XXVII, extravaganle, Barcelona, 1633. 
A fragment (ff. 123-146) containing the play is in Tomo 133 
Osuna, and in the Chorley collection, and this is thought to be 
part of XXVII, extravagante. Acad. X; MS. copy Cat. B. N. No. 
3422 and No. 420. « From its style this seems to be a composi- 
tion of Lope's youth, written probably in Seville, where he resid- 
ed for long periods from the close of 1600 till May, i6o_) ». 
M. y P. Restori says this play also bears the title of Los Ires 
Vargas. According to the above fragment it was represented by 
Antonio de Prado. v. Zlft. XXIX, 364. 

Varona (La) Castellana. — P; IX; Acad. VIII. MS. copy 
(Parma). The character of Ordoiio, « escudero cobarde », 
amounts to z figura del donayre. v. Ztfl. XXVI, 510. 

Vaso (El) de Eleccion. — H ; (sec 5^/// Pablo). Acad. III. MS. 
copy (Parma) of the early xvii century. Restori, Una Coll., 33; 
in this MS. the play is entitled : Vaso de eleccion y Doctor de las 
Gentes San Pablo, de Lope de Vega. Monroy's play Laf Principes de 
la Iglesia follows Lope's play very closely. Restori. 


Vellocino (El) de Oro. — P^ ; XIX; Arml. VI. MS. copy 
(Parma), v. Zift. XXIII, 44^, ff. According to Giinthner, Siu- 
dien :;ji Lope de Vega, p. 20, an edition of this play, in Spanish, 
was published at Vienna in 1633 : Ctvuedia del Vellocino de oro; 
Viennae, Austria, excudebat Gregorius Gelbhaar. 4°. There was 
also an edition in Milan, luan Baptista Bidelli, 1649; from the 
contents of the accompanying Loa it seems also to have been 
acted in that year in Milan. Tickiior CataJof^iie, 395. The play 
was originally represented at '.I fiesta celebrated at Aranjuez, May 
15, 1622. Acad. W, p. Hi; Bull. Hisp. (1908), 253. An auto 
entitled El Bcllocino dorado was represented in i^<)O.Niievos Datos, 


Vencido (El) Vencedor. — MS. copy (dated 1635 : Parma). 

Restori, 34; this is doubtless El Vencedor vencido en el Torneo, 

represented in 1622 before the Queen by Juan de Morales 


Veneno (El) saludable. — P'' ; XIV. (See El cuerdo loco). 

Vengadora (La) de las Mugeres. — XV; « Representola Leon, 

y hizo la Vengadora Maria de Alcaraz famosamente ». It was also 

represented by, Morales in 1623 (?) v. Schack, Nachtrdge, 67; 

there is also a snelta (43 pages) of this play : en Brusselas, por 

Huberto Antonio Velpio, 16-19. Salva, Cat., I, 54(S. 

^ *Vens;anza (La) de Gavferos. — P. 

' •. ju f Venganza (La) venturosa. — P- ; X; MS. copy (Parma). 

*// * Some passages in this play seem to contain references to Lope's 

< TO/ father, v. Petrof, in Melanges Chahanean. Roman. E or sch., XXIII. 

Ventura (La) en la Desgracia. — Escog. XXVIII; S. (Du- 

ran)iv-» '^^■ 

'^ Ventura (La) por el Sueno. — (See El Merilo en la Teinplan:^a). 


\'entura (La) sin buscalla. — P^ ; XX. The snelta in the Brit. 

J ;: V ^'^^^- is a fragment of this volume] There is an Ofuna MS. Cat. 

"^ B. N. No. 3460, of a << Comedia burlesca » entitled La Ventura 

sin hnscarla, which may be a parody on Lope's play. 

'.^OzA*' ^"H 


^ Ventura (La) de la Fea. — M.(anon.). According to Fajardo 
this play appeared in Part XXVI, extravaganle, Zaragoza, 16-15. 
Chorley possessed the play (leaves z-j being missing) in what 
may have been a fragment of this Part. Restori thinks this play 
may be by Mescua. He says there is an allusion to this play in 
Lope's auto Del Pany del Palo {Obras, II, p. lix) which indicates 
the probable date of its composition. Concerning the vol. XXVI, 
extravaf^anle, 1645 (and 1632 or 1633), he refers to what Ortiz 
de Villena (in the preface to Parte XXI of Lope, 1635), says of 
the plays of Lope printed in Seville, Valencia, Zaragoza and other 
cities, — that they are by various poets, and although they bear 
his name, that they are not his, Restori prints the Entreiiics del 
Doctor Carlino, in which La Ventura dela Fea is attributed to Mira 
de Mescua, which ascription he thinks should be taken into 
serious consideration, v. Pie:{as de Titulos de Comedias, Messina, 
1903, p. 134. 

Ventura y atrevimiento. — S. (J. R. C, Duran). Salva(CaL 
I, 660) also possessed an ancient snelta. 

Ver y no creer. — XXIV, Zaragoza, 1633; MS. copy, with 
aprobacion of Luis Navarro, dated Zaragoza, August 25, 161 9. Cat. 
B. N. No. 3464, without the author's name. This MS. appears 
to differ from that which was in Duran's collection. 

Verdadera (La) Amistad. — (See Los Amigos enojados). 

Verdadero (El) Amante. — P ; XIV ; « Representola Rios » . 
H. I., I ; Acad. V. According to a MS. cited by Salva, {Cat. I, 
p. 660), this is also entitled Gran Pastoral Belarda. v. La Bar- 
rera. Cat., 437. This is perhaps the earliest play of Lope that has 
survived. Acad. V, p. Iviii ; see also Los Hechos de Garcilaso dc la 

*Viaje (El) del Hombre. — P. 

Vida (La) de San Julian de Alcala. — (See El Saber por no 
saber) . 

Vida (La) de San Pedro Nolasco. — XXII ; Acad. V; MS. 


copy, Cat. B. N. No. 3479. — This play was written in 1629 
for the festival which the order of Nuestra Seiiora de la Merced 
celebrated between April 21 and iMay 8 in honor of its founder. 
It was represented before Philip IV, by the company of Roque 
de FigLieroa. See the Relacion of Dr. Benito Lopez Remon (Ga- 
llardo, Eiisayo, III, 301). Restori, LilteraliirhlaU f. ^en)t . it. 
roiiuiii. Phil. (1902), deprint, p. 10; Acad. V, p. ix; Ztjl . 
XXII, 277. 
i^ — \'ida (La) y Muerte del glorioso y bienauenturado Padre San 
Francisco — La tamosa Comedia de — . Compuesta por Lope de 
Vega Carpio. Son figuras las siguientes : Padre de San Francisco. 
Su Madre. Francisco. Florencio y Fabricio sus hermanos. Vn 
Pobre. Vn simple Fray luan Constantin, etc. Impresa en Valen- 
cia, en casa de luan Vicente Franco, alia Pelleria vieja junto a 
San Martin, y alii se vende. Ano 161 1. Gallardo. Eiisayo, IV, 
col. 968. 

Vida (La) y Muerte del Rey Bamba. — H ; I ; Acad. VII. 
This play has no figitra del donayre. v. Ztjt. XXVI, 487. f^''*^^ 
■^r Vida (La) y Muerte de Santa Teresa de Jesus. — H. (See La 
Madre Teresa de Jesus). MS. copy, ascribed to Lope de Vega 
(Osuna) Cat. B. N. No. 3489; Rocamora, No. 1370. There is 
also a MS. copy at Parma. Restori, Una CoJk:iioiic, p. 35. No play 
bearing this title appears in either P. or P-., though a play enti- 
tled La Madre Teresa de Jesus is noted in P-. In the volume Doce 
Coiiiedias de varies Autores, Tortosa, 1638, there is a comedia 
La hienaventurada Madre Santa Teresa de Jesus, which is attribut- 
ed to Luis Velez de Guevara. Chorley assumed this latter to 
be a different play from La Vida y Muerte de Santa Teresa de 
Jesus, and he was doubtless correct. In ZtJt. XXII, 283, Restori 
gives excerpts trom the Parma MS., saying that the play begins 
with a dialogue between La Vanidad and La Envidia, though he 
gives no words of the dialogue, nor does he here give the closing 
lines of the comedia, though he does give them in Una Colle- 
:^ione, etc., p. 35, where we read : 


f^xi^x^.- ^ V XavI; v^j^r^ -^^a^^Ju-e^;, 


y aqui acaba la comcdia 
de la mas santa niugcr 
que nucstra Rspaiia /clcbra. 

MS. No. 3_|89 begins : 

Faiiuldil . — Envidia, lu/. dcrivada 
and ends : 

que nuestra Espana celebra. 

There can, therefore, be no doubt that the Osuna MS. No. 
3489 and the Parma MS. are copies of one and the same phiy, 
and that this play is entirely different from Lope's La Madre 
Teresa de Jesus, v. Ztft. XXII, 282, where Restori gives long 
excerpts from the Parma MS. 

Villana(La) de Xetafe. — P^ XIV; MS. copy (Holland). 
« Representola Valdes ». This play has no Jigtii a del donayre. 

*Villanesca (La). — P. 

Villano (El) en su Rincon. — P^ ; VII; H. II., 135; 
Dif. XLIV (1652); S. (J. R. C.) Escog. XXXIII (1670), has a 
re-cast of this piece by Matos Fragoso under the amplified title 
of£"/ Sabio en sn Retire y Villano en su Rincon. 

Virgen (La) de los Remedios. — H (anon.) (See Ordcn de la 

Virtud, Pobreza y Muger. — P- ;XX; H. IV, 211. It alludes 
to Mescua's La Rneda de la Fortutia, represented by Morales in 
Maddd in 1604; v. Life of Lope de Vega, 153 ; Corned ias de Lope, 
ed. Hartzenbusch, IV, p. 222. See also Stiefel, Ztft f. fran^. 
Sprache,XXlX, 209. The comedia must have been written after 
July 25, 1607, the date of Pedro Lihan's death. Hartz. IV, 214; 
Bibliografia Madrilena, III, 413. 

Vitoria (La) de la Honra. — P^ (La Vitoria del Honor); 
XXI; Dif. XXXIII (Valencia, 1642 as La Vitoria por la Honra). 
Chorley possessed the fragment oiDif. (fols. 181-203) contain- 
ing this play : it also survives in Tomo 132 (Osuna). 


\'itoria (La) del Marques de Santa Cruz. — XXV. This is tlie 
title of the play as given in the Tahla ; in the text it appears as 
La uiieva Victoria del Marques de Santa Cru~, and Medel repeats 
the latter form. P- notes it as La Toina de Longo por el marques 
dc Santa Cnc;;^. 

Viuda, Casada y Doncella. — M; P^ VII. S. (J. R. C. and 
Osuna) ascribed to un hii^H'nio and entitled Doncella Viuda y 
Casada . 

Viuda (La) Valenciana. — P; XIV; H. I., 67; MS. copy 
Cat. B. N. No. 3525. « Representola Mariana Baca, vnica en la 
accion y en entender los versos. » This Mariana \'aca was the 
mother of the famous Jusepa Vaca, The play has no Jigura del 
donayre. Schaeffer (I, 15 3) says that the play is founded on Ban- 
dello, Part IV, Nov. xxvi. 
■♦ Vizcayna (La). — P. This play was represented betore the 
King by the company of Antonio de Prado on January 2, 1623, 
and by Pedro de la Rosa in the Retiro before March 3, 1637. It 
is probably \osx. Mod. Lang. Rev. Ill, 55. 

*Vuelta (La) de los Espaiioles en Flandes. — P^ 

Yerros(Los) por Amor. — H ; S (J. R. C. and Duran). See 
Hierros por Amor. 

Yo me entiendo. — Tieck possessed a suelta in which this 
play is attributed to Calderon. Vera Tassis, however, in the 
Verdadera Ouinla Parte de Coniedias dc Calderon, Madrid, 1694, 
denies this authorship and places the comedia in the list of 
(' Comedias supuestas que andan debaxo de su nombre ». Valen- 
tin Schmidt, Calderon, p. 483, says there is a play Yo ine entiendo 
by Lope, and believes Lope to be the author of the only play 
known under this title. See also Ibid. p. 531. Tkck's suelta is 
now in the Berlin Library. 


Zegries y Bencerrages. — (See Cegrics y Benccrrages). 

Zelos (Los) de Rodamonte. — P; MS. (Osuna), Cal. B. K. 
[o. 568. This same play is ascribed to Mescua in Comedias de 
trios Autores, Tortosa , 1638. There is anotlier comedia upon 
le same subject and bearing the same title, written by Rojas 
orrilla, and pubUshed in his Parte I, Madrid, 1640. Acad. 
1\\. Menendez y Pelayo says there can be no doubt that the 
lay he has pubHshed in Acad. XIII, is Lope's. It probably dates 
•cm before 1602. 

*Zelos (Los) satisfechos. — P. 

*Zelos sin Ocasion. — P^ ; M. 

Zeloso (£1) de si mismo. — H. (See La Pastoral dc Jacinto). 

Zirro (Giro) Hijo de la Perra. — M.(anon). Fajardo asserts 
hat this is identical with Contra Valor no hay Desdicha. 

rotal number of titles_, excluding alternates .... 726 

Comedias (doubtful, or known not no be by 

Lope) 84 

Comedias known only though P, P-, M, H, and 

similar sources . . . 180 

'dumber of Comedias by Lope de Vega that we 

now possess. . . 4^2 

Nummary of the Catalogue of Comedias. 

Comedias de Lope de Vega : I-XXV. 

Parts I, II, IV, VI-XXI, XXIII, XXIV, Zaragoza, 

1 64 1. 21 Parts each containing 12 plays. . . 252 

XXII, Zaragoza, 1630. [8] (2 by other writers, 



2 printed in other parts). XXII, Madrid, 1635. 
[11]... 19 

XXIV, Zaragoza, 1633. |8j (3 by other writers, 

I printed in XXII, Madrid. . . 8 

XXV, (3 printed in previous Parts). . . 9 3^ 288 
Parts which commonly pass as III and X of the 

Comedias de Lope. 

