A study of some of the characters inplays of Juan Ruiz de Alarcon y Mendoza

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Authors Savage, Lydia Elizabeth Williams, 1908-

Publisher The University of Arizona.

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A STUDY OF SOME OF THE CHARACTERS IN PLAYS OF JUAN RUIZ DE ALARCON Y MENDOZA

: ' ' by

1-y.cU.A Elizabeth Williams Savage

submitted to the faculty of the

Department of Spanish

in partial fulfillment of the requirements for the degree of

Master of Arts

in the Graduate College University of Arizona

A Thesis

1942

Approved

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Table of Contents

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Introduction Page 1Chapter I examen de maridos 3

A . Doha Ines, lady 3B . Doha Blanca, lady 8C. Clavela, her maid 9D. The Conde Carlos and the Marques Fadrique 10E. Ochavo, Kracioso and servant to the Marques 14F. Beltran, elderly escudero 14

Chapter II Las paredes oyen 16A. Doha Ana, lady; a young widow 16B. Celia, her maid 21C. Doha Lucrecia, lady 26D. Don Juan de Mendoza and Don Mendo de Guzman 28E. Beltran, gracioso and servant to Don Juan 34

Chapter III La verdad sospechosa 39A. Don Garcia 39B. Don Beltran, father of Don Garcia 47C. Tristan, gracioso and servant to Don Garcia 52D. Jacinta, lady 57E. Lucrecia, lady 61

Chapter IV Conclusions 68Notes 71Bibliography 136

135018

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. . %% r- : : r i y . ‘ v " - . • ;■ ' ■■■■■ .In l:.-' " -V:y , ... - : ,Introduction.

, : ' '' . ■: - .- - . • ...1 v = :u ' n \ . - ,The purpose of this study is to analyze certain charac­

ters of Juan Ruiz de Alarcon y Mendoza, in their relations with others: nobles, among themselves; nobles.toward ser­vants; servants, among themselves; servants toward masters.

The following plays and characters were chosen for study: El examen de maridos: Doha Ines, Doha Blanca^ Clavela, theConde Carlos and the Marques Fadrique, Ochayo, and Beltran;Las paredes oyen: Doha Ana, Celia, Doha Lucrecia, Don Juande Mendoza and Don Mendo de Guzman, and Beltran; and La ver- dad sospechosa: Don Garcia, Don Beltran, Tristan, Jacinta,and Lucrecia.

The plays themselves form the chief source material: jgl examen de maridos. Las paredes oyen. and La verdad sospechosa. Other sources are: annotated editions of specific plays, pre­fatory comments upon the characters to be found in unannotat­ed editions, special articles, and general histories of Span­ish literature. ,

The following annotated editions were used: Las paredes oyen: (Caroline B. Bourland. Las paredes oyen: and Alfonso Re­yes, Ruiz de.Alarcon. Teatro): La verdad sospechosa: (Edouard Barry, La verdad sospechosa: Pedro Henrlquez Ureha and Boglia- no, Juan Ruiz.de Alarcon. La verdad sospechosa: Arthur L. Owen, La verdad sospechosa; and Reyes. Ruiz de Alarcon. Teatro.)

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These unannotated editions contain prefatory comments upon the characters included, in,this, study: Garcia-Ramon,Teatro de J. R. de Alarcon: Juan Eugenio Hartzenbusch in Biblioteca de autores espanoles (Volume XX); Julio Jimenez Rueda, Juan Ruiz de Alarcon. La verdad sospechosa: Eugenio de Ochoa. Tesoro del teatro espanol (volume IV);; and?:the . edition of La verdad:sospechosa.printed in Mexico by the- Biblioteca dramatica del• Palacio .de Bellas Artes. .

Special articles, include,those by John,Brooks, "Lawyer- dad sospechosa:: The Source and Purpose?1. Hispania. 1932: and Arthur L. Owen, "La verdad sospechosa in-the editions.of.1630 and 1634". Hispania. 1925. . . . . : ,

, . General histories, of Spanish literature containing ia*? formation on the characters included in this,study are those by J . D. M.LFord, Hurtado y Gonzalez Palencia, G. P. Northup, M.. Romera-Naxrarro,. Conde de Schack (Volume IV), .and George Ticknor (Volume,II). ,,,,0 ; ; v r: v: : The bibliography by Nicolas Rangel is helpful. , : .

Ruiz de Alarcon1a portrayal of himself thro ugh his,. char- aqters is excluded; from, this atudy, as that subject is. dis- cussed at j length by Carlos Vazquez-Arjona i n " Elementos auto - biograficps e ideologioos en.el teatro de Alarcon", Revue hispanique, Volume LXXIII (1928), pages 557-615. . . ^ ; ,

The texts of the plays copied in the notes are the fol- lowing: El,examen de maridos..Garcia-Ramon (Volume l); Las paredes oyen. Bourland; and La verdad sospechosa. Owen.

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I. El examen de maridos.

A. Dona Ines.

As obedient to her father in his death as she had been in his life, the Marquesa Doha Ines sets about the business of following his injunction to look well at that which she does before she marries.1 She looks into the estate, char­acter, habits, and personal defects and excellencies, as de­termined by both general reputation and her own inquisition, of all would-be husbands. Love has no place in. her rating scale; only natural talents and acquired abilities are of value in binding her free will.® Beltran, her father's old escudero, handles the details of the examination for her.

In dealing with the various suitors, Doha Ines shows her good sense. When her heart is already inclined toward the Marques Fadrique, she will not let her head be ruled by it: “The examination, and not my desire, must give me my bus- b a n d . H e r reasons for eliminating the memorials of certain suitors and her reply to the Marques* recital of his own merits show her continued wise judgment -- although probably she is a bit captious with the Marques, since the only dif­ference between his suit and those of the other pretendientes is the difference in method of presentation (his in person, theirs in writing), and not in the source of information re­garding the individual's qualifications (the aspirant him-

4

self)*i With Fadrique she finds one fault:— .that he himself is,the one who proclaims his endowments.4 Concerning a suit­or who has lost much at gaming,; blit who now; lives in modera­tion, she says, "He who;gambled-will gamble;.the inclination to gambling recedes but is not extinguished;N of.one.mature in wisdom and years (but not-old)r-"I approve the mature wis­dom, but; for a husband, .Beltran, I.do.not approve the mature years.11 : Still following the guidance of her head rather than that of her heart, she retains the memorial,of the Conde Car­los, neither expunging nor approving this man who .is noble, rich, gallant, and full of many graces, but who has the. one great-fault that she does mot care for him.5 .

Yet, with all of her unusual good sense,Ines is still a woman, still human: Dona Blanca’s slanderous and falsetale concerning the Marques^Fadrique.as being unfit for mar­riage,6 instead of compelling Dona Ines to love the Cpnde and to abhor the Marques,; as Blanca had planned that It should do, causesInes,to.probe carefully beneath the charming ex­terior of the Marques.8 Is it possible that such exterior hides such faults and that the inner man does not correspond to the visible man?9 She cannot obliterate,love of him from, her heart-as she can erase his name from;the, book.^ Again Ines shows her woman's heart, when, subject to human.error— and the viewpoint of her times,,she ascribes the wrong motive 7- cowardice .-- to. Fadrique,'s. desire to withdraw because of his friendship: for the Conde Carlos.H

5

When she has brought the final selection down t® the Conde and the Marques, adjudged equals In the tournament which is part of the examination,-^ she propounds the ques- . tion: To which shall she give her hand, to the one lovedbut who may have defects, or to him in whom she has found none but toward whom she does not feel inclined? Each man may defend the opinion which he prefers, and the- side which wins will merit her choice.13

Carlos maintains that the one loved ought to be the one chosen. Ines' father, he argues, placed on her only the man- i date that she look at that which she does; she has already looked at it and, with that, has complied with his will. It is true that, according as she has proposed, she does not fulfill the purpose of the examination if she does not choose him with the most merits, without paying heed to love; but, one should understand the love to be disregarded as that of the two men, not hers, for with her, the part of most value is being loved by her, and not being loved the greatest de­fect. The supremacy of Inis' head over her emotions is again made evident by the fact that, although it pains her to do so, she chooses the Conde because of his better argumentation.1*

Carlos then persuades her;that;in winning the debate he should not win her hand: She had proposed that the side win­ning should be her husband; since his side has won, and since the side he defended is that of the imperfect loved one, then that aspirant is to be her master; and Carlos knows well that

6

he himself is not the one loved. Also, Carlos clears up the situation of Fadrique's reported defects, stating that they are inventions. Ines, womanlike, exclaims in her final speech, "How I shall love you, Marques, when I look at you without defects, since I adored you with them!”

In all of these relations with people of her own rank, we see a woman wise beyond her generation and her country, independent in her thinking, dignified, poised and self- controlled, worthy of her rank, yet having the heart of. a woman. •

In Act I, scene xv, Fadrique tells Blanca the reason that their marriage cannot take p l a c e i n I, xvi, she de­clares herself his enemy determined to secure vengeance, to oppose his likes, his purposes, his objectives, and to be executioner at the birth of his very thoughts (of winning I n e s ) i n II, 11, ill, Blanca carries to Ines the calumni­ous tale about him as being unfit for marriage; in II, xi, Beltran tells Carlos that Blanca has secretly loved him for two years and that, despairing of having her love reciprocat­ed, she wishes to enter a c o n v e n t ; i n II, xii, the audience realizes that Beltran has done this at Ines' instigation; in II, xiv, Ines eliminates all of the suitors except Carlos and Fadrique; III, x, is the balcony scene between the Conde and Blanca; in III, xvi, Carlos wins Ines for Fadrique, and Blanca publicly accepts Carlos.20

This series of events brings out the contrast between

7

Ines and.Blanca. Although' Blanca does not want Fadrtque in the only„circumstances: under which she can have him, she willfully, and:for the purpose of preventing:the woman whom herwants from wanting him, sets out to besmirch his honor by a false;tale. On the other hand,; by inflating his ego, Ines deflects from herself, before she has. even started the elim­ination of the suitors, the love of, ajman whose love she does not reciprocate^ but one whose rank and personal qualities would make: him a not at all unwelcome husband— that, in- a the days:when marriage to a desirable man was woman's only career'. ' V. . . '

Doha Ines' relation to Beltran places him above thev-:level of servant and almost on the rank of equal. Having

been born in her house and loved by her father; the escudero becomes her counsellor21 and secretary in;making the exami­nation.22 She speaks to him in the second.person plural, in contrast to her use of the second singular when.speaking to • her maid; Beltran always; answers Ines in the second person singular. He is enough servant to.eliminate without argument or. question all whom she commands him to eliminate from the trials yet, he feels free to take issue with her inker re­fusal: to tell th@=Marques what his supposed defects are.23

Ines' maid, Menofa,-speaks to her.mistress in the second person; singular.and is answered in that form, but the famili­arity seems to go no. further -- in contrast to the way Celia guides Dona Ana in Las paredes oven, for example. .

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There are two other indications of Ines* treatment of servants; these not her own: When Blanca comespretendingto be.servant to an unhappy rejected lady, the Marquesa con­tinues the conversation in the second person plural, even after Blanca makes known her claimed1 identity; Blanca.replies in the same form.24 The entire conversation between Ines and the gracioso (Ochavo, servant to Fadrique); when.Ochavo is asking her permission for,his master to present his merits - in person instead of in writing, is carried on in the second person plural; she accepts the advice of the gracioso in re- gard to looking to the inner man when making her selection.^5

B. Doha Blanca.

Doha Blanca, upon learning of the change of the Marques Fadrique, is resigned to the loss of the position of which she had felt sure, but is desirous .of knowing the reason for the change.26 Fadrique tells her: When he was poor and with- out hope of estate; she spurned him; the gold of her beauty did not condescend to copper. When by;chance he inherited, she, either through ambition or love, answered his blind ar­dor with corresponding fire. But the very inheritance which gave him the victory prevents his enjoying it, for, to re­tain the estate he must marry one of his own lineage. (Blan- ca is not of it.) Rich, he cannot be hers; poor, he is not wanted by her. Lost, then (his) hope (of marrying) her, if another (hope) he gives in celebrating, it is to divert him-

9

self, riot to love; it is a remedy, not a change. Tims, since he cannot do otherwise, he intends a change. "If you should be able, do the same; and, since you are a woman, you will probably be able, if you wish."27

Desire for revenge causes her to tell the false tale concerning him.28

The Conde-- and Clavela -- have little difficulty inpersuading Blanca to accept him --which she;does for posi­tion and vengeance. When, in the balcony scene, Carlos men­tions Blanca's (supposed) two-year secret love for him and her (supposed) desire to enter a convent, hews to her, of course, she says to her maid:

Blanca (Aside to Clavela): .This harm results from my deceit.

Clavela (Aside to her mistress): .The harm, if you win the Conde, is not great.

Clavela (Aside to her mistress):Take advantage of the opportunity, my lady;

I am crazy to see you become 'Your ladyship'. Blanca (Aside): Why do I doubt. Why do I hesitate? What better means could fate arrange for,my re­

dress and vengeance? May it pay the Marques for my grievance and his change 129

In the end, however, Blanca confesses that she is happy

C. Clavela.

Clavela takes her tone from her mistress, accompanying her in her tale-bearing visit to Ines, later going alone to repeat the falsehood, with amplifications, to Beltran,31 and

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aiding and abetting'Blanca in accepting*'the Conde for his position* : .I r, , C • ' '

Clavela has a1 closer relation to Blanca than Mendfa has to Ines „ • f'- r: : aL ; v v i r:i

■' 1 - - "f..: ■ v i - ' u <. , -- r 1!,% u h i : ;D. The Conde Carlos and the Marques Fadrique.

i ; M 1 ■: a r hi: . ‘^.V h ' h - J r - ^ 'r r:

The friendship of the Marques Fadrique and the Conde r Carlos is so great that it almost pushes-into second;place the main theme of the play, the examination of husbands* :I

Although the condition under which the Marques inherit­ed forces his giving up Blancai the Conde's demand.that-Fa- drique forget either his lady or his friend is the best rem­edy for forgetting the lady;r then Fadrique's friendship fori; Carlos makes the- impossible;seem easy.32 (The Conde is ig­norant of Fadrique*s attentions to Bianca until, in Act I, scene 111, her father asks Carlos' help in persuading theMarques to bring his courtship to a conclusion;-nor does the* * * ■ - • ■ - * * * • * . :' ■ - 1. ' *. • . ...

Conde know,- before making his demand upon Fadrique, the con-dition under which he inherited, as shown by the portion of the play copied in mote 32.) In addition to giving up Blan- ca, Fadrique would have withdrawn from his courtship of Ines, also, when he learned that Carlos had entered the examina­tion , if she, public opinion, and the honor code had permit­ted.3 Had he been able, he would have withdrawn, despite the fact that, although his courtship of, the Marquesa began as a diversion,34 she has kindled more fire in his heart in

11

only one day than Blanca had in two years .35 V>.,: ;Public opinion will not permit the Conde, either, to

withdraw, once he has entered the examination.36 .>1though ' for two years he has tried in vain to win Ines* love,37 and although he is confident that his merits will cause him to win the election,38 when he learns that Fadrique loves her,39 and that .she reciprocates his l o v e t h e Conde:wins.her for his f r i e n d . T h o u g h not understanding his method of ful­filling it, Fadrique is sure of Carlos*.word that Ines will accept him, the Marques.42 Meantime, Beltran tells Carlos of Blanca's (supposed) secret love, despair over the Conde's lack of a similar feeling, and her (supposed) desire to enter a convent.Doubtful at first, he finally persuades himself that it is possible:

Great heavens, can this be true?. It can be; among the caprices of women,this is not a great novelty. But no; the Marqufs.has been her lover. i :It is a lie. But the Marques could well love her without being loved. How could she have such affection for me without showing it? But if she adores like a woman, she keeps silent like a vir­tuous one. How does my love conquer her without my communicating with her? But an honorable;dam­sel has strength in just a glance. Marquesa, if this be true, your unreasonableness offends high heaven and gives me opportunity to punish your cruelty.44

Even after persuading himself that Blanca can love him, Car­los makes certain, before courting her, that Fadrique no longer loves her -- she is so forgotten by Fadrique .that hev- has even forgotten that he loved her.48

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; In fairness to the Coride, it must be stated that his courtship of Blanca, which began as vengeance for Iries* re­jection- of his love, ■ ends in real love for Blanca In Lan ­as ide he asks: i..; C ?. L ' :-.;t L-;.-. v; ,■ L : L v i. • ■ Li i . : y l r- - L ' . h - ; ;

.. Who would think that the report that I am • v causing Blanca care would have awakened in f-L- ; •'

me a flame so new and so affectionate that : . already-my hope is based in her, and that-' r

my desire continues what my vengeance be-.' : - gan? Being loved is a strong Incentive : ! '■

for loving; harshness kills the strongest on love and extinguishes the most vivid flame.4® -

The friendship between the two men is such that each will defend the honor of the other against slander. Fadrique, worried over the secret defects which Ines is supposed to see in him, asks Carlos, as friend to friend, to reveal them. Carlos replies that this is probably her scheme to discover-n L : i V ; r - r,-- ; u.. ;if the Marques has defects about which he knows and she does

1 ’ n---r : = ...r X ; i' ' •n't-'-, ‘ . t, ..•..I,-:not, so as not to err in the election. The Conde concludes:

•. v >i But- if-infamous envy withers the luxuriant : growth of your hope, this hand and this

'A- heart are prepared so angrily for vengeancethat the whole world will know that no one

•L> shouldi-risk- himself against on® who has - • - -r ‘ ; such a friend.4?

. . vL i ’ ; n.. 1 v L i - : - i , ; - . > , r : n l- - .

"There is no greater treasure- in the whole world than a true friend; !♦ says the Marques * nearr the 'end of the last scenes48 r In both men we see strict adherence to the honor code,

such strict adherence, in fact, that twice it threatened even their strong friendship. First, the appeal of Blanca's

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father to the Conde for aid in persuading the Marques to bring his courtship to a conclusion would have ended the friendship if the condition under which Fadrique inherited and his response to the Conde's demand that he, Fadrique, forget either his lady or his friend had not been as they were.49 Again, after each man has entered his suit without the other's knowing it, the code will permit neither to with­draw . 50 If they had not hit upon the plan of defeating the code while competing within it,51 the friendship would have been sacrificed.^

Their extreme courtesy to each other and their lack of knowledge of each other's intimate lives are somewhat unusual but not hard to imagine in that period. Examples of these intimate details unknown to each other are: Carlos' unaware-ness that Fadrique has for two years paid attention to Blan­ca until her father tells him; Carlos' ignorance for some time of the condition under which Fadrique inherited; and thelack of knowledge on the part of each that the other intends

, . • ■to enter Ines' examination of husbands.53Although the Conde is apparently not responsible for the

spread of the vicious and untrue tales concerning the Marques, his taking the blame,54 thereby removing any impediment to the happiness of Fadrique's marriage, adds to our admiration of the Conde.

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■ ,: • E. Ochavo.

Ochavo is of less importance in this play than are the graciosos of La verdad sospechosa and Las paredes oyen. Al-

§ - c cthough he calls himself the Marques1 friend and secretary, ° . he functions in the play in only the following capacities: to bring the news of Ines1 examination;to secure permis­sion for his master to present his merits in person;^7 to keep the secret of his having entered the examination;to learn, while hiding in Ines' chimney corner, what Fadrique1s supposed secret faults are: and, in I, x, to make aside comments as the various suitors present their memorials to Ines.

He makes the usual love to the maid, Mencia,GO but she responds only by playing this joke of keeping him hidden in the chimney soot all night without his supper, telling him that she will come to him as soon as her mistress is asleep. At daybreak she rushes in, saying that Ines had suspected. her plan and is at that moment preparing to make a search of the house. Ochavo has to make his escape through the smoky chimney pipe.61

F. Beltran.

Beltran's position in regard to Ines is stated in the section concerning her.

He occupies such an important position in her household

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that the suitors use the second person plural in speaking with him, and he answers in it; one suitor even addresses him as "Sehor Beltran".62 Even servants use this form with him; his entire conversation with Clavola, when she ampli­fies the false tale concerning the Marques, is carried on in the second person plural.63

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'll. Las paredes oven.

A. Dona Ana.

.Dona Ana de Contrerasj young, beautiful, well-to-do, of noble lineage, and a widow, anxiously awaits fulfillment of the nine-day period.of prayer which she has promised. Saint James (of Alcala), before giving her band to Don Mendo de Guzman.64 Although very much in love, she has a premonition that:his ardent love-making may n o t - l a s t Y e t , she clings to her belief in him, saying to Celia in Act I, scene xx,'"Only my death, Celia, can take' my hand from Don Mendo."66

Immediately following this speech, however, comes the part of the scene in which, upon Saint John's Eve, Ana hears Don Juan de Mendoza praise and Don Mendo slander her.67 Thoughtstunned and angry; she considers the libel which she has just heard punishment for her interruption of the novena, and returns to Alcala. >:She does not yet make up'her mind to dismiss him, for she says to Celia, "If, with losing hirt, I lose my lifej it would have been better for me not to have been u n d e c e i v e d : :

1 Then comes1Mendo's second act of perfidy, his writing a letter repeating the original insults. Ana's cousin, Lucre- cia, follows her to Alcala to bring a love letter which Mendo had written to Lucrecia, a letter which slanders Aha while praising Lucrecia.69 Ana admits to Celia1that ever since the

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day she heard Juan defend her, he has risen In’her estima­tion. The beginning of liking the good is the cessation of liking the bad, but one does not easily forget a love to which one has become accustomed. Celia can be confident. Ana assures her^ that time will enhance JUan' in her opinion, for she has begun to forget Don Mendb'.70 .c' r ,

Finally Ana repeats to Mendo the uncomplimentary remarks he has made about her, both orally and in writing, and dis­misses himi Seeking vengeance, he plans to compromise her.He attacks her carriage in the woods, as she; Lucrecia, and the servants return from Alcala, but Juan and the Duque, dis­guised as her coachmen, save h e r : :

Juan's and Mendo's exteriors so belie the inner men, as will be shown; that these harsh realities are necessary to make Ana see for herself the truth about each.

