^{page 949 note 1} Not mentioned in G. Moldenhauer's Die Legende von Barlaam und Josaphat in der Iberischen Halbinsel (Halle, 1929).

^{page 949 note 2} The collection was first described by D. Emilio Cotarelo y Mori, in “El primer auto sacramental del teatro español y noticia de su autor el Bachiller Hernán López de Yanguas,” RBAM, vii (1902), 251–272, primarily concerned with the last item in the volume, but in which the author held out the hope, never realized, that he might eventually turn his attention to the Tres pasos (p. 253). Later, D. Adolfo Bonilla, Las Bacantes, p. 140, again drew attention to the “cuatro obritas” and the desirability of a reprint.

^{page 949 note 3} This print, then, should be added to the fifteen known to have issued from Alonso de Melgar's press between 1519 and 1526. Cf. Haebler, Spanische und Portugiesische Bücherzeichen des XV. und XVI. Jahrhunderts (Strassburg, 1898), p. xvi; Burger, Die Drucker und Verleger in Spanien und Portugal von 1501–1536 (Leipzig, 1913), pp. 52–53. Gutiérrez del Caño, “Ensayo de un catálogo de impresores españoles,” RBAM (1899), p. 670, places Alonso de Melgar's activities between 1519 and 1552 (r. 1525?).

^{page 949 note 4} The title recalls the lost Cuatro pasos de la pasión, 1533, of Pedro Sánchez (cf. Lucas Fernández, ed. Cañete, p. lxiii).

^{page 949 note 5} We reserve a discussion of the origin and development of the various parts until a larger number of reliable texts shall be available. A new and exceptionally full Easter-play will appear in the coming homage-volume for the late M. Foulché-Delbosc. A study of the sibyls in Spain, with new material, is in preparation.

^{page 949 note 6} We prefix to the line numbers of the Egloga the letter E.

^{page 949 note 7} Cf. Robles, Ortología, p. 285.

^{page 949 note 8} Cf. Ranjel, Dança, ed. Gillet, PMLA, xli (1926), ll. 191, 135.

^{page 949 note 9} Cf. Cuervo, Apuntaciones, 808.

^{page 949 note 10} Our text is based on a photostatic copy made at the expense of the Modern Language Association of America, in whose rotograph-collection it is now preserved (nr. 70). Our obligation to the MLA is gratefully acknowledged.

^{page 974 note 1} Cf. Etym., ed. W. M. Lindsay, v, xxxvi, 2.

^{page 974 note 2} Cayno‖ Read Cadmo; Etym. i, iii, 6.

^{page 974 note 3} Etym. i, iii, 5.

^{page 974 note 4} Cicero De officiis, iii, 1.

^{page 974 note 5} estonces‖ Cf. CMCid 951; J. Ruiz 250, 921 etc.; Diálogo de la lengua (Calleja) 129 Valdes: … Abasteos saber que, a mi parecer, en los vocablos que aveis dicho sta mejor la s que la n, la qual creo se ha metido alli por inadvertencia. Pacheco: Y aun soy de la mesma opinion, aunque algun tiempo me pareció mejor, dezir entonces que estonces, pero ya heme desengañado; Valdés, Diálogo de Mercurio y Carón, ed. Boehmer, 16 estonces.

^{page 974 note 6} le eran‖ T. le era.

^{page 974 note 7} Eccles. i, 13.

^{page 974 note 8} III Kings xxii, 39.

^{page 974 note 9} llamer‖ For the palatalized l cf. Menéndez Pidal, El dialecto leonés, §8, 2.

^{page 974 note 10} This seems to refer to the death of Achab's queen, Jezebel, IV Kings ix, 36. Achab himself died in battle by the arrow of a Syrian archer.

^{page 974 note 11} Cicero De officiis, i. xxix. Read pretereuntibus.

^{page 974 note 12} IV Kings ix, 30–37.

^{page 974 note 13} Etym. xv, xi, 3. Read Mausoleo.