III de Lope y otros. [3 1. Flor de Dif. Part V. 

[i]... 4 

Part XXIV, Madrid, 1640. No copy is known to 
exist. It contained, apparently, 4 by other 
writers ; 7 which exist in other Parts or in 
sueltas ; i doubttul ... » 

Vega del Parnaso. [6] (Two of the 8 are printed 
in the Comedias de Lope) : Relacion de las 
Fiestas, etc . . . 8 

VI de Lope y otros (besides one already printed 

in Part I, it contains one doubtful play). . . i 

IV de Gongora y Lope (contains 2 by Lope — 

r printed in Part XVIII — and i doubtful). . . 2 

In the fragments of Extravagantes de Lope, Come- 
dias de SeviJla, etc., preserved in the Osuna 
Library (see pp. 38-41), there are, in addition 
to sueltas, Tomo 131 [i] : Tomo 132(5] : 
Tomo 133 [7, one being doubtful]. 13 

Comedias deVarios. Old Series. (Varios de afue- 

Dif. XXVIII, 1634. — [7] 3 by other writers, 

2 previously printed. . . 2 

Lope y otros, 1634, Parte XXIX. — [7] i by 

another writer. . . 6 

Dif. XXIX, 1636. — [2J previously printed. . . » 



Dif. XXX, 1636. [r] previously printed. . . » 
Dif. XXXI, 1638. [2] previously printed, i donhl- 

ful. . . I 

Dif. XXXII, 1640. [2]... 2 
Dif. XXXIII, 1642. [3] I by another writer, i 

previously printed ... i 

Dif. XXXVII, 1646... I 

Dif. XLIV, 1652. [2] previously printed. . . » 

Lope y otros, II, 1630. [4] i previously printed. 3 

Varios, Tortosa, 1638. . . 2 
Varios de Lisboa, 1652. [2] i by another writer, 

I previously printed - . . » 

Varios. Lisboa, 1647. i previously printed. » 

Comedias de Varios. — Escogidas. New Series. 

(Varios de Madrid, etc.) 

Escogidas III. 7 
Escogidas VI. Zaragoza, 1653. 5 (i by another 

writer, 3 previously printed). . . i 
Escogidas VII. i previously printed . . » 
Escogidas VIII. i ascribed to Mescua. i 
Escogidas X . . . i 
Escogidas XV. [Under the name of Zarate] i pre- 
viously printed. . . » 
Escogidas XVI. [Under the name of Rojas]. . . i 
Escogidas XVIII ... i 
Escogidas XX. [Under the name of Rojas]. i 
Escogidas XXV. [Under the name of Moreto] i 

previously printed ... » 
Escogidas XXVIII. 3 [i under the name of Mes- 
cua] 2 previously printed ... i 
Escogidas XXX [Under the name of Moreto] ... i 
Escogidas XXXI [Under the name of Zavaleta] ... i 
Escogidas XXXVII [Under the names of Moreto 


and Matos] 2 previously printed. . . » 
Escogidas XXXIX [Under the names of Moreto 

and Matos] 2 previously printed ... » 

Escogidas XL. i doubtful ... i 

Escogidas XLII. [2 under the name of Villegas] i 

doubtful. 2 

Escogidas XLR'. | Under the name of Rojas]. i 

C. N. Amst. 1726. 2 (i previously printed). i 

21 39 
Sueltas (not printed in other forms, excluding 

doubtful ones : see pp. 70-71). . . 28 

MSS. inedited. . . 35 

Plays since published by the Spanish Academy, 

and in other editions. . . 48 

Deducting doubtful plays above noted ... 4 

Total of Lope de Vega's known Comedias (in 

print or in manuscript). 462 


A lo que obliga el ser Rey. — S. (J.R.C.). By V^lez de Gue- 

Adversa (La) Fortuna del Caballero del Espiritu Santo. — H. 
IIL (Lope y otros '). By Grajales. See Salva, Catdlogo, I, 
p. 565. 

Adversa (La) Fortuna de Ruy Lopez Davalos. — H. V. 
(Lope y otros"). By Salustio del Poyo. 

Amor (El) Invencionero (La Espanola de Florencia). By Cal- 
deron ? or Diego de Figueroa ? 

I. Tlie plays quoted as being contained in Parts III and V of 'Lope y otros' 
are given with the names of the real authors : they are attributed to Lope by 
Nicolas Antonio, whose mistake has been mechanicalh reproduced. 


Amor, Pleyto y Desafio. — XXII and XXIV. Zaragoza, 1633. 
This is Alarcon's Ga)iar Aminos. But Lope wrote a play bearing 
this title, of which the autograph MS. dated November 23, 
1621, is in the Bib. Nac.,Ca/. No. 171. 

Aristomenes Mesenio. — (See El Valeroso Aristomeurs). 

Batalla (La) de los Dos. — By Torre y Sevil ? 

Bernardo del Carpio en Francia. — B}' Don Lope de Liano. 

Boba (La) di.screta. — Cafiizares? See Salva, I, p. 574. 

Capitan (El) Belisario. — Hscog. VI. Zaragoza, 1653. (See HI 
Exemplo mayor de la Desdicha). 

Cautela contra Cautela. — ascribed to Lope, then to Mescua 
in a MS. at Parma. See Restori, Coined ias de d if. Aiilores, (in 
Stud], 1891), p. 77. It is the play of Tirso de Molina and Alar- 
con. Comedias de Tirso (Bib. de Autores Espaiioles). 

Cavallo (El) vos han muerto. — S. (J. R. C). — By Velez 
de Guevara : Si el Cavallo, etc. See Salva, I, p. 576. 

Celos con Celos se curan. — (See Zelos, etc.) 

Celoso (El) Extremeiio. — (See Zeloso, etc.) 

Como se engaiian los Ojos, 6 el Engano en el Anillo. — By 
Juan Bautista de Villegas ; Dif. XXV, Zaragoza. 1632. Fajardo 
mentions this play under the title Nadie crea lo que ve, latnbien 
se erigaha la Vista. 

Conde (El) Don Pedro Velez. — By Guevara ? 

Confusion (La) de Ungria. — Fajardo. By Mescua. Escog. 

Cruz (La) en la Sepultura. — Dif. XXVIII, and XXIV, 
Madrid, 1640. This is Calderon's play entitled La Devocion de la 
Crii^. See the note on p. 32. 

De unCastio;o tres Venganzas. — H. Bv Calderon : Un Castigo 
en tres Venganzas. 

Desgracias (Las) del Key don Alonso el Casto. — H. V. (Lope 
y otros). By Mescua. See Salva, I, p. 589. A play entitled El 
Key Alfonso el Casto was in possession of Alonso de Heredia in 
August, 1605. V. Btill. Hisp. (1907)' 372- 


Despreciada (La) Querida. — XXIV, Madrid, 1640. By Juan 
Bautista de Villegas; see Salva, I, 589. 

Desprecios (Los) en quien aina. — By Montalvan. See Ibid. 
S. (Brit. Mus.). 

Destruicion (La) de Constantinopla, [Lisboa, Madrid, 1603 J. 
By Gabriel Lobo Laso de la Vega. 

Di Mentira y sacaras Verdad. — By Matias de los Reyes 

Dios hace Justicia a todos. By D. Francisco de Villegas. Escog. 

Dona Ines de Castro (La Tragedia de). — H. Parte III de 
Lopey otros. By Mejia de la Cerda. See Salva, I, p. 592. 

Don Gil de la Mancha. — By RojasZorrilla? 

Ejemplo (El) mayor de la Desdicha, y Capitan Belisario. — 
H. S. (J. R. C.) There are siieltas of Barcelona, 1771 ; Valladolid, 
1781 ; Madrid, 1796, which ascribe it to Lope. It is by Mescua. 

El que diran, y Donaires de Pedro Corchuelo. — By Matias 
de los Reyes. La Barrera, p. 327. 

Enemiga (La) favorable. — H. Parte V dc Lope y otros. By 

Espanola (La) de Florencia. — See Alphabetical list, under 
Bnrlas veras. 

Examen (El) de Maridos. — XXIV, Zaragoza, 1633. By Alar- 

Fernan Mendez Pinto. — S. Parte I and II, (Holland, J.R.C.) 
By Enriquez Gomez ? See Salva, I, p. 602. 

Florestas de Amor. — See El Paraiso de Laura. 

Gran Cardenal (El) de Espaiia, Don Gil dc Albornoz. — By 
Antonio Enriquez Gomez. 

Gran Tamorlan (El) de Persia. — Dif. XXXIII : La niieva 
Ira de Dios. By V^lez de Guevara. 

Guarda (La) cuidadosa. — H. Parte V de Lope y otros. By 
Miguel Sanchez. Published by H. A. Rennert, Boston, 1896. 

Hermanas (Las) Bandoleras (?). See Alphabetical list. 


Hijos (Los) del Dolor y Albania tiranizada. — Bv Francisco 
de Leyva. 

Industria (La) contra el Poder y el Honor contra la Fuerza. 
— Dif. XXVIII, and XXIV, Madrid, 1640. This is Calderon's 
Amor, Honor y Poder. v. Bull. Hisp. VIII, 376. 

Isla (La) barbara. — By Miguel Sanchez. Published by H. A. 
Rennert, Boston, 1896. 

Jueces (Los) de Castilla. — By Moreto ? 

Leno (El) de Meleagro y Profetisa Casandra. — By Pablo 
Polope y Valdes, a writer who flourished towards the end of the 
end of the seventeenth century. 

Lindona (La) de Galicia. — By Montalvan. v. La Barrera, 
268; Paz y Melia, Cal. No. 1756. 

Loco (El) cuerdo. — H. Parte V de Lope y otros. By Valdi- 

Lo que es un Coche en Madrid. — S. (J. R. C). Los Riesgos 
que tiene un Coche. By Antonio Hurtado de Mendoza ? See Schaef- 
fer, I, p. 411. 

Mai (El) Pagador en Pajas. — ? It is not by Calderon. 

Mas pesa el Rey que la Sangre. — S. (Holland). By Guevara. 
V. Salva, I, 620. 

Mayor (El) Rey de los Reyes. — Claramonte ? It is not by 
Calderon? Restori {Ztft. XXII, 107) notes a Comedia El niejor 
Rey de los Reyes. 

Mentiroso (El). -^ (See La Verdad sospechosa.) 

Nadie se fie en lo que ve, porque se enganan los Ojos (Tam- 
bien se engana la \'ista). By Juan Bautista de Villegas. (See 
Co)iio se enganan los Ojos.) 

Nino (El) Diablo. — By Luis Velez de Guevara, v. Schaeffer, 
Geschichte, I, p. 300. 

No hai mas saber que salvarse. — In a very old suelta it is 
attributed to Lope. Salva, I, 630. It is by Monroy y Silva. The 
autog. MS. dated December 5, 1643, is in the Bib. Nac. Cat. No. 


No hay Vida como la Honra. — H. By Montalvan. 

Nueva (La) Ira de Dios. y Gran Tamorlan de Persia. — By 
Luis \'clez de Guevara. 

Nuevo (El) Pitagoras. — See Alphabetical list. 

Once (Las) mil Virgenes : Santa Ursula. — Mes. Rom., M; 
H; (anon.). 

(?) Orden (La) de la Redencion, y Virgen de los Remedies. 
— MS. Holland. 

Paje (El) de Don Alvaro. — This play, ascribed by Medel to 
Juan Velez de Guevara and printed "as Calderon's (it is not by 
him, according to the Qiiinta Parle of Calderon's Comedias), is 
assigned by Schaeffer (Vol. I, p. 188) to Lope de Vega. See 
Salva, I, p. 617. Barrera {Cat. 467) is certainly mistaken in 
thinking that this is the same play as El Lucero de Castilla y Lima 
de Aragoii, which is by Luis Velez de Guevara. In the latter play 
two of the principal characters are the Duque de Arjona (El 
Luzero de Castilla), and Don Alvaro de Luna (La Luna de Ara- 
gon); the latter first appears as the Pajc of the King Don Juan 
II. (Printed |in Comedias Escogidas de diferentes Libros, Brusselas, 
1704.) It is an excellent play and probablv the same as EI Duque 
de Arjona, a play copied in Orche (Guadalajara) in 161 3. v. 
Bull. Hisp. (1907), p. 378. The MS. in the Bib. Nac. Cat. No. 
2741 : El Privado perseguido is the same as the one in the volume 
of Brusselas, 1704. From the concluding lines it may be inferred 
that the comedia was in two parts. Perhaps the other part is El 
Paje de Don Alvaro. 

(?) Paraiso (El) de Laura, y Florestas de Amor. — M. (anon.) 
MS. Holland. Chorlcv notes that this is no more than doubt- 

Premie (El) de las Letras por el Rey Felipe II. — H. Parte V 
dc Lope y otros. It is by Salustio del Poyo. 

Primcro (El) Key del Mundo. — (See La Soherbia de Neni- 

Principe (El) Don Carlos. — S. (H. and Vienna). By Diego 
Ximencz de Enciso. See the Alphabetical list. 


Profetisa (La) Casandra. — H. (See Leho deMekaoro). 

Prospera (La) Fortuna del Caballero del Espiritu Santo. — By 
Juan Grajales. 

Prospera (La) Fortuna de D. Bernardo de Cabrera. — By 
Mescua ? 

Prospera (La) Fortuna de Ruy Lope/ Davalos. — Parte III de 
Lope y otros. By Salustio del Poyo. 

Puente (La) de Mantible. — S. (H. and Vienna). By Calde- 

Pusoseme el Sol, saliome la Luna. — Dif. XXX. By Clara- 

Rey (El) por Semejanza. — Juan de Grajales? 

Rueda (La) de la Fortuna. — Part V. Madrid, 1615. By Mes- 

San Antonio de Padua. — By Montalvan. 