The gradual but complete reversal in Ana's attitude to- ward an ugly face is interesting. Her opening speech con­cerns Juan's appearance: "Oh, Celia, what unattractive faceand figure Don Juan has!" After she has begun to realize.his worth: "Celia, if only Juan had a better looking figure anda handsomer.face!" In the same scene in which she dismisses Mendo: "Don Mendo, thus he who has an ugly semblance is bet-y" u . ,:vter.1,72

No matter how trying the situation. Ana retains her dig- nity, especially when dealing with her equals. She does not break even under such strains as Lucrecia's arrival in Alcala

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with the;love letter from Mendo, Kendo's attempts to;blame others as.perpetrators of the insulting remarks he himself said and wrote, or his effort to excuse himself and regain Ana' s favor after - his attack upon her.73 . v

: : Even though^ in revealing her innermost thoughts toCelia, Ana shows more emotion than she lets her equals see,

- V : ~ i' . .'i . ;Y:v.- - L 1 :she is still mistress of herself, as on Saint John's Eve, thenight she hears herself slandered by Kendo, or the time she reads the letter he wrote to.Lucrecia* Anals;nearest ap­proach to an emotional outburst is this short speech on Saint

" O' . ' Yf ... . ' i •; :. ••• Y z .l ■ YJohn's Eve: I, I . : : r YY ' Y-;' v.-

My breast burns f u r y . I spew fire from my mouth'.; Is. it possible that I heard such words'. Vile wretch, do you defame. the one who-loves you? Do you treat thus the one

. Whom you love? : ■ ; . - ; . ' V rr : .Y .V. Y-: :

Immediately, however, she calmly announces her decision to return to Alcala and her interpretation of the slander as punishment for breaking the novena.*4

Ana's courteous nature shows early in the play, when, although busy with preparations for departing for Alcala topray for the prosperity of her intended marriage to Mendo,Y r ■. Y ■: ; . n. - • : ; z ' .Y. ). - Y: . f , V'.she is still not too busy to receive homage from so noble a

. .Yif;: - .v.. . . Y;: cgentleman (as Juan). "I am yours," he replies; "I await an answer. If you please, read." Since she is in love withMendo and her answer to Juan must, therefore, be in the nega­tive, she tries to play for time and to avoid hurting him by' ' , ' , v, - " : ; ■ . - : •: . ; : v. y .. - ; ; - - " ’ - x ■ "* 'f - - - - •

19

protesting against doing him the discourtesy of reading in his presence.75 still courteous and noble,'she refuses to permit Beltran and Celia to speak ill of Mendo, even after her deep disappointment in him, topped by his shocking at­tempt to compromise her. • , wv' r 1- ;

" .i - r, '. v •' : uv .'vlev # :

Hush, Beltran. The vice of the slanderer you have been decrying. With what impudence you have murmured against Don Mendot ... Go in good hour. . .Hold, Celia; close your lips.....In my

thought, not only did I quench the fire, but to the extent that there was love; there is now abhorrence. But this does not give li­cense for a low servant to speak ill of a man of such high, birth;in my presence. When enmity arises between two nobles, they do not lose their nobility, nor the person of low birth his low station.'*

i .. : AlthoughjAna,does not hesitate to reprimand Celia, when* . she deems.it necessary,- Celia-is also her friend,;confidante, and adviser, as has been shown to somejextent and as .will be shown further.: : — 1 : :;.v: .;:■■■■: 1.;.;. •. v. -

The:following incident shows both Ana's modesty and herdependence upon Celia for counsel. In explaining,:at Ana's request, his reason for accompanying the Duque in the dis­guise as her coachmen, Juan extols .that nobleman as a man . worthy of being her husband; to, which she answers, "Take my ' advice,?leave off acting as arbiter in that,purpose;,because he who seeks for himself has greater dope,of finally, winning where I am concerned than he who seeks fur another,"77.— words which recall Priscilla Mullins' "Why doa't.youspedk for

80

yourself, John?" Later Celia asks her: mistress if she has declared her love to Juan, to which Ana replies:

Doha Ana: Have you found me so immodest? Is it not enough to have shown him facets of favor?Celia: Immodest, you say, after he has

been beside himself for two years because of love for youl

* e •Doha Ana: Little by little, is that not better?. . .Celia: When of that truth (that you love

him and he loves you) there is certainty,I find more cruelty in delaying it than immodesty in telling it.

# » *

Doha Ana: I must yield, Celia, to your strange subtlety.

As for a servant not her own. Ana, like Doha Ines in El examen de maridos. addresses him in the second person plural. Ana, however, unlike Ines, completes the conversation with Beltran, the gracioso. in the second singular.80 Yet, when the servant oversteps his bounds, Ana gives him the same rep­rimand that she gives her own servant.8!

In the lines quoted in note 86 Ana shows the beginning of emancipation from the superstitious thinking of her times, or rather, the interpretation of it to conform to her own de­sire. Many love-divinations were practiced on Saint John's Eve. One means by which a girl might discover her future husband was to look out the windows and listen for the first words of those who passed by. The stroke of twelve had a special significance. In the speech quoted below, which

21

follows Immediately after the lines of note 86, Ana defies this superstition and declares her belief in the Christian doctrine of free will.

Hush, simpleton. Who thought such con­spicuous madness? What will it matter what destiny may want, if I do not want it? The inclination is from Heaven, but the yes or no is all mine, for fate does not have ju­risdiction over the free will. How can I desire a man whose face and figure vex me even on sight?8* •

Both Ana's ability to state the situation clearly, and the theme of the play are summed up in this speech:

And finally, if you look well at the sit­uation, you will see that I was master of my own hand and that you dispute in vain when you dispute without consulting me con­cerning my desire. I gave ay hand to Don Juan because he won me, speaking well of me — the hand which Don Mendo lost speaking ill of me. This is my will;.indeed, it has been a miracle from Heaven to show the val­ue of speaking only good.88

Here, then, is a woman, "full of humanity and charm, de­lightful with her equals and kind without condescension to her inferiors, and yet withal sufficiently touched with super ficial faults of character to be a real human being."8*

B. Celia

Little more need be said of Celia in relation to her mistress, whose friend, confidante, and counsellor she is, except to emphasize both Celia's good sense and the fact that

28

despite Ana's intimacy with her, she is not permitted to for­get that she is still a servant and person of low birth. Itis the maid who first sees the true Juan and the true Mendo, and who penetrates Juan's disguise as a coachman.

Celia's sympathy-for Juan and her desire to help him are manifested to the audience early in the first act. She hears his soliloquy to the absent Ana, who has just refused to accept his love, a soliloquy.which ends thus:

What crime, wild ingrate, did I commit in loving you? May God...but may He not, for I love you more than I love myself.(in II, v, Celia repeats these words to Ana. See note 89.)(Enter Celia and Beltran.) : : ' : :Celia: Ah, unhappy Don Juanl Beltran: Help him. ai; ^Celia: God grant that I have my way.®*

Celia plainly shows Ana her preference for Juan over Mendo as early as Act I, scene xx, when, on Saint John's Eve,the two women are trying to divine from the omens Ana's fu­ture husband: . .

Celia: Midnight has struck, my. lady: hear the happy prediction of your second husband.

• • • ; 1 ■; :• n, .r : 'Doha Ana: Oh Heavens! Don Mendo, is it not he who spoke? r

Celia; Yea, but he named Don Juan. • vDoha Ana: Wtyo doubts that.of the two, Don

Mendo de Guzman is the one destined for me, since I heard his voice first, and not the name of Don Juan? , v .Celia: But suppose that sovereign destiny

should ordain that you should save your beau­tiful white hand for Don Juanl®® •.

23

When Ana does not recognize her deliverer "from Mendo, Celia does: .

Celia: Who, my lady, will you say themute one is?

Doha Ana: Well, say it.Celia: Who do you think he can be?Doha Ana: I do not know.Celia: Who can he be, who, being of

noble birth, should want to be your coach­man just for the sake of seeing you? Who (can he be) who, with such valor should of­fer his breast to the sword in such a tight situation to save your honor? Who (can he be) who takes pleasure in suffer­ing pain through love of you, and contin­ues in love despite your disdain? Who but Don Juan de Mendoza?*?

The following speech of Celia’s shows again her high re­gard for Juan and her low opinion of Mendo; Juan's kindly at­titude toward everyone and his refusal to think ill of anyone, or to permit Beltran to speak ill of even a servant;®® and Celia’s privilege of speaking quite frankly to her mistress:

How different Don Juan is (from Mendo. whom Celia and Ana have been discussing)V : Offended and scorned, his habit of mind is to honor all that the tongue of the scorpion, being esteemed, offends. Once when in despair, Don Juan murmured to himself thus: 'What crime, wild ingrate, did I commit in loving you? May God... but may He not, for I love you more than I love myself.’ If you saw the courtesy and humility with which he spoke to me when he begged permission to see you the other day! If you saw what he said in my defence to a servant who persisted resolute that if I rendered difficult the visit (with you), I was causing him (Juan) to be poor and unhappy’ If you saw’...but what could you see that would

24

equal that which,you saw when you heard him.defend you so;in truth from the traitor? Surely you would weaken even ..... if you were made of flint.89 . .

* « » - * - r- - * I" v l-.*- ■ ' * ■''-'A » - - - ' v i L "i

; "

Nearly all of Celia’s speeches contain evaluations of the twoimen. Only one more can be quoted: .....

Doha Ana: Celia, if only Juan had aV .better-looking figure and a handsomer ...

facetj v : Celia; What’ Such a wise woman as

you considers that! In a man you should see neither comeliness not gen­tility: his comeliness is nobility, his gentility, savoir faire. The vis­ible portion is the treasure of girls withqut judgment, .who;for that, very reason, generally choose a golden ass.For that reason the Moor has no win­dows . It is true that, although at

• the beginning one notices the. exteriru : .... or, with further acquaintance he loses delight or distaste for the goodr, lV : . looking or less handsome face. u

Celia occupies such a place in her mistress' household that she can be,saucy or,friendly with Ana’s visitors, as she chooses.. Note Celia's,reply to Mendo, after Ana has. dismiss sed-him,9 and, Lucrecia ref used to listen to him: .

Don Mendo: Celia, as you listen to me,so may you attain your, flourishing years. . .Celia: The hair which you already cal-

f i ; ; f.„ led grey, how can you now call it flowers? v c

•' '. r. 1 ’...' " - : : ’ . vV-; :■ , ;: i. u' : v«:.:On the other hand, we have this scene with Juan:o . : ' v :,,t ... .< : r ' : 1 : 1: ■ ■ V • ' : . ■

; ; . Don Juan:., Celia, friend, may Heavenguard you.Celia: And give you the blessing whichyou desire.

25

Don Juan: If you are on ray side, there is no fortune that I do not expect.Celia: If it had been in my hands, your

happiness would have been mine. But, Don Juan, serve and persist, for your love is not wasted.92 • ■

Beltran is the only servant with whom Celia deals. The love element between them is a foregone conclusion in Bel­tran’s mind — but that conclusion is apparently not espe­cially thrilling to Celia:

Beltran: And for me, would serving a-vail me anything, as it does my master?

Celia: Then you, too, love (amas)?Beltran: I love only to keep ray mas­

ter company.93 . "

The matter is dropped after this scene, and the two servants do not marry, contrary to the situation in many plays of the. period.

In contrast to Celia's use of the second person singular to Beltran, Juan's servant, we have her use of the second person plural to a (supposed) fellow servant in Ana's house­hold (the disguised Juan). She uses this form to him through out Act III, scene 1, even after she recognizes him. Perhaps the reason is that she has suspected his nobility from the first. Yet, after Ana has hinted strongly to Juan her love for him, Celia answers his "amiga" and second singular form of the verb with the second singular.94 Perhaps she does this in anticipation of his becoming her master.

26

C. Doha Lucrecia.

Although Lucrecia shows greater emotionalism an4 smaller capacity for self-control than Ana does, she is a not unat­tractive figure. She is beautiful, loyal, and worthy to be wife to the Conde, who has loved her since before the opening of the play. His love for her is revealed in an aside when he and Mendo are discussing the latter1s change in love from Lucrecia to Ana: "May Heaven will, Lucrecia, that thischange (in Mendo's love) change you, and your jealousy open the door to my lost hope."95 Lucrecia wants to love him likewise, for, after she has begun to realize the malignan­cy of Hondo's tongue, she says to the Conde:

You are telling the truth; if I am denying it, it is not that I do not believe you, but that you are hurting me....Would to God, my Conde, that the inclination could, on this occasion, change at the same time as the will* But be certain that if you have told me the truth, my will will give you that which my love denies you....The more I force myself to reciprocate your feeling, so much the more will you owe me, Conde,9©

Lucrecia's response to Mendo's presumption that he can return to her after being refused by Ana is admirable and shows Lucrecia*s good sense:

Who told you that my soul sustains memory of you until now?...Walls have ears, Mendo. But although imprudence in you is such that you wish to be my husband when you have spoken so badly of me, I do not plan to be so foolish that I desire to be wife of him

87

#

who wants for a wife th© same one whom h@ slanders; and In order that you may not lighten your punishment with hope, -what- you lost through, false dealing, the;Gonde won through fidelity,97 ; : .

Though her cause is just even Mendo admits that9®-- Lucrecia's situation brings into relief her somewhat emotion­al nature and, to some extent, lack of self-control.

When she comes to bid Ana goodby, she finds Don Mendo already there -- after Lucrecia's having just received from him the love letter in which he praises her and slanders Analyy

- : : ;; Doha Lucrecia: ■ I did not want, ' c o u s i n , r ,to miss seeing you before you leave.

' ■ (Doha Ana: Nor; Lucrecia dear, would I :leave without stopping at your house, be-

- cause seeing your lovely face would be a •; ^favorable omen for the trip which I amabout to make. ; ■ - .Doha Lucrecia (aside to Don Mendo): De-

. ny to me now, traitor, the truths which I - am seeing.Doha Ana: What are you saying to Don- • Mendo? . ;V :> -:: :1.Doha Lucrecia: I am asking him the oc­

casion for his bright clothes, because r the time and place-indicate his accompany­ing you -- which would be a gallant action.100

During the entire next scene Lucrecia takes Mendo to task for his double dealing — not that she can be blamed, but the scene is emotional. For example: i : r v

Doha Lucrecia (taking out a paper and > showing it to Don Mendo): Do you recog- ;, :

nize this paper?; Don Mendo: I wrote it, Lucrecia.

Doha Lucrecia: Connect what you havedone here with what you say therein.

88

Traitor, hypocrite, ehe&t, deceivert And they give you the name of Guzman and the title of gentleman? What blo^d can flow in the veins of him who has the heart of a traitor? Is it a deed of valor to de­ceive a woman ; , ,

Another example of Lucrecia's emotionalism is found in Act II, scene iii. Angered by Mendo’s treachery to both her­self and Ana and by his .slander, of the latter, Lucrecia brings the letter to her cousin at Alcala, and, in a speech of fifty lines, gives vent to her feelings. In contrast, though equally; justified-in as long a speech, Ana replies in twelve,lines, four of them devoted to caring for Lucrecia's fatigue, fatigue caused by speaking of her ingrate suiter, as well as, by the journey.i°2 (a half-line at the end of the scene and the entire next two scenes, a conversation with Celiai show Ana's deep feeling, but in a call# tone.) .

D. Don Juan de Mendoza and Don Mendo de Guzman.

. Don Juan de Mendoza and Don Mendo. de Guzman hold in com­mon one quality -- equal birth and rank. In all else, the contrast between them is marked. •

With the opening speech of the play (Juan's), this one likeness and the many dissimilarities begin'to show. Juan's lack of wealth and bodily perfection, and the implied posses­sion of both by Mendo is evident from the first scene^ a con­versation between Juan and Beltran:; . :

Don Juan: This inequality, Beltran, if

89

not of my birth and rank, of my inheritance and -estate, has me desperate. Ana's beauty, grace, and exquisiteness — rival of April and envy of Dian -- look now, Beltran, how can they give hope to the desire of a man so poor and ugly, and of such unattractive figure ?

,Beltran: But, are you not Don Juan deMendoza? What, then, would Ana lose in giving her hand to you?Don Juan: She enjoys such wealth that

the humble circumstances in which I findmyself make us unequal.

The contrast between Mendo's actions and his name is im­plied in one of Lucrecia's sentences: “And they give you thename of Guzman and the title of gentleman?"1®4 • : : ^

What a difference there is between the words and deeds of Mendo, on the one side, and those of Juan, on the othert;-

When Mendo is confronted with his slanderous remarks a- gainst Ana, his malicious tongue blames everyone but himself --Juan, the Duque, Lucrecia -- for Ana's knowledge of them. No doubt his adeptness at pretty speeches1®^ accounts for some of his initial success with the ladies, but*now it a- vails him nothing, for Ana dismisses him.1®^ Not even the Calle Mayor or the unnamed founder of a hospital escapes Men­do's aspersions.1®? On the other hand, as early as Act I, scene i, Juan reprimands Beltran (thereby giving the theme of the play) for his disparaging remarks concerning Mendo's nu­merous amatory interests: “He who backbites has in his owntongue his enemy." Juan even defends Mendo, saying that he is rich, young, and handsome.1®®

30

■ . .How unlike are the estimates whieh Mendo-and Juan make of each other :to the Duquel The dissimilarity in the ap-i praisals does not escape the - Deque. Mendo explains thus Juan's praise of the Ana whom he himself maligns:• “Just be­tween, you and me, Don Juan is a good man; and if I say that, he has little judgment, I can^.without offence to him -r he's your relative and my friend. This is not backbiting." (The last sentence seems to indicate a slight realization on the part of Don Mendo of his fault.) Yet, Juan can say of his rival, who is thus.far-victor in winning:Ana, and who has just given a good account of himself in the bull ring, ^Don Mendo is an excellent man in e v e r y t h i n g . " r ^ •! .Although Mendo's reason for slandering Ana is not at all an admirable one, in fairness to -him,lit must be stated that he has;one,which he gives-in an aside: "God grant that thispraise (of Juan's for Ana) may not engender love in the Duque, for with such a competitor, my hope will .fare badly. I wish to speak ill;of her in order to take ;the force from the fire." In tne end,?of course, his detractory tongue is a boomerang which causes Mendo to lose all; Ana's answer to this aside, when. he. is ;trying to reingratiate himself: with her after his attack upon her, is found in these words: "You have alreadylost me....I admit that your intention in speaking ill of me to the Duque was to exempt me thus from his affection; but the speaking was public, and the purpose was hidden.", 10

Interesting, too, are the methods which Juan and Mendo

31

choose as means of securing audience with Ana. (Also Bel­tran’s attitude is shown.) Juan uses the subterfuge of the letter, so important that a life will be lost if she does not give it aid; Beltran would have bribed a servant of Ana’s household; Mendo forces an entrance.Ill

The attitudes of Mendo and Juan toward women and the vengeance each takes when disdained (if Juan's reaction can be called vengeance) is especially noteworthy.

Mendo, his new love reciprocated, is not content, but must also retain and continue to court the old, in case Cupid should change his mind. Mendo’s fickleness and miserliness in love are further heightened by mention of Teodora.112 Mendo, loved by three women, slanders one of them in praising another (the letter to Lucrecia). Called to task by the one slandered, he praises her and then slanders the one formerlypraised.US

Mendo, disdained, makes the shameful attack upon Ana and excuses himself because he intended it as to a wife, even though he offended as if she were a stranger. Offending her in the country is not of much consequence, since he antici- pated his punishment by suffering (the thought of) a thousand arrows in his soul lH*

Juan, disdained, faces the truth by admitting defeat in his courtship,115 and loves the more,116 his love augmented each time it is dashed to the ground.H? To Ana he gives praise which is her due whenever her name is mentioned.H®

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Loving her as he does, and despairing of winning her, he ; wants only someone wor thy of. her to have, her 7- and does all . that he can. Including the.disguise, to aid the Duque in meeting-her, hoping for her deflection from.Mendo. "How," Beltran asks his master, "in the love of the•Duque does yours lay the foundation for its remedy?" ' ■... { :

Don Juan: There being no strong rival, Ana;, loves Mendo (and) is very steadfast in her

love; I do not dare to change her. And since the Duque is a person by whose strong quali­ties and petitions Doha Ana can be changed, I intend to conquer her so that^ being change­able between the strong opponents and not steadfast in her love, she.may be more yield­ing; to ; my desire. ..Beltran: Although the scheme is shrewd, I

place great doubt in its effect, for the Du- que is very powerful. , He will win her., ; - :iDon Juan: At lehst, if he conquers, it

. , will be a solace that I lose her to a duke; and if not, it will console me to see that

■ not even a duke has been able to alter what .I cannot.120

Regarding the relations of. Juan and, Mendo; to servants: Their relations to Celia have been discussed. The relation of Mendo to his servant, Leonardo, is not nearly @0 close as is;that of Juan to Beltran, which is covered in .the next sec­tion. The only discussion between Mendo and Leonardo con­cerns the possible reason for Ana's deflection from and,dis­missal: of Mendo. Leonardo says that in delaying the marriage because of the novena. Ana deceived Mendo. for there is no woman, who prefers, devotions to love. Her double dealing was secretly intended for another purpose, and lest she should

33

not succeed with it, she dallied with his gallantry. Now shehas succeeded in it (her other purpose) and bids him good-byewithout satisfactory accounts to him. Mendo approves his

* 'servant's discourse and decides to take vengeance on Ana that night. Leonardo helps his master in making the attack upon her. Leonardo, like Clavela in El examen de maridos. takes his tone from his master.121 •

Of Mendo and Juan, Dr. Bo.urland says: _

...Don Mendo, the slanderer, has the re­deeming characteristics of a winning per­sonality and physical perfection; Don Juan, though patient and wholly without presump­tion, has vigor of feeling and proper ca­pacity for resentment.188

Two incidents show especially well Juan's vigor of feel­ing and proper capacity for resentment.

After Juan has assisted the Duque in meeting Ana, and she has given her hand to Juan, the Duque, thinking to punish false friendship, draws on his rival. Juan effectively de­fends himself with these words: "Wait, I never deceived you.It was caution and not deceit to hide my desire; for, remem­ber, if you will: I accompanied you only in meeting her, and when you began to love her, I left off accompanying you.”123

After Mendo1s attack upon Ana, he sends, via the Conde, a haughty letter to her, asking an audience and making the statement that he has never offended her. The Conde gives it to Lucrecia, and she, pretending that it is addressed to her,

34

shows it to Ana. At that moment Juan arrives and, recogniz­ing the handwriting, asks permission, as a jealous one whom Ana has called her master, to see the paper. She tells him to ask Lucrecia, to whom it is written. He immediately realizes the real addressee and says:

Don Juan: Doha Ana, what has obliged youto try to deceive me? Of what importance can I be to you not loved, and deceived? The ar­guments which I have read are directed to you, for concerning the happening the words are known. . -

Doha Ana: When the paper comes to me, doesit give thanks for some favor or reprimands for my harshness? Then I put you under obli­gation with it.

Don Juan: A better way of putting me underobligation would be not to have read it (the paper), for he who, offended, listens does not flee from pardoning. Do you receive an­other's letter when you have named yourself mine? Either you have esteemed me little, or you live lightly: from this I have now per­ceived that it is better for me to live un­happy in your disdain than"offended in your favor, I shall go away where your favor may never again deceive me.124

Mendo's thoughtfulness in sending his butler ahead so that dinner might be waiting for Ana on her arrival at the Venta de Viveros. although part of his lover's strategy, is also part of his winning personality.125

. E. Beltran.

