51
Payment was made on 21 December 1631. Vallejo performed the play at court again on 3 April 1633. La Barrera, in a ms. note quoted by Bacon, Life, 345, said that it was performed before the King and Queen in July 1631; he was probably mistaken.
52
Such an interpretation would help towards explaining this passage in Perinola: «[...] yo creo que el Consejo recogerá el libro por escandaloso y lleno de sátiras y vicios, y el Santo Oficio porque mezcla con desverguenza lo sagrado con lo profano, como no se ha visto jamás. Y si se da en el chiste a una novela que algunos han descifrado ya, creo que el autor se escapará por ser sacerdote, pero que el libro irá con el de Pantaleón, por el mismo intento, en peores cifras.»
Quevedo, Obras (Prosa), p. 846. Censorship difficulties were delaying the posthumous Obras of Anastasio Pantaleón de Ribera, edited by José Pellicer; the princeps, though printed in 1631, was to reach the public (much expurgated) only in 1634. See the edition by R. de Balbín Lucas (Madrid, 1944).
53
The sonnet, «O rompa ya el silencio el dolor mio»
, was the basis of a 1500-line gloss written in 1631 by José Pellicer (see his Bibliotheca [Valencia, 1671], fol. 17r). Lope de Vega praised and quoted it in an Egloga panegirica included in La vega del Parnaso (Madrid, 1637). Calderón used its first line repeatedly in an Elegia en la muerte del Senor Infante Don Carlos. It was published by Gracián, with favourable comments (Agudeza, p. 128); by Luis de Ulloa Perreira, with a sonnet in praise of it (his Versos [Madrid, 1659], fol. 26); and by A. de Castro (BAE, Vol. 42, p. 153).
54
An authority referred to repeatedly in this discurso, Dr. Francisco Mateo Fernández, author of Noticia intuitiva de todas ciencias y artes (1625), which I have failed to locate. Most of the paragraph, however, was taken from C. Suárez de Figueroa, Plaza universal de todas ciencias y artes (Madrid, 1615), fol. 300 v.
55
Quevedo, Obras (Prosa), p. 845.
56
Quevedo, Obras (Prosa), p. 845.
57
Lope's «translation» of Soliloquios amorosas, Madrid 1627, is according to Montalbán's licencia of 3 June 1626, «tan claro, dulce, y amoroso, que casi parece suyo; si bien no me espantara, porque su ingenio es como el manà, que sabe a todo lo que quiere.»
The allusion is to Wisdom, Ch. 16 vv. 20-21.
58
A. Restori, Piezas de títulos de comedias (Messina, 1903), p. 29.
59
By Juan Maldonado, Diego de la Dueña, and Jerónimo Cifuentes, in Escogidas XI (Madrid, 1659).
60
«L'Isabella», translated by Tomasso Caló and published by Vitale Mascardi (Rome, 1638).