Santa Casilda. — Phelipede Medina Pores ? 

Sastre (El) de Campillo. — By Luis de Belmonte. 

Siete(Los) Infantes de Lara (Tragedia de). — H. Parte V de 
Lope y otros, Madrid, 161 5. By Alfonso Hurtado de Velarde. 

Soberbia (La) de Nembrot, y primero Rey del Mundo. — 
MS. (Holland). By Enriquez Gomez. 

Sol (EI) en el Nuevo Mundo, o Descubrimiento de las Batue- 
cas. — El Descubrimiento de las Batuecas del Duque de Alba. 
— By Juan Claudio de la Hoz y Mota. 

Tanto hagas quanto pagues. — Moreto? In a suelta it is as- 
cribed to Jacinto Cordero; but, as he was born in 1606 and the 
play was represented at least as early as 1625, this ascription is 
doubtful. See Alphabetical hist. It is the same play zsLa Traicioii 

Tragedia (La) por los Celos. — XXIV, Madrid, 1640. By 
Guillen de Castro. 

Trato (El) muda Costumbres. — By Antonio de Mendoza ? 

Valeroso (El) Aristomenes Mesenio. — S. (Holland). Dif. 
XXXI, i6^8;Escog. XX, in both these volumes it is ascribed 


to its real author Alfaro. It also bears the title Oiiitar eJ Feiido a 
sn Pallia, Arislomenes Mesenio in a suclta that I possess (Valencia, 
Viuda de Joseph de Orga, 1761, ascribed to Matos Fragoso. It is 
the same play as For cI Esfiiet\o la Dicha which is printed under 
the name of Coello. Schaeffer, II, p. 89. Salva, I, 571. 

Venganza (La) honrosa. — Parte VI de Lope y otros. By 
Caspar de Aguilar. 

Virgen (La) de los Remedies. — (See Ordeu de la Reden- 
f /(»/.) 

Zelos con Zelos se curan. — H. Parte XXVI, extravagante. By 
Tirso de Molina. See Salva, I, 548. 

Zelos (Los) de Carrizales. — Fajardo. (See Zeloso Exlrenieho.) 

Zeloso (El) Extremeno. — H. This, and the Second Part, 
entitled Los Zelos de Carri~ales, which Fajardo ascribes to Lope, 
are bv Antonio Coello. 



Fiestas del Snntissimo Sacramento, repaviidas en Do~e Autos 
Sacranientales, con sus Loas y Entremeses. — Caragoca : Pedro 
Verges. 1644./— Brit. Mus.', J. R. C. and H. A. R.). Reprint- 
ed in Obras sueJtas, XVIII. 

The book contains twelve autos, each with a loa and 
entr ernes (See p. 267). 

Navidad y Corpus Christi festejados por los nu'jores Ingenios d^ 
Espana, en dicz v seis autos a lo divino. Representadas en esta 
Corte, y nunca hasta ahora impresos. Recogidos por Isidro de 
Robles, natural de Madrid. Madrid, 1664. Joseph Fernandez de 
Buendia. (Brit. Mus. and Duran). 

This volume contains the following pieces by Lope : 

El Tirano castigado ; auto del Nacimiento de Crisio. 






El Nombre dc Jesus. 

Que siempre en losgrandcs dias. 

El Lctrado. 

El Hcrcdtro del Cielo. 

En la plaza de Santa Maria. 

El Soldadiilo. 

Los Acrehedores del 

Alia en garganta la Olia 

El Poeta . 

Hombre . 

El Pan y el Palo. 

En la cama de los vicios 

El Robe dc Elena. 

El Misacantano. 

Falta de humano consuelo. 

La Hechicera. 

Las Aucnturas del Hom- 

Buenas noches, digo dias . 

El Marques dc .Mfarache. 


La Siega. 

Licencia, Senor, expressa. 

El Degollado. 

El Pastor Lobo. 

Valgame San lorge, amen. 

La Muestra de los ("Garros. 

La Buelta de Egipto. 

Por la puerta de la culpa 

Los Organos . 

El Nino Pastor. 

Hi deputa, mala cara 

El Remediador. 

Los Cantares. 

Sobre entrar en una liucrta 

Daca mi muger. 

La Puente del Mundo. 

El Consistorio divino. 

Las Comparaciones. 

El Nacimiento de Cristo Nuestro Senor. 

De los Titulos de las Comedias (a loa which precedes Cal- 
deron's aitto entitled El divino Jason. 

El Peregrino en 5// P^/m, Sevilla, 1604, contains the following 
ant OS by Lope : 

El Viaje del Alma, — Represented at Barcelona (1599 ?)• 

Las Bodas del Alma y el Amor divino. — Represented at the 
octave of Corpus, 1599, at Valencia, v. Ztfi. XXII, 102. 

La Maya. — Represented at Zaragoza : written in \'alcncia, 
1588-1590 ? 

El Hijo prodigo. — Repre.sented at Perpignan ? v. Ztft . 
XXII, 102. 


(In the British Museum, in Chorley's collection, and in Lord 
Holland's library.). 


El nuevo Oriente del Sol, y mas dichoso Portal. Auto al 
Nacimiento. — See El Nacimiento de Cristo Nuestro Seiior. 

Las Prisiones de Adan. — Auto al Nacimiento de Cristo. 

In the Holland copy it is ascribed to Lope. Huerta attributes 
it to Lope and Gallo del Castro, who lived long afterwards. La 
Barrera suggests that Huerta confounded Gallo del Castro's auto 
Las Prisiones de Mow with the present piece. 

Medel and Huerta are alone in denoting the following autos : 

La Carcel de Amor. 

La Concepcion de Nuestra Seiiora. 

La Coronacion de la Humanidad de Cristo ' (Medel). 

El Corsario del Alma y las Galeras. 

Los Hijos de Maria del Rosario. [Now printed in Acad. IIL] 

La Margarita preciosa. [Acad. IL, and the two following.] 

El Pastor ingrato. [This is the same as El Nino Pastor. | 

El Triunfo de la Iglesia. 


In the Biblioteca Nacional (Madrid). 

Obras son Amores. — Autograph, dated May 31, 161 5. Cat. 
B. N. No. 2433. Acad. II. 

La Isla del Sol. — Autograph (in part), dated April 6, 1616. 
Ca/.B.N.No. 1641.^^^/. III. 

El Tuson del Rey del Cielo. — Copy, dated May 17, 1623. 
Cat. B.N. No. 3^,j6.Acad. III. 

Las Hazaiias del segundo David. — Autograph, dated April 
28, 1 6 19. [This auto, apparently, is no longer in the Bib. NacJ. 

Auto de la Santa Inquisicion. — 1629. Cat. B. N. No. 3033. 
Acad. III. 

I . Huerta ascribes this auto to Calderon : but it does not appear in the 
volume of his collected autos. 


La Adultera perdonada. — Cat. B. N. No. 51. Acad. III. 

Las Albricias de Nuestra Senora. — Cat. B. N. No. 72. 
Acad. IIL 

El Ave Maria y Rosario de Nuestra Senora. — Cat. B. N. 
No. 294. Acad. IL 

La Oveja perdida. — Cat. B. N. No. 2471. Acad. IL 

La Privanza del hombre. — Cat. B. N. No. 2742. Acad. II. 

La Locura por la Honra. — Cat. B. N. No. 1906. Acad. II. 

El Hijo de la Iglesia. — CaLB. N.No. 15 14. Acad. IL 

El divino Pastor. [The same as El Nino Pastor. ] v. El Pastor 

El Pastor ingrato. — Cat. B. N. No. 2524. Acad. II. 

El Triunfo de la Iglesia. — Cat. B. N. No. 3352. Acad. III. 

El Villano despojado. — Cat. B. N. No. 3496. Acad. II. 

El Rosario de los Hijos de Maria. — Cat. B. N. No. 2941. It 
is the same as Los Hijos de Maria del Rosario. Cat. B. N. No. 
1528. Acad. III. It will be seen that this piece is entered twice 
in Paz yMelia's Catalogue : first as an auto (Ho. 1528), then as 
a. comedia(]<io. 2941). 

La Araucana. — Cat. B. N. No. 237 ; Acad. III. 

Las Aventuras del Hombre. — Cat. B. N. No. 301 •,Acad. II. 

Los Cantares. — Cat.'Q. N. No. 488; Acad. II. 

Auto Sacramental de la Circuncision y sangria de Cristo 
nuestro Bien. Cat. B. N. No. 603 ; Acad. II. 

Auto Sacramental de los dos Ingenios y Esclavos del Santi- 
simo Sacramento. — Cat. B. N. No. 1018 ; Acad. III. Restori 
Ztft. XXII, 113) says the true title of this auto is El Desen- 
gaho del Mundo. 

Venta(La) de la Zarzuela. — Copy dated March 16, 161 5 ; 
Cat. B. N. No. 3452. Acad. III. 

Puente (La) del Mundo. — MS. (Duran), dated 1616. Cat. 
B. N. No. 2769. Acad. IL 

In the British Museum : 

El Principe de la Paz, y Transformaciones de Celia (with 
Mescua's name.) Acad. IIL , 


El Yugo de Cristo (anonymous). Acnd. II. 

The two manuscript copies of these two autos, dated 1629 
and 1630 respectively, are noted in the catalogue of Vicente 
Salva, who ascribes both pieces to Lope. 


Acreedores (Los) del Hombre. — Fiestas del Santisimo 
Sacramento, 164^ ; MS. copy (Parma) dated 1620. Restori, 
p. 17, and Ztff. XXII, 104. 

Adultera (La) perdonada. — H ; M ; MS. copy (Osuna) ; 
Cat. B. N. No. 51. Acad. III. At the end of the MS. it is also 
called La CJemeucia en La Vengan~a. 

Albricias (Las) de Nuestra Senora. — H; MS. (Osuna) ; Cat. 
B. N. No. 72. Acad. III. 

Araucana (La). — MS. copy (Osuna), Cat. B.N. No. 237; 
Acad. III. 

Ave Maria (El) y Rosario de Nuestra Senora. — MS. copy 
(Osuna), Cat. B. N. No. 294; Acad. 11. 

Aventuras (Las) del Hombre. — H. Fiestas del Santisimo 
Sacramento, 1644 ; MS. copy (Osuna), with licence of 1638, 
Cat. B. N. No. 301 ; Acad. II. 

Bautismo (El) de Cristo. — MS. copy. Cat. B. N. No. 352 ; 
Acad. II. 

Bodas (Las) del Alma y el Amor divino. — El Peregrino en 
su Patria, 1604. Acad. II. 

Cantares (Los). — Fiestas del Santisimo Sacramento, 1644 : 
MS. copy (Duran), Cat. B. N. No. 488 ; Acad. II. 

Carcel (La) de Amor. — M ; H. 

Circuncision (La) y Sangria de Cristo. — MS. copy (Duran), 
Cat.B. N. No. 6oy,Acad. 11. 

Concepcion (La) de Nuestra Senora. — This is the third Act 
of Lope's Naciinicnto del Alba. Published by Restori, Degli 'Autos' 


di Lope de Vega Carpio, Parnin, 1898 ; sec also Ztft. XXII, 

Coronacion (La) dc la Humanidad dc Cristo. — M; Hucria 
ascribes it to Calderon, hut it does not appear among CalderoiTs 
collected aulas. 

Corsario (El) del Alma, y las Galeras. 

Cortes (Las) de la Muerte. — Acad. III. 

Divino (El) Pastor. — It is the same as El Nino Pastor and 
El Pastor ingrato, q. v. 

Dos Ingenios y Esclavos del S. S. — Written by Lope and 
Montalvan ? According to Restori (Z///. XXII, 113) the real 
title of this anto'is El Deseugaho del Mitiido. MS. copy (Duran), 
Cat. B. N. No. 1018. There is a better MS. (of the beginning 
of thexvii century) at Parma. Acad. III. 

Hazanas (Las) del segundo David. — H ; MS. (Osuna) dated 
1619. Apparently this MS. did not pass to the Bib. Xac. 
with the rest of the Osuna collection. 

Heredero (El) del Cielo. —Fiestas del S. S., 1644. Acad. II. 

Hidalgo (El) celestial. — Represented at Valencia by Morales 
in 161 1. V. Merimee, Spectacles et Comediens a Valencia, p. 78. 

Hijo(El)de la Iglesia. — H ; MS. copy (Osuna), Cat. B. N. 
No. 1 5 14. Acad. II. 

Hijo (El) prodigo. — El Peregrino en su Patria, 1604. 
Acad. II. 

Hijos (Los) de Maria del Rosario. — MS. copy (Osuna), 
Cat. B. N. No. 1528. There is also an early MS. at Parma. 
Restori, Una Colle::ione, etc., Ztft. XXII, 115. 

Isla (La) del Sol. — H. (anon.) ; MS. (Osuna), the last two 
leaves in Lope's hand, dated April 6, 1616, with licenses at 
Valladolid, 1616, and Valencia, 1617. Ca/. B. N. No. 1641. 
Acad. III. 

Locura(La) por la Honra. — M. and H. quote an auto of this 
title by Tirso de Molina. MS. copy (Osuna). Cat. B. N. No. 
1906. Acad. II. 

' C LA^ dU^i^J (- '^° S-yo 



l/K^ - 






Margarita (La) preciosa. — M ; H ; Acad. II. 

Maya (La). — El Peregrino en su Patria, 1604. Acad. II. 

Misacantano. — Fiestas del Santisimo Sacramento, 1644. 
Acad. II. 

Xacimiento(El) de Cristo Nuestro Senor. — Navidad y Corpus 
Christi festejados, etc. 1664. S. (Brit. Mus. and Duran). There 
is also a sitelta of Valladolid, with the title El mievo Oriente del 
Sol, y mas dichoso Portal, v. Restori, Ztft. XXII, pp. iii, and 
foil. Acad. II. 