^{page 974 note 14} Herodotus speaks in various places (i. 140; ii. 85, 89; iii. 24; v. 8) of the burial customs of Persians, Egyptians, Libyans and Thracians, but the author's source is evidently some other passage.

^{page 974 note 15} quienes‖ Cf. text 12, 20, 211. An earlier example of the plural than the one from Antonio de Guevara (1543), quoted by Cuervo (Bello-Cuervo, Nota 60), to which we may add another one from Guevara's Libro aureo RHi lxxvi (1929), 39, written between 1518 and 1524: y por ellos veran quienes fueron en los males. Cuervo justly rejected Gessner's quotations from F. Gonçalez 237 (only Janer printed quienes; cf. Marden's ed. p. 33) and from the Celestina (ed. Cejador ii, 184).

5. de quien‖ We are inclined to refer this pronoun to dolor in the preceding line, punctuating as follows: ¿Quien se quexa de amargura, pues tengo todo el dolor de [que] nasce la tristura? For early quien=que cf. Gessner, ZRPh xviii, 452.

12. o que hazeys?‖ Cf. 211, 212. For o without disjunctive value cf. CMCid ed. Menéndez Pidal, i, 392; Pietsch, Spanish Grail Fragments, ii, 213; Carvajal, Tragedia Josephina, ed. Gillet, note to 250.

29. a nos‖ Cf. 179; E21, 93, 98, 317 and Bello-Cuervo, Nota 48; Hanssen, Gramática, 170.

30. diga le‖ Cf. 35 ya le bueluo 56 no lo as visto

50. consolarte‖ T. consolsolarte

53. prophetas‖ Thus in Argum., E40, 47, 76 etc., but profetas in 66, E51 etc.

65. aueys vos vido‖ Cf. Pietsch, Sp. Gr. Fr. ii, 102 and Encina, Teatro, 408 Tan linda zagala he vido Com. Seraphina (1521) ed. 1874, p. 23 será qual nunca es vido Ranjel, Farça, ed. Gillet, l. 167. Yet, above, 57 no lo as visto. The archaic form owed its survival partly to its easy rhyme.

70. entrarse al alma‖ For entrar with a cf. Pietsch, l.c. ii, 148.

72. cubdicia‖ Here perhaps with the unusual meaning of presumption (inordinate assumption of power on the part of the prophets?)

89. f. Cf. Psalms 59. 21; or, perhaps, Lactantius, as quoted in Augustine, De Civ. Dei xviii. 23, 26–27 Ad cibum autem fel et ad sitim acetum dederunt.

142. The name of the speaker:da: stands in the center of the line, between two colons.

156. o dolor tan desigual‖ desigual = extremado. Cf. E225 and Carvajal, Tragedia Josephina, 2762.

161. ff. For a discussion of the impersonation of Christ on the Spanish stage cf. Gillet, Caramuel de Lobkowitz etc., Phil. Quart. vii (1928), 129 f. note 34.

180. (after) Enesta breue contemplacion … haze alli cierta esclamacion alas gentes‖ There is, in a number of sixteenth-century plays, some indication that they proceed, in part, from crystallized lyric forms. The Contemplación, Comparación, Exclamación are stereotyped forms of fifteenth-century poetry, either as part of longer poems (cf. Ýñigo de Mendoza's “Vita Christi”), or as poems in themselves (cf. Mendoza's “Lamentacion ala quinta angustia,” Cancionero del siglo XV, i, 117 ff, or Torres Naharro's “Contemplación al crucifijo” and his “Exclamación de Nuestra Señora contra los judíos.”) On the stage we find, e.g., in Vicente's Mofina Mendes (Obras, ed. Mendes dos Remedios, i, 14): logo se segue a segunda parte, que he hũa breve contemplação sobre o Nascimento, that is a soliloquy by the Virgin, and in Juan de Pedraza's Easter-play of 1549 (ed. Gillet, before l. 288) a soliloquy of Judas, announced in the words: para mas deuota contemplacion al auditorio Judas queda haziendo la esclamacion de yuso contenida. There is really more in this than a mere survival of lyric terminology: it implies the application to the drama of an emotional tempo, a succession of moods already conventionalized outside the stage.

