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Three AUTOS of Jorge de Montemayor
Published online by Cambridge University Press: 23 February 2021
Extract
Montemayor, the illustrious author of Diana, has not until recently been accorded a place among Spanish dramatists. His name does not appear in the catalogue of La Barrera nor in the Orígenes del Teatro Espanol of Moratín. The only mention of his dramatic activity, so far as I know, is the brief description of the autos here printed in the history of the early Spanish drama by Professor J. P. W. Crawford. These quin-tillas, it is true, afford little promise of the matchless beauty of diction which distinguishes the Diana but, quite apart from the later fame of the author, the autos possess the interest inherent in all early drama.
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- Copyright © Modern Language Association of America, 1928
References
page 953 note 1 J. P. W. Crawford, Spanish drama before Lope de Vega, Philadelphia, 1922. (Univ. of Pennsylvania Publications. Extra series in Romanic languages and literature. No. 7) p. 138.
page 955 note 2 Unas papeletas bibliográificas, in Homenaje a Menéndez y Pelayo, II, 639.
page 955 note 3 García Peres, Domingo. Catálogo razonado biográfico y bibliográfico de los au-tores Portugueses que escribieron en castellano. Madrid, 1890. p. 391.
page 956 note 4 Romanische Forschungen, IV (1891), 333-340.
page 957 note 5 Luís de Zapata. Miscelánea, ed. P. de Gayangos in Memorial histórico espanol XI (1859), 279-292.
page 957 note 6 Cf. a curious note discovered by Menéndez y Pelayo in the University of Leyden. His Orígenes de la novela. 2nd. ed. 1925, p. CDXXVII.
page 957 note 7 Archivo Historico Portugues, I (1903), 249-259.
page 957 note 8 Her note quoted by H. A. Rennert in his Spanish pastoral romances. 2nd. ed. Philadelphia, 1912.
page 958 note 9 There is a copy printed on vellum in the Biblioteca Nacional in Madrid.
page 958 note 10 Martin A. S. Hume, Philip II, 1899, p. 24.
page 958 note 11 On the 14th of March, 1551 he was granted the escrevaninha de um dos navios da carreira da Mina, por uma viagem. Document in the library of Torre do Tombo quoted by Sousa Viterbo in Archivo Historico Portugues I (1903), 256.
page 958 note 12 El teatro en Valladolid, in Boletin de la R. Academia Espanola IV, (1917), 598 et seq.
page 958 note 13 Op. cit., p. 604.
page 958 note 14 Op. cit., p. 598.
page 959 note * The word nocturno in this connection is unusual. It occurs in the Comedia a lo pastoril para la noche de Navidad described in Spanish drama before Lope de Vega by J. P. W. Crawford, p. 139. Encina's Christmas plays represented in two parts on one night were, perhaps, thus divided by nocturnos.
page 959 note 1 In principio creavit Deus caelum terram. It will be seen that Montemayor has chosen his line appropriately as an introduction to the exposition that follows. The words occur in the prophecy for Holy Saturday. After the blessing of the candle, the deacon lays aside his white dalmatic and vests in a purple folded chasuble; the priest takes off the cope and puts on a purple chasuble. The prophecies are then chanted, during which in former times priests catechized those who were about to be baptized and prepared them for that sacrament.
page 960 note 22 Artifex. This is the Latin form. Artifice is given by Covarrubias. Don Quixote (ed. crit, Rodriguez Marin, VIII, 208): Cada uno es artifice de su Ventura.
page 962 note 39 Aosadas. Farsas y Églogas . . . . por Lucas Fernández, ed. by Casete, p. 45. Aosadas, si yo cuidara/Ser Amor de tal manera,/Que lluego me hiciera afuera/ and p. 148. Y aun, a osadas,/Que, si buscarla querrés,/Cada noche la topés/Por estas encrucijadas. Casete defines it as a fe mia. Gil Vicente's O juiz da Beira (Mendes dos Remedios, ed.) II. 358. Per. Sao molheres. Cap. Aosadas;
page 962 note 98 Picotera. Covarrubias has: Picotera, la muger que tiene mucho pico, como son las berzeras, y fruteras, y gente deste jaes.
page 962 note 104 Y si Marina baylo,/tome se lo que lleuo, so in Correas and Sbarbi The latter adds: Advierte al riesgo a que se expenen las mugeres en el baile.
page 962 note 106 No la arriendo la pena/del peccado en que cayo. Correas and Sbarbi have N le arriendo la ganancia. Sbarbi adds No ser envidiable la suerte de alguno. Cervantes, La gitanilla, Novelas Ejemplarns, (ed. Rodríguez Marín) II, 22: Si como en volor subido/Vas creciendo en arrogancia,/No le arriendo la ganacia/A la edad en que has nacido
page 964 note 171 Atreguada. Cf. Covarrubias. El loco que tiene treguas con su enfermedad y buelvc a tiempos en su juisio y buen seso: opónesele el perenal, que está en perpetua locura.
page 966 note 219 y quien nunca te creyera. For examples and references of “y adverbializado” see note to line 168 of J. E. Gillet's edition of Perolópez Rangel's Força a Honor Reuerencia del Gloriose Nascimiento in PMLA, XLI (1926), 883.
page 968 note 237 Tode se cura cm Tiempo. This refrán (Sbarbi and Correas) epitomizes the philosophy of the autos.
page 968 note 238 Aviento. Probably for Adviento, Advent. L. Fernández, (ed. Cañete) p. 185. No hay quien bien le tome tiento/Especialmente en Aviento.