Natividad de Nuestra Senora. — It is by Lope, according to a 
MS. contemporary with the author, possessed by Salva. Cat., 
\, p. 66^. 

Niiio Pastor (El). — Fiestas del Santisimo Sacramento, 1644. 
Acad. II. It is the same as El divim Pastor and El Pastor 

Nombre (El) de Jesus. — Fiestas del Santisimo Sacramento, 
1644. Acad. II, 

Nuevo (El) Oriente del Sol, y mas dichoso Portal. — H ; S. 
(Brit. Mus. and J. R. C). It is the same as El Nacimiento de 
Cristo Nuestro Sehor, above. 

Obras son Amores. — MS. autograph, dated May 31, 161 5. 
Cat. B. N. No. 2433. Acad. II. It has nothing to do with Lope's 
comedia with the same title. 

Oveja (La) perdida. — H. MS. (Osuna), Cat. B. N. No. 
2471. Acad. II. 

Pan (El) y el Palo. Fiestas del Santisimo Sacramento, 1644. 
Acad. II. 

Pastor (El) ingrato. — See El Nino Pastor. Acad. II. 

Pastor (El) Lobo y Cabana celestial. — Acad. II. Perhaps 
this is the same as the auto El Pastor Lobo represented at 
Seville by Andres dc la Vega in 1624. v. Sanchez Arjona, Teatro 
en Sevilla, 234. 

Prisiones (Las) de Adan. — S. (Brit. Mus., J. R. C, Duran, 


Principe (El) de la Paz, — MS. (Brit. Miis.). Probably the 
same as El Principe de la Pa^ y Trans fonuucioiu"; de Celia. Del 
ano de 1629 para las Fiestas de Madrid. De Lope de \'ega Car- 
pio ; MS. in possession of Salva. Catdlogo, I, 551. Medel 
ascribes it to Mescua. Acad. III. An aiilo entitled El Principe 
de la Pai was represented by the company of Ortiz in Seville 
at Corpus^ 1619. Sanchez-Arjona, p. 208. 

Privanza (La) del Hombre. — H. MS. (Osuna), Cat. B. N. 
No. 2742. According to Sanchez-Arjona, p. 123, this MS. 
bears a license to represent it at Seville, dated May 26, 1605. 
Acad. IL 

Paente (La) del Mundo. — MS. (Duran), dated 1616. Cat. 
B.N. No. 2769. Acad. IL 

Santa Inquisicion (La). — H. MS. (Osuna). Cnl. B. N; 
No. 3033, dated 1629. Acad. III. 

Siega (La). — Fiestas del Santisimo Sacramento, 1644 

Tirano (El) castigado. — Navidad y Corpus Christi festejados, 
etc., 1664. Acad. II. 

Triunfo (El) de la Iglesia. — MS. (Osuna), Cal. B. K. 
No. 3352. Acad. III. V. i///. XXII, 116. 

Tuson (El) del Rey del Cielo. — H. MS. (Osuna), dated 
May, 17, 1623. Cat. B. N. No. ^}j6. Acad. Ill; An anio 
entitled El Tuson was represented by Cristobal de Leon in 
Madrid in 16 17. Bull. Hisp. 382 (1907). 

Venta (La) de la Zarzuela. — MS. copy (Duran), dated at 
Galbes, March 16, 161 5, « sacose en casa de Alonso Carrillo ». 
Cat.B. N. No. 3452. Acad. IIL 

Viaje (El) del Alma. — El Peregrino en su Patria, 1604. 
Acad. II. 

Villano (El) despojado. — MS. (Duran), Cal. B. N. No. 
3496. Acad . IL 

Vuelta (La) del Egipto. — Fiestas del Sanlisinw Sacramento, 
1644. Acad. II. Perez Pastor. (Proceso de Lope de Vega, p. u8) 



says : If the Fiielta deEgipto be the same as El Retorno de Egiplo, 
then it is one of those pieces which Lope gave to Jeronimo 
Velazquez, antor de comedias, during the time they were on 
friendly terms, and it may likewise be conjectured that it was 
written shortly before its representation in Madrid in 1584. Res- 
tori, Ztft. XXII, 107, calls attention to an aulo in MS. at 
Parma, entitled Buelta de Ejipto, which he had previously 
noted in Stiidj. fasc. 15, (1891), p. 126, No. 723. He thinks 
this is an older «///o than Lope's, and may have served as Lope's 
model, and he has published it in Degli (.<■ Autos ^t diLopede Vega 
Carpio, Parma, 1898. Prof. Restori here says that he now 
believes that this older auto is also Lope's. 

Yugo (El) de Christo. — MS. (Brit. Mus.); Probably the 
MS. (with a license for its representation dated at Alcala, 1630) 
indicated in Salva's Catalogo, I, 551, and there ascribed to Lope 
de Vega. Acad. II. 


Autos published in collections or separately 40 

Autos existing in snellas and MS., or denoted in Cata- 
logues. 8 

Four of these are known solely by the mention made of them 
in the Catalogues of Medeland Huerta. Chorley renounced the 
attempt to draw up a list of Lope's entreiueses on the ground that 
theauthenticitv of those ascribed to him is, in most cases, doubt- 
ful . 

Autores mentioned by Lope as having played in his Comedias. 

[Most would seem to belong to Lope's first period. See Ren- 
nert, The Spanish Stage. New York, 1909.] 


Avendano [Cristobal tie]. (En la mayor Lealtad mayor Agra- 
vio.) P. Quinas de Portugal. S. (J. R. C). 

Balbin [Domingo]. (Caballcro del Sacramento, XV.) 

Cebrian [PedroJ. (Quien mas no puede, 1616.) 

Figueroa [Roque de]. 

Granados [Antonio]. (Pedro Carbonero, XIV. P.) 

Granados [Antonio]. (Pedro Carbonero, XIV. P.) 

Leon [Melchor de]. (Lucinda perseguida. P.) 

Morales [i. e. Juan de Morales Medrano]. (Las Almenas de 
Toro, XIV.) 

Osorio, « autor antiguo », i. e. Rodrigo Osorio. — (El Sol- 
dado Amante, XVII. P.) 

Pinedo [Baltasar de]. (La Batalla naval. XV. P.) 

Porras, i. e. Caspar de Porres. Represented Lope's comedias 
as early as 1586. 

Rios [Nicolas de los]. (El verdadcro Amante ; La Bella mal 
maridada. P.) 

Riquelme [Alonso]. (La Buena Guarda, 1610). 

Sanchez, i. e. Hernan Sanchez de Vargas. (La Hermosa Ester, 

Valdes [Pedro de]. (Con su Pan se lo coma. Written before 

Valenciano [Juan Bautista] (El Desden vengado, 16 17). 

Vallejo [Manuel]. (La Ninez de San Isidro, 1622). 

Vega [Andres de la]. (El Brasil restituido, 1625). 

Vergara[Luis de]. (El Favor agradecido, 1593). 

Velazquez [Jeronimo] . Represented Lope's comedias at least 
as early as 1 586. 

Villalba [Melchor de]. (El Maestro de Danzar, 1594.) 

Villegas [Antonio de]. (Los Locos de Valencia, before 1603.) 

In the Prologue to Part XVI (1620) Lope speaks of the fol- 
lowing autores as belonging to a bye-gone time : 













It seems appropriate to add a tew words concerning the dis- 
tinguished scholar upon whose work the foregoing lists are 
based. The materials of the appended note are derived from the 
two volumes entitled Henry Fothergill Chorley : Autobiography, 
Memoir and Letters. Compiled by Henry G. Hewlett (London, 
1873). It is much to be regretted that Henry Chorley, the 
well-known musical and literary critic of The Athenceum, has 
left but a fragmentary account of his elder brother's career. 

John Ruttcr Chorley came of a Qiiaker stock settled in Lan- 
cashire. He was born at Blackley Hurst, near Billinge, about the 
year 1807. His brother thus describes him as a child : « He 
had the precocious fancy of a born poet. As has been the case 
with other gifted children he could amuse himsell by inventing 
creatures as little mortal as the glums and the goories, finding 
them with aiventures that went on from month to month, fit- 
ting them up with vocabularies of their own, \\-riting their his- 
tories in neatly-kept books, and gracing the same with pictures ». 
He grew up a merry, high-spirited lad, of a singular physical 
strength, which enabled him to hold his own against men during 
a long day's mowing. He was fond of dancing, riding, boating, 
given to pranks of all kinds, escaping punishment by climbing 
to dangerous heights, and refusing to come down till he had 
made his own terms. In 181 9 his family moved to Liverpool, 
and he was sent to the school of the Royal Institution, opened 
a short time earlier under the headmastership of the Rev. John 
Boughly Monk, a sound classical scholar. Chorley outstripped 


his seniors, and was soon at tiie head of the school. His remark- 
able memory made learning easy to him. For some boyish 
piece of mischief, he was sentenced to learn by heart as much as 
possible of the ^Eneid by next morning — he then repeated the 
entire First Book without hesitation, and was about to recite 
the Second when cut short by his harassed and delighted mas- 
ter. Some of his comrades, smarting under their inferiority, 
took a mean revenge by jeering at his shabby clothes, his 
poverty, his unfashionable Quaker creed ; but, on the whole, 
his school-days v/ere not unhappy. It was important that he 
should earn his bread as soon as possible, and, having learned 
all the Greek and Latin that Monk could teach him, the youth 
was placed in a Liverpool merchant's office. Uncongenial as the 
position was to him, Chorley discharged his duties with charac- 
teristic diligence. « He was no more fitted », says his brother, 
« for taking down the particulars of ship's cargoes, or transcrib- 
ing the details ot^the day's cotton-market ten times over than 
I was ; but he could not bear to do anything short of his best ». 
In his spare time Chorley cultivated his musical gifts, and became 
an excellent performer on several instruments : he improved his 
French (in which he had had some lessons), taught himself 
German, Italian and Spanish, and studied the literature of each 

He had toiled in obscurity for some years when the Grand 
junction Railway was completed between Liverpool and Birmin- 
gham. The new company needed a secretary who would create a 
system, and call the entire railway service into existence. The 
company's solicitor bethought him of a young man whom he 
had met by chance in the course of business at Liverpool, and 
whose exceptional ability had greatly impressed him. He recom- 
mended this untried clerk to the Directors, and Chorley obtain- 
ed the appointment. Chorley entered upon his task with an 
almost ferocious energy. Henry Chorley writes : « If he did not 
spare himself, he did not spare others. Feeling his own respons- 


ibility, he was rightly alive to that of the subordinate persons 
who had to work out the undertaking. He would take no 
excuse for any man's absence from duty. 1 believe that of the 
staff whom he had to organize and to control about a quarter 
was left at the end of the first three months. This may sound 
harsh, but is was right... In one respect I hold him to have been 
admirable as the servant of a company of capitalists. He would 
not use his knowledge and prescience to advance his own for- 
tunes. I have heard him again and again say that his business 
was to keep his mind clear and ready for the duties of the hour 
as undertaken by him ». It is not unnatural that Chorley's stern- 
ness held men aloof from him : henceforward throughout life 
he remained absolutely lacking in the art of conciliation. « He 
was respected and trusted », says his brother, « but he was not 
popular, partly from a' certain reserve and haughtiness of man- 
ner, in which a consciousness of his own superiority to those 
who surrounded him expressed itself. It was too evident that he 
was doing faithful and indefatigable service against the grain. » 

After years of arduous labour, not over-Uberally recognized, 
Chorley inherited from his maternal uncle, Dr. Rutter of Liver- 
pool, a modest fortune which made him independent, and en- 
abled him to settle in London with his mother and sister. His 
wide knowledge of continental literatures was speedily utilized 
by the editor of The Athcnasuni, in which journal he wrote fre- 
quently between 1846 and 1854. One of the books which came 
before him for judgment was a volume entitled Six Dramas of 
Calderon rendered into English by Edward Fitz Gerald, famous 
subsequently as the translator of Omar Khayyam. Chorley was 
by no means an uncritical admirer of Calderon after the fashion 
ol that day, but he respected the Spanish dramatist sufficiently 
to resent Fitz Gerald's free-and-easy methods, and according- 
ly dismissed the new version in a brief note (The Athenxuvi, 
1853) which the victim called « a determined spit at me » (Let- 
ter to George Crabbe, September 12, 1853). ^'•^'^ Gerald smarted 


under the rod, withdrew the unhicky volume from circuhition, 
and never again attached his name to anything that he published. 
Two very brilHant articles on the Spanish drama by Chorley, 
contributed to The Atbeinviim {November 19 and November 26, 
1853), attracted great attention from Spanish scholars, and were 
warmly praised even by thoroughgoing Calderonians, such as 
Archbishop Trench. These articles were followed six vears later 
by a more detailed and no less admirable essay on the Spanish 
drama, which will be found in the hfty-ninth and sixtieth 
volumes o{Fra::^ers Maga:{iue. In sympathy with the subject, in 
illuminative criticism, in minute knowledge of the facts, this 
later study has never been surpassed. It is a grave misfortune 
that Chorley never executed his project of publishing an extens- 
ive treatise on the Spanish theatre : it is safe to say that he 
would have anticipated most of the work tardily accomplished 
during the last forty years. I have already spoken {Life of Lope 
de Vega, pp. 417-418) of his bibliography of Lope de Vega's 
Comedias, issued in the fifty-second volume (1861) of Rivade- 
neyra's Biblioteca de Autores Espaholes, and of the revised version 
which forms the basis of the present bibliography. In 1865 
Chorley published A Wife's Litany, a rhymed drama, followed 
by occasional poems, some of them on Spanish themes. Discou- 
raged by the cold reception of this volume by critics and the 
public, he destroyed his manuscript poems. This completes the 
tale of his literary achievement. 