Beltran, more friend than servant to his master,126 as Celia is to Ana, so thoroughly understands him that he can put into words the master's thoughts. Referring to Juan's

35

delight in being near Ana, despite the fact that she gives him no real satisfaction, the gracloso says, "You do not drink in the tavern, but you dally there,” and the master responds, "You understand the situation well.”1^7

There are other examples of Beltran as an epigrammatist, for instance, these: "Persistence accomplishes much;" orthis one, "Without wealth or good looks, you could not suc­ceed in your purpose (of marrying Ana);" or this, "His (Ken­do's) tongue, in truth, is the one which spares nobody."12®:

Sometimes he philosophizes at greater length, as his thirty-one line speech on begging and.women (only part of . which can be quoted here):

All, according as I imagine, beg, for in order to live, it is necessary to give and : to beg, each one in his own manner: the sacristan with his cross, the parish priest with his responsaries, the monster with his figure, the porter with his body, the con­stable with his appointment as an official, the notary with his pen, the official with his power to command, and the woman with her face. And the latter, who excels all the rest, begs with more reason because she gives more than all the others and has less ability to give....They (the women) beg from habit: make a habit of denying; for begging . is used so much since they were born that I think that now they beg without knowing what they are doing. And thus, denying is easy, because one can infer that she who asks without feeling will not feel not ob­taining.129

Or this:

A detractor is worth more than a hundred preachers. I know someone who because of

36

• neither sermonsi nor periods of Lent, ner - ; ; : -advice from wise and old friends put a

> bridle to his passions or altered Ms;mode v of living for a long time; and merely

i . .through fear of a-slanderer, he now lives-1like a monk,1*0

: That Beltran is.intelligent and learned is evident fromhis many allusions to classical and mythological stories and characters, even if statements were not made:to that effect, as when he says to Juan, "Although I am a servant, I"some­times read and write; or, when'^the Duque tells Juan that he has an entertaining servant, Juan replies, "He is witty and has studied for some years."131 jn thirty-four lines of Act I, scene i, Beltran mentions Faustinaj, Hippia, Aegira and , : the statue of Fortune, Daphne: and Apollo, and a human seraph who resisted for a century a courtier Narcissus who later found her in the arms of a dwarf; in Act II the gracioso makes a reference to Seneca in connection with certain kinds of games; in Act III Beltran calls Mendo "Guzman Narciso."132

Beltran's advice to Juan is generally sound; though sometimes a bit sly.133 when Juan discovers the Duque's love for Ana and fears that he will succeed in winning her, de­spite the fact that she: has all but proposed to Juan, Beltran suggests that Juan marry her before the Duque has time to present his suit. But how can that be done on short notice? By pretending that the wound which Don Mendo received when making his attack upon Ana is known to the rabble, which with this is besmirching the reputation of Doha Ana. By giving

37

her hand quickly to Juan, she will hush the gossip. Juan de­cides to follow this advice -- which becomes unnecessary,since Ana will not even read the Duque's letter ,134

#Sometimes Beltranls advice takes almost the form of a reprimand to his master, for example:

You say that you despair (of winning Ana), and in the midst of your very lack of hope you never leave off trying. What more do you do when you hope ? Do you think that hope is some confection brought from far-off ja­pan? Hope is thinking that in the end that which one desires may happen; and he who does something so that it may be, thinks indeed that it can be.135

Although "Beltran differs from the conventional gracioso in being, like Tristan of La verdad sospechosa. something of a scholar and in having less of the wag than the typical Spanish valet,”136 he retains the traditional gracioso-1ike quality of constant hunger:

Don Juan (who has just conquered over him­self by recognizing his defeat in his court­ship of Anal37):Sad, where not hoping is necessary, . .Where despairing is the victory,Where conquering gives advantage to the enemy *

Beltran:Sad, where going with you is necessary, . ".. ; ,Where finding something to eat is a great victory, Where supping is always done from memory'. 138

Occasionally Beltran makes a mistake in his evaluation of people — in this case, of Ana. His estimate of women in general is not very high. In the first act, he insists that Ana will not see Juan:

38

Beltran: There is no poor man with highrank; if you were a rich rustic, on my word, you would never have difficulty in seeing her.Don Juan: If she is so busy preparing for

the trip, the excuse, I believe just.Beltran: That which I see with my owneyes...Don Jyan: Malicious nonsense.Beltran: How much do you wager that she

does not see you?Don Juan: He who undertakes a difficult

thing is not offended by not succeeding; but Doha Ana is very courteous.

Bpltran: Arid now that she departs for Al­cala, what are we to do?

Don Juan: While she is absent, wait andbe patient.

Ana does see Juan, of course (l, iv). Then Beltran thinks that he will help his master's suit by slandering Mendo to Ana; instead, the servant receives the reprimand from her.1^0 Finally, after the Duque has fallen in love with Ana, Beltran considers Juan's suit hopeless, unless he can marry her be­fore she learns of the Duque's love, "For, if your loved one learns of that hope of his, they can well toll the bell for you, for what will a woman not do to be called 'Excellen­cy?' "l^l Ana, of course, will not even read the Duque's let­ter (see note 134).

Although more friend than servant to Juan, Beltran, like Celia, is not above being reprimanded by the master when the master deems reprimand necessary.1^2

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III. La verdad sospechosa.

A. Don Garcia.

Don Garcia is not an ordinary liar, but the most perfect and pleasing liar of the world, the most gifted master of the lie: he con­ceives it with surprising rapidity, states it with assurance and boldness, and adorns it with all extravagance of detail; and, if he is caught, he knows how to, escape imperturba­bly and gracefully. When he asserts that he speaks ten languages, his servant thinks, with reason: and all are not enough for yourlying.143 -------— ---------

He "lies through inclination, for pleasure or entertainment, not to cause harm to anyone or to take advantage of hislies."144

From the moment of his arrival in Madrid, Don Garcia starts to weave the web which ultimately envelopes him. Then, when he makes the few truthful statements of his1 life, he is not believed, for "in the mouth of him who is accustomed to lie, the truth itself is open to suspicion."143 He lies so much that even his own father does not believe his statement that he lied: "But first I have to inform myself about this from Salamanca, for I fear that, in telling me that you de­ceived me, you now deceive me. For, although I knew the truth before I came to speak to you, you have made it (the truth) now open to suspicion by merely confessing it."14®

Garcia's first misstatement in Madrid is to Jacinta, that he has been beside himself for more than a year with

40

love for her, a statement which Tristan answers in an aside,"A year, and yesterday he arrived at the court?*1 Garcfa's story expands: He is wealthy; he is from the Indies. Whenhe meets Don Juan de Sosa and Don Felix, friends from his student days in Salamanca, he insists that he has been se­cretly resting at home in Madrid for a month and that the. supper and music given on the banks of the river the preced­ing night was his fiesta for his lady. He describes the .cel­ebration in great detail, a description which surpasses the truth itself.14? . : ,

Later, at Tristan's request, Garcia explains the reason for each of these tales: Strangers have more success with the ladies (than home town men do), and more yet if the strangers are from the Indies, a proof of wealth. By the time his real identity is found out, Garcia will, by means of his pretense, have gained entrance to the doors of the ladies' houses or their hearts, and from then on he will know how to get along with them. As for Garcia's having been in- the court city for a month, Tristan should know that this : matter of being concealed or retired in one's village or resting at home is indication of greatness. The festivity? Garcia feigned it because it grieves him that anyone think that there be anything which may move his heart to envy or > astonishment, passions which lower a man. To show astonish­ment is ignorance, as to show envy is baseness. How pleasant it is, when a newsmonger arrives very proudly to tell of a

41

feat or a festival, to close his mouth for him with another similar tale, such that he returns with the news still in his body and bursts with it 1 And if Garcia’s artifice is found out? He who lives without being heard only increases the number, and does that which all do. How does he differ from a beast? To be famous is a great thing, be the:means what­ever they may be. Garcia expresses a desire to be mentioned everywhere, even to be censured; to gain notoriety, someone burned the temple at Ephesus. And finally, this matter of lying is Garcia's pleasure, which is the strongest reason for his doing it.146

The last statement is, of course, the key to Garcia's whole philosophy . • : , ' ..

His reason for telling his father that he is already . married to a girl in Salamanca, and the entourage of further lies which that one necessitates, is simply to save himself from a marriage which he thinks he does not want.l4^

Thus is evident the fact that there is no viciousness in Garcia's lies, lies in which he can,be, and, is, easily caughtup.150 ; ■ . -

Nor, on the other hand, is there hope of his ever being cured. He answers his father's reprimand of his vice with the words, "He who says that I lie has lied" *- and immediate ly spins, "with equal pleasure and serenity", the tale of his marriage in Salamanca, complete with details.151 Don Beltran must then quickly extricate himself from the embarrassing

42

position in which he has placed himself by pledging his son to Jacihta. After he has gone, Garcia says:

It has turned out in lucky fashion. The : -bid man goes persuaded: now he will proba­

bly not say of the lie that it is without pleasure and without profit; since it is such notorious pleasure to see that he has believed me, and such notorious profit to have fled from marrying to my displeasure.It was good to scold me because in all I say, I lie, and at once to believe all the lies I sayi How easy it is to persuade one who is accustomed to hold (another in) affection! And how easy for him who does not know how to lie to believe!*-^

Garcia's "mendacity is not exclusively of amorous ori­gin." "He feels a deep satisfaction when he pulls the wool over another's eyes."153 The audience feels Garcia's satis­faction with himself as he tells the lies already mentioned.■' V; . : • , ■ •• ■ - . ' -Another source of this delight, and also an example of a non- amatory lie., lies in his ability to make even Tristan believe that he has killed Don Juan de Sosa in a duel.1^4

As Dr. Brooks points out:

...the character of Garcia is not inherently mean. Garcia's many virtues, which exhibit him in a favorable light on many occasions, are not, therefore, a contradiction or a weakness in the play. He is endowed with the qualities of the ideal nobleman of the seventeenth century: generosity, courage, shrewdness, intelligence, liberality, kind- heartedness, and quickness of wit (l, ii). These characteristics are not mere tags applied to him in the beginning of the play and subsequently forgotten. They are ex­hibited constantly in action, and the pre­dominance of his imperfection is therebyemphasized.155

43

Early in the play the Letrado, asked by Beltran for the truth about Garcia, gives a verbal characterization of him, a characterization which Garcia's later actions show to be a true one:

All of the actions of my master Don Garcia have a certain quality, which are fitting to his noble lineage. He is magnanimous and brave, keen-witted and ingenious, lib­eral and kindly, although hasty and impa­tient....But one fault, no more, is that which I have recognized in him, which, how­ever much I have scolded him, he has never reformed....He does not always tell the truth.lb6

fAny one of Garcia's lies or series of lies shows his in genuity and quickness of wit in action. Even in this one, which taxes such a keen wit as his, and which is the only time that he shows the slightest degree of confusion, he man ages a plausible explanation satisfactory to his father:

Don Beltran: But say, what is the name ofyour father-in-law?

Don Garcia: Of whom?Don Beltran: Of your father-in-law.Don Garcia: (Aside. Here I am ruined.)

Don Diego. #Don Beltran: Either I am in error, or at

other times you have called him Don Pedro.Don Garcia: I, also, remember that very

thing, but both names belong to him.Don Beltran: Diego and Pedro?Don Garcia: Do not be surprised, for by

a stipulation, the heir of his house has to be called Don Diego. My lord was called Don Pedro before inheriting, and as he then became Don Diego because he inherited, since that time he has been called now Don Pedro, now Don Diego.

Don Beltran: This is not a new condition

44

in many houses of Spain.;' I am going to write tg him. (Exit.) ; ^Tristan: Your confusion this time was

strange indeed. - ; : :> L - L i, , ' : •: : »' : : '

. /:*. / j ;In the following episode,,for example, Garcia exhibits

the attributes belonging to the chivalrous gentleman of the seventeenth century --bravery, courage, cognizance of his rank and the actions befitting it, hypersensitiveness to any insult to his honor, skill in dueling:

Don Garcia: I find such terrible thingshappening to me that I think I am mad: I came yesterday, and:in one;moment I have love and marriage and cause for challenge.(Enter Don Juan.) ; • .Don Juan: You have behaved in a:manner .

worthy of you, Don Garcia. _ . • ;Don Garcia: : Who; knowing my.blood,

would be able to expect less of my courage?But come, Don:Juan, to the matter for which you have called me here. Tell it; what reason do you have for making this challenge, for I burn with impatience to : ^know it.

.u Don Juan: That lady to whom you made,.according as you told me, a fiesta last night on the river bank is the cause of my torment, and it is she to whom my mar-

;; :,v'. riage, although it is delayed, has been -arranged for two years....

)■ ■ Don Garcia: (He explains how the ladyof his fiesta cannot possibly have been

. v, Juan'svTadyTT And even if it had been -she, I give you my word, as the one who I

: ;am, not to see her any more, or I am a liar.Don Juan: With that, the suspicion of

my heart has been allayed, and I am satis­fied . . . ■■ .. ' - , :Don Garcia: There is lacking that I

remain so; for (your) having challenged me must not remain thus-. (Your) bringing me out here was permitted, but having brought me, you placed my under oblige-,

45

tipn, and iV iSi necessary,, since I. must act like one.who I am, not to return except ei­ther dead or victorious. : . -

(just as Garcia and Juag draw their swords and beg^n to fight, Don Felix arrives.)Don Felix: Stop, gentlemen, for I am here.Don Garcia: Come on, whoever thinks he ; >

can stop me*Don Felix: Sheathe the:valiant swords, : v

for the cause of this quarrel was false.; Don Juan: Don Garcia has already declared

it thus, but, because of the oblifation ' : which the challenge imposes, he unsheathed

his valiant sword.Don Felix: He acted like a gentleman of

such valor, and courage.... (Garcia and Juan shake hands. Garcia leaves.): ■.Don Juan: What are you saying?Don Felix: This is the,truth.Don Jqan: Don Garcia is a liar?

; Don Felix: A blindlperson would see that....Don Juan: What holds me doubtful is that

a man so brave can be a,liar, for- the!fury from his sword would give Hercules grief.:Don Felix: He.probably has the lying from

habit, the valor by;inheritance.158.

Garcia's generosity is shown by his willingness to for­get the duel when his honor is no longer at stake.

The whole plot of the play hinges on his hastiness. Had he not been so hasty.in assuming that all. would think as he does as to which girl, Jacinta or Lucrecia, is prettier, he would never have made the mistake in identity. Tristan re­ports the information he has secured from the coachman: ; -

Tristan: 'Doha Lucrecia de Luna, who is'-v. my. mistress, is the name of the more beau­

tiful ; and I know the house but not the - name of the other lady, who is accompanying L

her.' This the coachman answered me.: Don Garcfa: If Lucrecia is the more . . •

beautiful, there is no more to find out,

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for she is the one who spoke and the one whom I love.; for, as the author of the day leaves the stars behind, in that way the one who blinded me surpassed the rest.^^S

Again, when his father tells Garcia of the proposed marriage to Jacinta, he, without seeing her or finding our more about it or her, decides that he will, riot marry her, and tells the tale of his wife in Salamanca;

Don Beltran: And now, in order that youmay understand that I am vigilant for your ' ;welfare, know that I have, Garcia, arranged a great marriage for you. fDon Garcig (aside): Oh, my LucrecialDon Beltran: Never, son, did Heaven

place so many, such divine qualities in a human subject as in Jaointa, the daughter ;of Don Fernando Pacheco, of whom my old age desires to have beautiful and well brought -up grandchildren.Don Garcia (aside): Oh, Lucrecial If it

is possible, you alone are to be my possess­or.Don Beltran: What is this? You do not

answer?Don Garcia, (aside): Yours I am to be, as

Heaven lives *Don Beltran: What saddens you? Speak;

do not hold^me longer in suspense.Don Garcia: I am sad because it is im­

possible to#obey you.Don Beltran: Why?Don Garcia: Because I am married.160

Stress is laid throughout the play on the fact that Gar­cia's mendacity is due to his education -- the faulty envi­ronment and training in Salamanca. Garcia "is a product of the surroundings at the university in his day, and his faults are definitely ascribed to this environment: Garcia has not

47

misused his opportunities at school. Rather- he has used them only too well1 and has become a m a s t e r This interesting subject must merely be mentioned here, as this study is con- 1 cerned with the finished character, rather -than with the pro­cesses which go into the forging of that character.

Ochoa says that a vice so ugly as -that of lying deserves a very severe punishment, and Alarcon has given it to DonGarcia.162

This fact, that only the complete loss of Garcia's hopes and plans is sufficient punishment for such an all-consuming defect,10, can, also, only be mentioned here.

In stating the probable reasons for the greater popular­ity of La verdad sospechosa (over Las paredes oyen) outside Spain, Dr. Bourland makes this comparison of the protagonists of the two plays:- - . . :

...The greater popularity of the latter (La verdad sospechosa) outside of Spain may

:: perhaps be explained by the fact that the ' character of the liar and braggart as exem- pi if led in Don Garcia is a type which/ makes •.? ..a more general appeal of interest than that

.> r -. : of the detractor as personified in Don Men- do; he is dashing and amusing though unve- racious; and has at least the merit of in- idulging in his vice in the grand style.164 1 : . ;i : : :. , - ' ‘ ; . . -

i - c B. :Don Beltran. c r : i .r :: : ./• ' < =

In contrast to Don Garcia, we have his father, Don Bel-tran, with all of his son's good qualities, and without his vice. Yet, Beltran is not too perfect to be human.

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His good sense is shown by the fact tha% he does not think his son perfect. He wants to know the kind of vice to which his son is inclined, in order to correct it, for vice the son is bound to have, even though knowledge of it will not be pleasant to the father.1^5

Don Beltran is shocked and horrified to learn that the vice is lying:

Heavens, what an ugly thing in a man of honori...If the young shoot has not been able, in the time that it was flexible, to straighten, what will it probably do now that it is a sturdy trunk?...Believe me, (when I say) that if Garcia should waste my estate in blind love affairs or spend night and day in gambling; if he were of reckless nature and inclined to quarrels, if he had married badly, if he should die, even; I should not bear it so badly as that his fault is lying. What an ugly thing'. How opposed to my nature IWell, now: that which I must do is to

marry him quickly, before this obstacle comes to be known. °°

In this last sentence Don Beltran shows, according to Pedro Henrlquez Urena and Bogliano, that his ethics are not superior to those of his son: the father wishes to marry off his son and to situate him well in life before this defect which he calls an "obstacle" is known, Instead of trying to correct it before he begins to function freely in society.But this, Henrlquez Ureha and Bogliano conclude, is an un­conscious oversight on the part of Alarcon, whose plan was to give moral import to his comedia.*-67 Don Beltran's second

49

sentence, "in the quotation above, indicates that he considers Garcia's case already hopeless. Perhaps, judged in the light of his times, he . takes the only recourse.possible in such a situation. There is no doubt of Beltran perfect truthful­ness; but this lack of complete honesty, at least judged by our standards, makes,him, whatever the basic cause, imperfect. .. -• ' : - • v :• . : ■: - .. - - ; v.enough to be human. . ^ ^ : V

Even while making arrangements;for.the marriage, he tries to show Garda how to improve: .

Don Garda: He who Isays that I . lie has. lied. , ■

Don Beltran: That is also a lie, but youknow how to belie only, by lying. . , l

Don Garcia: Then, if you insist on notbelieving me... rDon Beltran: Will I not be foolish if I

believe that you alone speak the truth and. the whole town lies? The important thing is to prove this report false by deeds; to think that this (Madrid) is another world ‘(from Salamanca); to speak little and tru­ly; to consider that you are in the sight of a king so holy and perfect that your de­fects cannot find excuse in his defects;(to. consider) that you associate here with grandees, nobles, and gentlemen who, Ifr they know your weakness, will lose respect for you; (to consider) that you wear a sword:at your side; (to consider), finally, that you were born noble, and that I am your father. And I do not have to say more to you; for I hope that this reprimand will be sufficient for one who has nobility and understanding. And how, in order that you may understand that I am vigilant for your welfare, know that I have. Garcia, arranged a great marriage for you.^8' . :

4 " "Don Beltran, of course, wants hie son to emulate the.........

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men of honesty in the court, but, also, he is realistic enough to recognize that there are in it men’ completely lack­ing in integrity, for he says to the Letrado:

* You move me almost to laughter to see how ignorant you are of the courts Then there is no one here who can teach him how-to lie?In the court, although Don Garcia-may have been an expert, there are those (to be found) every day who can give him a handicap of a" thousand lies' (and beat him). : And if he who occupies here a lofty pose lies, concerning a matter in which thedeceived person's pro­perty or honor is at stake, isn't he a great­er incongruity who is set up as a mirror for the kingdom (if he lie)? Let us leave this,for I am becoming a slanderer.169 , r: :

This- dislike for gossip (Alarcon speaking, through Bel­tran of course) is another of Don Beltran's good qualities.

Don Beltran is even more sensitive to the actions befit­ting one of noble rank than Garcia-is. The father's feeling is based at the highest possible level. Note the conversa- tion between the two men:

r;: ' / Don Beltran: Are you a gentleman, - Garcia?Don Garcia: I consider myself your son.Don Beltran: And is being my son enough

to make you a gentleman?Don Garda: I think so, sir. ' ,Don Beltran: What an erroneous thought1

; 1 Being a gentleman consists solely in acting ;like one. Who began the noble houses? The. illustrious deeds'- of the founders. Without fconsidering their births, deeds of humble

- - men honor their descendents. Then in doing > bad or good is being bad or being good. Is it not thus?Don Garcia: I do not deny that deeds may

give nobility; but you may not deny that, birth also gives it without them.

51

Don Beltran: Since one who was born with­out honor can gain it, is it not true that, on the contrary, one who was born with it can lose it? • . r v

Don Garcia: That is true. "* ....Don Beltran: Then if you.do.disgraceful;

acts, although you are my son, you cease be­ing a gentleman; : then if your habits dishonr or you among the people, paternal escutch­eons are not important, nor are noble ances­tors of use. What thing is it that report says in ray very ears that in Salamanca they admired your lies and deceits? A gentleman? Bahl...Is it possible that a man has such ; low thoughts that he lives subject to the vice most without pleasure and without pro- : fit? Natural gratification holds the lust­ful prisoners; the power which money gives compels the greedy; the pleasure of the ta­ble the glutton;...the robber has profit; ...All the vices, finally, give pleasure or profit; but lying, what does one draw from it but infamy and scorn?170

• These reprimands which Don Beltran gives Garcia (notes 146, 168, and 170) are sufficient to show .the;basi's. for this % statement :by Dr. Brooks: 11, . .The sting of his (Don Beltran* s) reproofs is never unbearable. Throughout the play his bursts of indignation are quickly repressed,, and he is represented as ready, to indulge or reprehend -- 'this last without .exces­sive severity: — as circumstances require;"I71 , -

■ , Don Beltran's high sense of honor is shown, also, in this incident: Although very unhappy over. Garcia's not hav­ing told:him of his supposed secret marriage, Beltran says, when he is told the compromising circumstances attending it:

. ■ r \ - . . 'v . , ' i':' -- 'The circumstances of the case are such

that one recognizes that the force of fate destined that wife for you; and thus I do

• not blame you for more than remaining si-. . lent about it to me.l7^

52

C. Tristan./ , • 'Tristan and the gracioso Beltran of Las parades oyen

have several qualities in common. Both are more friend thanservant to their masters; both are somewhat learned; both aid

• , 1 - -or try to aid their masters in winning their ladies; both ad­vise their masters concerning the course of action to follow; both reprimand their masters; both would use bribery of ser­vants; both hold women in low repute; both graciosos remain single.

Yet, there are enough differences to make each an indi- vidual, not a carbon copy of the other: Tristan has lesssuccess in guiding Don Garcia than the gracioso Beltran has in guiding Don Juan; Beltran is nearer to Don Juan and in closer harmony with his inner thoughts than Tristan is to Don Garcia; Tristan never needs a reprimand from his master;173 nor does Tristan make love.

