1
Quotations from Para todos are taken, unless otherwise stated, from the copy of the princeps owned by Sr. Don Arturo Sedó, and consulted with his generous permission. I am indebted to Drs. Norman Shergold and John Varey for data on performances at court of plays by Montalbán and others -data which has been published, since the present article was written, in «Some palace performances of seventeenth-century plays», BHS, XL (1963), 212-244. My thanks are also especially due, as ever, to Professor E. M. Wilson.
2
A. González de Amezúa, Las almas de Quevedo (Madrid, 1945), p. 44.
3
We cannot show, to the best of my knowledge, that the references to Quevedo in Para todos contain anything but sincere praise; that Alonso Pérez was ever responsible for a pirated edition of the Buscón; that Montalbán had anything to do with the prohibition of Quevedo's works by the Inquisition; or that he attacked the Política de Dios in his Como padre y como rey. Ser prudente y ser sufrido, in which the book does seem to be attacked, cannot be dated and was probably not by Montalbán.
4
For lists of editions see C. M. Bourland, The Short Story in Spain in the Seventeenth Century (Northampton, Mass., 1927); A. Restori, «Il Para todos di Giovanni Pérez de Montalbán», La Bibliofilia, XXIX (1927), 1-19; A. González de Amezúa, «Las polémicas literarias sobre el Para todos», Estudios dedicados a Don R. Menéndez Pidal, II (1951), 436-437; A. Palau y Dulcet, Manual del librero hispanoamericano (2nd edition), Vol. XIII (Barcelona, 1961), 91.
5
E. Glaser, «Quevedo versus Pérez de Montalván: the Auto del Polifemo and the Odyssean tradition in Golden Age Spain», HR, XXVIII (1960), 104.
6
For what we know of Villaizán, see F. M. Inserni, Vida y obra de Jerónimo de Villaizán (Barcelona, 1960), and the present writer's «Apuntes sobre la vida y obra de Jerónimo de Villaizán y Garcés» Hispanófila No. 13 (1961), 5-22.
7
G. W. Bacon, «The life and dramatic works of Doctor Juan Pérez de Montalván (1602-1638), RHi, XXVI (1912), 15; Amezúa, Polémicas, 416.
8
«El tratar de varias materias, es imitación de los antiguos, que escriuieron deste genero infinitos libros, y de la misma naturaleza.»
E per molto variar natura è bella is clearly the implication; for a more explicit statement of the idea see Montalbán's introduction to Fama posthuma (Madrid, 1636).
9
See for instance Peter Dunn, Castillo Solórzano and the decline of the Spanish novel (Oxford, 1952), pp. 16-18.
10
See for instance Salas Barbadillo's Casa del placer honesto (1620) and Pedro de Urdemalas (1620); Tirso's Los cigarrales de Toledo (1624); and Castillo Solórzano's Tiempo de regocijo (1627) and Huerta de Valencia (1629).