Friends who recalled the astonishing promise of his early 
years, and who remembered that he was still a young man 
when released from distasteful drudgery by his uncle's legacy, 
were inclined to think that Chorley left behind him nothing that 
represented his real powers. Those who are entitled to an opin- 
ion on the matter are unanimous in their appreciation of his 
immense industry and the uniformly high quality of his work. 
In many respects circumstances were against him. The burden 
of responsibility had crushed his youthful gaiety, and nature, so 


lavish to him in other respects, denied to him the supreme gift 
of attracting friendship. « My brother, » writes Henry Chorley, 
« was singularly handsome, witli such a sweet, refined, express- 
ive countenance and a perfect figure as are rarely found in com- 
bination. » This advantage did not avail him with his contem- 
poraries. Henry Chorley was no doubt right in saying that the 
change of fortune came too late. Solitude had left its indelible 
mark on Chorley, and to the last he remained a shy, dogmatic, 
melancholy recluse. « He was averse to society save on the very 
peculiar and exclusive terms which suited him. Though he 
could discourse on most topics, .with a precision of knowledge, 
and, generally, a justice of view rarely surpassed or equalled — 
though he had a keen sense ot wit and humour, and a rich store 
of anecdote and allusion to fall back on — his conversation want- 
ed flow and lightness, and in truth was apt to be oppressive... 
Save when he was alone among his books, with one of the very 
few friends he made, he harangued rather than conversed. » 
Yet, despite his austere reserve, Chorley was a man of deeply 
sensitive aff"ections. His solicitude for his invalid sister was noble 
in its perfection. During the twelve years that she lingered, suff- 
ering from a most painful form of spinal disease, his devotion 
to her was absolute. « His life », observes his brother, « was 
laid out to be a series of sacrifices, met by him with a sense of 
duty which was too severe, too unselfish. A more complete case 
of self-eff'acement has rarely come to my knowledge... Save in 
long and solitary walks, early in the morning, for many years 
he rarely crossed the threshold; haunted by an almost morbid 
fear of mischance which might happen in his absence. He bore 
up nobly till the long dreary story closed ; but the spring of life 
was worn out, and nothing remained to him but the company of 
his books, in the silence of a solitary house, entered with so 
much hope and prospect of years of rest and enjoyment. » He 
buried himself more and more in his library. Apart from liter- 
ature, his one consolation was his violincello. « The pleasure he 


had in books, and in the intimate knowledge of books brought 
one reward — his power seconded by liis will, to sympathize 
with and aid the men of letters whom he respected. » These 
were few- — Ticknor, Gayangos, Carlyle — and the two former 
Hved out of England. He had a deep and wide acquaintance 
with French and German literature, but by degrees the charm of 
Spanish grew upon him, and ended by absorbing him. He knew 
Spanish Hterature as it has rarely been known, and he knew the 
Spanish drama best of all. In this province it is impossible to 
over-estimate his know'ledge. Chorley is the veiy type of the 
indefatigable, scrupulous student who does great things in a 
sphere of which the world knows nothing. He has never receiv- 
ed recognition in the measure that he deserves : nor did he 
stoop to seek it. To him knowledge was its own exceeding 
great reward, and his lofty aims led him to scorn men of softer 
fibre. His attitude to his more wordly-minded brother is thus 
recorded : « Till within a very few years of his death, I w^as 
somewhat misjudged by him as one who had chosen my life 
for purposes of mere amusement... I never had a word or sign 
from him to testify that anything I have published gave him 
pleasure... We met rarely, but we met — under every conceivable 
disparity of culture, and of social habits — with mutual respect. 
His was nobly shown to me; mine is humbly returned to him, 
by telling the whole truth, over the grave of a man hardly tried, 
misunderstood, and undervalued in his lifetime. » 

Chorley was already failing in health when he published A 
Wife s Litany, and in 1866 the decline became more marked. He 
died of atrophy on June 29, 1867, bequeathing his collection of 
rare Spanish plays to the British Museum. Their number may be 
imagined from the fact that their titles fill nearly seven columns 
of the printed catalogue of the British Museum Library. Their 
intrinsic value is greatly increased by manuscript annotations 
embodying biographical and bibliographical details, as well as 
textual emendations of corrupt passages. Chorley frequently dis- 


plays extraordinar}' cleverness in restoring imperfect copies, and 
in imitating printed characters on leaves of seventeenth-centur}^ 
paper, which he acquired at great expense and trouble. Some of 
his « made-up » title-pages are admirable examples of what skill 
can do to remedy defects. 

The verdict of Cartyle on Chorlcy may stand : « He could 
have written like few men on many subjects, but he had proudly 
pitched his idea very high. I know no man in these flimsy days, 
nor shall ever again know one, so well read, so widely and accu- 
rately informed, and so completely at home, not only in all fields 
of worthy literature, but in matters practical, technical, novel, 
mechanical ». This is the impression which Chorley made upon 
a contemporary of genius, acquainted with the foremost men ot 
the day, and constitutionally indisposed to lenient judgment. 
Still, it is by his work upon the Spanish drama that posterity 
remembers Chorley. And surely it would have pleased him, into 
whose strenuous, sunless life pleasure came but seldom, to know 
that the scholars of a later generation associate his name insepa- 
rably with that of the illustrious poet for whose renown he 
laboured so much, so well, and so enduringly. 


Preliminary Note. Page r. 


Notes and explanations. 3 . 
Key to the abbreviations . 5 . 


Comedias published collectively, or found in collections known 

to us. 9. 
Seis Comedias de Lope de Vega. 9. 
Comedias de Lope de Vega (Partes I-XXV). 10. 
Fragments of Partes Extravagantes : Comedias de Sevilla, etc. 

Cuatro Comedias famosas de don Luis de Gongora y Lope de 

Vega, recopiladas por Antonio Sanchez. 38. 
La Vega del Parnaso. 39. 
Relacion de las fiestas... de San Isidro. .|o. 
Partes Extravagantes de Lope. 40. 
Partes de Diferentes. 42. 
xMinor Collections of Comedias previous to the Collection ol 

Comedias Escogidas. 48. 
Comedias Escogidas. 49. 

Comedias de los mejores y mas insignes ingenios de Espana. 53. 
Comedias nuevas de los mas cclebres autores, etc., de Espana. 


Comedias of Lope de Vega in Collections of Sueltas. 53. 

Fragments of volumes or « Partes » of Comedias published col- 
lectively. 67. 


Summary of the Catalogue of « Sueltas ». 68. 


Summary of undated manuscripts in alphabetical order. 97. 

Summary of inedited manuscripts. 105. 

Note on the lists of plays published by Lope de \'ega in « H 

Peregrino en su patria ». 107. 
Note on the Comedias which contain no Jj^iirn del doiuiyrc. 130. 

Summar}' of the Catalogue of Comedias. 257. 
Supposititious plays ascribed to Lope. 260. 

Autos published collectively. 266. 
Autos sueltos. 267. 

Summar}' of the Catalogue of Autos . 274. 

Autores mentioned by Lope as having played in his Comedias. 

John Rutter Chorley. 276. 


Jean-Henri Probst. Cnractere et orioine des idees dii Bienheiireux 
Raymond Lulle. Toulouse, Privul, 1912, in-8", xvi-336 p. 

Une etude d'ensemble sur les idees dc Kaymond Lulle est un sujet conside- 
rable qui exigerait une erudition peu commune et des tacultes de synthese tout 
a fait speciales pour repondre reellement aux promcsses du litre. M. Probst a 
beaucoup travailie, il a mis de I'ordre dans son sujet, la partie philosophique 
de son livre indique une connaissance serieuse des doctrines mMievales ; cepen- 
dant, la methode et la mise en oeuvre nous paraissent trahir encore une cer- 
taine inexperience et nous voudrions, sans rien dissimuler des merites de 
I'oeuvre de notre jeune confrere, attirer son attention sur un certain nombre 
de details, parfois assez importants. 

La bibliographic du sujet sembic, au premier abord, considerable. La listc 
des principaux ouvrages consultes remplit huit pages. C'est beaucoup, mais il 
ne suffit pas de lire beaucoup de livres, il faut encore et surtout en savoir dis- 
tinguer la valeur, les classer par ordre de merite et donner au lecteur tous les 
renseignements qui lui permettront de savoir ou en etait la question avant le 
nouveau volume et ce que I'auteur a ajoute a ce que Ton savait avant lui. Une 
bibliographic ainsi etablie est longue et difficile a preparer, mais elle renseigne 
presque aussitot sur la maturitc de I'auteur et la valeur scientifique de son tra- 
vail. M. P. n'a pas apporte tout a fait assez de soin a I'etablissement rrctho- 
dique de sa bibliographie. L'ordre alphabetique dans lequel il a range tous les 
auteurs consultes par lui n'est pas un ordre logique ; il ne permct pas de dis- 
linguer les sources vraies des ouvrages sans valeur mis la pour faire nombre : 
ad pompam et ostcutationem. 11 eut fallu ranger les sources par si^cle, ou don- 
ner une bibliographie particuliereen tetede chaquechapitre. Parmi les ouvrages 
cites, il en est un grand nombre qui, d'apres I'avis de M. P. lui-meme, ne pre- 
sentent aucun interet. Pourquoi citer dans un ouvragc d'erudition, Andre 
(Marius), Le Bienheiireux R. Lulle, panegyrique, ouvragc de vulgarisation sans 
references ni notes? Les livres de Custurer, de Roldan, de iManoel de Cena- 
culo n'ont guere plus de v deur et n'auraient du etre cites que pour mtJmoire. 
Nous connaissons la Tradicid catalana du D^ D. Joscp Torras y Bages ; nous 


aimons peu ce livre dc propagande regioiialiste, oule but politique poursuivi par 
Fauieur nuit ccrtainemcnt ^ Fimpartialitc dc I'historien. Les cent pages qu'il 
consacre au bienhcureux Raymond Lulie (p. 234-330) constituent un resume 
systcmatique de sa vie et de ses oeuvres, avec beaucoup de considerations etran- 
geres au sujet ; ce chapitre ne s'appuie sur aucun ouvrage posterieur au 
xviiie si^cle, est concu dans un esprit beaucoup plus tendancieux que critique 
et ne saurait etre considere comme une source vraiment serieuse. 

Les ouvrages cites par M. P. ne sont pas toujours precises avec une exacti- 
tude suffisante. On ne doit jamais faire figurer dans une bibliographic erudite 
des mentions comme celles-ci : Saint Augustin, Qzuvres couipVdes, multiples 
editions ; BoUandistes, Acta Sanctorum ; saint Bonaventure, Opera omnia. II 
faut s'efforcer de citer tres exactement les noms des auteurs, ne pas appeler 
M. Bonilla y San Martin, Bonillas, comme a la page xvi, ni Bonillos comme a 
la page 215. II eut iallu dire que son etude sur D. Fernando de Cordoba a paru 
a Madrid en 191 1. Puisque Ton mentionnait, et avec raison, son Historia de 
la Filosofia espaiiola, 11 fallait dire que deux volumes seulement en ont paru, a 
Madrid, en 1908 et 191 1, a la librairie gen^rale de Victoriano Suarez. On 
aurait trouv^ au tome II de cet ouvrage d'importants renseignements sur la vie 
et les idees d'Aben-Gabirol, I'un des principaux philosophes juifs du xi^siecle. 
Dans le Vives du mcme auteur (Madrid, 1903, in-40), on aurait rencontre plus 
d'une remarque sur la pedagogie lullienne et un modele acheve de bibliographie 

Sur la tres iniportante question de raverroi'sme, M. P. aurait pu consulter 
I'excellent chapitre de M. Ch. V. Langlois sur la Litteraliirc savante en latin au 
xiiK siecle. (E. Lavisse, Histoire de France, t. Ill, 2^ partie. Paris, Hachette, 
1901, pp. 388-404.) II y aurait trouve un resume tres substautiel de toute la 
querelle et de precieux renseignements bibliographiques. 

Terminons cette critique priliminaire, lorcement un peu maussade, par 
quelques remarques de detail. On aimerait a savoir a quelle date a paru a Bar- 
celone \ii Sisteina cientifico Inliano dc Mossen Salvador Bovc '. Les Heterodoxos 
espanoles de Menendez y Pelayo ont etc publics a Madrid, en 1 880-8 1 , en 3 vol. 
in-8°. II faut ccrire ctilto iuuwmorial et non cidto imeifiorial, doctor ilnniinado et 
non iliiniido, orii;eiies et non ori>;ines de la uovela. 

I . Nous sign.-ilcroiis a M. )'. un recent ouvrage de Mossen Salvador Bovc, paru dcpuis 
riinpression dc sa these. C'cst Ic Santo I'omih de Aqiiitio y tl rf«ic«.M) di-l cntendimiento 
(Flaton y Aristotetes hannoniindos par el beato Raimundo Lulio). Barcelona, 19x5, in-12. 
Sous une forme scolastique des plus rebarbatives est exposcc la theorie complete des 
rapports du luUisme avec I'aristotclisme et le nco-platonisme, ou plus exactement ceque 
Lulie pouvait savoir de ccs deux doctrines. 


M. P. pouvait supposer conniie !a vie dc Raymond Lulle, ou conimcncer 
par situer son pcrsonnage dans Ihistoire pour mieux lairc comprendrc cnsuite 
lY'volution de son esprit. C'est a ce second parti qu'il s'cst arrctc et il a eu 
parfaitcment raison, mais si nous ne nous trompons pas, cetlc partie biogra- 
phique sera jugee comme la plus faible dc tout I'ouvrage ; cUe donnerait au 
lecteur qui se bornerait a la lire une idee assez defavorable, et nous nous batons 
d'ajouter tres fausse, de la m^tbode de M. P. 

Et d'abord, pourquoi raconter deux Ibis la vie de Lulle, une premiere fois 
en abrege dans I'lntroduction, une seconde fois dans le chapitreier? Mieux eut 
valu la raconter une bonne fois, avec toute la rigueur et toute la prudence que 
Ton doit apporter a ces sortes de recherches. 