, ■In Act I, scene i, Tristan is given by Don Beltran tofDon Garcia for a friend and counsellor, not a servant, the

, ■■ - 'same relation which the gracioso Beltran bears to his mas­ter.1?5

Tristan’s learnedness is stated in these words, after his classification, in astrological metaphors, of women:

Don Garcia: Are you an astrologer?Tristan: I studied astrology while I was

seeking a government post.

Even in this similarity of the two graciosos. however, there

53

is a dissimilarity, for>Beltran has greater classical learn­ing. Except for the knowledge of astrology shown in making . his classification of women, Tristan makes only a few refer­ences to.classical mythology: for example; in onC.Speech, * mention of Virgil, Dido; and Cupid; in another, of an epi­gram which Martial wrote to Naevia.l?? ■

Tristan's aid to his master in the latter's courtship consists of finding out from the coachman the lady1s name (l, vi); acting, with Camino, as messenger between Don Gar­cia and Lucrecia (ill, i); accompanying his master in making the visits to Lucrecia and Jacinta (ll, xiv-xvi; III, v-vi); persuading:him that only the thought that he is married pre- vents the girl he wants from accepting him, and advising him to bring proof from Salamanca that he is a bachelor (ill, vii); and other bits of advice (ill, vi).

. .O v r ;Since Tristan has served Don Garcia only a short time

and is less well acquainted with him than Beltran is with DonJuan, Tristan's advice to his master regarding the course of action to follow is less pointed than is that of the other gracioso. Following are .two examples from La verdad sospe- chosa: ■' : . - ■ ■ - -

■. '■■ ■' ; - 1: -: , : - .: ,. - c -- *(l) Garcia- haying seen Jacinta and wanting to serve her,

#tells Tristan to follow her. This conversation takes place:

Tristan: Wait, for she is getting out ofthe: carriage at the shop^: , : : ; ■ : ;Don Garcia: I wish to approach. Is it

customary in the court? ;. ! : .

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Tristan: Yes, with the rule which I gaveyou, that money is the magnet.179

(2) After Garcia's explanation to Tristan of the reasons for all of the lies to Don Juan de Sosa.1®® the gracioso re­plies, "Your ambitious idea follows youthful judgments, and you need to act in a mature and sensible manner in the court."iB! •

The strongest reprimand which Tristan gives Garcia is found at the close of the play:

The fault is all yours; if at the begin­ning you had told the truth, this is the hour in which you would be possessing Ja- cinta. Now there is no help for it; par­don, and give your hand to Lucrecia, who is also a fine girl.1®*

This reprimand is stronger than the reprimand which the gra- cioso Beltran gives his master -- another dissimilarity in the similarities of the two graciosos.

Tristan's belief in the bribery of servants is shown in■ ■ ■ ' . : • 'w;. . .this speech to his master:

Camino (escudero in Lucrecia*s home) is on your side and promises to reveal to you the secrets of her heart (that of Lucre7 cia); and that he will fulfill it, I ex­pect, if you give generously; for there is no torture like money to make one confess.1®^

In a speech of eighty-four verses Tristan shows the low repute in which he holds women, classifying them in astrolog­ical metaphors and at every level. He begins with the ladies

55

of the nobility: 1 1 , whom I do not wish to include here, for they are angels whom one does, not offend even in thought. Of them, however, I will tell you simply that although divine with frivolous souls, they are human; although stars, they are corruptible." He closes with young girls: "..., who try. to take advantage of every opportunity; these are meteors which last while they burn out." . V.

And he draws the following conclusion:

And thus, without trusting them, bear in mind one single assumption, which is. that money is the pole of all these stars.184

Tristan’s preference for silent women is indicated in the. following remark, made after Garcia, learns that Luc reel a is the more beautiful of the two girls whom he has seen anddecides.that, therefore, Lucrecia is the name.of the one to whom he talked:-1-85 "Well,the ^racioso replies, "to me the one who kept silence appeared more .beautiful... .For ; I am so . partial to any woman who remains silent.that the fact that: she kept silence was enough to judge her more beautiful."l88

Regarding the differences,(listed at: the beginning of this section; on Tristan, and not already indicated by notes 173 and 174) .in the two graciosos:

Although Tristan tries several times to dissuade Don Garcia from his mendacity and boasting, the gracioso has no more success than has anyone else. One of his attempts is

fgiven in note 181. Following is another:

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Jacinta and Lucrecia refuse to believe Garcia*s few true statements: that he is a ,bachelor, and that he has spoken on­ly to (the girl he thinks in Madrid (see note 207)^

to be) Lucresia .since his arrival

ter,

Don Garcia: I am madl Are truths worthSO little? :

Tristan: In your mendacious mouth.; ;Don Garcia:: She has insisted on not be­

lieving,anything that I say.Tristan: :What astonishes you, since she

has definitely catight you in four or five lies? From now on, if you consider it, you will recognize- clearly that he who lies in jest loses reputation for veracity in serious things.187

Tristan fails in this attempt^ also, to .guide his mas- for in the next Act Garcia fools even his gracioso with

the tale of killing Don Juan de Sosa in a duel (see note 154).Don Juan (of Las paredes oyen). on the other hand, is

willing to follow the advice of his servant.188Tristan tries to understand his master, as when, for ex­

ample , he asks the reason for the lies to Don Juan de Sosa:

And now, before I burst, tell me, for Hea­ven's sake, what end do you have in mind in

r < telling the falsehoods which I have heard?(Tell me) at least in order that I may aid

: you; for.catching us in a lie will be anaffront.18y

But even he who, above all people,' should not be fooled by Don Garcia's tales, is much astonished- at himself and cha­grined that he believes the story of the death of Don Juande Sosa:-

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Don Garcfa: ;.»for (ey) opening in hishead;(that of Don Joan de Soaa) a slash four inches long, he: fell, without eon- , sciousness to the ground, and even; I sus­pect, without soul. *1 left him thus and secretly came away. This is what is hap- . pening, and for. (your) not seeing him these days, t^is is the reason.: Tristan:: What a strange event1. And if he died? : : :: 1 ,Don.Garcia: : The thing is clear, because

he scattered:even his very wits through the field (gf battle). ... -Tristan: Poor Don Juan (de Sosa)» : # .(Enter Don Juan de Sosa andxDon Beltran

on another part of the stage.)Tristan: But, is that not he who is com­

ing here? fDon Ggrcla: A strange thing*Tristan: You deceive me, too? The sec­

retary of your soul! (Aside.) For good- •i:. ness' sake; he deceived me, although I knew . it

his way! But whom would lies so well ::w\.thought out not deceive?. . .(is it possible) .

that you can never really know anyone?

• O n the other hand, the gracioso Beltran knows his mas­ter's; very thoughts . . V ; :

i . V D. Jac inta. ^ ■; : . : /

The first impression which the audience receives of Ja­cinta is that she is a coquette — she, by falling where Don Garcia will-catch her, makes the first move in scraping upthe acquaintanceship.1*2 . ,

Her next appearance is in her own homei. Only her con­sent is lacking to complete .the arrangements for her marriage to Don Garciaw Here, in talking to Don Beltran, she showsboth good sense and the not unusual desire to. make a good

... - ■ ■,..v. .marriage: '

58

To stress: wkiat I gain in the hand which you give me, since it-is evident. Is use­less; for I esteem in such manner your good qualities, that 1*should immediately give my consent, for the much that I gain in it, if it would not seem frivolous daring in an honorable woman. For, coming to a quick - decision in things of such weight is to have either very little sense or great de­sire to marry. And as for my seeing him, it appears to me,’ if it please you, that, in order to risk nothing, the meeting occur passing through the street. For if, as may be, and as happens frequently, after arrang­ing it, the marriage should be broken off, of what use would the visits have been to me, or what reputation will the visits of a gallant with the privileges of a husband give me?193 .

In the next:scene, one with Isabel, her maid, Jacinta reveals both her love for Don Juan de Sosa and her reason for flirting with Don Garcia. Throughout the scene, Jacinta continues to show her good sense and her eye for making a good marriage— at a date in the not too distant future:

Isabel:' The old gentleman (Don Beltran) hurries you a great deal.Jacinta: I should be in still greater

haste, since the marriage also does me hon­or, if love did not compel me to different couns|l.:For, although the impediments of the habito of Don Juan, master of my thoughts This marrying depends upon his se­curing the habito). give me necessary cause to admit other proposals; as I cannot bid good-bye to his love, however much I desire to do so, for he lives fixed in ay soul; Itremble, Isabel, when I think that another is to be my husband.

Isabel: I thought that you were forget­ting Don Juan/ seeing that you gave oppor­tunity for other proposals.Jacinta: These motives cause it, Isabel,

do not be mistaken. For, since the habito

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; has been delayed so long, and since he is not to be my husband if he does not get it,I already hold this proposal as lost. And thus, in order not to die, I desire to

; talk and divert myself, since I torture my­self in vain; for in an impossible proposal,I do not approve of persisting until death. Perchance I shall find someone who deserves ;that I give him my hand and soul.

Isabel: ...if I mistake not, the gallantfrom the Indies did not displease you today.Jacinta: ...Well, he did find favor with

me. And so much that, I promise you, if the son of Don Beltran were as discreet, as

/ much a gentleman, and as gallant, the wed- ,, ding would take place.

; Isabel: This afternoon you will see himwith his father in the street.

- Jacinta: I shall see only the face andfigure; the soul, which is more important,I should like to see by talking to him.Isabel: Talk to him.

; Jacinta: Don Juan will be offended if hecomes to know it; and I do not wish, until I know that I am to be wife of another, to decide to lose him. (in not breaking off with one potential mate until she is sure of the next, she reminds us of Don Men- do.194)

Isabel: ...Don Juan is...the dog in themanger. Without Don Juan's knowing,it, you can talk, if you wish, to Don Beltran's son; for women's schemes are appropriate.Jacinta: I am thinking of one which could

in this case be important. Lucrecia is my friend: she can on her own account have Don Garcia called; provided I be secretly with her inQher window, I shall attain my pur­pose .195

Jacinta sees Don Garcia with his father, realizes that his statement about being from the Indies is a lie, accepts Isabel's explanation of the possible reason for both that and his claim to have been in love with her for a year, forgets that she wants to know his soul before making up her mind, and says, "After all, let it be as it may. I am satisfied

60

with his qualities; his father wishes the marriage; he wants me; consider the marriage made."1^6

Then come the necessity for Don Beltran’s cancelling the marriage arrangements with Jacinta (II, xv); Garcia's second and third meetings with Jacinta and Lucrecia (ll, xvi; III, vi), and the complications, hurt feelings, and. seeming lies which arise from his mistake in identity, his past lies, and his present true statements to the ladies; the receipt by Don Juan de Sosa of his hablto and the promise from Jacinta's fa­ther that she will be Don Juan's (ill, xii); arid, finally, Garcia's realization, too late, of his error in the name of the girl he wants (ill, xiv).

The last words which Jacinta and Lucrecia exchange, at the opening of the last scene, show that they are both plea­sed with the final arrangements:

Lucrecia: At last, after so many obsta­cles, you obtain your sweet hope.Jacinta: Provided you obtain yours, I

shall be happy about everything A 97

Isabel performs for Jacinta the usual functions of the maid: She is counsellor to some degree, as when she advancespossible reasons for Garcia's lies to Jacinta;19® confidante to a certain extent, as when she carries the request to Lu­crecia, asking the latter to write to Garcia, and then stands guard while her mistress and Lucrecia talk to him from the balcony.199 She shares much less of her mistress' life than Celia does of Doha Ana's (Las paredes oyen)T and much more of

61

it than Menc£a does;.of DoBa Ines» (El examen de maridos) •:: : Thus .we;„have Jacinta, not as shallow as Dona Blanca,of

El examen de maridos. nor as daep as Dona Ana of Las paredes oven. She is enough in love with Don Juan to give the mar - ; riage better than an:even chance of being; successful, but probably not as much in love with him as he, is v/ith her.Like women; and men;of all periods of history, she is inter­ested in making a good marriage, preferably with the one she loves, but, if - that is impossible, then with;,some other at­tractive person.; - She,has both good sense and the ability to scheme for the- things she wants. >. >. ; .

;.E* . Lucreqia. :

The chief relationships of Lucrecia are those with Ja cinta, Don Garcia, and Camino.

That with Jacinta runs the gauntlet from friendship,200 down to open suspicion, and back to friendship.201

According to Jacinta's planning, Garcia is summoned by Lucrecia to her balcony.202 Jacmta, posing as Lucrecia, does the talking (ll, xvi).

• Don Garcia; Is it Lucrecia? f - r;iJacinta:f Is it Don Garcia?

; Don Garcia: It is he who found in thePlateria today the most precious jewel which Heaven formed....and, finally, I am one who today commences to exist, for I am the slave of Lucrecia. . . ■ • - ■ * ; ., -_.,. < . ,

, . , ' ■ ; ■T ; ’ 7 ; . ' . 1 ; : ■ , ■■ V - -Immediately,and not unnaturally,Jacinta has a little twinge

68

of jealousy, or perhaps only of hurt pride, for she says in an aside to Lucrecia, "Friend, this man has love for all."203

The complications increase with his declarations that he is a bachelor, that he will give Luerecia (having in mind Jacinta, of course) his hand as proof of his honesty, and, finally, the true reason for his having told his father the lie about M s marriage in Salamanca:-

Since you have been the cause of ay having' affirmed, Lucreeia, that I am’married, will it be considered a fault to have lied?... Since I hope to marry you, I am married for all others; only for you I am a bachelor..;. This is the ease; consider if this lie sur­prises you when this lie has told the truth about my love.

Lug^cia: (Aside. But suppose that were

; ; • ■ : : f L ^ ' - ' ■ ;' . V - .

Here is Lucreeia*s first indication of her love for him, despite his fault, of which she has become aware earlier in the scene. Garcia continues his praises of. Lucreeia, givingher family history as proof of his interest in her and love for her, and ending, "See if I am ill Informed. Would that you were equally ill informed of me, my dear*" Aside, Lucrecia answers, "You almost;inspire love in me."SOg

Finally Jacinta’s jealousy and pride can endure silence no longer: ' : ° ' - —

Jacinta:- Then Jacinta, is she not beauti­ful, wise, rich, and such that the most noble man desires her for a wife? .

Don Garcia: She is wise, rich/ and beau­tiful , but not suitable for me. ?

63

Jacinta: Well, tell me, what defect hasshe? fDon Garcia: The greatest, which is that

I do not care for her.#(These are almost, the exact words of Doha Ines concerning the Con-de,206)Jacinta: Well, I should like for you to

marry her, for that alone was the intention for which I called you.Don Garcia: Then it will be a,vain insis­

tence; for, my father, Don Beltran, having attempted the same today, I have told him that I am married elsewhere....because my : love is such that I abhor all that is not you, my Lucrecia.

Lucrecia: (Aside. Would that it were so;)Jacinta: .•.How, if today you told Jacin­

ta that you love her, do you deny it to me now?Don Garcia: I (told) Jacinta? As Heaven

lives, I have spoken only with you since I entered this place.

*** _

Lucrecia: (Aside. I am confused.)” '

The few words in Lucrecia1s asides throughout this scene (ll, xvi) reveal her growing love for Garcia. His determina­tion to love only (the girl he thinks to be) Lucrecia, in the face of all the opposing obstacles, is flattering.

Her feeling is further stated in a conversation with Ca- mino, escudero in her father's household:

Camino: ...(Tristan) swears that Don Gar­cia is crazy (with love for you).

Lucrecia: Strange thing* Is it possiblethat he who persists in this manner deceives me? The most constant lover tires if he is not Joved. Can this (paper, a note from Garcia) be feigned, (he being) so constant and (so) disdained?

Camino: ...For he who walks through,your.street so faithfully night and day; who watches your thick lattice so attentively;...who weeps, who despairs, who gives me

64

money because I am with you, which is to date the most sincere sign, I maintain firm­ly that to say that he lies is great non­sense. : 7 /■' ' ' :u Lucrecia: It is, evident, Camino, thatyou have,not seen him lie. Would to God that his love were certain* For, to tell the truth, his longings: will soon be reali­zed in my love.. For, although I have not believed:his insistences, at least .they have been-able to awaken my thoughts. For, granted that giving credence to:the liar is folly,...hope and self respect compel me to believe that with me he can make a change in his habits. And thus, to protect my hon­or, whether he flatteringly deceives me or whether his love is true, because he is wor­thy of my love, I wish to go so aware of his■qualities and defects that I neither accept his deceits nor dismiss his truths ... .Well, you v/ill tell him that. cruel, I tore up the paper (Garcia’s note) without looking at it; that this answer I give him. And then you, on your own account, tell him not-to despair, and that if he wishes to see me; let him go this afternoon to the Octava de la Magdalena.208

Lucrecia, as well as Jacinta, knows how to scheme for the things she wants 1

The frankness between Jacinta and Lucrecia, whether ri­vals or friends, reminds one of the frankness between Doha Ana and Doha Lucrecia (Las paredes oyen).20^

Jacinta: What? Don Garcia persists?Lucrecia: In such manner that, although

I know his deceitful behavior, as well as his firm persistence, he has me almost hesi­tating.Jacinta: Perhaps you are not deceived;

for the truth is not forbidden to the menda­cious mouth. Perhaps it is true that he loves you, and the more so where your beauty assures that truth in anyone who sees you.

Lucrecia: You always flatter me, but I

65

would believe it thus (that he loves me) if he had not seen you, for you obscure the sun itself.Jacinta: You know well your worth; and in

this competition a decision has never been rendered, because we each receive the same number of votes. And it is not beauty alone which causes amorous ardor, but, also, love has its piece of good fortune. I shall be happy, friend, that he has substituted you for me, and that you have achieved that which I did not deserve; for neither are you to blame nor is he under obligation to me.But go with foresight, for you will have no excuse if you rush into love and at the end are deceived by one concerning whom you are already warned that he knows only how to de­ceive .

Lucrecia: Thank you, Jacinta, but correctyour suspicion, for I said I am inclined to believe him, not inclined to love him.Jacinta: Believing will compel you,and,,

being compelled, you will love him; and thus, the journey between believing and loving is short. (This argument is similar to that advanced by Don Juan to Doha Ana regarding her accepting and reading the note from DonMendo.210)211

As before, with the approach of Don Garcia, Jacinta does the talking (ill, vi). She undertakes" to undeceive Lucrecia, who, from the conversation, thinks that Jacinta has been play ing a double role with her:

f ;Don Garcia: And again I swear, by Heaven,that in this amorous state, for all other (women) I am married and for you a bachelor.Jacinta: (Aside to Lucrecia. Do you see

your disillusionment?)Lucrecia: (Aside. Oh Heavens* Scarcely

do I feel a spark of love, and therefrom al-• ready volcanoes of jealousy are born?)Don Garcia: That night, lady, that I

talked to you on the balcony, did I not tell you the situation? *

Jacinta: (To) me, on the balcony?

66

Luoreeia: . (Aside. Oh traitress'.)Jacinta: . Take warning that you are mis­

taken. You;talked to me? , ; :.Don Gareia: .Well, for Heaven's sake1.. Lucrecia: . (Aside. You talked to him at , night,.. and-you give me advice?)Don Garcia; And the letter which you re­

ceived, do you deny it?Jacinta; A letter?

: Lucrecia: (Aside; . See what a faithfulfriend'.)Don Garcia: Did:I not talk to you on

your balcony three nights ago, Lucrecia?: Jacinta: (Aside. I Lucrecia? That is

good. For each new bull, another invention.He has recognized Lucrecia, and his adoring her -is very sure, since he feigns, in order not to anger her, that he has taken me for her. : >. .... ■: ' .Lucrecia: (Asihe. I understand it all.

Ah, traitress! Without doubt, she informed him that the veiled one was I, and she wish- es to correct it now by feigning that the reason for his talking to her was that he

r took her for me^ , v .* • *Jacinta:,. According to that, the adored

one is Lucrecia.. ; Don Garcia: Since the moment that I saw

her, my heart made her the master of my fi­delity.Jacinta: (Aside to Lucrecia. This is

: ,.gOOd! ) : •- . . • ... ' . .< . -1Lucrecia: (Aside. She may be mocking

me! I pretend not to understand, in order not to make a scene here.)

Jacinta: Are you content?Lucrecia: .1 thank you, Jacinta, for your r,love.212

The final return of a friendly feeling between Lucrecia and Jacinta is shown, in note 197. . ' ^

In Lucrecia's last speech she again expresses her happi ness over her approaching marriage with Garcia.

Don Garcia: He who is wise pardons errors

67

caused by love.Lucrecia: He is not married in Salamanca?Don Juan de Luna (Lucrecia1s father): It .

was his deceptive invention, seeking to pre­vent his father from marrying him to another.

Lucrecia: In that case my will is yours,and I am happy 1 , ,

This, however, takes place before Garcia's realization of his mistake and his unchivalrous, but not unexpected, ac- ceptance of Lucrecia,,in these words:

; Tristan: .> .and give your hand, to Luerer ;cia, who is also a fine girl.214Don Garcia: I give ay hand, since it isnecessary.215

To Lucrecia, Camino is a trusted servant216 who carries her messages to and from Don Garcia and is given a verbal' < mission, to aid the scheming.217 He shares her confidence to a certain extent and is permitted to express his opin­ion.216 . - ' V ; ' - . . - v f .

Lucrecia is a weaker character than Jacinta, arid shows less good.sense; but, on the other hand, she is less coquet­tish. Lucrecia's .wisdom in Wanting to marry;a man of whose terrible fault she is so well aware, .is questionable, despite his flattering determination to love only Lucrecia. Her idea that, married to her, a: man will change his habits of long standing has been the idea of women for centuries. ■

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IVY Conclusions.

The characters of Ruiz de Alarcon are, on the whole, flesh and blood characters, as much alive today as they were in the seventeenth century. Just as in life, the worst char­acters have redeeming qualities, and the best, human defects. (Doha Blanca of jSl examsn de maridos is the only character of this study who perhaps does not qualify as being complete­ly true to life.)

The characters are individuals, rather then types. Even servants and people with minor roles are individualized.

There is no disguising of women as men, and very little disguising of any other kind.

The graciosos are trusted servants, some of them with learning, and not buffoons. The gracloso does not necessari­ly follow his master into marriage. In the cases of the three graciosos studied, none of the marries. One (Tristan of La verdad sospechosa) does not even make love; the prof­fered love of one (Ochavo of _S1 ex amen de maridos) is repul­sed; and the not very fervent love of the other (Beltran of Las paredes oyen) is merely mentioned.

The critics, in general, consider the women of the thea- ter of Alarcon cold and calculating. For ©sample:

. • • y...the women of the theater of Alarcon are accustomed to be cold and reasoning, psycho-

69

logically much less intense than his men, sometimes calculating, rarely passionate and poetic. On the other hand, they pos­sess, to the highest degree, the sentiment of dignity.23-9

After summarizing the general attitude of the critics, Reyes quotes the statement of Menendez y Pelayo, which though similar, is less harsh;

...His marriageable girls are always changing intentions and calculating coldly the possibilities of the marriage. They are beings of reason but are not always pleasing. And a^l agree that there was lacking to Alarcon the touch, voluble and intense, of feminine psychology. Neverthe­less, Menendez y Pelayo reflects on the nobility and aristocratic distinction which sometimes is admired in these woojen; "and that despite the fact that Alarcon was not very fortunate in this matter. But when Alarcon succeeded in tracing a feminine character like »Doha Ines« of £1 examen de marldos. he placed in her always a certain distinction, nobility, and gravity, as of a great lady, which is generally lacking in the heroines of Calderon, although they are so shallow and haughty."220

In the note to his statement that the ladies of Alarcon - "(and this actually was a grave fault) sometimes had a strong propensity for being selfish and prosaic," Eartzenbusch ex­cludes Doha Ana and Doha Ines from the group;

...in Las paredes oyen Doha Ana de Mendoza ...the Marquesa in El examen de maridos .. have beautiful faces, amiable or virtuous characters, and perhaps some splendid trait; but the major portion of the women painted by Alarcon appear of avaricious inclination and common lineaments; they work evil in

70

cold blood, their wile is lacking in grace.They say that they love and their love is not seen: a very grave defect because it detracts from many scenes otherwise well planned and versified.

