LOPE See also:

• FELIX
• FELIX, ANTONIUS
• FELIX, LIA (1830– )

FELIX DE See also:

• VEGA, GARCILASO DE LA
• VEGA, GARCILASO DE LA (1503-1536)

VEGA CARPIO (1562-1635)  , See also:

• SPANISH

Spanish dramatist and poet, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born on the 25th of See also:

• NOVEMBER (Lat. novem, nine)

November 1562 at See also:

• MADRID

Madrid . His See also:

• FATHER

father and See also:

• MOTHER

mother, See also:

• FELIX
• FELIX, ANTONIUS
• FELIX, LIA (1830– )

Felix de See also:

• VEGA, GARCILASO DE LA
• VEGA, GARCILASO DE LA (1503-1536)

Vega Carpio and Francisca Hernandez See also:

• FLORES

Flores, originally came from the valley of Carriedo in See also:

• ASTURIAS

Asturias, where the See also:

• HAMLET

hamlet of Vega still exists . Lope began his studies at the Theatine See also:

• COLLEGE (Collegium)

college in Madrid, and according to his admiring biographer, See also:

• PEREZ, ANTONIO (c. 1540-1611)

Perez de See also:

• MONTALBAN, JUAN PEREZ DE (1602–1638)

Montalban, his precocity was extraordinary . On leaving college he entered the service of See also:

• DON
• DON (anc. Tanais)

Don Jeronimo See also:

• MANRIQUE, GOMEZ (1412?-149o?)
• MANRIQUE, JORGE (1440?-1478)

Manrique, See also:

• BISHOP (A.S. bisceop, from Lat. episcopus, Gr. irio-Korros, " overlooker " or " overseer ")
• BISHOP, ISABELLA (1832-1904)
• BISHOP, SIR HENRY ROWLEY (1786-1855)

bishop of See also:

• AVILA
• AVILA (anc. Abula or Avela)
• AVILA, GIL GONZALEZ DE (c. 1577-1658)

Avila, and appears to have then begun the See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition of his earlier dramas.; He quitted the bishop's service to enter the university of See also:

• ALCALA (Moorish al Kala, the " Fortress " or " Castle ")

Alcala de Henares, where he devoted himself to what was' called See also:

• PHILOSOPHY (Gr. gthos, fond of, and vo4 (a, wisdom)

philosophy . The date of Lope's matriculation is unknown, as his name does not appear in the university books; but it seems probable that he was in See also:

• RESIDENCE (Latin residere, to remain behind, to dwell, reside)

residence between 1576 and 158r, He took See also:

• PART

part in the expedition to the See also:

• AZORES (Acores), or WESTERN ISLANDS

Azores in 1582, and from 1583 to 1587 was secretary to the marques de See also:

• LAS

las Navas . In See also:

• FEBRUARY

February 1588 he was banished for circulating criminal libels against his See also:

• MISTRESS

mistress, Elena See also:

• OSORIO, JERONYMO (1506-1580)

Osorio, whom he has celebrated under the name of Filis . He defied the See also:

• LAW
• LAW (0. Eng. lagu, M. Eng. lawe; from an old Teutonic root lag, " lie," what lies fixed or evenly; cf. Lat. lex, Fr. loi)
• LAW, JOHN (1671—1729)
• LAW, WILLIAM (1686-1761)

law by returning to Madrid soon afterwards and eloping with See also:

• ISABEL

Isabel de Urbina, daughter of See also:

• PHILIP
• PHILIP (Gr.'FiXtrsro , fond of horses, from dn)^eiv, to love, and limos, horse; Lat. Philip pus, whence e.g. M. H. Ger. Philippes, Dutch Filips, and, with dropping of the final s, It. Filippo, Fr. Philippe, Ger. Philipp, Sp. Felipe)
• PHILIP, JOHN (1775-1851)
• PHILIP, KING (c. 1639-1676)
• PHILIP, LANOGRAVE OF HESSE (1504-1567)

Philip II.'s See also:

• HERALD (O. Fr. heraut, herault; the origin is uncertain, but O.H.G. heren, to call, or hariwald, leader of an army, have been proposed; the Gr. equivalent is Kddpvi : Lat. praeco, caduceator, fetialis)

herald; he married her by See also:

• PROXY (short for " procuracy ")

proxy on the loth of May 1588, and joined the Invincible See also:

• ARMADA, THE

Armada, losing his See also:

• BROTHER

brother in one of the encounters in the Channel . He settled for a See also:

• SHORT, FRANCIS JOB (1857– )

short while at See also:

• VALENCIA
• VALENCIA, or VALENTIA

Valencia, where he made acquaintance with a circle of rating poets who were afterwards to be his ardent supporters in See also:

• FOUNDING (from Lat. fundere, to pour)

founding the new See also:

• COMEDY

comedy . He joined the See also:

• HOUSEHOLD, ROYAL

household of the See also:

• DUKE (corresponding to Fr. duc, Ital. duca, Ger. Herzog)

duke of See also:

• ALVA
• ALVA, or ALBA, FERNANDO ALVAREZ DE TOLEDO, DUKE OF, (1508-1583)

Alva, with whom} he remained till 1595 . Soon afterwards he lost his wife; he was prosecuted for criminal conversation in 1596, became secretary to the See also:

• MARQUIS

marquis de Malpica (afterwards See also:

• COUNT (Lat. comes, gen. comitis, Fr. comte, Ital. conte, Span. conde)

count de Lemos), and in 1598 married a second wife, Juana de Guardo, by whom he had two See also:

• CHILDREN, LAW RELATING TO

children (See also:

• CARLOS, DON (1545-1568)
• CARLOS, DON (1788-1855)
• CARLOS, DON (CHARLES MARIA DE LOS DOLORES JUAN ISIDOR.E JOSEPH FRANCIS QUIRIN ANTONY MICHAEL GABRIEL RAPHAEL) (1848—1909)

Carlos, who died in 16r 2, and Feliciana Felix); but she died, shortly after giving See also:

• BIRTH (a word common in various forms to Teutonic languages from the root of the verb " to bear ")

birth to the latter, in'1613 . During this wife's lifetime the poet had by a mistress, Micaelade Luxan, two other children—Marcela del Carpio, who became a See also:

• NUN (O. Eng. nunne, from Lat. nonnus, nonna, familiar terms for an old man or woman)

nun in 1621, and Lope Felix del Carpio y Luxan, who See also:

• CHOSE (Fr. for " thing ")

chose the profession of arms and perished at See also:

• SEA (in O. Eng. sae, a common Teutonic word; cf. Ger. See, Dutch Zee, &c.; the ultimate source is uncertain)
• SEA, COMMAND OF THE

sea about 1634 . Widowed a second See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time in 1613, Lope sought a refge in the See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church .

After having been for some time affiliated to a See also:

• TERTIARY

tertiary See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order, he took See also:

• PRIEST (Ger. Priester, Fr. pretre)

priest's orders . At this juncture, about 1614, he was in the very See also:

• ZENITH (from the Arabic)

zenith of his See also:

• GLORY (through the O. Fr. glorie, modern gloire, from Lat. gloria, cognate with Gr. KXebs, abets)

glory . A veritable See also:

• DICTATOR (from the Lat. dictare, frequentative of dicere, to speak)

dictator in the Spanish See also:

• WORLD

world of letters, he wielded over all the authors of his nation a See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power similar to that which was afterwards exercised in See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France by See also:

• VOLTAIRE, FRANCOIS MARIE AROUET DE (1694–1778)

Voltaire . At this distance of time Lope is to us simply a See also:

• GREAT

great dramatic poet, the founder of the Spanish' See also:

• THEATRE (BEarpov, " a place for seeing," from OeacOae)

theatre; but to his contemporaries he was much more . His epics, his pastorals, his odes, his sonnets, now forgotten, all placed him in the front See also:

• RANK (O.Fr. rant or rent, mod. rang, generally connected with the O.E. and O.H.G. bring, a ring)

rank of authorship . Such was his See also:

• PRESTIGE

prestige that he dealt with: his See also:

• NOBLE, SIR ANDREW (1832- )

noble patrons almost on a footing of equality . The duke of Sessa in particular, his See also:

• MAECENAS, GAIUS (CILNIUS)

Maecenas from 16os onwards, was also his See also:

• PERSONAL

personal friend, and the See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone of Lope's letters to him is one of See also:

• FRANK, JAKOB (1726-1791)

frank familiarity, modified only by some forms of deference . Lope's fame, too, had travelled 'abroad: foreigners of distinction passing through' Madrid made a point of visiting him; papal legates brought him the compliments of ' their See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master; ' in 1627 See also:

• URBAN
• URBAN (Urbanus)

Urban VIII., a See also:

• BARBERINI

Barberini, sent him the diploma• of See also:

• DOCTOR (Lat. for " teacher ")

doctor of See also:

• THEOLOGY

theology in the Collegium Sapientiae and the See also:

• CROSS

cross of the order of St See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John of See also:

• JERUSALEM (Heb. ^S0-r, Yerushalaim, pronounced as a dual)
• JERUSALEM, SYNOD OF (1672)

Jerusalem (whence the poet's titles of " Doctor " and " See also:

• FREY (Old Norse, Freyr)

Frey ") . His last days were full of sadness; the See also:

• DEATH

death of his son Lope, the elopement of his daughter, Antonia See also:

• CLARA, SAINT (1194-1253)

Clara, wounded him to the soul . Montalbfin tells us that every See also:

• FRIDAY (A.S. frige-dreg, fr. frige, gen. of frigu, love, or the goddess of love—the Norse Frigg,—the dreg, day; cf. Icelandic frjddagr, O.H. Ger. friatag, frigatag, mod. Ger. Freitag)

Friday the poet scourged himself so severely that the walls of his See also:

• ROOM

room were sprinkled with his See also:

• BLOOD

blood . His death, on the 27th of See also:

• AUGUST (originally Sextilis)

August . 1635, was followed by See also:

• NATIONAL

national See also:

• MOURNING (from the verb " to mourn," to be sorrowful, 0. Eng. murnan; cf. O.H.G. mornen, Goth. maurnan, to be anxious, O.N. morna, to pine away; by some referred to root seen in Gr. jdptpva, sorrow, by others to root mer-, to die)

mourning .

Leaving out of See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account certain theories which' in the See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long run greatly influenced his manner of See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing, Lope beloh ed in literature to what may be called the school of See also:

• GOOD, JOHN MASON (1764-1827)

good sense ; he boasted that• he was a Spaniard pur sang, and steadfastly maintained theta writer's business is to write so as to make. himself understood . Wheh brought See also:

• FACE (from Lat. fades, derived either from facere, to make, or from a root fa-, meaning " appear "; cf. Gr. cbatvstv)

face to face with the coterie of the precieux and qquintessencies, Lope takes the position of a defender of the See also:

• LANGUAGE (adapted from the Fr. langage, from langue, tongue, Lat. lingua)

language of •See also:

• ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary See also:

• LIFE

life, the good old Castilian See also:

• TONGUE (O. Eng. lunge)

tongue . 'In the dispute which arose between the partisans of the two;schoole, cuitos and llanots he ranged himself on the See also:

• SIDE
• SIDE (mod. Eski Adalia)

side of the latter . Itf the See also:

• MATTER

matter of zersitfcation he refuses to admit that the long See also:

• ITALIAN

Italian See also:

• VERSE (from Lat. versus, literally a line or furrow drawn by turning the plough, from vertere, and afterwards signifying an arrangement of syllables into feet)

verse has the See also:

• ADVANTAGE

advantage of the Castilian octosyliabic .. Unfortunately the books that he read, his See also:

• LITERARY

literary connexions, his fear of Italian See also:

• CRITICISM
• CRITICISM (from the Gr. KpiTrlS, a judge, Kpivew, to decide, to give an authoritative opinion)

criticism, all exercised an See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence upon his naturally robust spirit, and, like so many others, he caught the prevalent contagion of mannerism and of pompous phraseology . His literary culture was chiefly Latin-Italian; and, if he defends the tradition of the nation and the pure simplicity of the old Castilian against " lqs de la nueva poesia," that is to say, the innovators of the school of Gongora and against the See also:

• JARGON

jargon of the cultos, still he does not wish to be taken for An uninformed See also:

• PERSON, OFFENCES AGAINST THE

person, a writer devoid of classical training: he especially emphasizes the fact that he has passed through the university, and is continually accentuating the difference between the ingenios cientificos (those who know Latin) and legos i noranles (ignorant laymen) . With what a sense of superiority, for example; does he mention that Cervantes was not to his mind sufficiently cient£fico (See also:

• PREFACE (Med. Lat. prefatia, for classical praefatio, praefari, to speak beforehand)

preface to Las Fortunes de See also:

• DIANA

Diana), the fact being that Cervantes had been neither at Alcala nor at See also:

• SALAMANCA
• SALAMANCA (anc. Salmantica or Elmantica)