page 968 note * In te. Domine, speraui terminates the first auto. These words occur at the beginning of Psalm 31 and Psalm 71 and in the last lines of the Te Deum laudamus: In te Domine speravi/ non confundar in aeternum. This expression of hope and jubilee was a fitting ending for autos de devocâo. Gil Vicente, Obras, (ed. by Mendes dos Remedios) III, 82. The Auto dos Quatro Tempos ends: E todos assi juntamente com Te Deum laudamus se despedirão, e derão fim a esta representacão. The Auto da Alma ends E todos com a Alma cantando Te Deum laudamus, forão adorar o moi-mente, op. cit. I, 91. Most of Vicente's autos end with a well-known song, unlike the endings of Encina which are coplas and villancicos arranged to suit the play. A copla on the Te Deum laudamus closes the Farsa de Santa Barbara and the Farsa del Santisimo Sacramento of Sánchez de Badajoz
page 968 note 1 Verbum caro factum est. A Christmas hymn. It exists in a great variety of texts. According to Julian, Dict, of Hymnology the earliest form known is in a MS in the Bibl. Nat. Paris (Lat. 1139f48 in a hand of the 12th century). He gives the Latin stanzas. L. Fernández p. 172 Farça del Nascimiento de Nuestro Redemptor Jesu-Cristo ends with this villancico: Verbum caro factum est/ Alleluyal/Et habitavit in nobis/ Alleluya, alleluyal/ In Gil Vicente's Comedia de Rubena (Mendes dos Remedios ed.) II, 23, the parteira advises Rubena to repeat this several times to alleviate her sufferings: Mordei neste maçapão;/Esforçae, rosa florida/Eu venida e vos parida:/Kyrieleison, Christeleison,/Dizei tres vezes passinho:/O verbo care fato he. From John I, 14.
page 971 note 93 y en mi esperaço, me afino. Afino seems to have the meaning finalizar to languish away. Covarrubias says: afinar vale perficionar alguna cosa .... Dixose a fine de fin, porque en llegando las cosas a su perfeccion, han conseguido su fin, y passando de alii, buelven a perder su ser. The Die. de Autoridades also gives perficionar but does not agree with Covarrubias in deriving from fin but from fino parque afinar una cosa es hacerla que estl fina.
page 979 note 131 Drogoldrgos. The Die. de Autoridades give, dingolondangos, palabra ar— bitraria y del uso solo de la infima plebe. que no tiene significacion fixa.
Line 136. For Qué esperays?
page 980 note 143 raida Covarrubias and Die. de Autoridades define as desvergonçado Pelado is similarly used in Mexico.
page 982 note 211 saluara el mundo a barrisco. Die. de Autoridades defines a barrisco: Entregar sin la cuenta y rasón debida las cosas vendibles, dándolas y vendiendolas a bulto. Es vos antiguada de Aragon. Fuer. de Aragon fol. 114. Queremos que todas las lanas que vendrán a peso se hayan de pesar, è no se puedan barriscar ni se puedan en alguna otra manera librar sino a peso. Covarrubias has barrer todo lo que hay es llevarselo sin cuenta, ni razon, y de esta semejança se Dixo tambien llevarlo todo a barrisco. L. Fernández p. 80 Es amor un mal amargo/ Mas que ruda y que torvisco;/ Es red que lleva abarrisco/ Todo el mundo sin embargo, p. 156 Macario. No me querais uitrajar. Bonifacio. Mia fe, todo hu abarrisco.
page 982 note 212 Dominus bobisco, a corruption of Dominus vobiscum, the salutation of the priest to the people. Ruth II, 4.
page 982 note 213 y por el seculoria amen. Corruption from Per omnia saecula saeculorum. Gil Vicente, Farça dos Almocreves (Mendes dos Remedios ed.) I, 323.
page 983 note 241 erial. Dic. de Autoridades defines as waste or untilled land. The passage means that the Maker foresaw Adam's fall before the land was formed. The text reads crial but the copy in the Univ. of Pennsylvania has erial The bar on the e had probably been worn down.
Line 253. Les, for le es.
Line 273. Quesotra. for que esa otra.
page 984 note 292 morira Gil bigarrado. Bigarrada for abigarrado, of changing color, i.e., livid hue? Or possibly an approximation of barrigudo.
page 985 note 294 concroistes. I do not find a definition or another example of this word.
page 986 note 342 passa barbado. Is the game “beaver,” popular in England a few years ago reminiscent of this ancient game? Barba and barbado in these lines may be replaced by seso and sesudo. Compare hombre de bigote, a man of spirit.
page 986 note 343 ternas te assi como parba. Parba, Portuguese, a boy. Meyer Lubke derives it from parvulus, but Solano Constancio, Novo diccionario . . . . etymologico da lingua portuguesa, says o radical nao he Latino nem Grego, mas sim o Egipcio pi ré of this most interesting word whose vicissitudes have been traced in the monu mental study of A. Farinelli; Marrano. Storia di un vituperio, Ginebra, 1925. The word occurs in the tenth century in the meaning of swine, thence it was transferred to unbeelievers who eliminated this article from their diet. It migrated with the Spaniards to Italy but the Italians were prone to use the word to designate the unpopular invaders themselves. The word is rare in Spain in the sixteenth century. A related expression occurs in i Cor. xvi, 22. “If any man love not the Lord Jesus Christ, let him be anathema maran-atha.” The Oxford dictionary gives an explanation and etymology.