Or les faits connus de la vie de Lulle sont tres pcu nombreux. On sait qu"il 
naquit en 1255, vecut d'abord dans le siecle, se maria, mena la vie pen edi- 
fiante que menaient la plupart des jeunes nobles de son temps — et de tons les 
temps — se convertit a I'asc^tisme vers 1266, abandonna completement le 
souci de tons ses interets terrestres vers 1275 et mena des lors la vie d'une 
sorte de chevalier errant de la Foi, discutant avec les h(5terodoxes et les infi- 
deles, reclamant la reforme des abus, ecrivant des ouvrages de philosophic, de 
morale et de dialectique, ne perdant aucune occasion de gagner des ames a sa 
doctrine. II mourut vers 13 15, sans que Ton puisse preciser dans quel pays ni 
dans quelles circonstances. Sa vie de tertiaire de saint Francois offre, en 
somme, beaucoup d'analogie avec celle de saint Ignace pendant les premieres 
annees qui suivirent sa conversion. 

Ces renseignements sont un peu maigres, quoiqu'ils suffisent au demeurant, 
a nous faire connaitre la physionomie generale de notre personnage. M. P. a 
voulu penetrer plus avant dans I'iniimitc de son heros et s'est servi dans ce 
but d'un des ouvrages les plus interessants de Lulle, le Blaiiquerna. II suppose, 
peut-etre avec raison, peut-etre aussi a tort, que Blanquerna n'est autre que 
Lulle lui-meme et que le roman moral de Lulle n'est qu'une maniere d'auto- 
biographie. Que Lulle ait souvent pens(^ a ses propres aventures en ecrivant son 
livre, cela est infiniment probable et presque certain, mais Blanquerna n'en 
reste pas moins un etre fictif, dont nous ne pouvons plus determiner exacte- 
ment les ressemblances avec Lulle. Blanquerna, par exemple, devient pretre, 
eveque et pape. Lulle n'a jamais cte que le doctor barbatus. Blanquerna, c'est 
Lulle idealise, c'est peut-etre le personnage que Lulle aurait voulu etre, ce n'est 
pas ce qu'il a etc. Si nous avions sur sa vie d'autres renseignements fournis 
par des sources etrangeres, nous pourrions controler les details fournis par 
Blanquerna ; en I'etat actuel ce contr61e parait impossible et il est beaucoup 
plus prudent de laisser cet ouvrage completement de c5te. 


M. P. suit de trop pres Blanquerna et ne montre pas toujours un esprit cri- 
ticjue assez cveillc. II nous parle des « scandales » de la jeunesse de LuUe, ce 
qui ivest probablement qu'une exagcration de penitent ; mais il n'a pas un mot 
de blame pour cet homme qui, sans autre motif que de pieuses visions, aban- 
donne sa femme, son enfant et neglige a tel point leurs interets que sa femme 
est obligee de le faire interdire pour couserver la fortune de son fils. 

L'histoire de la conversion est plutot tlevine'c que racontee d'apres des 
methodes scientifiques ; ce n'est pas, d'apres M. Boutroux ou d'apres William 
James, qu'il fallait nous en parler, mais d'apres Lulle lui-meme, et la il etait 
possible de faire usage du Blanquerna, car s'il n'est pas certain que tout ce qui 
est arrive a Blanquerna soit arrive a Lulle, on est beaucoup plus fonde a croire 
que les idees prctces par Lulle a Blanquerna sont les idces do Lulle lui-mcme. 
II est tres remarquable a cet egard que Lulle en racontant ses visions miracu- 
leuses ne semble pas lui-meme leur preter une valeur objective ; il a cru voir 
mais il admet qu'il a pu etre le jouet d'une illusion ; il y a la un exemple tr^s 
interessant de self-conlrol, d'autant plus notable que Lulle se croit tr^s reelle- 
ment inspire de Dieu ; sa mystique est done incomplete, n'cmporte pas aban- 
don de tout esprit critique, s'arrcte sur le seuil de I'extase. C'est un etat d'esprit 
vraiment tres particulier, M. P. aurait dii pousser son etude sur ce point un peu 
plus qu'il ne I'a fait. 

M. P. considere Lulle comme c un peu fauatique », mais le fanatismc est 
une maladie qui affecte la mentalite tout entiere, il n'y a pour ainsi dire pas de 
degres dans Ic fanatisme ; on ne peut pas etre « un peu fanatique » on Test 
tout entier. Le fanatisme, c'est I'exaltation dangereuse, mais magnifique, qui 
nait de la passion. Tons ceux qui aiment vraiment sont fanatiques. L'amour, 
Tart, la patrie, la religion ont leurs fanatiques, et c'est par eux, par eux seule- 
ment, qu'ils ont cte magnifies aux yeux des hommes et mis au rang des dieux. 
Lulle a ete un fanatique, mais je le crois bien ! II n'a et6, il n'a voulu etre 
que cela ! Saisi par ce qui lui est apparu comme la vt^rite religieuse, embrase 
de l'amour divin, subjugue par la folie de la Croix, il est devenu une sorte 
de troubadour religieux et mystique, une sorte de chevalier du Christ, allant 
partout faire confesser a tout venant la beaute et la preeminence de son Evau- 
gile. Ce n'est pas au domaine de la philosophie ou de l'histoire qu'il appar- 
tient reellement, mais au domaine de la poisie, c'est un veritable Don Qui- 
chotte de la Foi ; ct c'est aussi un heros du Roman de la Rose, escorte de 
i\>uvrcic, Douceur d'ame, Don des Larmes, Affliction, Misericorde, Pureti^ 
de coeur, Paix et Persecution. II va prechant a tous la bonne doctrine, moque 
par les uns, calomnit^ par les autres, n'en ayant cure, parce qu'il vit si haut 
que les rires des hommes ne peiivent plus I'atteindrc. M. P. a bien compris 
que Lulle est surtout remarquable comme apotre et comme homme d'action, 
mais I'expression traliit queiquefois sa pen see et nous avouons n'avoir pas 


compris la phrase suivante: « En qualitd dc fou par amour de Dicu, Ray- 
« mond propose dcs paraboles symboliques au pape ct aux cardinaiix ct il se 
« trouve que ces sortes d'eveques (?) a la maniere des Orientaux domicnt dcs 
leqons utiles aux grands » (p. 50). On saisit ici le grand dcfaut du livre dc 
M. P., il a ete prepare et ccrit trop a la hate. Dans ses travaux futurs. M. P. 
fera bien de moins se presser. 

Le chapitre 11 est consacre a I'obscurc question du Svnibolismc dc Lulle. 
M. P. ne semble pas y attacher une trcs grande importance, il expose aussi 
clairement que possible cette sorte d'algcbre logique, de mecanique scienti- 
fique, en laquelle on pourrait voir un projet de « machine a raisonner «, ana- 
logue a la « machine a calculer " de Pascal, C'est une idee scolastique, un 
artifice d'exposition auxquels il n'y a pas lieu de s'arreter. On trouve chez 
Lulle des idees plus interessantes, un essai de classement des sciences qu'il 
appelle I'arbre de science, I'emploi de I'allegorie pour rendre les sciences 
vivantes et agreables, en d^pit de leur gravite, I'emploi du dialogue avec les 
entites alors a la mode : Pouvoir, Sagesse, Volonte. Dans la Declatnalio Rai- 
mundi, Lulle dialogue avec Socrate qui repr^sente les AverroTstes latins et les 
philosophes naturalistes du xiiie sieclc centre le doctor harbatits repr^scntant la 
tradition catholique. 

Les m^thodes de Lulle forment I'objet du chapitre 111. Elles n'ont rien de 
bien nouveau. Lulle part des ph^nomenes sensibles pour s'elever de degre en 
degre a I'idee de Dieu ; mais une fois en possession de cette idee supreme, il 
cherche a ramener toutes les connaissances humaines a un petit nombrc de 
principes et a reduire ces principes eux-memes a I'unite methodologique. 
L'effort est sans doute trop grand pour son esprit ; il ne parvient a son but 
qu'au moyen de « tourniquets » ^tranges, que Ton n'a jamais ose manoeuvrer 
« de peur de donner une preuve de I'absurdite du systeme » (p. 65). M. Bov^, 
I'un des Lullistes les plus convaiucus d'Espagne, considerc les « tourniquets » 
comme une invention surannee et inutile. jM. P., bien entendu, ne sc hasardc 
pas a aller plus loin, et nous le lui reprocherons, car si le systeme est rcclle- 
ment absurde, il faut avoir Ic courage de Ic dire : « amicus Lullius, magis 
arnica Veritas ». 

Lulle est, en somme, un scolastique (chapitre iv), c'est un augustinicn, un 
anselmien, un franciscain, mais tres oppose aux thomistes. 

En m^taphysique, il enseigne que le createur est nettement distinct de la 
creature ; le monde n'est pas eternel, mais en realite nouveau, Dieu I'a crcc 
par bont^, pour donner a I'homme une occasion de I'aimer et de I'honorer. Ce 
sent la des conceptions vraiment trfes faibles dont M. P. aurait pu, ne fut-cc 
qu'en passant, faire remarquer la puerilite. 

Sur la question de I'etre, Lulle ^tablit une distinction ingcnieuse entre la 
matiere, identifiee par lui avec la puissance et la Ibrme identifiee avec Facte. 


La puissance de LuUe, c'est « ce qui peut etre quelque chose », c'est le futur 
possible « le bonifiable et le magnifiable ». La forme, c'est le principe actif (nous 
dirions la force) qui transforme le simple possible en fait, en acte. C'est la 
vieille thtorie de la substance et de la forme, un peu rajeunie et presentee 
d'une maniere plus saisissante. 

Lulle nous semblc moins bien inspire dans sa theorie de I'individuation, il 
n'en discerne pas nettement la cause et reste tres verbal et tres nuageux. 

En psvchologie il reconnait cinq puissances de Tame : la vegetative, la 
sensitive, I'imaginative, la rationnelle et la motrice. Il identifie I'ame avec 
ses facultes et se prononce nettement en faveur du libre arbitre. L'honmie 
peut, d'apres lui, se decider librement entre le bien et le nial, et il lui 
semble que ce libre arbitre justifie pleinement les sanctions qui I'attendent : 
« S'il fait le bien, il merite la gloire, s'il fait le mal, il m^rite la peine. » 
II en serait bien ainsi si Ton n'attribuait pas a Dieu la prescience infail- 
lible de I'avenir, mais si Dieu est prescient, il restera toujours cette terrible 
objection : pourquoi tire-t-il du neant des etres dent il connait par avance 
la perdition certaine ? M. P. a tort de croire que Lulle a su concilier la 
volonte libre avec la predestination ; il n'v est pas mieux parvenu qu'aucun 
de ccux qui se sont occupes de ce probleme, aussi insoluble que la qua- 
drature du cercle. On ne peut le resoudre qu'en sacrifiant Tun des deux 
termes a I'autre, soit le libre arbitre de I'homme a la prescience divine, soit la 
prescience divine a la liberty humaine. Dans une lettre ecrite a Charles le 
Chauve en 850, Servat Loup, abbe de Ferrieres, exposait ainsi la theorie 
augustinienne : « Dieu prend en pitie ceux qu'il releve par sa grace, et il 
endurcit ceux qu'il n'attendrit pas par cette meme grace, mais quoique la rai- 
son nous en soit cachee, c'est par un juste jugemeni qu'il les abandonne. Ceux 
qu'il prend en piti6 sont predestines a la gloire, d'apres cette parole de 
I'apotre : quos procscivit et prsedestinavit, et on les appelle vases d'election. lis 
doivent au Seigneur tout ce qu'ils sont et tout cc qu'ils ont ; c'est sa bonte 
qui leur a donne I'etre, alors qu'ils n'etaient pas ; c'est sa bonte qui les sauve, 
alors qu'ils etaient perdus. Quant a ceux qu'il endurcit, ou plutot qu'il n'atten- 
drit pas, et qui sont laiss^s dans la perdition, perdition qu'ils ont meritie par 
le peche originel et par le pecht^ actuel, on les appelle vases d'opprobre, faits 
et parfaits pour la perdition, lis ont ete tires du neant, et c'est un don de 
Dieu, ils sont punis, et c'est leur faute. » Jamais plus bel effort n'a ete tente 
pour resoudre reffra\-ante enigme ; le textc du moine du ix= siecle est bien 
autrement serre et logique que celui de Lulle, et le probleme n'est pas resolu, 

Lulle fait de I'ame une emanation divine, theorie peu orthodoxe, croyons- 
nous, mais apres tout tris s^duisante. Elle resterait apres la mort substance 
spirituelle et M. P. a raison de faire remarquer les rapports qui existent entre 
cette theorie luUienne et les idees theosophiques, mais il ne nous dit pas si 


cette substance ou puissance spirituelle est susceptible d'etre modifiie par une 
force quelconque. Les ortliodoxcs diJclarent qu'aprcs la mort Ics Ames nc 
peuvent plus ni m^riter ni dcmcriter ; I'elu ne peut plus se perdrc, le danine 
ne pcut plusse sauvcr. Lulle s'est-il conformti a rorthodoxie en cc point } II 
semble bien que non... II eut etc curieux de le constater. 

Comnie logicicn, Lulle ne pouvait ctre que realiste, ct il Ta etc avec pas- 
sion, les universaux existent pour lui en dehors de I'dme, ils constituent les 
substances generates sous lesquelles subsistent les choses particulicres. 

Lulle ascete et mystique (chapitre v) s'inspire de saint Francois et de saint 
Bonaventure, il veut que I'ascete quitte le monde, mene la vie humble et 
pauvre, pense sans cesse a Dieu, confesse ses pechi^s, s'exerce a la contrition 
et satisfasse a la justice divine. Son Livre de la Contemplation est une formi- 
dable encyclopedie en 5 volumes de 350 a 400 pages chacun, ouvrage verbeux 
et fumeux, mais tres vivant par place ct qui se rccommande par un extraordi- 
naire bouillonnement d'idees. Poetc, il a trouvc des prieres splendides, dout 
M. P. aurait pu citer quelques exemplcs. II s'est cru parvenu a I'illumination 
directe et a la science infuse, mais n'a point vu dans cet etat, comme les doc- 
teurs musulmans, une recompense necessaire de ses dpreuves et de ses tra- 
vaux, il y a vu un don gratuit dc la grace divine : sa mystique a etc pour lui 
un principe d'action. 