These three quotations state the general pattern (with the exception of Lucrecia in La verdad sospechosa. and with the more harsh statements softened) that I have found in this study: Doha Ines of El examen de maridos and Doha Ana of Lasparedes oyen have just the proper amount of warmth, passion, and poetry to correspond to their dignity, nobility, and gra­vity. Doha Lucrecia of Las paredes oyen. when she discovers Kendo's malicious and perfidious tongue, fortunately uses reasoning in guiding her heart away from him and toward some­one worthy of her: the Conde. Doha Blanca of El examen de maridos works her evil in cold blood. Jacinta of La verdad sospechosa is an opportunist; she says she loves and her love is not seen. Lucrecia of JLa verdad sospechosa is not reason­ing in wanting to marry Don Garcia with his terrible fault, nor prosaic in believing that, married to her, he will change.

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-Notes.

1. Garcia-Ramon, Teatro de _J. R. _de Alarcon. Tomo I.El examen de maridos (l, 11) p. 346:

Dona Ines: ; ■ v:•. (El testamento) Dice asi:

Antes:qua te cases, mira lo que haces.2. l&.lb.. (I, iv) p. 352:

Ochavo:.».(ines) va poniendo La hacienda, las calidades,Las costumbres, los defetosY excelencias personalesDe todos sus pretendientes,Conferme puede informarse De lo que la fama diceY la Inquisicion que hace.' * * *Declara#que amor con ella No es merito, y solo valen Para obligar su albedrio

- Proplas y adquiridas partes.3. Id.Lb-. (II, v) p. 385:

Dona Ines:Esposo al fin me ha de dar El examen, y no el gusto.

4. li.lfe. (II, vi) p. 388:• Doha Iges:

Mas a vuestras alabanzas #Y a las prendas que alggais,Hallo una fa^ta, Marques,

• Que,no negareis.Marques: ,

, iCual es?Doha Ines:

Ser vos quien las publicais.5. Id,. Lb. (ll, xiv) pp. 403, 404, 409:

Doha Ines: ,El que jugo jugara;

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Que la inclinacion al juego Se apiaca, ;mas no se'apaga.Borralde. ^,

-,Dona Ines: ■ •; 1 ;'! • '•; " ■,Apruebo el seso ma&uro; -

, Maduros anos no aprue^o......v ' • Para uri marldo, Beltran.

--,Beltran:El oond© Carlos se sigue. - Este tiene gran derecho;Que noble, tic© y gaian,Y d © muchas gracias;11©no.

Dona Ines:■ - jSi; #mas tieiie una gran falta.

Beltran*' " - '.x: r ' : 6Y cu^l 'es?

Dona Ines:1 # : Que no le quiero.

Beltran: , ,6Borr^r@lo? :

Dona Ines: ' ; } ," No, Beltran,■

Ni le borro ni le apruebo.6 . JLd.lh. II, iii, entire scene, p p . 380-384.'7. J^.lb. (II, ii) pp. 379-380:

Doria Blanca:, (Ap. a,Clavela):La Industrie veras agoraCon que la oblige (a Dona Ines) a quererAl Conde* y aborrecerAl Marques, si ya lo adora.

8. Id.lb. (II, xiv) p. 409: ■' . .Beltran: ^

Solo el marques don Fadrique Resta/ya: sus partes leo.

• \ i Dona Ines: ' #Decidme: ique informacion Hallasteis de los defetos Que#aquella mujer (Blanca) me dijo?

Beltran: ■ . ; : ,Que:son todos verdaderos.

Dona Ines: " v : ,6Qu^ son ciertos? ;

Beltran: - ' :Ciertos son.

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Dona-Ines: : -- . ; . . .Pues borralde...Mas teneos No le -borreis; que es en vano, Bntre: tanto que no puedo,..Como su nombre en el libro, Borrar su amor en el pecho.

9. - Id;.lb.'. - (II, vi) p. 389: : . •' - •. . Dona Ines:

(Ap. iCielos:santos1 6Es posible Que tales faltas eseonda Taltslle, % no corresponda Lo‘secret© ia lo-visible?)

10. See note 8, last speech.11. Id.ib. (II, ix>'p. 394:

Marques: ': -, . ' • ■ "Y el cielo, Conde,.es testigo Que aunque en el punto que vi A la mar.quesa pgrdiLa libertad,:fue conmigo De tfnto efeto el oir Que:erades tambien su amante, Que de intento al instante Determine desistir;Mas ella, que no ,conf£a Tanto de j^umana amis tad, - Lo que %u$ fidelidad Atribuyo a cobardia.

12. Id .lb. (ill, iv) Jp. 416:M a r q u e s ' -

El conde Carlos y yo Quedamos para elegidos.Iguales nos ban juzgado 'En la sortija y torneo.

13. Jd._ib. (ill, xvi) p. 436:- • .... V - i Dona Ines :- :

Y asi, ha de Qer la cuestion En que os habeis de mostrar,Si la mano debo dar 5 i Al que tengo inclinacion,Aunque defetos padezca;0 si me estara mas bien

74

#Que el que no los tiene, a quien No me inclino, me merezca..Cada cual pues#la opinion Defienda que mas quisiere,.Y la partg que venders Merecera mi eleccion..

14. Jd.ib. (ill, xvi) pp.:436, 442-443: v 1r .Conde: .

...Yo, con licencia ... ;Vuestra, en esta diferencia Defiendo que el que es amado Debe ser el1 escogido» •; ■ : Vv

Conde: : , l.v : ,,'i ;. j .su padre :

, Solo le puso precepto , De que mire lo que dace:Ya lo ha mirado, y con eso Su vo1untad ha cumplido. Que no>consigue el intento Del exa^en si no escoge .- A1 de mas.jaerecimientos, Sin aten^er al amor,Segun;Ines ha propuesto,Es verdad; pero se debe Entender del amor nuestro, No del suyo; que #con ella Es;la parte de mas precio Ser della-amado, y"no ser Amado el mayor defeto. .

Beltran: : . ^ . ;Todos'declaranal Conde For v^ncedor. : . ; .

Dona Ines: - . ; .. .: • r ; Begun , eso. ..Ya es forzoso resolvei;me (Ap. Aunque me pese) a .escogerlo Vencistes,; Conde; mi mano Es v u e s t r a . ... . ;

15. l^.ib. (ill, xvi) pp. 444-445:Conde: . \ .; _ . . ■■ t

Marquesa, engagada estais; Porque vos habeis propuesto Que.la parte que venciere Ha de ser esposo vuestro. Pues.si mi parte ha vencido, Y e s la parte que defiendo

75

La del imperfecto amado,SI h| de : ser vuestro :,dueno.Yo se bien que no soy yo El querido.. ■:

Conde (a p . a Donalnes):Pues mi ingenio #

.Las (faltas del Marques) invento... For vencerle, y por vengarme De vos...; #Y para que a mis palabras Deis oredito verdadero,Baste por se&as deoirosLas tree faltas que le han puesto, -Y que ha sido ana mu«jerLa que tales,fingimientoS'Os dijo por orden.mia.

• • • - '■ "< ■■ ' = '■■■■-■ . - ' - ;Doha Ines; ■. :Cuando os miro sin-.defetqs, iGomo, Marques, os querre,Si os adoraba con ellos»

16. Id.ib.. (I, xv) pp. 366-367:Marques: ,Quando empezo mi deseo A mostrar que en ti vivia; •Ni aun la esperanza tenia Del estado#que hoy,poseo.Entonces tu, como a pobre,Te mostraste siempre dura;Que el:oro de tu hermosura :r No se,dignaba del cobre.

• l u Herede por suertej y luego,0 fuese ambicion o amor,Mostraste a mi ciego ardor Correspondencies de fuego.Mas 1| herencia, que.la gloria Me,dio de tu vencimiento,Fue tembien impediment©Para gozar la vitoria;

. ■ . . jerque esto, Bianca, obligado,A dar la mano q mujer

. : . De mi linaje, o perderLa posesion del estado.Esta,ocasion me desvia De ti,.pues segun arguyo,Ni rico puedo ser tuyo,Ni pobre quieres ser mia.Perdida pues tu esperanza Si otra doy en celebrar,

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Es divlrtirme, no amar;Es remed^o, no mudan^a Asi que a no poder mas,Mutdo intento: si pudieres,Haz lo mismo; que si quieres,Muj er eras, y podras.

17. Id.lb. (l, xvi) p. 367: ;Dona Blanca: ':Desesperada esperanza,El loco intento mudad,,Y de ofen<|ida apsladDel amor a la venganza. - iFor los cielos, inconstante,Ya que tuagravio me oblige,Pues no me estimas amente,9ue has de llorarme enemigal A tus gustos, tus intentos,Tus,fines, me he de oponer;Sere verdugo al nacer

- - ; . -De tus mismos pensamientos.18. Id..ib_. (II, xi) p. 396:

Beltran: .. ; zPues que lo sepals o no,Por vos vive en tal tormentoY en tanto fuego abrasada

v, Blanca, que desesperada, . v " .Quiere entrarse en un convento.

For the full effect, see the entire scene19. Id.ib. (II, xiij p. 398: y : ::■ ' ' ' , ' .

' ' ' ' f ~ e . . LBeltran:;,. : .La que . mandg, la Mar quesa Comerioemos a ordenar.IGielosl ien que ha,de parar Tan dificultosa empresa?

20. See notes 15 and 30. .21. Id-ik. (l, ii) p. 347: : , .

Doha Ines: : ,Y vos, si el haber nacido En mi casa, y,si el amor Que del llarques, mi sehor,

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. Habeis, Beltran, raerecido;* * » ': . . Sed de mi justa intencionEl favorable instrumento,Con que deste testamento D^sponga la ejecucion.Solo de vuestra verdar He de fiar el efeto; y la eleccion del sugeto A quien de mi libertad Entregue la posesion,De vos ha de #proc eder,Y obligarme a resolver Solq vuestra informacion.

Beltran:No tengo que encarecerte Mi obligacion y mi fe,Pues ellas, segun se ve,Son las que pueden moverte A hacerme tu consejero.

22. Id.ib, (l, viii) p. 357:El conde Alberto:

Y el (Beltran) es,Segun he sido informado,El secretario y privado De la hermosa dona Ines.

23. See II, xiv, for the elimination of the suitors.Id.ib. (ill, vii) p. 419:

Beltran: #Corrido y quejoso (es el Marques),

Ardiendo en colera y celos.Y tiene, por Dios, razon,Si atenta lo consideras;Que declararle pudieras De su#daho la ocasion.

Doha Ines:Bien Id quisieran mis males;Pero nadie, si es discrete,Dice al otro su/defeto;Y los del Marques son tales,Que la verguenza nq deja Referirlos, y es mas sabio Intento causar su agravio Que satisfacer su queja.

24. Ld.lb. II, ii, ill, entire scenes.

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25. %d.ib. I, xi, entire scene.26. Id.ib. (l, xiv) p. 364:

Dona B ;anca:Ya que pierdo la esperanza Que tan segura tema^Saber al menos querna La ocasion de su mudanza, 'Y por esto le he.citado,Sin declaralle quien soy,Para el sitio ddnde estoy.

27. See note 16.28. Previous references have been made to the slanderous tale

found in II, ii, iii. The following excerpt indicates the vengeance motive for its having been told. See, also, note 7. '

Id.ib. .(II, iii) p. 384:Clavela (Ap. a su ama):

Bien se ordena tu venganza.Doha Blanca. (Aj>.): 1Ya he sembrado la discordia.Pues sog despreciada Juno,Muera Paris y arda Troya. ,

29. Id.ib. (ill, x): pp. 424-425:Doha Blanca (Ap. a Clavela):

Este daho results de mi engaho.Clavela (Ap. a su ama):

No es, si ganas al Conde, mucho el daho.Clavela (Ap. a su ama):

Goza de la ocasion, sehora mia;Que rabio ya por verte sehoria.

Doha Blanca: #(Ap. 6Qy.e recelo? Que dudo?ACon que medio mejor la suerte pudo Disponer mi reipedio y mi venganza?Pague el Marques mi agravio y su mudanza.)

30. ^d.lb. (ill, xvi): p. 445:Conde: ...yo

Bien he mostrado que tengo Puesta en Blanca mi esperanza.

79

Doha Blanca:Yo me confieso dichosa.

31. JEd.ib. ii f xiil, pp. 398-402. •32. Id._ib. (l, v) pp. 354-355:

Conde: , #y asi, Marques ¥ resolveos a olvldalla o a olv-id^rm|. :Que la razon siempre a mi Me ^a de tener de su parte.

Marques: #Puesto, Conde que el mas. rudo El imperio de amor sabe,Con vos, que prudente sols,No trato de disculparme.Dar la mano a Doha Blanca No es posible sin que pase El m^yorazgo que gozo A1 mas cercano en ml sangre;Que oblige de su errecion Un estatuto Inviolable A que el sucesor elija Esposa de su linaje.Yo, pues, antes de escucharos,Vlendo estas dificultades,Procuraba ya remedies De olvldalla y de mudarme;Y ha sido el mandallo vosEl mayor, pues es tan grande Mi amistad, que lo |mposible Por vos me parece facil.

33. See note 11 for Ines* refusal to permit Fadrique to with­draw. The following excerpt shows how public opinion prevents it. Note 50 shows the power of the honor code.

Id. _ib. (II, vii) p. 390:Marques: #

IE1 Conde1 (Ap. icielosl 6Que es esto?El Conde solo, entre tantos Amantes, bas%a conmigo

. A obiigarme a desistir;Que no es justo competir Con tan verdadero amigo.Mas yi| por opositor

. A1 examen me ofrecido,Y nadie creera que ha sido La amistad, sino el temor El que muda mi intension.

80

Pues, amigo,#perdonad Si prefiero a la amistad Las aras de la opinion.)

34. See note 16, sixth line from end.35. JEd.ib. (II, ix) p. 393:

Marques:Aunque si el. pecho o.s confiesa Lo que siente, la Marquesa Hq encendido en solo on dia Mas fuego en mi corazon Que Doha Blanca en dos ahos.

36. JCd.lb. (II, ix) p. 394:Conde:

. yo ignorante De que fuesedes su amante,El cartel he publicado.No puedo con opinion Deste empeho desistir,Que no lo ha de atribuir.A amistad la emulacion# .

37. JEd.ib. (l, xix) p. 371:Conde:

£No han sido mi c laro or lente Vuestrjos balcones, y han vis to Que ha dos ahos que conquisto Su hielo con fuego ardiente?

38. _Id._ib. (l, xix) p. 373:Conde:

Pues yo de todos confio Ser por partes vencedor. . .

39. See note 35; also the following:Jtd.jJb. (ill, ii) p. 414:

Condej /iAm^is a la Marquesa?

Marques:Nq es amada

En su comparacion de mi la vida.

81

40. JEd.ib. (ill, xvi) p. 436:Conde: , #

(Ap. Al Marques se inclina Ines, Yo soy el aborrecido:)

41. See note 15. and corresponding text.42. Id.Yb. (ill, xvi) p. 436:

Marques:(Ap. iCielosL#mi causa defiende El Gohde; .mas el se entiende.La mago me ha prometido De Ines: confiado estoy Que es mi amigo verdadero.)

43. See note 18.44. Id.Yb. (ll, xi) pp. 397-398:

Conde:(Ap. iPuede ser esto verdad,Cielo santo? Puede ser;Que en antojos de mujer No es esta gran ngvedad.Pero no; el Marques ha sido Su amante: mentira es. t Pero bien pudo el Marques

. Amelia sin ser querido. dComo me pudo tener Tanta aficion sin mostralla?Pero como honesta calla,Si#adora comp mujer. iComo mi amor la conquista Sin comunicar con ella?Pero la honrada doneella Tiene la fuerza en la vista.Marquesa, si esto es verdad,A1 cielo tu sin razon Ofende, y me da ocasion De castigar tu crueldad.

45. Id.ib. (ill, ii) p. 414:Conde:

&Y gianca?Marques: f

Es ya de mi tan olvidada,Que aun haberla querido se me olvida.

82

46. Id.ib. (Ill, ;x) :p. 423: , i -, . ; .Conde: ,

, • : (a p » d^uien pensara que la famaDe que a Blanca doy cuidado,

; Hubiera en mi despertado Tan nueva amorosa llama,Que funds ya mi esperanza .. .En ella su dulce empleo,Y prosiga mi#deseoLo que empezo;mi venganza?De amar es fuerte incentive

-2 * l : -Ser amado^ que el rigorMata el mas valien^e amorY apaga el ardor mas vivo.)

47. For the discussion concerning the faults, see the entirescene.

Id .lb. (ill, xi) p. 427: XConde: . -

Mas side vuestra esperanza Marchita,el verdor lozano La envidia- in£ame, esta mano Y.este pecho a la venganza Tan airadose previene,Que el mundo todo ha de ver

. - ■ §ue nadie. se ha. de atrever. ; A quien tal amigo tiene.

48. Id.ib. (Ill, XVi) p. 444: ■ - ...? . ... 4 f . A & .. » ► *.Marques. (Ap.):

, iCieloslNo hay mas tesoro en:el mundo ;

.;: Que un amigo verdadero. ;j49. See note .32 and corresponding text• r50. Id.ib. (II, ;ix), p. 393:

Conde: . ;Culpa^os somos los dos,Marques, igualmente aqu£;Que e 1, r ec a tar os de mi . ....Y el recatarme de vos ^n esto nos ha traido A lance tan apreta^oQue uno y otro esta obligado A acabar lo que ha emprendido.

83

51i These words follow immediately after those quoted in note 36:

Id._ib. (II, ix) p. 394:Marques:

• .•''rr, . .Esb supuesto, mirad, ■Cohde, lo que hemos de hacer.

.'.V,V • ■- Conde: ' • -Competir, sin ofender

. • - ;Laa leyes de la amistad.52. Id.^b. (ll,:vii) p. 39l:- ■ . Marques: .; _ . . .

" l,.' /. La suspension que habeis vistoNacio de que amigo soy Del Conde; mas ya que estoy Declara<|o, si desisto,Lo pddra la emulacion A temor atribuir;Y es forzoso preferir A la amistad la opinion.Demas que vuestra beldad Es mi disculpa mayor,Si por las leyes de amor

■ : Quebranto las de amistad.53. See I, iil, for the revelation to Carlos by Blanca's fa­

ther of Fadrique'.s courtship of her.See I, v, especially the portion copied in note 32, for

Carlos' first knowledge of the condition under which Fadrique inherited.

See II, vii, part of which is copied in note 33, for the realization on the part of each man that the other has entered the examination. II, ix, part of which is co­pied in notes 36 and 50, also shows this realization.

54. See note 15, second quotation.55. Jd._ib. (ill, xii) p. 431:

Ochavo:6Lo que algun contrario

Tuyo ha sabido ^e ti ' ■Encubres, Marques, de mi,Tu amigo y tu secretario?

56. Id.jib. I, iv, pp. 350-353.

84

57. Id.ib..1, xi, pp. 361-362.58. Id.ib. I, xv, pp. 364-367.59. _Id.ib. Ill, iv-viii, xii, pp. 415-421, 428-432.60. Id.ib. I, x, xii; III, iv, pp. 359-361, 362-363; 415-417.61. Id.ib. Ill, iv-viii, xii, pp. 415-421, 428-432.62. Id.ib. I, ix; II, xi, pp. 358-359; 395-398.63. Id.ib. II, xi.ii, pp. 398-402.64. BourlancJ, Caroline B., Las paredes oyen por Juan Ruiz de

Alarcon % Mendoza (l, xi) pp. 25-26:Dona Ana:

Si sabes que estoy muriendo Por dar la mano a don Mendo,Y no hay cosa que lo impida Sino el cumplir las novenas Que a Sarj Diego prome^f, iDilatare, estando asi,El remedio de mis penas?

65. The following excerpts show her feeling; the scene con­tains other examples.

Jid._ib. (l, xii) pp. 28-29:Don Mendo:

... Vas helada,Cuando yo quedo ardiendo.

Doha Ana:I Segura fuese yo, como abrasadai

Doha Ana: ■Hasta el si conyugal temo mudanza,Que no hay dentro del mar cierta bonanza.

En tanto que a ipis deudos comunico La dichosa eleccion de vuestra mano,Y devota#suplicoEn Alcala a su dueho soberanoQue lleve a fin feliz mi intento nuevo,Y las novenas pago que le debo,

Puede mudarse vuestro amor ardiente,Y quedar mi opinion en opiniones Del vulgo maldiciente,Que a lo peor aplica las acciones.

85

66. Id.ib. (I, xx) p. 51: .'Don$ Ana: :, ;

Solo quitara el mofirme,Celia, a don Mendo mi mano;

67. The discussion of'Aha;occupies 68 lines. .The followingexcerpt indicates-the difference in the two men's at­titudes:

Id. lb. (l, xx) pp. 52-53: v l:-- v- ,Duque:

* ■ r.-.■ ' / La fama dice que (Ana) es bella^' «Don Juan:

b ; , Pues por • imposible sientoQue en algo la haya igualado SI dibujo que ha formado.La fama. en’.tu: pensamien^p;Que en belleza y biz^rria,Eh virtud y discreciqn,Vence a la imaginacion,Si vence a la noche el dia.

Don Mendo: : ■.. .. : V : 1 . •. ..Ciego-sois, o yo soy.ciego,A ,1a viuda no es tan bella: ,Ella tiene el cerca feo,Si el.lejos os ha agradado;Que yo estoy desenganado, : .Porque en su casa la. v.eo. :

68. Ld.ib. (l, xx) pp. 55-56:■ ■ • 1 ■ ■ • • • • • • • ■ * ' . . . • '

;.Celia:# : . v: ' &Que te parece?

Doha Ana:• Estoy loca.

Celia: - ;: .6A este hombre tienes amor?

Doha Ana: - .... ■ , ■;,iEl pec ho abrasa el furor 1 IFuego arrojo por la bocal

; ; ' , ' iPosible es que tal of?r i Vil? ca quien te quiere infamas? <

iAsi tratas a quien amas ?: — Celia: : .

No ama quien habla asi;- ‘ : ’ El te engaha.

86

Dona Ana: #Claro esta.

Di que me traigan un coche:Volvamos, Celia, egta noche A amanecer a Alcala: _tQue lo que ahora escuche Castigo del cielo ha sido For interrumpido ,Las novenas que empece. •

■ • . # * * '

Dona Ana:#Si con el pierdo la vida,Mejor me estaba el engano.

