See for instance Casa del placer honesto, Pedro de Urdemalas; Huerta de Valencia; Polo de Medina's Academias del jardín (1630); and Pedro de Castro y Anaya's Auroras de Diana (1632?). See also Willard F. King, «The Academies and Seventeenth-century Spanish Literature», PMLA, LXXV (1960), 367-376; and cf. José Sánchez, Academias literarias del siglo de oro español (Madrid, 1961).

Cf. L. Pfandl, Historia de la literatura nacional española en la edad de oro (Barcelona, 1933), p. 398.

The phrase quoted was used by Dunn, Castillo Solórzano, p. 17, of the introduction to Fiestas del jardín (1634); but credit for what he seems to consider an innovation of Castillo's surely belongs to Montalbán and Tirso, if not to Salas Barbadillo in his rambling Pedro de Urdemalas.

His contributions include the discourse on Preaching, two autos, and a sonnet «que el mismo Montano auia escrito» (fol. 240r). «Montano» is found frequently after Para todos -though not certainly before- as a pseudonym for Montalbán.

E. g., Castillo's Tardes entretenidas (1625), Jornadas alegres (1626) and Noches de placer (1631) were all six in number. Los cigarrales de Toledo should have been forty, to correspond with the forty dog-days, but Tirso published only five.

J. H. Parker, «The chronology of the plays of Juan Pérez de Montalván», PMLA, LXVII (1952), 196.

G. W. Bacon, «The comedia El segundo Séneca de España of Dr. Juan Pérez de Montalván», RR, I (1910), 64-86; idem, Life, 358-367.

I. e., Lorenzo Vander Hammen, Don Filipe el Prudente, Segundo deste nombre, Madrid, Viuda de Alonso Martín, for Alonso Pérez, 1625. This was also the main source for Montalbán's Segunda parte del Séneca de España.

H. Mérimée, Spectacles et comédiens à Valencia (1580-1630) (Toulouse-Paris, 1913), pp. 176-177. El segundo Séneca de España appeared in both editions of Diferentes XXV, Zaragoza 1632 & 1633 (attributed in the first to Gaspar de Avila), and saw several suelta editions.

Note also that fifty-eight lines spoken by Leonor in Act III, which begin: «Como celoso toro que en el prado [...]», appear to have been included in the, Cancionero de 1628: see the edition by J. M. Blecua (Madrid, 1945), p. 151.