Le chapitre consacre a Lulle theologien (chapitre vi) parait reveler chez 
M. P. des preoccupations confessionnelles, sans doutc tres respectables, mais 
etrangeres au debat. La question de savoir si le Bienheureux Lulle a ete ou non 
heretique ne nous regarde pas, ce qui nous int^resse c'est le caractere general 
de sa theologie, c'est la part qu'il y fait a la raison. II a evidemment cru pos- 
sible de demontrer logiquement les.verites dc la foi, mais commc cette tache 
est inexecutable puisqu'il s'agit d'idees ind^montrabies par les precedes du rai- 
sonnement humain, il a cchoue dans sa tentative. Ses efforts pour expliquer 
le mystere de la Trinit^ nc pouvaient aboutir qu'a des mots : « Toi, Essence, 
« tu es sans oisivete, faite de Bontc, d'infinitc, d'Eternite, d'Essenciant, d'es- 
« sencier, d'essencie. » 

L'ime humaine est un terme nt^cessaire cntre les substances corporelles et 
les substances angeliques. Cette necessite semble limitcr la liberte divine ; 
saint Augustin et saint Bonaventure I'admettaieut, ct Lulle I'admet avec eux, 
argument d'autorite sans valeur par lui-mcmc, mais qui conduit a dire que 
Dieu parfait trouve en lui-meme sa propre necessit<J, ce qui est en definitive 
le supreme hommage que Ton puisse rendre a la raison. Dans toutc ccttc 
partie, M. P. semble avoir pris le P. Pasqual pour guide principal, on aime- 
rait mieux le voir intervenir plus personnellement dans la discussion. 

Le principe de la necessite du monde une fois pose, Lulle I'applique a la 
destinee de I'homme ; il ne nous dit pas pourquoi il etait necessaire que 


rhommc se r^bellat centre Dieu, mais une fois la rebellion survenue, la 
redemption, on recreation, lui apparait aussi necessaire que la creation pre- 
miere. Dieu ne pouvait sans abandonncr son plan — necessairement parfait — 
laisser I'liomme dcscendre du poste eleve qu'il lui avait donne au milieu des 
creatures, il fallait qu'il restat comme un terme moyen entre rhomme et 
range, et seul Dieu pouvait sauver I'homme. II etait egalcment necessaire 
que le redempteur fut coniju du Saint-Esprit, naquit d'une Vierge, mourut, 
descendit aux enters et ressuscitat. Toutes ces consequences s'enchainent 
necessairement les uncs aux autres. 

Lulle croit a I'immaculee conception de la Vierge : « Notre Dame Sainte 
Marie est benie entre toutes les femmes, selou sa conception et sa naissance, 
en tant qu'elle iut sans peche originel. » Nous sommes la en plein mysti- 
cismc, mais pour Lulle, I'immaculee Conception n'est pas moins necessaire 
que la virginite de Marie. 

Lulle a combattu avec acharnement i'averroisme qui avait passe dans les 
Universiies chretiennes, mais pour bien connaitre le contre-averroisme de 
Lulle (chapitre vii) il serait necessaire d'avoir une connaissance approfondie 
des doctrines du savant arabe et il y aurait en cette seule question la matiere 
de toute une these. Ibn-Rochd (Averroes) est, en somme, tres pen et tres mal 
connu. M. Bonilla v San Martin, qui en a commence I'etude, le declare tres 
obscur et tres difficile a penetrer. Renan I'a devinc plus qu'il ne I'a entendu. 
On ne sait pas au juste jusqu'a quel point il etait rationaliste. 

Pour M. P., Aristote enseigne une doctrine contraire a la foi : pas de crea- 
tion, pas de createur, ni de premier homme, pas de dieu anthropomorphe, ni 
de Providence, pas de survivance des ames apres la mort. Ibn-Rochd a expli- 
que purement et simplement la doctrine d'Aristote et ses commentateurs Chre- 
tiens semblent avoir exagere a plaisir les dissonances entre I'aristotclisme et la 
theologie orthodoxe. Saint Thomas d'Aquin a cherche, au contraire, a conci- 
licr Aristote et I'orihodoxie, il revere le philosophe mais ne lui abandonne 
aucun point de la foi. Aux yeux des orthodoxes purs, il est encore suspect 
d'averroisme . Lulle appartient a ce dernier parti ct meno rude guerre contre 
les averroistes ; il s'attache surtout a d^montrer que le monde n'est pas ^ternel, 
mais a ete cre^ et qu'il est nouveau. II dedie a Philippe le Bel lui-meme son 
De lanientatione duodecitu principioruiit pbilosophiae contra Averroistas ; cependant 
la faction aristot^licienne est si puissante qu'il ne parvient pas au Concile de 
Vienne a obtenir la condamnation radicale de I'Averroismc. 

Cette grande querellc, dans laquelle se depensa, de part et d'autre, une 
somme prodigieuse d'energie et d'ingeniosite, M. P. ne semble pas en avoir 
aper(;u toute Timportance ni soupconner que I'histoire n'en pcut encore etre 
mdme esquissee. Un mouvement pareil ne s'explique pas seulement par des 
querelles d'ecole ; s"il a passionne a ce point les esprits, c'est que des intiirets 


dc premier ordre s'y trouvaient mclcs, et au fond dc la qucrcllc, il faut voir 
I'etcrnel problcme dc la liberie de pens^e. La licvrc dc savoir qu'Arisloie fait 
passer dans I'ame de scs disciples est pour saint Augustin I'une des formes les 
plus pernicieuses de la concupiscence. Aristote voit dans la science le but 
supreme, Augustin propose aux efforts de I'liomme Taction morale soustoutes 
ses formes. Lequel des deux a raison ? 

LuUe a ete un des hommes les plus instruits de son temps. Lulle n'a cepen- 
dant pas ete un savant (chapitre viii) dans toute la rigueur du terme, mais 
surtout un vulgarisateur ; il n'a, en somme, rien invente et a partage bon 
nombre de prejuges de son epoque. S'il n'a pas ete alchimiste, comme on Ta 
pretendu, il a connu un assez grand nombre de substances et a vulgarise la 
preparation de I'acide nitrique. II a cru a I'astrologie. II attachait une impor- 
tance capitale a la theoric des elements. II attribuait a la geometrie une grande 
valeur pour la formation et I'education de I'esprit. Ce qu'il a pcut-etre de 
plus remarquable, c'est la tournure scientifique et pratique de son imagination ; 
il connaissait la boussole et a essaye de donner une tlieorie scientifique de la 
navigation, il a cherche a se rendre comptedes causes des marees, il a vu dans 
la lune une planete assez semblable a la terre, avec des mers et des continents. 
M. P. le felicite d'avoir cru que la terre est ronde (p. 157), il vent dire sphe- 
rique, car ceux-la meme qui croyaient la terre plate, lui donnaient la forme 
d'un disque. M. P. croit que Lulle a soupconne I'existence de I'Amerique ; 
c'est faire bien de I'honneur a sa divination. Seneque ecrivait des le premier 
siecle : « II viendra un siecle dans les temps eloignes ou I'Ocean relachera 
les liens des choses, oil la terre se manifcstcra dans toute sa grandeur et oil 
Thule nesera plus la plus lointainedes iles. » On nepeut pas dire que S^n^que 
ait pressenti I'existence du Nouveau Monde avant Colomb. 

Pedagogue ct moraliste (chapitre ix) Lulle compte parmi les plus interes- 
sants du mo3'en age; on peut noter avec eloge la part importante qu'il fait a 
la langue vulgaire dans I'education, les connaissances medicales et juridiques 
qu'il veut donner a ses disciples. II est consequent avec ses principesen prefe- 
rant I'etudc de la theologie a celle des sciences qui distraient la pensee et 
I'eloignent de Dieu. M. P. voit une influence musulmane dans I'idee lullienne 
que Dieu « a cree le monde pour sa gloire ». Mais n'y avait-il pas longtemp.s 
deja que les Chretiens chantaient : « Les cieux racontent la gloire de Dieu » ? 
Cette idee est tout aussi chretienne que musulmane, parce qu'elle est juive, 
parce qu'elle est conforme a I'idec que se fait la Bible de la majeste de 

Lulle sociologue (chapitre x) serait sans doute bien etonne de voir accoUc 
a son nom un vocable aussi moderne et aussi revolutionnaire. II n'a eu qu'a 
Jeter les yeux autour de lui pour voir combien pen etait chretienne la societe 
ecclesiastique et feodale du xili^ siecle. II n'a pas ete le seul a en signaler les 


abus ; il y a eu des reformateurs bien autrcmcnt vchements et liardis qu'il no 
I'a ete, depuis Jehan Clopinel, continuateur dii Roman dc la Rose, jusqu'a 
I'epicicr de Troves, auteur dc Rcnart le Contrefait. 

Lullc cnscigne Icur devoir aux clercs et aux princes. II croit an droit divin 
des rois, niais le prince, considere comnie individu, est un homme comme un 
autre (p. 199). Les chevaliers ont bien a faire pour vivre conlbrmement ii 
I'ideal de la chevalerie. Les pelerins font cvuvre pieuse en allant aux peleri- 
nages mais il ne faut pas que ces voyages dcviennent un pretexte a rejouis- 
sances et a divertissements. Lullc mcdit volonticrs des juges et des avocats, 
qui ne furcnt jamais populaires en aucun pays ; il medit des medccins et sur- 
tout des marchands ; il n'aime ni les jongleurs, ni les bergers, ni les labou- 
reurs, ni les artistes et parait avoir eu des idees peu esthetiques. En somme, 
ce fut un franciscain, plus mystique que charitable, tres orthodoxe et surtout 
fait pour jouer le role de missionnaire et d'apotre populaire. C'est la probable- 
ment qu'il fut le plus original ct le plus remarquable. 

Suivant la mode du jour, M. P. a voulu recherclier ii quelles sources Lullc 
a puise ses idees et souvent meme emprunte la forme qu'il leur a donnee. 
C'est une tache ardue, car LuUe ne cite jamais ses sources. 

II n'a connu Aristote que par I'intermediaire des commentateurs arabes qui, 
sans s'en douter, melangeaient I'aristotelisme d'idees neo-platoniciennes 
empruntees a I'ecole d'Alexandrie. Tout le monde au xiiie siecle attribuait a 
Aristote la « Th^ologie » qui n'est qu'un echo des « Enneades » de Plotin. 
Le neo-platonisme n'a pas ete sans influence sur LuUe, comme on le devinc 
dans une des questions les plus obscures de sa metaphysique. II se demande 
s'il convient de preter une ame a chacune des spheres celestes, et il obeit assu- 
rement aux tendances pantheistes du neo-platonicien, en resolvant la question 
par I'affirmative, mais il s'effraie lui-meme de sa hardiesse et ne concede aux 
spheres cdestes qu'une ame motrice. II I'attribue d'ailleurs a toutes les spheres 
celestes, meme a la sphere exttirieure, qui contient toutes les autres dans sa 
concavity ; le ciel-firmament n'est pas pour lui un ciel fixe; il se meut comme 
les autres, il est le premier mobile. 

M. P. nous semble avoir raison dc pcnser que les juifs ont cu peu d'in- 
lluence sur le devcloppcmcnt dc la pensee lullienne ; cependant le philosophe 
juif Ibn-Gabirol (Avicebron), recemment tr^s bien etudie par M. Bonilla y San 
Martin, 6tait fort connu dans I'Espagne du xiiie siecle et LuUe a bien du lui 
faire quelquc emprunt. La Kabbalc lui a peut-etre inspire I'idee de son mcca- 
iiismc logique, mais le De atiditu Kahbalisiico nc doit pas lui ctre attribuc. 


Lulle connaissait I'arabe et discuta souvent avec les docteurs sarrasins. 
M. P. ne voit pas cependant trace d'unc influence arabc notable sur les ide^es 
de son heros. Lulle, tres nettement contraire i raverro'isnie et partisan 
inflexible de I'orthodoxie chretienne, n'a pu etre attire par Faristoielisme Evi- 
dent des Arabes. L'influence de la mystique nuisulmane est beaucoup plus pro- 
bable, parce qu'elle etaitplus d'accord avec le temperament particulier de Lulle. 
M. P. croit que le souci de I'hygiene, dont le doctor baiimtiis parait anim6, 
pourrait avoir la meme origine, mais il faut se rappeler que le xili<: siecle don- 
nait aux soins de proprete une importance que le xvi^ et le xvii= ne lui lionne- 
ront plus, et que les gens se baignaient alors sans croire manquer a la bien- 
seance et a la modestie. La pratique des langues orientaies a donn^ aussi a la 
langue de Lulle la saveur un pcu etrange, le parfum exotique qui font un des 
charmes de son style; c'est un « mozarabe » pour le style, conime eut dit 
M. Dieulafoy. 

C'est aux penseurs Chretiens que Lulle a emprunte presque toutes ses theo- 
ries. II est volontariste et realiste comme saint Augustin, il admet, commc lui, 
la predestination et Tinfluencc souvcraine de la grace, il admet le role de 
I'illumination dans le developpement de la connaissance. Au pseudo-Denys, il 
prend I'idee de la contemplation en Dieu. Scot Erigene, bien plus hardi 
metaphysicien qu'il ne le fut lui-meme, I'entraine dans son courant mys- 
tique. Realiste, exemplariste et mystique commc lui, saint Anselme est un de 
ses maitres, mais saint Francois et saint Bonaventure ont bien mieux trouve le 
chemin de son cceur, car il fut, comme eux, democrate, ennemi du luxe et de 
Torgueil, ami des pauvres et des humbles, champion d'un christianisme simple 
et doux. II fut aussi un ecrivain charmant. C'est peut-etre comme lettre et 
comme missionnaire, bien plus que comme penscur, qu'il meriterait d'etre 
etudie. M. P. a voulu appliquer a I'etude de cette etrange et deconcertante 
figure les methodes un peu rudes de notre critique contemporaine; il I'a sou- 
mise a un veritable lavage a I'acide, et presque rien n'est reste sur la toile ; 
mais ce n'est pas a dire qu'il ne devait rien rester, c'est seulemcnt une raison 
de croire que d'autres methodes moins rigoureuscs et plus subtiles auraient 
conserve a I'original un peu plus de son relief et de sa couleur, de sa transpa- 
rence et de sa poesie. 