69. Id.ib. II, iii, and infra, section on Lucrecia.70. Jd.ib. (II, v) pp. 80-81: • : •

Doha Ana:No niego que desde el dia .Que defenderme le oi, ;Tiene ya don Juan ml ■Mejor lugar que solxa,# * *

Principle es de querer bien •El dejar ^e querer mal.Pero no facil se olvida Amor que costumbre ha hecho,Mas bien puedes qonfiarQue el tiempo ira introduciendoA don Juan, pues a don Mendo ■ :: .He comenzado a olvidar.. ■ :

71. In II, ix, Ana confronts Mendo with the uncomplimentaryremarks he has made, dismissing him at the end of the scene in these words:

Doha Ana:...bien te puedes

Despedir de mis favores,Y a toda ley hablar bien,Porque las paredes oyen.

In II, xi, Mendo discusses Ana's aloofness with his ser­vant Leonardo and decides to take vengeance upon her.

In II, xiv-xvi, Mendo and Leonardo make the attack.72. Id.^b. (l, iv) p. 12:

Doha Ana: ,iAy, Celia, y que mala cara

87

Y mal talle.de don Juani(ll, v) 'p. 79: : .n v vv .

Do&a. Ana: •Celia, I si don Juan tuviera •Mejor talle y mejor carat...

(II, ix) p. 38:Dona Ana: #

Don Mendo, asi esta mejor Quien tiene el, cerca tan-feo.

73. See II, iii, and infra, the section on Lucrecia, forAna's reaction in Lucrecia's presence, upon reading the letter.

See II, ix, the closing words (Ana's speech) of which are copied in note 71, for Ana's reply to Mendo's at­tempts to blame others as the perpetrators of the re­marks. . ; . ;

See III, xvii, xviii, for Ana's response to Mendo's ef­fort to excuse himself;and:regain her favor after his attack upon.her. . vl

74. See note 68 for Ana's reaction when alone with Celia,to.the verbal slander on Saint John's Eve.

See II,iv, v, parts of which are copied in notes 70 and ~ 72, for Ana's reaction when alone with Celia, to the

written slander contained in the letter to Lucrecia.75. Id.ib. (l, iv) p. 13: ' : : .

Doha Ana: ' '' Nunca estoy,

Sehor, don Juan,: impedida, ,Para recibir merced

. De tan noble caballero.Don Juan:

Vuestro soy; respueata espero.Si sois, servida, leed.

Doha Ana: , ,Ser descortes me. mandais.

76. Id.^b. (ill, vii) p. 125:Doha Ana:

.Beltran, detente.

Id.ib.

Id.ib.

88

El vlclo del:maldiciente ..Has estado maldiciendo,•iY con tal desenvoltura De^on Kendo has murmurado?

Beltran:Doha Ana: v ;

...Vete en buen hora.' :■ :• c r •' V ' :: -

Id .lb. (ill, viii):.p. :126: . - : - .Doha Ana:

Celia, ten: cierra los labios,• # # • " • 5 - : V , » ‘ ♦ ■- * 1 j. • •. 1

...ya en mi pensamientg No solo el fuego apagug,Pero cuanto el amor fue,Es el aborrecimiento.Mas esto no da licencia Para que un bajo criado,De hombre tan calificado Hable mal en mi presencia;Que ni por la enemistad Que entre dos nobles.empieza,Pierden ellos la nobleza,Ni el villano la humildad.

77. See note 119 for Juan's reason for taking part in thedisguise. ' ' ' :/;

ld._ib. (ill, ii) p. 119: 'Doha Ana:

De mi consejo, dejad De terciar en ese intento;Porque mayor esperanza Puede al fin tener de

• Quien pretends para si, :Que quien para otro alcanza.

78. Id.ib. (ill, viii) pp. 127-129:Celia: - #

ADeclirastele tu amor ?Doha Ana: • •- : ■

&Tan liviana me has hallado? iNo basta haberle.mostrado Resplandor.es de favor?

Celia: : : _,: l; ■ . . #:ILiviana: dices, despues De"dos.ahos.que por ti

89

Ha andado f tier a de s i 1 # # *Dona Ana:

6Poco a poco no es major ?Celia:

Pues cuando de esa verdad (que se aman, el Hay certiduunbre, yo hallo uno a la: otra)Mas crueldad en dilatallo Que en decillo liviandad.

Doha Ana:El sujetarme es forzoso,Celia, a tu agudeza extraha.

79. See note 25.80. Id._ib. (ill, vii) pp. 122-125.81. See note 76.82. Jd._ib. (l, xx) pp. 50-51:

Doha Ana: . # #Calla necia; iquien penso Tan,notable dgsatino?^Que importera que el destine Quiera, si no quier.o yo? ,Del cielo es la inclinacion;El si o el no todo es mfo;Que el hado en el a^bedrio No,tiene jurisdiccion.6Como puedo yo querer Horcbre cuya,cara y talle Me enfada solo en miralle?

See Caroline B. Bourland, Las parades oven, pp. 165-167, 175, for information concerning the customs practiced on Saint John’s Eve.

83. Jtd.ib. (ill, xix) p. 157:Doha Ana: ,

Y e n fin, si bien lo mirais,El dueho fui de mi mano;Y sobre mi gusto, eg vano Sin mi gusto disputais.A don Juan la mano dl, •Porque me^oblige diciendo Bien (je mi, lo que don Mendo Perdio hablaridc mal de mi.

■>u; ;

90

Este es mi gusto, si bien Misterio del cielo ha sido,Con que mostrar ha querido Cuanto vale el hablar bien.

84. Caroline B. Bourland in Introduction to her edition ofLas paredes oven, p. xx.

85. %d._ib. (l, vi, vii) pp. 18-19:Don Jqan:

4Que delito cometi ^En quererte, ingrata fiera?IQuiera DiosI pero no quiera,Que te quiero mas que a mi.

(Enter Celia and Beltran) "Celia:

iAh#desdichado don Juan'.Beltran:.. Ayudale.Celia:

iA Dios plugiera . ' •Que mi voluntad valiera*

^A note from Alfonso Reyes. Ruiz de Alarcon. Teatro. p. 137, regarding the second line of this quotation:

" ■ #Hartzenbusch puntua:"En quererte, ingrata fiera"

dando a "fiera" el valor de "orgullosa".See, also, supra, text preceding note 82, and Bourland,

pp. 165-167, 175.Celia:

Las doce han dado, sehora:Oye del#segundo esposo El pronostico dichoso.

86. Jd.jJb. (I, xx) p. 50:Doha Ana:

iAy Dios* #' Don Mendo, ino es el que hablo? •

Celia: #Si, mas a don Juan nombro.

Doha Aga:4Quien duda que de los dos Esdgn Mendo de Guzman Pronostico para mi,^Pues antes su voz oiQue no el nombre de don Juan?

91

Celia: # •Mas Ique fuera que ordenara El destine soberano Que tu blanca hermosa mano Para don Juan se guardara1.

87. Id-lb. (ill, i) p. 112:Celia:#

6Quien diras, senora, que es El callado?

, Dona Ana:Dilo pues.

Celia: ,iQuien piensas tu que sera?

Dona Ana:#No lo se.

Celia:iQui en puede ser, •

Quien, siendo.gran caballero,Qqisiese ser tu cochero Solo^por poderte ver? iQuien, el que con tal valor,En un lance tan estrecho,Pusiese al espada el pecho •For qsegurar tu honor?

- iQuien, el que en penal” se gozaFor tu amor, y tu des^en Sigue enamorado? iQuien Sino don Juan de Mendoza?

88. For Juan's refusal to let Beltran speak ill of Mendonoble, see note 108.

89. Id.ib. (II, v) pp. 78-79:Celiaj

ICuan diferente es don Juan!Ofendido y desprecia^o,Es honrar su condicion Cuanto la lengua de escorpion Ofende, siendo estimado.

. Una vez desesperado,Don ^uan se quejaba asi:”iQue delito com^ti En quererte, ingrata fiera?IQuiera Dios 1 .,. pero no .quiera,Que te quiero mas qu| a mi."ISi vieras la cortesxa #Y humildad con que me hablo Cuando licencia pidio

92

Para verte el otro dial iSi vieras lo que decia En mi defensa a un criado Que porfiaba arrojado "Que si yo dificultabaLa v^sita^ lo causabaSer el pobre y desdichadgiI Si vieras1 . . . pero ique vierasQue igualase a lo que yiste,Cuando al traidor le oiste Defenderte tan de veras?Ya te ablandaras, si fueras Formada de pedernal.

This defence which Juan made of Celia took place, accord­ing to Reyes, op.cit.. p. 131, in Act I, scene iii, most of which %s copied in note 139. In this scene,Juan and Beltran are waiting for Celia to secure ah audience for Juan with Ana. At the close of scene ii, Celia has left the stage, Reyes says, but,hears the en­suing conversation between Juan and Bgltran: '

Celia s^le de escena; pero oye aun lo que hablan Juan x Beltran. V. n. 1521 sigts.

Line 1521 is the one which reads, "iSi vieras lo que decia."90. Id._ib. (II, v) pp. 97-80:

Doha Ana: 'Celia, 1 si don Juan tuviera Mejor talle y mejor caral...

Celia: ,Pues icomo1. ien eso repara Una tan cuerda mujer?En el hombre no has de ver 'La hermosura o gentileza:Su.hermosura ea la nobleza,Su gentileza el saber.

' Lo visible es el tesoroDe mozag faltas de seso,Y las mas veces por eso •To pan'.con un asno de oro. ;Por esto no tiene el moro Yentanas; y es cosa clara Que, aunque al principio repara La vista, con la costumbre Pierde el gusto o pesadumbre De la buena o mala cara.

91. See note 71.

93

92. Id.lb. (II, x) p. 93:Don Mendo \ .• •

Oyeme tu, Celia, asiTus floridos ahos logres. .

Celia: .La^ que ya llamaste canas, iComo agora llamas flores?

Id .lb. (HI, v) p. 121:Don Juan: . -

Celia amiga, Dios te guards.Celia:. #Y te de el bien .que'deseas. ' •

Don Juan:Como de mi parte seas,No hay venture que no aguarde.

Celia: , .Si en mi mano hubiera sido,Tu dicha fuera la mia; ■Mas, don Juan, sirve y.porfia;Que no va tu amor perdido.

93. Jd.lb. (ill, vi) p. 122:Beltran:Y a mi Ame aprovecharia El servir como a rni amo?

Celia: # -;Pue§ Aamas tambien?

Beltran:, Yo amo

For solo hacer compania.94. See note 77 for Ana's hint to Juan of her love; note 92

(ill, v) for Juan's conversation with Celia.95. Id.ib. (I, lx) p. 21:

Conde:(Aparte. iQuieran, Lucrecia, los cielos Que te mude esta mudanza,Y a mi perdida esperanza Abran la puerta tus eelosi)

96. J[d.lb. (l, xvii) p. 39:Doha Lucrecia: #

La verdad diciendo estas; .

94

Que si negan^ola estoy,No es que credito no doy,Sino que pena me das.•• • ' tiPlugiera a Dios, Con<|e mio, Pudiera en esta ocas^on Mudarse la inclination A1 paso del albedriol .Mas vivecierto, senor,Que si,me has dicho verdad,Te dara mi voluntad Lo que te niega mi amor.

Doha Lucrqcia: ,Tanto mas me deberas Cuanto me forzare mas,Conde, por corresponderte.

97* Id-lb. (ill, xix)pp. 157-158:Doha L^crecia:

AQuien os dijo que" sustehta Hasta agora el alma mia Vuestra memoria?

* * *

Doha Lucrecia:Las paredes oyen.Mendo.Mas puesto que en vos e| tal La imprudencia que quereis Ser mi espost, cuando habeis Hablado de mi tan mal,Yo no pienso ser tan necia Que esposa pretenda ser De quien quiere por mujer A la misma que desprecia;Y porque con la esp^ranza El castigo no alivieis,Lo que por false perdeis,El Conde por 'firme alcanza.

98. Id.lb. (l, ix) pp. 20-21:Don Mendo:

Con celos y amor Sale Lucrecia de si.

Conde:•.iC.on causa, don Mendo?

Don Mendo: Si;Mas tanto el yerro es mayor. Si por dona Ana estoy ciego,

95

Ella ique ha de remediar Con renir y con celar,Sino anadir fuerza al fuego?

99. I, xv, shows that Lucrecia has received the letter.See II, iii, for the letter itself. See, also, men­tion of this letter several times supra, the section on Doha Ana.

100. Id._ib. (l., xiv) p. 31:Doha.Lucrecia:

No quise, prima, dejar De verte en esta partida.

Doha Aha:Ni yo, Lucrecia querida,Me partiera sin pasar, . . . For tu casa, porque el verAl pasar tu rostro hermoso,. Fuese presagio dichoso Del viaje que he.de hacer.

Doha,Lucrecia (Aparte de doha Ana):Niegame agora, traidor,

• Las verdades que estoy viendo.Doha ^na:

iQue le dices a don Mendo?Doha Lucrecia:Del vestido de color,Le pregunta la oca'sion;Porque de irte a acompahar Lo indica el tiempo y lugar,.Y fuera galante accion.

101. Icl.ib,. (l, xv) p. 33:(Saca un papel Lucrecia v muestraselo a. don

Mendo.) ‘Doha Lucrecia:

iConoces este papel?Don Mendo:

Yo, Lucrecia, lo escribi.Doha Lucrecia:Junta lo que has hec£o aquf Con lo que dices en el.Traidor, fingido, embustero,Engahoso, ia ti te dan Apellido de GuzmanY nqmbre de caballero? iQue sangre puede tener Quien tiene pecho traidor? iE's hazaha de valor Engahar una mujer?

96

102. ',Id.ib. (II, iii) p. 74:Dona kn&:f fSi estas viendo, prima, aqui,

Lo que el ha dicho de , iQue quieres que diga del? Pierda el cuidadq cruel Que te- obliga a recelar Cuando. asl me ves tratar,Si es cosa cierta el nacer La injuria de aborrecer,Y la alabanza de amar.Mas cansada te imagine:Entra a reposar tin rato,Que,para hablar de tu ingrato Sera tercero.el camino.

103. Ijd.ib. (l, i) pp. 3-4:Don <Juan:

Tieneiye desesperado,Beltran, la desigualdad,Si no de mi calidad,De mis partes y mi estado.La hermosura de dona Ana, - El cuerpo airoso y gentil, Bella eraulacion de abril, Dulce envidia de Diana,Mira tu, icomo podranDar esperanza al deseoDe un hombre tan pobrq y feo,Y de mal talle, Beltran!

Beltran:dNo eres don Juan,de Mendoza? Pues dona Ana oque perdiera Cuando la mano te diera? :

Don Juan:Tan alta fortune goza,Que nos hace desiguales La humilde en que yo me veo.

104. See note 101.105. For examples, see I, xii, especially Mendo’s long speech.106. See note 71.107. See I, xix, for the Calle Mayor, I, xx, for the founder

of the hospital.

97

108. Id.lb. (l, i)'pp. 6-7:• Don.Juan: •

Es (don Mendo) belloy.rico y mancebo.# * : /• / ,Don Juan: c .. . ■Que calles te digo,

?: ■ , .. ' • ’ , Y ten .pdr cosa seguraQue tiene aquel que murmura, nEn su lengua su enemigo.

109. Jd.ib. (I, xx),p. 54:Don. Mendo: : : r:.'..

Para entre los dos, don Juan Es un. buen hombre; y .si digo Que tiene poco de sabio,Puedo, sin hacerle agravio;Vuestro deudo es, y mi amigo:Mas esto no es murmurar..

Jd.lb. (II, i) p. 64:Duque: . . r ,

6Tan bueno anduvo el Guzman?Don Juan:

En todo es hombre excelente Don Mendo.

Duque: , :- .'r (Apatite . ICuan diferente

Suele hablar.el de don Juanl)110. Id.JLb. (I, xx) .:p: 52: .

Don Mendo:(Aparte..iPlega a Dios que esta alabanza (de Juan en favor de dona Ang No engendre en el Duque amor,

. ;Que con t^l competidorMai vivira mi esperanza! .Yo quiero decir mal de ella

. • , For quitar la fuerza al fuego.)Mendo proceeds to carry out his plan: see note 67. This

aside is the portion of Mendo's speech omitted in that note. v ^

Id.ib. (ill, xviii) p. 153: ,,:Doha Ana: ; ; > r ...

... ya me.has perdido,,* # e

98

Digo que fue la intencion^Con que hablaste mal de mi A1 Duque, querer asi#Libraries (|e su aficion;Mas fue publico el hab^ar,La intencion oculta fue.

111. Id.JLb. (l, i; I, iv) pp. 8, 13:Don Juan:

Pues si con esta invencion(Saca una carta)

En su desden no hay mudanza,Aunque viva mi esperanza,

> , Mor^ra mi pretension.Beltran:... ,Mas dime: ique te ha qbligado

A trazar esta invencion Para mostrar tu aficion,Pudiendo con un criado , -De su caqa negociar Lo que tu vienes a hacer?

...Don Juan:

Deed, que importa una vida ; Que cerca esta de perdida,

Si remedio no le dais.Id.jjb. (ill, xvi) p. 149:

Celia: #Don Mendo esta en

Doha Ana: i-Don Mendo?

Celia:For fu

112. Id._ib. (l, ix) pp. 21-22:Don Mendo: #

Que su amor (el de Lucrecia) causo en mi pecho Terrible incendio, y so|pecho - Que hay centellas todavia.Y quien antiguo cuidado Arraigado al alma tiene,Ha de obligar el que viene,Sin despedir el pasado;Que mil veces se agrado

el jardfn.

rza ha entrado.

99

De la-novedad Cupido,Y vuelve a buscar, rendido,Lo que arrogante dejo....

Conde: ■Y ella (Ana) ios qulere?

Don Mendo:Plenso, primo,

Que merezco su favor.Conde

6Que hay de Teodora?Don Mendo:

■ ' QueriaQue-yo fuese su marido.

113* 15-ib. II, ix. pp. 85-92.114. Id.ib. (ill, xvii) p. 151:

Don Mendo: ;Que qulse en e% campo usar De fuerza, dlras. iAh, ^ngratal Como a espo^a lo intent®,Si te ofendi como a extraha;Y delinquiren el campoNo fue mucho, si llevabaAnticipado el castigo

' - ' Con mil fleehas en el alma.%115. Jd.jb. (I, viiij p. 19:

Don Juan: '; :Vencedor solo en lo que,soy vencido.

Note to this line.-Bourland, op. cit*. p. 168:A conqueror only in the thing in which I am con­

quered. Don Juan is a conqueror over himself in that, refusing to deceive himself, he recognizes the truth and admits hi's defeat, en lo que has the meaning of en lo en que. but this construction is not admitted in Spanish. Cf. Ramsay, op. cit. (Text-book of Modern Spanish, Holt & Co.; 1894), paragraphs 449, 460 and 701.

116. Id.ib. (I, xviii) p. 43: .Don Juan :# ,Ardo mas, mas desdehado.

15S0I8

100

117. Id.ib. (II, ii) p, 68:Don Juan:

Imita mi amor al hi jo De la tierra, aquel Anteo,Que derribado cobraba Nueva fuerza y valor nuevo.

118. For examples, I, i; I, xx.119. Id.^b. (ill, ii) pp. 116-117:

Don Juan: #Como mi mucha aficionY poco merecimiento Engendro en mi peysamiento Justa desesperacion,Vino amor a dar un medio En desventura tan fiera,Que a mi mal consuelo fuera,Ya qye no fuera remedio:Y fue, que te alcance quien Te merezca; tu bien quiero.♦ • •Este disfraz ha ordenado (el Duque). Con que te ha visto y oido.

120. H.lb. (II, ii) pp. 67-69:Beltran:

iComo en el amor del Duque Funda el tuyo su remedio?

Don Juan:Mientras sin contrario fuerte *Ame a doqa Ana don Mendo,Ella esta en su amor muy firme:A mudalla no me atrevo.Y como el Duque es persona A cuyas fuerzas y ruegos Puede mudarse dona Ana,Que la conquiste pretendo Para que andando mudable Entre los fuertes opuestos,No |stando firme en su amor,Este flaco a mi deseo.

,Beltran:Que aunque la traza es aguda, Pongo gran duda en su efeto; Que el,Duque es muy poderoso Llevarala.

101

Don Juan: .For lo menos,Si vence, alivio sera /Que por on Duque perdio;Y si no, consolarame ,Ver que lo que yo no puedo Tampoco ha podido un Duque.

*Dr. Bourland, in her table of Variants Occurring in the Editions of 1826 and of Hartzenbusch (1852)* shows on page 162, op. clt.. that in both the editions of 1826 and 1852, this verse (Act II, verse 214) reads; Ame dona Ana a don Mendo. I prefer this reading and have used it in the translation.

121. Id .jib. (II, xi) p. 95:Leonardo:

Dilato por las noven^s El matrimonio: engahote;Que no hay mujer que al amor Prefiera las devociones.Con secrete caminaba A otro fin su trato doble,Y por si no lo alcanzase,Entretuvo tu§ amores.Ya lo alcanzo, y te despide Sin que en descargo te informes;* * #Don Mendo;Agudamente discurres;Mas por los celestes orbes Juro que me he de vengar De su rigor esta noche.

122. Op. cit., p. xx.123. Ld.ib. (ill, xix) p. 156:

Don Juan:Deteneos;#

Que yo nunca os engah§.Recato y no engabo fue Encubriros nis^deseos;Qqe si os que^eis acordar,Solo os tercie para vella,Y en egpezando a querella,Os deje de acompahar.

124. This letter, found in both III, xiv, and III, xvi, reads

102

•; , ' V ;125.

El que sin;oir condena, . 1Oy^ndo, ha ,'de cdndenar; •Y esto me obliga a pensar

V;:. .It, ! : . Que .es sin remedlo ml pena.Ya que §1 cielo asi lo ordena,Dadme solo un rato oido;Que si#culpado lo pido,Para mas,pena ha de ser,Si no q^e os deuia saberQue,jamas os he ofendido. (ill, xvi) p. 147.

Id._j,b. (ill, xyi) pp. 147-148:Don Juan:., - ,Doha Ana :ique te ha obligado A pretenderme engahar?4Que te puedo yo.importar No querido y engahado?

‘ : ,A' ti vienen dirigidas •Las razones que he leido;Que'sobre lo sucedido Son palabras cqnocidas.,

Doha Ana:. , , Cuandoa mi venga el papel,

6Da gracias de algun favor,0 quejas de mi rigor?Luego te obligo con el..

Don. Juan: ■Mejor modo de obligar v ■. V

; Fuera no haberlo leido (el papel);Que quien escucha ofendido,

„ Nohuye de perdonar.iAjeno papel recibes ; . : v‘Cuando mia te has nombrado?0 poco me has estimado,

- • 0 livianamente vives: . .: ;:.. De donde.he ya cqnoqido.

, Que yivir me esta mas #bienf.: .. Desdichado en tu. desden, ; .

v Que, en: tu: favor ofendido. . , l.. V ... r ; :Yo me ire donde jamas.

Pueda otra vez engaharme (i . Tu favor. :

Id.ib. (I, x ) . p.■ 24: .; . . . . , •.Don :Mendo: - v '■

Parta#al punto elrepostero,Y engargales, por mi yida,Que este a punto la comida En la ventade Vivero., -

103

Haz comb dofia Ana vea •En ml prevenclonmi amor.