[vn hombre honrrado trahe por vna sala a christo‖ It is somewhat difficult to determine what actually happened at this performance, probably in a private home and perhaps on some sort of “simultaneous” stage, as the argumento of the Égloga suggests: y entre tanto que la [i.e., la canción] acaban los cantores Cristo llega alos infiernos/ alas puertas delos quales halla sentado a lucifer … As to the breue contemplacion del Ecce homo in the Passion-play, this may have been a dumb-show of motionless figures, suddenly revealed to the audience, as in the “Auto de la Pasión” of Lucas Fernández, probably performed in a church: Aquí se ha de mostrar un Ecce homo de improviso para provocar la gente á devocion, ansí como le mostró Pilatos á los judíos, y los recitadores híncanse de rodillas cantando á cuatro vozes: Ecce homo (Farsas y Églogas, ed. Cañete, 235). Or again (ibid. 242): Aquí se ha de demostrar ó descobrir una Cruz repente á deshora, la cual han de adorar todos los recitadores hincados de rodillas, cantando en canto de órgano: O Crux, ave, spes unica.

Possibly it was a dumb-show with action—and this is more likely in the present instance—exposed for a few moments as it moved, perhaps through a recess in the backstage ordinarily masked by a curtain, such as was used in early performances of the plays of Gil Vicente (cf. Obras, i, 9; iii, 58, etc.)

185. este hombre que desfigura‖ The Lord is represented as so completely disfigured that his mother fails to recognize him (cf. supra: nuestra señora viendo le tan desfigurado pregunta a sani Juan quien es aquel hombre), a tradition derived perhaps, in this case, from one of the narrative Passions. Thus in Diego de San Pedro's “Passion trobada” (first ca. 1496?) Veronica assured the Virgin that her Son, whom she had described as beautiful, could not possibly be the man who had just passed: Avnque bien podria estar / de hermoso tal tornado/ y podria me engañar / que segun lo vi tratar / estara desfigurado … (ed. Julio de Urquijo, Rev. de Estudios Vascos, xxii, 1931, p. 58).

187. ff. There is a curious touch of preciosity in these lines, as also in 206 ff.

196. no le veamos‖ Probably ver for mirar, a confusion notable around Vigo.—Cf. A. Cotarelo, El castellano en Galicia, BRAE, xiv, (1927), pp. 82 ff.

211. (before) josep abarimathia‖ For this form of the name (abarimathia) cf. Pietsch, Sp. Gr. Fr. ii, 3.

les pregunta … que a que vienen‖ Cf. Bello-Cuervo, 984, 1154; also Alemán, Guzmán de Alfarache ii, iii, 4 (Bib. Rom. ii, 346) me mandò que les tañesse, porque (que) querian baylar. Other editions, such as Antwerp, Viuda de Verdussen, 1726, do not question the que. Cervantes, D.Q. i, 44 preguntó a los que llevarle querian, que que les movia a querer lleuar contra su voluntad aquel muchacho Castro, Vida del Soldado (ed. Paz y Melia) 177 Me invió á decir … que que era la causa que no iba allá Lope de Vega, La Dorotea (ed. Castro) 283 y dixele yo que para qué salía.

^{page 976 note 1} The title is in larger, gothic type.

^{page 976 note 2} The first letter of MUY is an ornamental square initial, encroaching on the three following lines of the text.

^{page 976 note 3} pero‖ It seems necessary to omit this word.

^{page 976 note 4} Etym. xii, iv, 48 Pythagoras dicit de medulla hominis mortui … Lindsay reads ut sicut and Ita et hominis morte …

^{page 976 note 5} lo qual avn … ‖ R. lo qual y avn (?)