Salamanca ! For a rapid survey of the See also:

• WORKS

works of Lope, it is convenient to begin with those which the Spaniards include under the name of Obras Sueltas, the 'See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title of the large collection of the poet's non-dramatic works (Madrid, 21 vols . 4to, 1776-79) . We shall enumerate the most important of these, as far as possible in the order of publication . The See also:

• ARCADIA

Arcadia (1598), a See also:

• PASTORAL (from Lat. pastor, a shepherd)

pastoral See also:

• ROMANCE

romance, inspired by See also:

• SANNAZARO, JACOPO (1458-1530)

Sannazaro, is one of the poet's most wearisome productions . La Dragontea (1598) is a fantastic See also:

• HISTORY

history in verse of See also:

• SIR

Sir See also:

• FRANCIS
• FRANCIS (FRarrcols) OF SALES, ST (1567-1622)
• FRANCIS (Lat. Franciscus, Ital. Francesco, Span. Francisco, Fr. Francois, Ger. Franz)
• FRANCIS, SIR PHILIP (174o-1818)

Francis Drakes last expedition and death .

Isidro (1599), a narrative of the life of Isidore, See also:

• PATRON

patron of Madrid, is called a Castilian poem on account of the See also:

• RHYTHM (Greek pvBµds, from bap, to flow)

rhythm to which it is composed—quintillas of octosyllabic verse . The Hermosura de See also:

• ANGELICA

Angelica (1602), in three books, is a sort of continuation of the Orlando Furioso, hi octaves after the See also:

• FASHION (adapted from Fr. facon, agon, Lat. factio, making, facere, to do or make)

fashion of the See also:

• ORIGINAL

original poem . Finally, the Rheas are a See also:

• MISCELLANY

miscellany of short pieces . In 1604 was published the Peregrine en su Patric, a romance similar in See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind to the Aethiopica of See also:

• HELIODORUS

Heliodorus . Having imitated See also:

• ARIOSTO, LODOVICO (1474-1533)

Ariosto, he proceeded to imitate See also:

• TASSO, TORQUATO (1544-1595)

Tasso; but his Jerusalem Conquistada (1609) has preserved nothing of the See also:

• ART

art shown in its See also:

• MODEL (0. Fr. modelle, mod. modele; It. modello, pattern, mould; from Lat. modus, measure, standard)

model, and is an insipid performance . Next follows thePastores de Belen (1612), a pious pastoral, dedicated to his son Carlos, which forms a See also:

• PENDANT (through Fr. from Lat. pendere, to hang)

pendant to his See also:

• SECULAR (Lat. saecularis, of or belonging to an age or generation, saeculum)

secular Arcadia; and incidental pieces published in connexion with the solemnities of the See also:

• BEATIFICATION (from the Lat. beatus, happy, blessed, and facere, to make)

beatification and See also:

• CANONIZATION

canonization of St Isidore in 162o and 1622 . It is enough t0 mention La Filomena (1621), La See also:

• CIRCE (Gr. Kiprcrl)

Circe (1624) and other peeing published about the same date, as also the four See also:

• PROSE

prose novels, Las Fortunas de Diana, El Desdichado qor la Honra, La Mks Prudente Venganza and Guzman el See also:

• BRAVO (Ital. for " brave ")

Bravo . The great success of the Novel as Exemplares of Cervantes (1613) had stimulated Lope, but injhis instance at least the cientifico was completely defeated by the lego: Lo 's novels have none of the See also:

• GRACE (Fr. grace, Lat. gratia, from grates, beloved, pleasing; formed from the root cra-, Gr. xav-, cf. xaipw, x6p,ua, Xapts)
• GRACE, WILLIAM GILBERT (1848– )

grace, naturalness or See also:

• INTEREST

interest which characterize those of his See also:

• RIVAL

rival . The last important See also:

• WORK

work which has to be mentioned before we leave the narrative See also:

• POETRY

poetry of Lope is the See also:

• LAUREL

Laurel de Apolo (1630) . This piece describes the See also:

• CORONATION (Lat. corona, crown)

coronation of the poets of See also:

• SPAIN
• SPAIN (Espana)

Spain on See also:

• HELICON
• HELICON (Fr. helicon, bombardon circulaire; Ger. Helikon)

Helicon' by See also:

• APOLLO (Gr. 'A2r6XXwv,'Airkkhwv)

