21
Don Gutierre, Marqués de Careaga, La poesía defendida, y difinida, Montalbán alabado (Madrid, 1639), fols. 17-18.
22
See Rodrigo de Carvajal y Robles, Fiestas de Lima por el nacimiento del Príncipe Baltasar Carlos (Lima, 1632), ed. F. L. López Estrada (Sevilla, 1950), pp. 51-52.
23
S. J. Polo de Medina, Academias del jardín (Madrid, 1630), fols. 77-79. No hay vida como la honra appeared in both editions of Diferentes XXV, in Doze comedias las más grandiosas [...] Segunda parte (Lisbon, 1647), and in Diferentes XLIV (Zaragoza, 1652), and saw at least eight suelta editions.
24
This is shown, for instance, by the similarity between Montalbán's version of the Canto de Polifemo and Lope's; in particular the line «Puedo alcançar estrellas con la mano»
comes directly from La Circe. Indebtedness to this source probably explains Montalbán's decision (an ill-conceived one in my opinion, Glaser notwithstanding) to interpret a lo divino, within a single play, both the blinding of Polyphemus by Ulysses and (as a later episode) his rivalry with Acis over Galatea. It would similarly explain the plot-structure of the comedia Polifemo y Circe, written in 1630 by Mira de Amescua, Montalbán and Calderón, and very possibly planned not by Mira (pace A. E. Sloman, The dramatic craftsmanship of Calderón [Oxford, 1958], p. 132), but by Montalbán, who was able in his act to borrow lines not only from El Polifemo but also, as we shall see, from two other works of his own. Cf. La Circe, ed. C. V. Aubrun & M. Muñoz Cortés, (Paris, 1962), p. xl.
25
El Polifemo saw at least three suelta editions, and was included in Vol. I of Piezas maestras del teatro teológico español, ed. N. González Ruiz (Madrid, 1946).
26
E. Cotarelo y Mori, Tirso de Molina (Madrid, 1893), p. 206.
27
The other company can be identified as Andrés de la Vega's. See N. D. Shergold & J. Varey, «Documentos sobre los Autos Sacramentales en Madrid hasta 1636», RBAM, XXIV (1958), 68. Escanderbech saw at least three suelta editions.
28
Montalbán's main source for the play, I have discovered, was Lorenzo Vander Hammen's Don Juan de Austria, Madrid, Luis Sánchez, for Alonso Pérez, 1627. Roque de Figueroa produced a performance at court for which he was paid on 28 March 1628.
29
«Corre con pies [...]»
has variants, mostly of one word, in only four lines; but they are sufficient to show that the two translations of the sonnet into English by Thomas Stanley were made from the version in the play. See E. M. Wilson, «Thomas Stanley's translations and borrowings from Spanish originals», RLC, XXXII (1958), 548-551. «Hilaba el Sol [...]»
has only dicha for gloria in line 11.
30
Thus, for instance, the ignorant arbiters in Gracián's plaza del populacho (Criticón II.5) have never read a book, except perhaps a Silva de varia lección, «y el que más más, un Para todos.»