126. Id.lb. (l, i) p. 9: -Don Juan: . •

# # # • ''j ■ ■ *S| en tl, Beltran, no tuviera Mas amigo que criado. -

127. Id.ib. (ill, iv) p. 120::-Beltran:' • ; , ■ ■

En la taberna no bebes,Pero: te huelgas en ella.

Don Juan: ■ -l -:Bien lo entiendes.

128.. Id-lb. (ill, iv) pi -181: - :Beltran: •

- • " . .' I:/- ; ; « Mucho alcanza la porfia.Id.ib. (I, i)p. 5:

Beltran: • ■ ' * ■ : 'Sin riqueza ni hermosura •Pudieras lograr tvv intento (de casarte con

' " .' - ' dona Ana).Id.rb. (I, xxi) p . 57: • : ^ ;Beltran: ’ . ' ;

Su lengua (la de don Kendo) eh efeto es *La' que a nadie no perdona.

/ ' ' ' : ^Here Beltran applies a new meaning to an old phrase.As pointed out by Bourland, 0£. cit., p. 176, and Reyes, op. cit.. p.:^67,:this line, already antiquated in the time of Alarcon, is the f j,rst line of an old romance on the death of the Cid (Duran. Rom, gen., Vol. I, p. 567). In the romance it refers to Death.

129. Id.ib. (I, xviiij p. 42:Beltran (an,excerpt from the speech)-:

Todos t segun imagine,Piden, que para vivirEs fuerza dar y pedir ...Cada uno por su camino:,Con la cruz el sacristan,

• ' ; ' ..."; Con los responses el cur a, : ■ . ;" El monstruo con su figure,

104

Con su cuerpo el gana'pan;. : ^ • El alguacil con la vara,* * 'Con la pluma el escribano,

31 oficial con la mano,Y ^a mujer con,la cara. - .Y est^, que,a todosVexcede,Con mas razon pedira, ' •Pues que mas,que todos da, "Y a merios que todos puede.# * * :

Ellas pidenpor costumbre:.Haga costumbre en negar;Que tanto, desde que nacen El pedir usado esta,Que pienso que,piden ya Sin saber ^o que se haceri:Y asi es facil el jiegar,Forque se puede inferir Que quien#pide sin sentir No sentira no. alcanzar.

130. Id.ib. (II, i) pp. 61-62:Beltran: " , , 'Mas que cien predicadores

Importa uij murmur ador .Yo se quien ni con sermones,Ni.cuaresmas, ni consejos De amigos sabios y viejbs,Puso fr.eno a sus pasiones,Ni sus costumbres redujo

.\En gran tiempo;‘y 'solamente :De temor.de un.naIdiciente,Viva ya como un cartujo.

131. Id.ib. (I, i) p. 4: **'* '' ' Beltran:

(Pues, aunque sirviente, sabes Que a ratos escribo y leo.)

Id.^b. (II, i) p. 62:Duque: ,

Digo que tenets, don Juan,Entretenido criado.

Don'Juan: : :Es agudo, y ha estqdiado

: Algunos anos Beltran.132. I, i: 11. 13-28, 43-56, 71-76; II, i: 11. 31-32;

III, xi: 1. 522.

105

133. See note 111.134. Id .lb. (ill, xi) pp. 136-137:

Beltran:Mas piles qug tu amada be 11a Contigo es^a declarada.Agtes que el (el Duque) la persuada, Casate, senor, con ella. ;

Don Juan: ,iComo la podre pbligar Tanzbrevemente?

Beltran: FiriglendoQue la herida de don Mendo Se ha sabido en el lugar,Y con esto el vulgo toca En la opinion de dona Ana;Que tengo por cosa liana Que por taparle la boca,Si se ha de determiner Tarde, que quiera temprano Darte de esposa la nano.Con esto puedes mostrarUn desconfiado pecho Con recelos de su fg,Porque la raano te de Para vertesatisfecho.Que pues dice clarqmenteQue te quiere, y tu la quieres,0 ha de hacer lo que quisieres,

. 0 ha de confesar que miente.Don Juan:f ,

A1 ^ardin ira esta tarde:A111/la.tengo de ver,Y seguir tu parecer.

Id.jLb. (ill, xii) p. 138:. Duque:

Don Juan, amigo, yo muero.Don <Juan:

fcComo? .Duque:

En un combate fiero De celos, desden y amor.A1 ingrato conio bello Angel que adoro, escribi Hoy un papel.

Don Juan laparte): 'iAy de mil

Duque:Y no ha querido leello.

106

135. Id.ib. (l, i) pp. 7-8:Beltran:

Tu dices que desesperas,Y entre el mismo no esperar Nunga <|ejas de intentar:&Qge mas haces cuando esperas ?6Tu piensas que el/esperar Es alguna gonfeccioy Venida alia del Japon?El esperar es pensar Que puede al fin suceder Aquello que se desea;Y quien hace porque sea,Bien piensa que puede ser.

136. Bourland.,op. cit.. p. xxi:137. See note 115.138. jLd.jib. (, viii) p. 20:

Don Juan:.ITriste, donde es el no esperar forzoso,

",Donde el desesperar es la victoria,Don^e el veneer da fuerza al enemigoi

Beltran:ITriste, donde es forzoso andar contigo,

*Donde hallar que comer es gran victoria, *Donde el cenar es siempre de memorial

*Note to these lines from Bourland. op. cit.. o. 169The gracioso is traditionally a hungry fellow. For ex-., amples cf. Caramanchel in Tigso de Molina'.s Don Gil de las calzas verdes and Calderon’s La vida es sueno.

139. Id.ib. (I, iii) p. 11: r '.V Beltran:

No hay pobre con calidad:Si un villano rico fueras,A fe que nunca tuvieras En verla dificultad.

Don Juan: #Si ella esta tan de camino,*Que,es justa la excusa creo.

Beltran:Lo que con los ojos veo...

Don Juan:Malicioso desatino.

Beltran:^Cuanto va que no la ves?Don Juan:De no alcanzar ne se ofende • Quien lo dificil emprendg;

Mas#doha Ana es muy cortes.Beltran: #

iY agora que hacemos de h^cer,Que ella se parte a Alcala?

Don Juan: ,En tanto que ausente esta,Aguadar y padecer.

*Bourland, op. cit.. p. 161: In,the editions of 1826 and 1852, la causa is used instead of _la excusa.

140. See note 76 (ill, vii).141; Id.ib. (ill, xi) p. 136:

Beltran:Pues si tu querida alcanza De vista aquesa esperanza,Bien pueden doblar por ti;Que#por llagarse excelencia, iQue no hara una mujer?

142 . See note 108.143. Romera-Navarro, Historia de la literatura espahola. p. 354

Don Garcia ho es un embustero vulgar, sino el mas gracioso embustero del mundo, el maestro cumplidisimo de la mentira: la concibe con sorprendente rapidez, la dice con seguridad y osadia, la adorna con todo lujo de por- menores; y, si es cogido, sabeescapar imperturbable y airosamente. Cuando gfirma que habla diez lenguas, su criado piensa con razon: % todas para mentir no te has­ten .Owen, Arthur L.. La verdad sospechosa de Don Juan Ruiz

de Alarcon v Mendoza (ill, viii) p. 105:Don Garcia: ‘

iQue bueno'. # #Mejor que la castella (se la lengua hebraica); hab^o diez lenguas.

Tristan:Y todas

para mentir no te bastan.

108

144. Hurtado y Gonzalez Palencia. Historia de la literatureespaiiola. p. 688:

..,En La verdad sospechosa. don Garcia miente por aficion, gusto o entretenimiento, pero.no por perju- dicar a nadie ni por aprovecharse el de sus mentiras•

145. Id.lb. (II, xvi) p. 75:Jacinta:

Porque sols casado.Don Garcia:

£Que yo soy casado?Jacinta:

Vos.Don Garcia:

Soltero soy ivive Dios'.Quien lo ha dicho os ha engahado.

Jacinta (aparte a Lucrecia): iViste mayor embustero?

Lucrecia:No sabe sino mentir.

%d.Lb. (ill, xiv) p. 117;Tristan:

...en la boca del que mentir acostumbra es la Verdad sospechosa.

146. jCd.jlb. (ill, ix) p. 110:Don Beltran:

Mas primero he de informarme e n 'esto.de Salamanca; que ya temo que, en decirme que me engahas te, me engahas.Que aunque la verdad sabia, antes que a hablarte- llegara, la has heqho ya sospechosa tu, con solo confesarla.

147. See I, v, for the conversation#with Jacinta; I, vii, forthat with Don Juan and Don Felix."

148. JEd.lb. (l, viii) pp. 32-34:Don Garcia:

-t Cosa es cierta,Tristan,/que los forasterostienen mas dieha con ellas (las damas); .

109

y mas si §on de las Indias infgrmacion de riqueza. . .

Tristan: •Ese fin esta entendido;

, mas pienso que al medio yerras, pues ban de saber al fin

: quien eres.Don Garcia:

: Cuando lo sepan,habr e ganado en su. casa o en su; pec ho ya las pyertas, con ese medio,,y despues yo ipe entendere con ellas.

Tristan: ; ....AQue fin llevas,

habiendo. llegado ayer ? ; v , ■■Don Garcia: #

Ya sabes tu que es grandeza esto de estar encubierto,

: o retirado en su aldea, . ■'T.:-. o en su casa descansando. : ' .

* * #

Fingilo (el convite), porque me pesa . que piense nadie que hay cosar <. que mover mi pecho pyeda a envidia o admiracion,

, pasiones que al hombre afrentan; que admirarse es ignorancia, cqmo ehvidiar es #bajeza.Tu no. sabes a que sabe,cuando liega un portanuevasmuy orgullosa a contaruna hazaha o una fiesta, . , . ;;taparle la boca yo .....

■. con otro tal, que se vuelva ‘• con sus nuevas en el cuerpo ,v . r . '

y qqe reviente con ellas. ■;v - : ■ ' .Tristan: #

iCaprichosa prevencion,1 si b^en peligrosa tret a*.

La £abula de la corte iseras, si la flor te entrevan.

Don Garcia: ..Quien vive sin'ser sentido, quien solo el numero aumenta, y. hace/lo que todos haceh, - ■Aen que difiere de bestia?Ser famosb es gran cosa, e% medio cual fiiere sea.Hombreijme a mi en- todas partes, y murmuronme siquiera;; pues uno, por ganar nombre,

110

abraso el templo de Efesia; y , al fin, es #este mi gusto, que es la razon de mas fuerza.

149. See II, ix, x; also, note 160.150. Id.ib. (ll, v) p. 48: -

Tristan:* . * # §que son tales (sus mentiras), que podracogerle en ellas cualquiera.

Examples of Garcia's being caught up in his .lies:Note 157, the name of his supposed father-in-law;II, xiii, the report of Don Felix to Don Juan de

Sosa that the stories Garcia told them during his first day in Madrid (I, vii, note 147) are f^lse. (This part of the conversation between Juan and Felix is omitted in note 158.)

151. See II, ix, for both the reprimand and the story of themarriage.

Id.ib. (II, ix) p. 56:Don Garcia:Quien dice que miento yo ha mentido. .

Hurtado y Gonzalez Palencia, op. ait., p. 354:...El galan es incorrigible: acaba su pa<Jre dq

afearlg el vicio de la mentira, cuando ya esta aquel ensartandole una tras otra, con tanto gusto como sere- nidad. ;

152. Id.ib. (ll, x) p. 65:Don Garcia:

Dichosamente se ha hecho.Persuadido el viejo %a: ya del mentir no dira . que es sin gusto y sin provecho;

pucs es tan notorio ^usto - el ver que me haya greido,

y provecho haber huido de casarme ^ mi disgusto.

iBueno fue rehir conmigo, porque en cuanto digo miento,

Ill

y dar credito al momenta ' • ' a cuagtag mentiras digol

IQue facil de persuadir ’ 'quienjtl^ne amor suele ser1

Y ique facil en creer el quo no sabe mentir!

153. John Brooks, " La verdad sospechosa: The Source and Pur­pose," Hispania. 1932, p. 249.- : ■

154. Id.ib. (ill, v i i v i i i ) pp. 103-105:Don Garcia: ‘

• * • #que abriendole (a Don Juan) en la cabeza un palmo de cuchillada, vino sin sentido al suelo, y ayh sosnecho que sin alma.Dejele asi, y con secreto me vine. Esto es lo < ue pasa; y de go verle estos dias,*Tristan, es esta la causa.

Tristan: • "iQue sueesq tan extrahol IY se murio?

Don Garcia:; Cosa es clara,

porque ijasta los mismos sesos esparcio por la campaha. '

Tristan:iPobre don Juan!

(Salen don Juan y don Beltran por otra parte.)Tristan: . . #

. I.'as <Lno es esteque vienie aqui?

Don Garcia: . :; ' iCosa extraha1

Tristan:,iTambien a mi me pegas? iAl secretarto del alma1 *Aparte. i'Por Dios, que se lo cref, con conoce^le las manas»Mas 6a quien no engaharan mentiras tan bien trovadas?Don Garcia: - ;Sin dudia que le han cur ado por ensalmo. /

Tristan:(aparte.):iQue ninguno se conozca?

112

155. Brooks, op. cit.. p. 250. -156. Id .lb. (l, ii) p. 8: ' '

Letrade: * ‘ • _ ,-De ml senor don Garcia :

todas las aooiones tienen - clerto acento, en qu^ convienen con su al^a genealogia.Es magnanimo y valiente,

es sagaz y es ingenidso, es liberal y piadoso, ' si repentino, impaciente.

Mas una falta no mas - .es la quelle he conocido, que por mas que le he-rehldo, no se ha enmendado jamas.

No decir siempre verdadl157. Id.^b. (ill, ii, ill) pp. 84-85:

Don Beltran: #. Mas di, icual es de tu suegro • el propio nombre? . -

Don Garcia: ' # ' ’ ', 6De quien?’Don Beltran:

De tu suegro. ;Don Garcia; ajaarte ' •

- Aqui me pierdo. Don Diego. ' / '

Don Beltran:0 yo me he- engahado,

u otras voces le has riombrado don Pedro. -

Don Garcia; #- • Tambien me acuerdode eso mismo; pero son •

suyos, sailor, ambos nombres.Don Beltran: •

iDIego^y Pedro?,Don Garcia: .

‘ -No' -te asombres; que, por una condicion,

don Diego se ha de llamar de sq casa el sucesor. _ .Llamabase mi sehor don Pedro, antes de heredar;

113

y como se puso luego # . don P^eKQ.fporque h^redo, aespues aca.se llamo . ya don Pedro, ya don Diego.

Don Beltran: ,No es nueya esa condicion en muchas ,'casas de Espana.A escribirle•voy.

- : ■ vase-Tristan:. . Extrana: fue esta.vez tu confusion.

158. Id._ib. (II, x, xi, xii, xiii) pp. 65-71:Don Garcia: • , . .

Tan terrib^es cosas hallo ' -quo sucediendonie van,

que pienso que desvano: vine ayer, y en un memento tengo'amor y casamiento y causa de desafio. . J

(Sale don Juan)Don Juan: *'' ' ." " - ' #

Como quien sois lo babels hecho don Garcia.

Don Garcia:. . iQuien po^ia,

sabiendo la sangre mia,. pensar menos de ml peclio?' Has vamos, don.Juan,,al case por que ll|mado'me habeis.Decid. ique caiisa terieis; que por , sabella me abijaso,

de hacer este desafio?Don Juan: ' ‘ :-

Esa dama a quien hicistes conforms vos me dijistes, anoche fiesta en el rio,

. es causa de mi tormento,•y es con quien, dos anos que, aunque se dilate, esta tratado mi casamiento.

. * *Don Garcla:Y cuando esa hubiera sido,

de no verla mas os doy •• palabra, como quien soy, o quedar.por fementidq.

114

Don Juan: #• Son eso se aseguro

la sospecha de mi pecno, y he qi^edadb satisfecho.

Don Garcia: - ■ • - • • 'Falta que lo quede yo; .

que haberme desafia^o nose ha-de quedar asi.Libre; fu§ el sacarme aqui; mas habiendotne sacadoy . . .

me obligastesy y es- forzoso puesto que tengo de hacer cbmo'quien soy, no volver sino muerto o victorioso.

Don Juan:(Sacan las espad'as % acuchillanse .)(Sale don Felix)Don Felix: ' ;

Detenganse, -Caballeros, que es^oy aqui yo. ;

Don Garcia: - . :' , ' IQue venga:

agora quien me detengal 'Don Felix: ■

Vestid Iqs fuertes acerog, que fue falsa la ocasion

desta pendencia.Don Juan:

■ f *' t ' Ya habia dicholo asi don Garciq;‘ pero, por- la obligacion

en que pone el desafib, desgudo el vdliente acero.

Don Felix: • - - -Hlzo'-como -caballero . -de tanto valor:y brio;

(Danse las - manos. don Juan y don Garcia.)(Vase don Garcia♦)

. . . ; • ' 1' ' ' '

Don Juarji:bOue decis?

Don Felix:- . " ": Esto es verdad.Don Juan: ’ • '

^Embustero es don Garcia?’ -Don Felix: y- ‘ ' -

Eso un ciego lo veria;

115

* * * ' ' . 'Don Juan:Lo que me rlene.dudoso es que sea mentiroso un hombre que es tan valiente;que tie su espada el furor

dieija a Alcides pesadumbre.Don Fel^x:

Tendra el mentir por costumbre, y por herencia el valor.

159. Id.jLb. (l, vi) p. 23:Tristan:

"Dona Lucrecia de Luna se llama la mas hermosa,

que es mi#duefio; y la otra dama, qqe qcompanandola viene, se donde/la#casa tiene, mas no se como ^e llama

Esto/respondio el cochero.Don Garcia: # .

Si es Lugrecia la mas bella,No hay mas que #saber, pue's ella es la que hablo, y la que/quiero;que como el autor de^ dia

las estrellas deja atrag, de esa suerte #a las demas, la que me cego vencia.

160. _Id._ib. (ll, xi) pp. 57-58:Don Beltran: r

Y agora, porque entendais que en vuestro bien me desvelo, sabed que os tengo, Garcia, tratado un gran casamiento.

Don Garcia (aparte):IAy, mi#Luereciai

Don Beltran: rJamas

pusieron, hijo, los cielos tantas, tan divinas partes . en un humane sujeto, como en Jacinta, la hija :• de don Fernando Pacheco, de quien mi yejez pretende tener regalados nietos. -

Don Garcia (aparte):i^y Lucrecial si es posible,.tu sola has de ser mi dueho.

116

fDon Beltran: , tiQue es est@? 4No reepondeis?

Don Garola:(aparte): • 1■ iTuyo h| de ser, vive el cielolDon Bfltran: ,

iQue os- en^risteceis?-1 Hablad; no me tengais mas suspense. • •

Don Garc ig: • , :;Entrist-ezcome porque- es imposib^e obedeceros.

Don Beltran: . .6For q^e? . - :Don-Garcia: : . .

■: Porque soy pasado.Y . ' : ':X. ' /X : "

161. Brooks, op. cit.. p : 249. For, stress on this subject inthe play, see I,. ii, v; II, lx. : .

162. Tesoro del teatro espahol desde su;origen hasta nuestrosdias. IV, p. 432; ;

...Un vicio:tan feo cgmo el de mentir merec^ un cas tigo muy severo,: y Alarcon se lo. da;a don Garcia.

163. Dr. Brooks discusses.': this subject on page 249 of his ar­ticle.

164. Bourland, op. cit.. p. xix.165. rd.ib. (l, ii) p. 7: - 5 . ;

Don Beltran:; ' ■ U - ”.".'-; .:p - ' . r v v-u■ quierb, seRor Licenciado', ' • ' • :• - ‘..v-;.r

- ; : que me diga-blaramente, - .de su modo y condicion (decGarcia) - .

- ' de .su %re$q y ejercicio, ' .V.Ac i ; : . . >"• y a que gfnero de vicio V-:;:; muestra mas inclinacion.

Si tiene alguna costumbre . - *,: . . que yo . cuide de enmendar,

no piense que me ha de dar,.con deqirlo, pesadumbre.

Que el tenga vicio esforzoso; que me;pese, claro#esta; mas saberlo me sera util, cuando no gustoso.

166. Id-lb. (I, ii) pp. 9-11: ',- ^'

117

Don Beltran: #I Jesus, que cosa tag fea

en hombre de obligacionlDon Beltran:

Si la vara no ha podido, en tiempo que ti^rna i a sido, enderezarse, cque hara ■ siendo ya tronco robusto?

' ■ ’ ,Don Beltran: fCreame, que si Garcia

mi hacienda, de amores ciego, disipara, o en el juego consumiera noc^e y dia;

si fuera de animo inquieto y a pendencies inclinado, si mal se hubiera casado, si se muriera en efeto;no lo llevara tan mal

como que su £alta sea . 'menhir. IQue cosa tan fea1 .iQue opuesta a mi. natural*Ahora bien: lo que he de hacer

es casarle brevemente, antes que este inconveniente conocido venga a ser. ' •

• , , •167. Juan Ruiz de Alarcon, La verdad sospechosa. edicion alcuidado de Henriquez Ureha y Bogliano, p. 30, note to the last two verses quoted in note 166:

/En este pasaje, D. Beltran demuestra no tener una mo­ral superior a la de su hi jo; desea casarlo y situar- lo b^en en la vida antes de que se conozca su defecto, que el llama "inconveniente", en vez de tratar de corregirlo antes de^que comience a actuar libremente en socie^ad. Pero es^e es un descuido inconsciente de Alarcon, cuyo proposito era dar alcance moral a su comedia.

168. Id._ib. (II, ix) pp. 56-57:Don Garcia:

Quien dice que miento yo, ha mentido.

Don Beltran: #Tambien es.o

es menhir; que aun desmentir no sabeis, sino mintiendo.

118

Don Beltran:iNo sere ne^io, si creo

, que vos decis verdad solo,, y miente el lugar entero?Lo que imports es descientir esta fama cgn los hechos; pensar que este as otro mundo; hablar poco y #verdadero; mirar que estais a l a vista

.. de un rey tan santo y perfecto que vuestros yerros no pueden hallar d^sculpo en sus yerros; qi e tratais aqui ,con. grandes, titulos y caballeros, • .que si oszsaben la flaqueza, os perd§ran el respeto; que teneis barba en.el rostro; que al lado.cenis acero; ..que nacistes noble, al fin, y que yo soy padre vyestro.Y no he de.deciros mas; que esta sofrenada espero que baste, para quien tiene calidad y . entendimientq.Y agora, porque entendaisque en vuestro bien me d|sv.elo, sabed■que os.tango, Garcia,■

;.tratado,un gran casamiento.

ver cuan ignorante estat de la corte. iLuego aca no hay quien le ensehe a mentir?

E n l a c qr.te, aunque hay a s i do en extreme don,Garcia, hay quien le de cada dia mil mentir^s de par^ido... . ,: :..Y si aqui miente el que esta en un puesto levantado, en cosa en que al engahado la hacienda u honor le va,

6no es mayor inconveniente quien por espejo esta puesto al reino? Dejemos esto, que me voy a maldiciente. :

16 9. %d.lp. (I, ii) .pp..’.9-10:...... > 'Don Beltran: ; .Casi me mueve a reir

#

119

170. Id.ib. (II, ix). pp.. 54-56:Don Beltran: • ■ •4Soi| caballero, Garcia? :Don#Garcia:

Tengomeypor hijo vuestro. .Don Beltran: . -

4Y basta ser hijo mio para ser vos caballero?