^{page 976 note 6} Etym. viii, vi, 22. Read: Hi philosophorum errores et apud Ecclesiam …

^{page 976 note 7} Etym. viii, vi, 21 Vnde et Varro ignem mundi animum dicit, proinde quod in mundo ignis omnia gubernet, sicut animus in nobis. Quam vanissime: ‘Qui cum est,’ inquii, ‘in nobis, ipsi sumus: cum exit, emorimur.’

^{page 976 note 8} Ecl. vi, 33 ff.

^{page 976 note 9} Georg, iv, 381 ff.

^{page 976 note 10} Aen. vi, 595. Read: Nec non et Tityon, Terrae omniparentis alumnum …

^{page 976 note 11} Cf. Etym. xiii, iii, 1 Hanc Latini materiam appellaverunt …

^{page 976 note 12} Aen. xi, 204 ff.

^{page 976 note 13} sobre el bueno … despues del malo‖ A similar example is quoted by Cuervo (Notas, p. 47) from Hernán Núñez: Como escribe Crisipo en el libro primero del honesto y del deleite; but see, infra: assi enlo tañido como enlo cantado, and E124 de lo mas flaco.

^{page 976 note 14} Etym. viii, v, 9 ‘Sic ille nocens erit … qui mergum occiderit quam qui equum. Non enim animal crimen, sed animus facit.‘

^{page 976 note 15} Cic., Opera omnia (Didot) vol. iii, 1, p. 499 f. Paradoxa ad M. Brutum, Parad. iii Parva, inquis, res est. At magna culpa. Nec enim peccata, rerum eventu, sed vitiis hominum metienda sunt.

^{page 976 note 16} Etym. viii, v, 10 Hi etiam animam cum corpore perire dicunt …

^{page 976 note 17} As Plutarch, Lives (tr. Clough, i, 127) tells: His [Numa's] sacrifices consisted of flour, wine, and the least costly offerings.

^{page 976 note 18} Ad Her. iv. 11 Sed figuram in dicendo commutare oportet, … ut facile satietas uarietate uitetur.

^{page 976 note 19} I. Kings xvii, 14–23.

^{page 976 note 20} I. Chronicles 25, 7 and 15 (not 6), 16 ff.

^{page 976 note 21} IV. Kings 3, 15 Nunc autem aducite mihi psaltem. Cumque caneret psaltes, facta est super eum manus Domini …

^{page 976 note 22} Etym. xii, vii, 19.

^{page 976 note 23} volan‖ Cf. Correas, Vocabulario, 179 La piedra que mucho roda …

^{page 976 note 24} De Civ. Dei i, xiv Haec quoque illi, cum quibus agimus, malunt inridere quam credere, qui tamen in suis litteris credunt Arionem Methymnaeum, nobilissimum citharistam, cum esset deiectus e navi, exceptum delphini dorso et ad terras esse pervectum.

^{page 976 note 25} C. Ivlii Solini Collectanea (revised in the sixth century under the title of ‘Polyhistor‘) ed. Mommsen 7, 6 est et Taenaron promunturium adversum Africae. in quo fanum Methymnaei Arionis, quem delphine eo advectum imago testis est aerea ad effigiem casus et veri operis expressa …

^{page 976 note 26} Ecl. viii. 56.

^{page 976 note 27} Etym. iii, xvii (not xvi) 3 Sed et quidquid loquimur, vel intrinsecus venarum pulsibus commovemur …

^{page 976 note 28} Initial M, encroaching on the two following lines of the text.

^{page 976 note 29} del imbo‖ Cf. T. Naharro, Diál. del Nacimiento, l. 604 (Propalladia of 1517 and 1524) y en el ymbo donde staua. Cuervo (Apuntaciones, 818) heard imbo in Bogotá, along with (l)amedor, (l)úpulo, and compared it with umbral <lumbral, as used by Nebrija and others. Correas records the idiom blanco como el (l) ampo de la nieve (319); the ‘Lozana andaluza’ used impiar for limpiar (ed. Lara, 63): esta escoba para impialla; Salamanca (Lamano) has (l)iñuelo and Judeo-Spanish (Subak, ZRPh xxx, 173) (l)aurel and (l)azo.