Apollo, and it is more meritorious as a See also:

• BIBLIOGRAPHICAL

bibliographical See also:

• MANUAL

manual of Spanish poetry at that time than as genuine poetry,, One other cbra suelta, closely akin to Lope's dramatic works, though not, properly speaking,a See also:

• DRAMA (literally "action," from Gr. Snail, act or do)

drama, is La Dorotea (1.632) . Lope describes it as an "-See also:

• ACTION

action in prose," but it is rather a " romance in See also:

• DIALOGUE

dialogue "; for, although divided into acts, the narrative is dramatic in See also:

• FORM (Lat. forma)

form only . Of all Lope's productions Dorotea shows most observation and study; the See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style also is unusually See also:

• SIMPLE

simple and easy .

Of all this See also:

• MASS (O.E. maesse; Fr. messe; Ger. Messe; Ital. messa; from eccl. Lat. missa)
• MASS, IN

mass of obras sueltas, filling more . than twenty volumes, very ; little (leaving Dorotea out of account) holds its own in the See also:

• JUD, LEO (1482–1542)

jud ment of posterity . The lyrical See also:

• ELEMENT (Lat. elementum)

element alone retains some vitality . From the Ritnasand other collections of detached pieces one could compile a pleasing See also:

• ANTHOLOGY

anthology of sonnets, e istles, elegies and romance§, to which it would be proper to add the Gatomaqui a,;a See also:

• BURLESQUE (Ital. burlesco, from burla, a joke, fun, playful trick)

burlesque poem published along with other metrical pieces in t634 by Lope, under the See also:

• PSEUDONYM (Gr. >l ev&,vuµos, having a false name, ¢Evirls, false and ovoµa, name)

pseudonym of Tome de Burguillos . But here the See also:

• LIST (O.E. lisle, a Teutonic word, cf. Dut. lust, Ger. Leiste, adapted in Ital. lista and Fr. lisle)
• LIST, FRIEDRICH (1789-1846)

list would end It is, however, to his dramatic writings that Lope owes his etffiient See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place in literary history . It is very curious to See also:

• NOTICE

notice how h@ himself always treats the art of comedy-writing as one of the humblest of trades (de See also:

• PANE (Fr. pan, Lat. pannus, a cloth, garment)

pane lucrando), and protests against the supposition that in writing for the See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage his aim is glory and not See also:

• MONEY

money . The See also:

• REASON (Lat. ratio, through French raison)

reason is not far to seek . The Spanish drama, which; if not literally the creation of Lope, at least caves' to him its definitive form-,the three-See also:

• ACT (Lat. actus, actum)

act comedy—was totally. regardless of the precepts of the school, the ..pseudo-Aristotelianism of the doctors; of the See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period . Lope accordingly, who stood in See also:

• AWE, LOCH

awe of the criticism of the cientificos, See also:

• FELT (cognate with Ger. Filz, Du. vilt, Swed. and Dan. fill; the root is unknown; the word has given Med. Lat. filtrum, " filter ")

felt See also:

• BOUND, or BOUNDARY (from O. Fr. bonde, Med. Lat. bodena or butina, a frontier line)

bound to prove that, from the point of view of liters art, he attached no value to the "rustic fraits of his humble vega . ' In his Arte Nuevo de hater comedies en See also:

• ESTE
• ESTE (anc. Ateste, q.v.)

este tienfpo (1609), Lope begins by showing that he knows as well as any one the established rules of poetry, and then excuses himself for his inability to follow them on the ground that the "vulgar" Spaniard cares nothing about them . " Let us then speak to him in the language of See also:

• FOOLS, FEAST OF (Lat. festum stultorum, fatuorum, follorum, Fr. fete des fous)

fools; since it is he who pays us." Another reason which made it necessary for him to, speak deprecatingly of his dramatic works, is the circyemstance that the vast See also:

• MAJORITY (Fr. majorite; Med. Lat. majoritas; Lat. major, greater)

majority of them were written in haste and to order . The' poet does not hesitate to confess that " more than a See also:

• HUNDRED

hundred of my comedies have taken only twenty-four See also:

• HOURS, CANONICAL

hours to ppass' from my See also:

• BRAIN (A.S. braegen)

brain to the boards of the theatre." Perez. de Montalb'n, who has a great .admiration for this kind of cleverness, tells how, at See also:

• TOLEDO
• TOLEDO, COUNCILS OF (Concilia toletana)