G. Desdevisks du Dezert. 


La arquitectura en Mexico. Iglesias. Obra formada bajo la direccion de 
Genaro Garcia, por Antonio Cortes. Mexico. Imprenta del museo 
nacional de arqueologia, historia v etnologia, 1914, in-f*^, vi-52 
pp., 150 fotograbados. 

M. Genaro Garcia, directeur du Musee national d'archeologie de Mexico, a 
eu I'heureuse idee de celebrer le centenaire de Tindependance mexicaine par 
la publication d'ouvrages relatifs a rarchitecturc et au mobilier du pays. Le 
present ouvrage, consacrc a I'architecture, etudie quelqucs types d'eglises ; le 
second, entierement termine aujourd'hui, continuera I'etude de Tarchitecture 
mexicaine pendant la pcriode coloniale ; le troisieme volume, en preparation, 
traitera du mobilier. 

Pendant le premier siecle de la conquete, Ics nouveaux maiires du pays ne 
songerent qu'a leur defense, les batiments qu'ils eleverent alors ne relevent 
guere que de I'art militaire. Au xvii^ siecle, les Espagnols vivaient en plus 
grande securiie et commencerent a se preoccuper d'esthetique ; ce fut, bien 
entendu, I'art espagnol qui leur fournit les modeles et c'est a I'ecole baroque 
qu'appartiennent les edifices presentes par M. Antonio Cortes. 

L'eglise Saint-Dominique d'Oaxaca datedes premieres annees du xviK siecle 
et etait terminee en 1628. M. Antonio Cortes semble admettre que la deco- 
ration date de la meme epoque, mais la question meriterait une etude toute 
speciale, car le stvle presente tous les caracteres de I'ecole de Borromini, et 
en 1628, Borromini n'avait que 29 ans. Le premier edifice construit a Madrid 
dans le style lieuri qu'on a appele neo-plateresque est la cbapelle de Saint- 
Isidore pres de l'eglise Saint-Andre, et la cbapelle Saint-Isidore fut batie de 
1657 a 1663. M. Cortes constate lui-meme de tres grandes ressemblances 
entre la decoration de Saint-Dominique d'Oaxaca et celle de la cbapelle du 
Rosaire a l'eglise Saint-Dominique de Puebla batie de 1650 a 1690. II nous 
semble bien probable que I'ornementation de l'eglise d'Oaxaca fut posterieure 
d'un certain nombre d'annecs a sa construction. On ne peut s'empecber non 
plus de coustater une tres notable difference de syle entre la voute comparti- 
mentee de la nef majeure, qui presente encore un certain gout classique, et 
la fantaisie debordante de la voute du cboeur ; celle-ci parait bien ne pas appar- 
tenir a la meme ecole que celle-la. On notera surtout les extraordinaires sta- 
tues de moines penchees le long des aretes des lunettes, qui donnent a cette 
voute un caractere si etrange et si fou. Par ailleurs cette eglise ne manque pas 
de charme, elle a la ricbesse et le pimpant d'une paysanne valencienne en 
grand habit de fete, paree deses boucles d'oreillcs a pendeloques, desa chaiue, 
de son tour de perles et de son collier. 

De 1720 a 1750 fut batie, pres de l'eglise Saint-Dominique, la cbapelle du 


Rosaire decoree dans un style un pen moins exuberant. On retrouve cepen- 
dant SLir la voute un rosier qui rappelle de bien pres la vigne de la voute du 
choeur A la grande ^glise : rensemble est de moins bonne main, avec une 
sorte de gaucherie rustique assez amusante. M. Cortes voit des reminiscences 
byzantines dans le decor de cette chapelle ; s'est-il demande par qnelle voie 
I'art byzantin, si profondement ignore des artistes du xviiie siecie, aurait pu 
venir a Oajaca? II est vrai que la coupole octogone de la chapelle repose sur 
des pendentifs et que Ics peudentifs ont ete de mode a Byzance apres avoir 
ete inventes en Perse — mais si I'ltalie les a rectus de Byzance, c'est d'ltalie 
que I'Espagne les a importes et cest d'Espagne que cette architecture d'ori- 
gine orientaie a passe aux hides. II est infinimeiit probable que I'architecte 
de la chapelle du Rosaire n'avait de sa vie vu la nioindre piece d'art bvzantin. 

Les cloitres de Saint-Dominique d'Oaxaca meritcnt une mention speciale 
pourleur simplicite vraiment monumentale. 

La Chapelle du Saint-Christ aUacolula fut terminee avant 1674 et possede, 
comme celle du Rosaire, une coupole octogone sur pendentifs. La tribune 
du choeur est constituee par un planclier dont les solives sont decorees avec 
une richesse qui rappelle a M. Cortes les prodigalites de I'art mud^jar. Ici, 
rien ne s'oppose a ce que des dessins venus de Teruel ou de Saragosse soient 
tombes sous les yeux de I'artiste mexicain. La chapelle possede un ex-voio du 
xviie siecie ; im petit modelede gallon suspendu a sa voute aurait sa place dans 
un musee de la marine ; rien de plus curieux que cette architecture navale, 
aussi redondante, aussi paradoxale, pour le moins, que I'achitecture de I'eglise 
elle-meme. La statue de la Vierge placee sur I'autel du croisiilon gauche est 
une fort jolie piece, et la table d'autel, probablement en at gent repousse, fait 
honneur a I'habilete des ouvriers mexicains (pi. 38). 

La Chapelle du Rosaire, attenante a I'eglise Saint-Dominique de Pucbla, 
date, comme les precedentes, du xvii^ siecie (1650- 1690). Hlle est ornee 
d'aiiilejos, dont Puebla possedait a cette epoque une importante fabrique et ses 
sculptures offrent un interet tout particulier. La composition generaleest excel- 
lente, si rexecution peche encore trop souvent par la lourdeur ; le ciboriuni a 
double etage qui s'eleve sous la coupoje meme, produit un fort bel effet 
(pi. 72). Les cadres des tableaux donnent le dernier mot de la somptuosite et 
de la profusion. Les pieces les plus curieuscs sont deux bas-reliefs representant la 
nativite de la Vierge et la Presentation au temple, qui nous donnent une idee 
precise de Part local a la fin du xviic siecie. iM. Cortes voit dans le premier 
de ces bas-reliefs une nativite du Christ, uiais ia mise en sc^ne nous apprend 
que nous ne sommes point a Bethleem et qu'il s'agit non de J^sus mais de 
Marie; sainte Anne, reconnaissable a sa coifte, est couchee dans un bon lit a 
baldaquin et a rideaux ; saint Joachim se prelasse dans un bon fauteuil au che- 
vet de I'accouchee ; deux femmes, qui ne sont point sans grace, emmaillotent 
I'enfant, tandis qu'une troisieme apporte a la mere uu reconfortant potage. 


C'est la sc^ne traditionnelle de la Nativitc de la Vierge, telle qu'on la voit 
representee dans tons les tableaux de I'^cole catalane du xve siecle ; le sculp- 
teur s'est contente de la transposer en style mexicain. On reconnait le lit a 
quenouilles tronquees, le fauteuil de chene ct de cuir du mobilier espagnol du 
xviF siede. N'ctaient les anges par trop joufflus qui dansent ou jouent de la 
tronipette au-dessus des acteurs humains, cettc page de vie intime ne serait 
pas sans charme dans sa naivet^ (pi. 76). La Presentation au temple nous 
plait beaucoup moins, les figures sont d'une extreme lourdeur et d'une com- 
plete barbarie. Les costumes de saint Joachim, de sainte Anne et de sa sui- 
vante nous renseignent peut-etre sur les modes d'alors a Puebla(pl. 77). 

L'eglise de Saint-Francois d'Acatepec, pres de Cholula, appartient a un 
type tout special et rappelle par I'emploi des briques emaillees et des faiences 
peintes le choeur de la Seo de Saragosse. Des souvenirs d'Orient affluent a 
I'esprit quand on contemple cette faqade reluisante que le soleil mexicain fait 
resplendir comme une armure. L'interieur, decor^ de platres et de mortiers 
estampcs ne tient pas les promesses du dehors. Le rococo flamboyant des 
voutes et des autels mele les tetes aux rinceaux et semble avoir garde quelque 
chose de I'art de I'ancien Mexique. La porte du baptistere (p. 62) rappelle le 
fouillis de feuillages et de figures ou excellait I'art azleque. C'est grand dom- 
mage que les revolutions aient fait disparaitre tout renseignement sur la date 
de construction de cette trescurieuse eglise. 

L'eglise paroissiale de Taxco est, au contraire, bien datee et Ton en connait 
toutc I'histoire. Elle fut batie de 1748 a 1758 par le Francais La Borde, richis- 
sime proprietaire de mines, qui depensa a sa construction 1.66 1.5 72 pesos et 
realisa en somme un fort beau modcle d'eglise churrigueresque. Batie en 
belle pierre rose, l'eglise de Taxo eleve au-dessus du village minier ses tours 
legeres et sa coupole (pi. 84 et 85). A l'interieur, la pierre a ete malhcureu- 
sement recouverte d'un hideux badigeon jaspe ; le jour oii on le fera dispa- 
raitre, l'eglise recouvrera toute sa beaute. Le cadre general est donne par une 
ordonnancc composite traitee dans une note tres speciale. Les acanthes des 
cliapiteaux et les rinceaux des frises s'enlevent comme des broderies a jour sur 
le fond de la pierre et rappellent tres exactement la sculpture de la facade 
orientale a la cathedrale de Tortose. L'eft'et general est riche et leger a la fois 
(fig. 91). Le rococo a garde ses magnificences pour les autels, grands airs de 
bravoure joues avec une indiscutable maestria. On n'a point menag(§ I'argent, 
on s'est adresse aux bons artistes et tout ce que le style pent donner on I'a 
obtenu ; les ensembles sont eblouissants et les details prodigieux. La sacristie 
fait penser a une bibliotheque, a un salon, a un boudoir ; les tables, les fau- 
teuils, les armoires de bois sculpte, les toiles decoratives, les miroirs penchds, 
tout dit avec quel soin le constructeur a prevu toutes choses, et a chercht^ a 
satisfaire jusqu'a la coquetterie des jeunes clercs, desireux, avant de se rendre 
au choeur, de bien poser leurperruque ou leur bonnet carr^ (fig. 97). 


L'eglise Saint-Martin appartenant a I'ancien couvent des P^res Jesuites de 
Tepotzotlan a ete construite de 1679 a 1680 et restaurec dc 1750 a 1760. 
M. Cortes voit en elle un des plus beaux Mifices religieux du Mexiquc et louc 
I'execution delicate desretables. La facade, un peu boiteuse, puisqu'elle ne pos- 
sede qu'une seule tour, parait bien compost^e sous sa riche decoration ; I'execu- 
tion est meilleure que dans la plupart des edifices de cette epoque, Ic contour 
est moins mou et plus fini. Une porte lat^rale, d'un dessin tout classique, 
montre qu'on savait encore faire simple quand on le voulait, mais on crai- 
gnait par-dessus tout de faire pauvre. Les Peres qui avaient renonc^ pour 
eux-memes a toute commodite ne se rassasiaient pas de luxe pour leurs egliscs ; 
lis enchassaient Dieu et les saints dans For et les pierreries, sans songer que 
le Christ et ses saints out toujours preche le mepris des richesses. L'eglise de 
Tepotzotlan n'est en realite qu'une grotte d'or, dont la profusion fait penser 
aux gopurams des temples hiudous, mais le detail est peut-etre encore plus iin 
qu'a Taxco (fig. 112) et la statuaire ellc-meme ne manque pas toujours de 
m^rite (fig. 116). Les devants d'autel en bois sculpt^ comptent parmi les meil- 
leures pieces du decor mexicain (fig. 118). 

MM. Garcia et Cortes ont droit aux remerciements de tons les amis des 
arts pour la publication de leur magnifique album. L'art churrigueresque a 
ses detracteurs, mais on commence aussi a lui rendre justice. M. Lamperez y 
Romea voit en lui, avec raison, une resurrection du plateresque, M. Garcia dit 
qu'aucun autre art ne fut plus conforme a I'imagination ardente et debordante 
desEspagnols ; on ne peut nier I'extraordinaire impression derichesse et d'etran- 
get(§ que produisent les meilleurs edifices decores dans ce gout ; nous nous sen- 
tons, pour notre part, plein d'indulgence pour ces outranci^res fantaisies. C'est, 
en tout cas, un art qu'on ne reverra plus ; il convcnait a une societe eminem- 
ment ploutocratique, vivant dans des cadres tres rigides et immuables; la vie 
mystique etait la seule vie libre ; les hommes genereux ct riches depensaient 
leur fortune a glorifier ce mysticisme qui faisait leur joie, et ces conditions 
sociales et intellectuelles, rien ne permet actuellement de penser qu'elles se 
retrouveront jamais. II est done sage d'etudier l'art de cette periode pendant 
que subsistent encore presque en leur beaute premiere les monuments qu'il a 
elev^s ; ils sont souvent fragiles, et une fois disparus, qui salt quand la fantaisie 
dominera de nouveau chez les architectes ? 

G. Df.sdevises du Dezert. 

Le Gerant : M.-A. Desbois. 


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