^{page 976 note 30} canto de horgano‖ canto figurado, with notes of varying duration, as distinct from the equal notes of the canto llano or Gregoriano.

^{page 976 note 31} sin justicia‖ On such compounds cf. Pietsch, Sp. Gr. Fr. ii, 54 and Lang, Rom. Rev. ii, 344 ff. Garci Sánchez de Badajoz (Menéndez y Pelayo, Antología) iv, 53 Perdonen los caualleros/A quien hago sinjusticia Lope de Vega, El Nuevo Mundo descubierto, ed. Barry, l. 769 No permitas, Providencia, / Hacerme esta sinjusticia.

^{page 976 note 32} sin fin‖ T. sin fiin

Text (notes by lines)

1 (before) Exurge gloria mea etc.‖ Psalms 57, 8.

4. antiguo‖ T. atiguo

24. ami por ser Rey‖ David, as in the Rouen Prophet-play, probably wore royal ornaments. Cf. Sepet, Les prophètes du Christ, 43.

30. con romance esclarecido‖ Cf. Berceo, S. Domingo, 2a Quiero fer una prosa en roman paladino.

32. librar‖ Cf. 36 librar fatigas; Libro de Apolonio, ed. Marden, Vocab.; Carvajal, Tragedia Josephina, ed. Gillet, 2894 para librar tanto afan. Translate: quitar, poner fin a.

46. por mi amor‖ por amor de mí. Cf. Lang, Cancioneiro galh.-cast. 183; Pietsch, Sp. Gr. Fr. ii, 144; Berceo, S. Domingo 101c por el tu miedo Pérez de Oliva, Amphitrion (RHi lxix) 531 Pero por mi amor, que me hagas sabidora …

52. (before) Penetrabo inferiores partes etc.‖ Eccles. 24, 45. The text reads Y says.

52. en sangre real tiñido‖ Probably an allusion to the apocryphal story of the prophet's death, accepted by most of the Church Fathers, according to which he was sawed asunder with the tree in which he had sought refuge (cf. Schaff-Herzog, Encyclopedia, new ed. vi, 36). In the Rouen play Isaias appears barbu, vêtu d'une aube, une étole rouge ceint son front (Sepet, 43).

56. The text has a colon between perdonad and mi.

71. (before) Congregabuntur congregacione vnius fascis in locum (r. lacum) et claudentur [ibi] in carcerem [r. carcere] etc. Cf. Is. 24, 22. The full stop after Osee is turned around and thus appears over the line.

71. Con barba larga nebada‖ Hosea appears bearded in the Rouen play (Sepet, 43).

78. porque consientes porque‖ For the value of the second porque = que cf. Pietsch, loc. cit. ii, 6.

91. (before) Ego quasi nutritius etc.‖ Os. 11, 3–4. R. Et ego … nescierunt quod curarem eos. In funiculis …

111. (before) Tu quoque … emisisti vinctos [tuos] … in quo non erat [r. est] aqua. cf. Zach. 9, 11.

111. sibilla erithrea‖ The Erythraean sibyl is frequently singled out as being, according to Lactantius (Instit. div., ap. Migne, Patr. lat. vi, 146) celebrior inter caeteras ac nobilior, words later repeated by Isidore of Seville (Orig. viii, 8, 7) and others. It was she who figured in the impressive performance on Christmas eve in Toledo.

112. que vi los troyanos hechos‖ As Augustine, De Civ. Dei xviii. 7 wrote: Nonnulli sane Erythraeam non Romuli, sed belli Troiani tempore fuisse scripserunt.

122. de babilonia la grande‖ Lactantius, loc. cit. 145: cum esset orta Babylone.

141. (before) Et morte morietur [tribus diebus] somno suscepto [;et] tunc … reuocatur (r. revocatis) ostenso. Cf. Augustine, loc. cit., xviii, 23, 31 ff.