Toledo, on ,a certain occasion,, Lope composed fifteen acts in.fifteen days—that is to say, five entire comedies, which he read to his See also:

• FRIENDS, SOCIETY
• FRIENDS, SOCIETY OF

friends step by step with the See also:

• PROCESS

process of their composition . On another occasion, when pressed by a manager who wanted something for the See also:

• CARNIVAL (Med. Lat. carnelevarium, from taro, tarns, flesh, and levare, to lighten or put aside; the derivation from valere, to say farewell, is unsupported)

carnival, Lope took Montaibhn as a collaborator; the two friends, parcelled out the comedy between them, Lope undertaking the first act, Montalb~n the second, and the third, to See also:

• SAVE, or SAVA (Ger. Sau; Hungarian Szdva; Lat. Savus)

save time, was divided between them .

In two'days they had finished the first two acts, and on the third Montalbcanrose at two in the See also:

• MORNING

morning and at eleven be had, See also:

• FINE

fine ed . Then he went in See also:

• SEARCH, or VISIT AND SEARCH

search of Lope, who, wheh questioned As tip his progress, replied: " I got up at five, finished the act, breakfast *rote an See also:

• EPISTLE

epistle of fifty tercets, and have now finished See also:

• WATER

water the See also:

• GARDEN (from O. Fr. garden, mod. Fr. jardin; this, like our words " garth," a paddock attached to a building, and " yard," comes from a Teutonic word for an enclosure which appears in Gothic as gards and O. H. Ger. gart, cf. Dutch gaarde and Ger. .garten)

garden, and a rather tough business it 'has been." Nevett~Zthieless, Lope did write dramas in which the See also:

• PLAN
• PLAN (from Lat. planes, flat)

plan is more fully matured and the See also:

• EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

execution more ,carefully carried out; still, hurried composition and reckless See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production are after all among the distinctive marks of his theatrical works, .' Towards the See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close of his career Lope somewhat modified the Severe and' disdainful judgments he had formerly passed upon his dramatic performances; he seems to have had a presentiment that posterity, in spite.,of•the See also:

• GRAVE

grave defects of his, work in that See also:

• DEPARTMENT (Fr. departement, from departir, to separate into parts)

department, would nevertheless place it much higher than La Dragontea, the Jerusalem Conqquistada and other works of whichhe himself thought so'much . We ma certainly See also:

• CREDIT (Lat. credere, to believe)

credit Lope .with creative power, with the See also:

• INSTINCT

instinct' which enabled him to reproduce the facts ofhistory or those supplied by the See also:

• IMAGINATION

imagination in multitude of dramatic situations with an:astopi h= See also:

• ING

ing cleverness and flexibility of expression; but unfortunately, instead of concentrating his See also:

• TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental

talent upon the production of'a limited numbet of works which he might have brought to perfection, he dissipated it, so to say, and scattered it to the winds . The See also:

• CATALOGUE (a Fr. adaptation of the Gr. KaraXoyos, a register, from Karalyety, to enrol or pick out)

catalogue of Lope's comedies has been See also:

• DRAWN

drawn up by, himself ; and,, in spite of some discrepancies in his figures, it is established that up to 16o4 'he had composed, in See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round See also:

• NUMBERS, BOOK OF
• NUMBERS, PARTITION OF

numbers, as many ,as 230 . In 16o9 the figure hadrisen +to 483, in 1618 to 800, in 162o to Zoo, in 1625 to .1070, and in 1632 to 1500 . Ultimately Mentalban in the See also:

• FAMA (Gr. cI i.a1, "Ovoa)

Fama Postuma (1636) set down the See also:

• TOTAL

total of Lope's dramatic productions at 1800 plays and more than 400 autos sacramentales . Of this number there are 637 plays which are known to us by their titles' (from the lists of the Peregrine) ; but the printed or MS. See also:

• TEXT (Lat. textum, woven fabric, from texere, to weave)

text of only 458 is actually accessible, besides some 5o autos and a few entremeses, Very many of these pieces were printed during Lope's lifetime., either in collections of varies autores or as See also:

• SEPARATE

separate issues by booksellers who surreptitiously bought from the actors the See also:

• MANUSCRIPTS

manuscripts of their roles or else caused the unpublished comedy to be written down from memory by persons whom they sent to attend the first See also:

• REPRESENTATION

representation . Such pieces therefore as do not figure in the collection published under Lope's own direction or under that of his friends cannot be regarded as perfectly See also:

• AUTHENTIC (from Gr. aOO 'rns, one who does a thing himself)

authentic, and' it would be unfair to hold their author responsible for all the faults and defects they exhibit . On the other See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand, there exist comedies in Lo e's own See also:

• HANDWRITING

handwriting which have pot yet been printed . The See also:

• CLASSIFICATION (Lat. classis, a class, probably from the root cal-, cla-, as in Gr. icaMce, clamor)

classification of this enormous mass of dramatic literature is a task of great difficulty, inasmuch as the terms usually employed, vigorous, active, cf. vigor strength vigour, &c.), a word used such as comedy, tragedy and the like, do not apply here . There is not explicitness enough in the See also:

• DIVISION (from Lat. dividere, to break up into parts, separate)

division current in Spain, which recognizes three categories:—(I) comedies de cape y espade, the subjects of which are drawn from everyday life and in which the persons appear as simple caballeros; (2) comedies de ruido or de teatro, in which See also:

• KINGS, FIRST AND SECOND BOOKS OF

kings and princes are the leading characters and the action is i ompanied with a greater display of dramatic machinery ; (3) corned as divines or de See also:

• SANTOS

Santos . Some other arrangement must be attempted .

In the first place, Lope's work belongs essentially to the drama of intrigue; be the subject what'it may, it is always the See also:

• PLOT
• PLOT, ROBERT (164o-1696)

plot that determines everything else . Lope in the whole range of his dramatic works has no piece comparable to La Verdad Sospechosa of See also:

• RUIZ, JUAN (c. 1283-c. 1350)

Ruiz de See also:

• ALARCON, HERNANDO DE
• ALARCON, JUAN RUIZ DE (1518 ?-1639)
• ALARCON, PEDRO ANTONIO DE (1833-1891)

Alarcon, the most finished example in Spanish literature of the comedy of See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character; and the comedy of See also:

• MANNERS, CHARLES (1857– )

manners is represented only by El Galan Castrucho, El Anzuelo de Fenisa, and one or two others . It is from history, and particularly Spanish history, that Lope has borrowed more than from any other soutce . It would in fact be difficult to say what national and patriotic subjects, from the reign of the See also:

• HALF

half-fabulous See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

King Pelayo down to the history of his own See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age, he has not put upon the stage . But it is to the, class of cape y espada—also called novelesco, because the subjects are almost always love intrigues complicated with affairs of See also:

• HONOUR (Lat. honos or lwnor, honoris; in English the word was spelled with or without the u indifferently until the 17th century, but during the 18th century it became fashion-able to spell the word " honor "; Johnson's and Webster's Dictionaries stereoty

honour—that Lope's most celebrated plays belong . In these he has most fully displayed his See also:

• POWERS, HIRAM (1805-1873)

powers of imagination (the subjects being all invented) and his skill in elaborating a plot . Among the plays of this class which are those best known in See also:

• EUROPE

Europe, and most frequently imitated and translated, may be specially mentioned Los Rantilletes de Madrid, La Bobs pars los Oros y Discrete See also:

• PARA
• PARA (officially BELEM; sometimes BELEM DO PARA)

Para si, El Perro del Ilortelano, La Viuda de Valencia, and El See also:

• MAESTRO

Maestro de Delmar . In some of them Lope has sought to set forth some moral See also:

• MAXIM, SIR HIRAM STEVENS (184o- )

maxim, and illustrate its abuse by a living example . Thus, on the theme that " poverty is no See also:

• CRIME (Lat. crimen, accusation)

crime," we have the See also:

• PLAY

play entitled" Las Flores de Don Juan, in which he shows in the history of two See also:

• BROTHERS, RICHARD (1757-1824)

brothers the See also:

• TRIUMPH (triumphus)

triumph of virtuous poverty over opulent See also:

• VICE

vice; at the same time he attacks indirectly the institution of See also:

• PRIMOGENITURE

primogeniture, which. often places in the hands of an unworthy person the honour and substance of a See also:

• FAMILY

family when the younger members would be much better qualified for the See also:

• TRUST

trust . Such pieces are, however, rare in Lope's repertory; in See also:

• COMMON

common with all other writers of his order in•Spain, with the occasional exception of Ruiz de Alarcon, his See also:

• SOLE (Solea)

sole aim is to amuse and stir his public, not troubling himself about its instruction, The strong point of such writers is and always will be their management of the plot . As has been said by Le See also:

• SAGE, RUSSELL (1816-1906)

Sage, a good See also:

• JUDGE (Lat. judex, Fr. juge)

judge: " The Spaniards are our masters in the art of planning and skilfully working out a plot; they know how to set forth their subject with See also:

• INFINITE (from Lat. in, not, finis, end or limit; cf. findere, to deave)

infinite art and in the most advantageous See also:

• LIGHT

light." It is not necessary to dwell here upon the other varieties of comedy represented in Lope's works, that is, the comedies divines, . fiestas (mythological dramas for the most part), entremesesand autos . In none of them has he produced anything of the highest order, or even comparable to the better performances of his contemporaries and successors .

To sum up, Lope found a poorly organized drama, plays being composed sometimes in four acts, sometimes in three; and, though they were written in verse, the structure of the versification was See also:

• LEFT

left far too much to the caprice of the individual, writer . The style of drama then in See also:

• VOGUE, EUGENE MELCHIOR, COMTE DE (1848- )

vogue he adopted, because the Spanish public liked it . The narrow framework it afforded he enlarged to an extra= ordinary degree, introducing everything that could. possibly furnish material for dramatic situations,—the See also:

• BIBLE
• BIBLE, ENGLISH

Bible, See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient See also:

• MYTHOLOGY

mythology, the lives of the See also:

• SAINTS, BATTLE OF THE

saints, ancient history, ' Spanish history, the legends of the See also:

• MIDDLE

middle ages, the writings of the Italian novelists, current events, Spanish life in the 17th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century . Before him manners and the conditions of persons and characters had been barely sketched; with See also:

• FULLER, ANDREW (1954-1815)
• FULLER, GEORGE (1822—1884)
• FULLER, M
• FULLER, MARGARET, MARCHIONESS
• FULLER, MELVILLE WESTON (1833-1910)
• FULLER, THOMAS (16o8-1661)
• FULLER, WILLIAM (1670--c. 1717)

fuller observation and more careful description he created.real types, and gave to each social order the language and drapery appropriate to it . The old comedy was awkward and poor in its versification; he introduced order into the use of all the forms of national poetry, from the old romance couplets to the rarest lyrical combinations borrowed from See also:

• ITALY
• ITALY (Italia)

Italy . Hence he was justified in saying that those who should come after him had only to go on along the path which he had opened up . BIBLtoeRArt1Y.—See also:

• HUGO, GUSTAV VON (1764–1844)
• HUGO, VICTOR MARIE (1802-1885)

Hugo See also:

• ALBERT
• ALBERT (1490'1545)
• ALBERT (149o-1568)
• ALBERT (1522–1557)
• ALBERT (FRANCIS CHARLES AUGUSTUS ALBERT EMMANUEL) (1819—1861)
• ALBERT (FRIEDRICH RUDOLF ALBRECHT)
• ALBERT, FREDERICK AUGUSTUS
• ALBERT, MADAME (c. 2805—2846)

Albert Rennert, The Life of Lope de Vega (See also:

• GLASGOW

Glasgow, 1904) ; C . A. de la Barrera, Nueva Biografia de Lope de Vega (Madrid, 189o) ; C . Perez Pastor, Proceso' de Lope de ,T{tga or libelos contra unos comicos (Madrid, 1901), to which is appended See also:

• DATES

Dates desconocidospare la See also:

• VIDA, MARCO GIROLAMO (c. 1489-1566)

Vida de' Lope de Vega . For Lope's literary theories and See also:

• DOCTRINE

doctrine of dramatic art, reference may be made to M . Menendez y Pelayo, Historia de las Ideas Esteticas en Espana, and to A . See also:

• MOREL

Morel Fatio, La- Comedie espagnole du XVII'"° siecle (Sao, See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, 1885) .

The Of'See also:

• RAS

ras Sueltas were published by Francisco Cerda y Rico (21 vols . 410, Madrid, 1776-1979) . A See also:

• COMPLETE

complete edition of the Obras de Lope de Vega, edited by M . Menendez y Pelayo, has been undertaken by the Spanish See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy . Rennert's See also:

• BIOGRAPHY (from the Gr. (3ios, life, and yp&4 , writing)

biography contains an admirable bibliography of Lope's plays and autos . (A . M.-FA.; J .