151. el tercero dia‖ Cf. L. Fernández 139 el tercero recitador 178 el tercero pastor. According to Bello-Cuervo (§157), while the apocope of primero is necessary in modern speech, that of tercero, though usual is not compulsory. Cf. L. Fernández 219 el primer introductor, but Suárez de Robles, Danza, ed. Gillet, PMLA, xliii, 629 el primero pastor and Carvajal, Tragedia Josephina 2646.

173. This line seems to imply that Mary had left the ‘stage’ after 170.

177. mi padre‖ R. mi madre

185. primero plazer‖ primero is here probably an adjective. Cf. 151.

190. (after) The reference in the stage-direction to the great light (tan gran resplandor), repeated in 191 ff. (luz con claras hebras, nueua lumbre) is frequent in the medieval representations of the Descensus, following the apocryphal gospel (Tischendorf, Evangelia Apocrypha, 391: subito factus est aureus solis calor pur-pureaque regalis lux illustrans super nos).

196. quien eres tu que en mi puerto‖ quien eres tu, cf. Tischendorf, 399, Quis es tu qui ad dominum dirigis conjusionem nostromi etc.‖ puerto. The word suggests mountainous scenery, at least in the imagination of the hearers.

199. vengo viuo avn que fui muerto‖ Cf. Tischendorf, loc. cit. Qui mortuus iacuisti in sepulcro, vivus ad nos descendisti …

201. Eres tu al que‖ For el a que; attraction of the type described by Tobler, VB (1886) i, 197 ff; Meyer-Lübke, Grammaire, iii, 699 f.; Cejador, Lengua de Cervantes i, 439 f.; Hanssen, Gramática, 549; Pietsch, loc. cit. ii, 122 f. etc.

210. mi mismo‖ T. mi miso

217. quasi ya quatro mil años‖ Cf. Duriez, La théologie dans le drame religieux en Allemagne, 128 f.; T. Naharro, Propaladia, ed. Cañete-Menéndez y Pelayo, ii, 372 Triste estaba el padre Adan/Cinco mil años habia,/Cuando supo que en Belen/Era parida María Auto de la Redencion (Rouanet, iv) 64 Cinco mill años avia,/mi muy buen marido Adan; but in a late-nineteenth-century broadsheet of ‘Coplas al Nacimiento,‘ Murcia, Belda: Cuatro mil años estuvo/muy altivo lucifer.

227. mi querer es tu derecho‖ The meaning seems to be: lo que quiero para los que están allí es lo a que tu tienes derecho, v.g. que queden en tu poder, pero sólo hasta que …

230. (after) Atollite portas‖ Cf. Tischendorf, 397, Et cum haec ad invicem loquerentur Satan princeps et inferus, subito facta est vox ut tonitruum et spiritualis clamor: Tollite portas principes vestras, et elevamini portae aeternales, et introibit rex gloriae.

242. gracias os da‖ Jesus addresses Mary with tu (231 ff.), as she addresses God (141 ff.), but she uses vos to Jesus (242 ff.) as well as to Eva (291 ff.)

258. tomastes‖ Cf. 259 desnudastes 291 distes 293 vistes; Cuervo, Rom. xxii, 82 f. and PMLA, xliii, 627.

271 ff. Adam's prayer does not follow the phraseology of the Descensus, cf. Tischendorf, 403.

281 ff. Only in MS. B of the Descensus (not in MS. A, which we have quoted until now) does a prayer of Eva (addressed, however, to Jesus, not to Mary) follow upon Adam's. Cf. Tischendorf, 430, Tunc et mater nostra Eva similiter domini pedibus provoluta …

285. fabricado‖ There may be in this line a slight echo from Eva's prayer, Tischendorf, 430, Ecce manus quae me fabricaverunt …

298. buena‖ T. has u turned upside down.

301 ff. In neither version of the Apocrypha does David speak in the name of all the prophets.

301. canciones sin pares‖ pares, the result of an attraction resisted in 331.

340. (after) Benedictus etc.‖ Luc. 1, 68.