Don1Garcia: • f;Yo pi§nso, sehor, que si.

DohBgltran:i(Jae engahado pensamiento'.Solo consisteenobrar ^ como^caba^lero el serlo. J' iQuien dio principio a las casas nobles? Los ilustres- hechos de sus primeros autores.Sin-mirar sus nacimientos, hazanas de hombres humildes horiraron sus herederos.Luego en obrar mal o bien esta-el ser malo o ser bueno.^Es as i ? • ■ •• ■. •

Don Garcia:•; • Que las hazahas -den nobleza, no lo niego; mas ng negueis que sin ellas tarabienyla da el nacimiento.

Don Beltran:Pues si hoijor puede ganar -quien nacio sin el, ino es cierto que, por e^ contrario, puede quien ^on el nacio,perdello?

Don Garcia: *• ■Es verd^d.

Don Beltran: ' ' ' '# ' , Luego si vos-

obrais afj;entosbs hechos, aunque seals hijo mio, dejais de ser caballero; ' luego si vuestras costumbres os infaman en el pueblo, no iraportan paternas armas, •- no qirven altos abuelos.> cQue cosa es que la fama diga a mis oidos mesmos que a Salamanca admiraron

• vueqtras mentiras y qnredos? iQue caballero, "y que nadaj* * *

120

AFosible es que tenga un hombre tan humlldes pensamientos ' ;qy.e.viva sujeto al vicio •mas 8in gusto y sin provecho?El deleite natural tiene a.los lascivos presos; obliga1a los codiciosos el- poder que da el dinero; el-gusto de:los manjares

•••'al -gloton;... ; •#**" ■ '- • •'al robador su remedio;

? ‘ ' ' - 0 ^ ' * - l f J, -i' f" *. ■*•#*' « .■

Todos los vicios, al fin, o dan gusto o dan grovecho; '

• « .• ';• : ■ mas de: mentir, Aque se -saca /r :.:. .. :- sino inf ami a - y menosprecio?; ‘

171. Brooks, op. cit.. p. 248.172. Id.ib. (II, ix) pp. 58, 64:

Don Garcia:# ...soy casado.

Don Beltran: #AOqsado? ICielos*. AQ'ue es esto?ACorao, sin saberlo yo?

Don Garcia: /;• '' - . - • i ■':• : Fue f uerza, y esta secreto. _ •• : • : ■

Don Beltran: #— ' ' • A Hay padre mas desdichado? • !: . ■ ': . . . ' • - r- , • . , ' '• •.''_* - - 0 0 0 ’ * V ' ►. -* ■* r • • .v 1 ' •-' "

Don'Beltran:Las circunstancias del caso

' ' son tales, que se conoce - " • •■ que la fu§rza de la"suerte -

te,destine esa consortej • • • - - y asi, notg culpo en mas

que en,callarmelo.173. See note 108, second quotation, for Don Juan's,reprimand

of the gracioso Beltran.174. See note 93 for £he rather indifferent love which the

gracioso Beltran makes to the maid, Celia.175. Id.^b. (I, i) p. 4: .

Don Beltran:Duefto tienes

nuevo ya, de quien cuidar.

121

; Sir^e desde hoy a Garcia;. que tu eres diestro en la corte y bisoho.

Tristan:/. . . ; #En lo que irnporte,yo le sgrvire de guia.

Don Beltran:: Mo ; es criado, „.el: que te doy; mas consejero y amigo.

Don Garcia:.Tendra ese lugar conmigo.

See note 126 for the relation of the gracioso Beltran to his master. . . .•

176. See note 184 and corresponding text for Tristan's clas-. , sification, in astrological metaphors, of women.

■ Id._ib. (I, iii) pp. 15-16:Don Garcia: .. •>t : •

: i^res, astrologo?Tristan: - ’ . ,

/ Oi,y .. ' . •el tiempo que preten^ia en palacio, astrologia. ,

See notes 131 and:132 and.the corresponding text for,the learnedness and intelligence of the gracioso Beltran.

177. See note 184 and•the corresponding text for Tristan'sclassification of women; III, iii, for these two ref­erences to classical mythology.

178. See notes 134 and 140 for the gracioso Beltran's at­tempts to aid Don Juan in marrying Doha„ana.:, , ;

179. Id .lb. (I, iii) ,p. 17: ; , i ' • i-- ;, . - : . . . :Don Garcia: , : .

Pues yo, al fin, quien fuere sea,1'Iq quiero y he df servilla. ..- . Tu puedes, Tristan, seguilla.Tristan:

. ' • i. Detente, que ella se apeaen la tienda.

Don Garcia:, : f - Llegar quiero..,

iUsqse en.la corte?Tristan: ' • ; , y

■ : ■-: . ' : ' ■■■ Si, .,: •: _con la regia que te di,

122

de que es el polo el dinero.180. See note 148.181. JEd-lb. ■(!, viii) p. 34:

Tristan:Juveniles opiniones sigue tu ambiciosa idea, y cerrar has menester en la corte la mollera.

See note 134 for an example of the gracioso Beltran's advice to his master regarding the course of action to follow.

182. Id.jLb. (ill, xiv) p. 117;Tristan:

Tu tienes la culpa toda; que si al principle dijeras la verdad, esta es la hora que de Jacinta gozabas.Ya no hay remedio, perdona, y da la m^no a Lucrecia, que tambien es buena moza.'

See gote 135 for the reprimand which the gracioso Bel­tran gives his master.

183. Id.^b. (ill, iii) p. 86:Tristan: #

. . Garnino esta de tu parte, ; . • ;y promete revelartelos secretos de su pecho (el de Lucrecia);y que hayde curnplillo espero,

si andas tu curnplido en dar; que para hacer confesar, no hay cordel como el dinero.

See note 111 for the gracioso Beltran* s belief in the bribery of servants.

184. Id.ib. (I, iii) pp. 13-15:■ ' - ,Tristan:

Las sghoras* no es mi intento que en este numero esten; que son angeles, a quien no se atreve el pensamiento.

123

. Solo te dire de aquellas que,son, con almas livianas, siendo divinas, humanas; corruptibles, siendo estrellas.' Ninas,salen, que procuran gozar todas ocasiones; estas son exhalacionesque, mientras queman, duran.• ? ...... ■ ■ : • • -** + " ' . : r 'Y asi, sin fiar;en e^las, lleva un presupuesto solo, y es que el dinero es el polo de todas estas estrellas.

See note 129 and,139 for the low repute in which the •gracioso Beltran holds women. •

185. See no^e 159: for, this;’hasty and erroneous decision whichGarcia makes; regarding the name of the girl in whom he is interested.IV.- , ■ . ,: : , ;; , ' ;

186. Id-ib. (I, vi) p. 23:

187.

/Tristan: y- •Pues a que callo

me par ecio mas hermosa. • > ; ' ■:'*** : ' -= /-V

Mas soy tan aficionado 1.; -a.cualqu^er mujer que calla, qye hasto, para juzgalla mas hermosa, haber callado.

These words (ll, xvi, .p. 80) follow those quoted in note 207: . . ■:-

Don Garcfa:r • ,■ IEstoy loco 1

6Ve%dades valen tan poco? : .Tristan: ,

En la boca- mentirosa.Don Garcia:

iQue haya dado en no creer cuayto digov -Tristan: ’• . . . . :: .

■ ■; iQue te admiras,si en cuatro ovcinco. mentiras. te ha acabado de coger?* De aqui ,si- lo consideras, conoceras claramente : que quien en,las burlas miente, pierde el credito en las veras.

124

188. See note 134.189. Id.lbv (l, vili) p. 32:

Tristan:Y agora, antes que ^evi'ente, dime, por Dios, Aque fin ^levas en las ficciones que he oido? Siquiera para que pueda ayudarte, que gogernos en mentira: sera afrenta.

190. See note 154. ; .191. See note 127. ■ . .•192. Stage directions for I, iv (p. 18):

Salen Jacinta; Lucrecia, Isabel, con mantos;Jacinta y. llega don Garcia y dale la mano

193. Id_._ib. (l, lx) pp. 35-36:Jacinta: '

Encarecer lo que gano : .en la mano que me dais,

si es notbrio, es vano intento; que estirao de tal manera las prendas vuestras, que diera luego mi consentimiento,

a no haber de parecer, por‘mucho que en ello gano, arrojamiento liviano en una honrada mujer.' •. Que el breve determinarse en cosas de tanto peso, • o es tener muy poco seso, -- o gran- gaha de casarse. : : •Y en cuanto a que yo lo vea,

me parece, si os agrada, que, para no arriesgar nada, pasando la calls sea.Que si, como puede ser,

y suo§de a cada paso, , despues de tratarlo, acaso se viniese a deshacer,

Adq que me hubieraq servido, o que opinion me daraq las visitas de un galan * con licencias de marido? ■

cae

185

194. See note 112, first speech.195. Id.ib. (l, x) pp. 37-40:

Isabel:Mucha priesa te da el viejo (Don Beltran).

Jacinta:Yo se la diera mayor,pues tan bien le esta a mi honor,si a diferente consejono me obligara el amor.

Que, aunque los impedimentos del habito de don Juan, dueno de mis pensamientos, forzosa causa me dan -de admitir otros intentos;

como su amor no despido, por mucho que lo deseo, que vive en el alma asido, tiemblo, Isabel, cuando creo que otro ha de ser mi marido.

Isabel: ,Yo pense que ya olvidabas

a don Juan, viendo que dabas lugar a otras pretensiones.

Jacinta:Causanlo estas ocasiones,Isabel, no te engahabas.Qu§ como ha tanto que esta

el habito detenido, y no ha de ser mi marido si no sale, tengo ya este i^tento por perdido.Y asi, para no morirme,

quiero hablar y divertirme, pues en vano me atormento; que en un imposible intento no apruebo el morir de £irme.

Por venture encontrare '• alguno tal, que mere^ca que mano y alma le de.

Isabel: v .: ,* e *y si no me engario yo,

hoy nozte desagrado el galan indiano.

Jacinta:- • • s '

Pues muy bien me parecio.Y tanto, que te prometo

que si fuera tan discrete,

186

tan gentII hombre y galanel, hi jo de don Beltran - v,-; . ,tuviera.la bodo (sic ) efeto.

Isabel: ..Esta tardele veras -

con su padre por la calle.Jacin^a:t

Vere solo el rostro y ^alle; el alma, que imports mas, quisiera v@r con hablalle. .^rr

Isabel:Hablale.

Jacinta:Hase de ofender

don Juan, si llega a sabello; y no quiero, liasta saber que de otro dueno he db ser, . ■ . .. determinarme a perdello.

Isabel:que don Juan es, desta suerte, el perro del hortelano♦,Siy que lo sepa don Juan,

; . podras hablar, si.tu,quieres, al hijo de'don Beltran; #

•que, como en su centre estan las trazas en las mujeres.

Jacinta: , f ,Una pienso que podria

en.este caso importer.Lucrecia es amiga mia: ella puede hacer llamar de su parte, a don G a r c •

que como secreta este yo con ella en su ventana, este fin conseguire.

* * • :Jacinta: , ,Pues parte al punto, y mi intento

le di a Lucrecia, Isabel./196. See II,'viii.(pp. 51-53), for this conversation

Jacinta and Isabel, which ends thus:Jacinta:. . , ,Al fin, como fuere sea. v- De sus partes me ^oritento; quiere el padre; el me desea; da por hecho el casamierito.

197. Id.ib. (ill, xiv) p. 115:

between

127

- • . Lucrecla:A1 fin, tras tantas contrastes,.

tu dulce esperanza logras.Jacinta: t • ' •

Con#que tu logres la tuyaSere del todo dichosa. :, .

- ■ ' . ; ; , ' • "

198. id..ib. II, viii, pp. 51-53:199. See note 195, last speech, for Isabel's carrying of the

message. , ,Id.tb. (II, xv) p. 73:

Jacinta: , ;Tu, Isabel^ ,

mientras hablamos confel (don Garcia), a nuestros viejos espia.

Isabel:' ■ -Yo me encargo

' - • de avisaros en viniendo.200. See note 195, second speech from end.

; r i , :.o ,201. See note 197; :, v ; ' .202. See note 195, second speech from end.203. id.ib. (II, xvi) p. 74:

Luct’ecia:• ; i■^, Ty eres dueho de la historia;

tu en ^i nombre le responds.Don: Garcia:

AEs Lucrecla? •: u. :.,Jacinta: ; . : ..

. : : 62s don Gafcfa?Don Garcia: #- quien:hoy la joya ^allo mas preciosa que labro . • el cielo, en la Plateria;

c •••y soy quien hoy comianzo: a ser, porque soy • el esclavo de Lucrecla. ,

Jacinta (aparte a Lucrecla): Amiga, este caballero

para todas tiene amor. •

204. Id.ib

128

. (ll, xvi) PP-: 76-77:Don Gave fa: , • : :

SI vos hubleredes sido causa de.haber yo afirmadb,• Lucrecla, qu@ soy casado, isera culpa haber mentido?... - . , . : V , ' ' - . '

Don Garcia: - 'Sue mientras hacer espero

con vuestra maho mis bodas, sgy casado para'todas, solo para vos soltero.• * > •-Sste es el caso: miradsi esta mehtlra os admiraV cuando ha d^cho.esta mentira de mi aficion la verdad.

Lucrecia (aparte):I Mas- si lo fuesei *

205. Id.ib. (II, xvi) p. 78: - ' : - . -Don Garcia: :

Ved#si estoy mal informado. lOjala, bien, que asi

„ -lo estuvierades de milLucrecia (aparte):

Casi me pone en cuidado.. :v.j :■ . A L . .

206. See note 5. - '207. Id.Lb. (II, xvi) pp. 78-80: -

Jacinta: - • v . 'Pues Jacinta 4rio es hermosa

nb es discrete, rica y tal quepuede el mas principal desealla por esposa?Don Garcia:

Es discrete, rica y belle; mas a mi no me conviene.

Jacinta: # ' / :Pues decid 6que falta tiene?

Don Garcia: .La mayor, que es no querella.

Jacinta: ■ - ' 1 " 1Pues yo cgn el^a os queria

casar; que #esa sola fue la intencion con que ds llama

129

Don Garcia:Pues sera vana porfia;que por haber intentado

mi padre, don Beltran, hoy lo mismo, he dicho que estoy en otra parte casado.# * #

2sto es verdad, vive Dios, porque mi amor es de modo que aborrezco aquello todo, mi Lucrecia, que no es vos.

Lucrecia (aparte): iOjalal .

Jacinta:* * * #6Como, si hoy dij^stes vos a Jacinta que 1^ amais, agora me lo negate?

Don Garcia: ■iYo a Jacinta? Vive Dios, que sola con#vos he hablado

desde que entre en el lugar.* * *Lucrecia (aparte):

Confusa quado.208. Id.ib. (ill, i) pp. 8i-83:

Camino: #qye jura (Tristan) que don Garcia

esta loco (con amor de ti).Lucrecia:

iCosa extrahal 6Es posible que me engana quien ^esta suerte porfia?

El mas firme enamorado S(| cansa, si no es querido, ieste puede ser fingido, tan constants y desdehado?

Camino:* * * .

Que quien tu calle pasea tan constants noche y dia; quien tu espesa celosia tan atento brujulea;...quien llora, quien desespera,

quien, porque contigo estoy, rue da diner os, que es hoy

. la serial mas verdadera,yo me afirmo en que decir

que miente es gran desatino.

130

Lucrecia:Bien se echa de ver, Camino, qiie no le has vis to mentir.

iPluguiera a Dios -fuera cier to su amorl Que a decir verdad, no tarde en mi voluntad, hallaran sus ansias puerto. "

Que sus encarecimi^ntos, aunque no los he creido, por lo menos han podido -

. despertar mis pensamientos.Que <|ado que es necedad

dar credito al mentiroso,■e . ‘. V .. .. . ' . ■ " ' ■: ©bligame la esperanza ■ .y.el propio amor a creer que. conmigo puede hacer ■ : en sus nostumbres mudanza.Y asi, por guardar mi honor,

si me engaha lisonjero, y si .es- su amor verdadero, porque es digno de mi amor,

quiero. andar tan advertida a los bienes y a los dahos, que ni admita sus engahos ni sus yerdades despida.

Lucrecia: # ..Fues^dirasle que, cruel, rompi, sin vello, el,papel; que esta re^puesta le doy.Y luego tu, de tu aljaba,

le di que no. desespere; y que; si verme quisiere,. vaya esta tarde a la Octava

de la. ilagdalena . ; ■

which slanders Ana.210. See note 124. . v : .211. Id.lb. (ill, iv)1pp. 88-89:

Jacinta^- : , 6Que?.6prosigue don Garcia? Lucrecia:De modo que, con saber su engahoso proceder,

131

eomo tan firme porfia, casi me tiene dudosa.

Jacinth: ' ...Quiza:no eres enganada; que la verdad no 69 vedada a la bqca mentirosa.: Qtjiza es verdad que tte quiere, y mas doride tu beldad asegura esa verdad: en cualquiera que te viere.

Lucrecia: ,. r ■ ; -Slempre tu me favoreces; ,

mas yo lo creyera asi, a no. haberte visto a ti, que al mismo sol obscureces.

Jaeinta:Bien sabes tu lo que vales;

y que en esta competencia nunca ha salido sentencia,

. por tener votos iguales.Y no es sola la hermosura

quien cau|a amoroso ardor, que tambien tiene el amor su pedazo de vqntura.Yo me holgare que por ti,

amiga,: zpe haya trocado, y que tu hayas alcanzado lo que yo no ipereci; . .. . • .

- •pqrque ni tu tienes cqlpani el me tiene obligation.Pero ve con prevention, que.no te queda disculpa

si te arrojas en amar, ,.y al fin que|as enganada, de qu^en estas ya avisada que solo sabe engahar.

Lucrecia:; Gracias, Jaeinta, te doy;

. .mas tu sospecha corrige, que estoy por creerle, dije, no r'que por quererle estoy. .;

Jaeinta:- ,, .Obligqrate el creer,

y, qu|rras, siendo obligada; y asi es corta la jornada que hay de creer a querer•

212. Id.ib. (ill, vi) pp. 93-99:Jaeinta (aparte a -Lucrecia):

Cubrete, pues no te ha visto,

132

y desengaft&t^ agora.. (Tapanse Lucrecia y Jaclnta)

4B €1 <(l \ ' •* * » •« *

Don Garcia: ' . 1 ‘ 1 / ; i.Y vuelvo a jurar, por Dios,

. que, en este amoroso estado, para, to das soy casado, y soltero ,para vos.

Jacinta (a Lucrecia):. 4Ves tu desengano? .Lucrecia (aparte):

r IAh clelos1c-Apenas una centella siento de amor, y ya della nacen volcanes de celos?'

DonGarcia: ^Aquella noch§, sehora,#

que'en el balcon os habl§,Itodo el caso no os conte?

Jacinta: ' z :: ' ; -6A mi en balcon?

Lucrecia(aparte):iAh traidoral

Jacinta: zAdvertid que os engahais.

iVos me hablastes?Don Garcia:■ ' . iBlen, por Dios lLucreci^ (aparte): :

6Habl^isle de noche vos, y a mi^consejos me dais?

Don ‘Garcia: . . .■ Y el/papel que recibistes,

inegareislo?Jacinta:

. : ■ z :•4Yo•papel?Lucrecia (aparte):

IVed que amiga tan fieli# *".* -Don Garcia: z t

6No os hable en vuestro balcon, Lucrecia, tres noches ha?

Jacinta (aparte):6Yo Lucrecia? Bueno va.#Toro nuevo, otra invencion.A Lucrecia ha conocido,

• y es muy ciertb el adoralla, pues finge, por no enojalla, que por ella me hatenido.

Lucrecia (aparte):Todo lo entiendo. iAh traidoral

133

; - Sin duda que le |yiso que la tapada fui yo, y quiere enmendallo#agora

con^fingir que fue el tenella por mi, la causa de hablalla.

Jacin^a: ;Segun eso, la adorada es Lucrecia. ; ( : ;

Don Garcia: , ,. . El corazon1,desde el punto que la vi, .

la hizo dueno de mi fe.Jacinta (a Lucrecia aparte):

iBueno es esto'Lucrecia (aparte): , ,iQue^esta este . haciendo burla de mil

No me doy por entendida,: . por no hacer aqui un; exc.eso.

* # #

• . Jacinta: , .6Vas contents? .; ■

• Lucrecia: . . v •:, Yo agradezco,

. J a c i n t a , tu voluntad.213. Id.ib. (ill, xiv) pp., 115-116:

Don Garcia:Yerros causados de amor, : quien es cuerdo los perdona.

Lucrecia: •.’&No es casado en Salamanca?

Don ^uan de Lyna: .% •Fue.invencion suya enganosa, pfocurando que su padre no le .casase con otra.

Lucrecia: , .Siendo asi,-mi voluntad . es la tuya, y soy dichosa..

214, See note 182.215. Id.ib. (ill, xiv)p. 117:

Tristan:* # * .

y da la mano a Lucrecia, • que tambien es buena moza.

Don Garcia:La mano doy, pues es fuerza.

134

216. Id.ib. (ill, i) p. 81:Camino: t

. Sst§ me dio para-ti 'Tristan, 'de quien do^ Garcia

' con justa causa conf^a, \ 'lo mismo que tu de ml.

217. See note 216; also the following (ll, i):• Don Garcia (despues de leer una carta):

iQuien este papel me escribe?Camino:

Doha Lucrecia de Luna.See note 208 for the verbal mission. :

218. See note 208. .219. Romera-Navarro, ojd. cit., p. 357:

...las mujeres del teatro de Alarcon suelen ser fries y razonadoras, de psicologia mucho menos intense que los ' hoipbres, a menudo calculadoras, rara vez apasionadas y poeticas. En cambio, poseen en sumo grade el sentimiento de la dignidad.

220. Reyes, op. cit.. pp. xliv-xlv:,...Sus nihas ^asaderas siempre estan mudando propositos

y calculando friqmente las posibilidades del matrimonio. Son entes de razon, pero#no siempre graciosas. Y todos convienen en que le fal^o a Alarcon el toque, voluble e intense, de la psicologia femenina. Con,todo, Mene^dez y Pelayo repara en la nobleza y distincion aristocratica que a^guna ve^ se admira en estas mujeres; "y eso que Alarcon no fyie muy feliz en es^e punto. Fero cuando acerto Alarcon a trazar un caracter femenino como la •Doha Ines• del^Examen de maridos. puso en ella siempre cierta distincion, nobleza y graveda^, como de gray senora, que suele faltar en las heroines de Calderon, con ser tan huecas y entonadas."The quotation from Menendez y Pelayo is found in his

Calderon (1910), p. 259.221. BAE, XX, xxiv:

...sus damas (y esta si que realmente era falta cre- cida) pecaban tal vez de egoistas y prosaicas (note 14)* # *

135

Note 14 says:...en Las paredes oven dona Ana de Mendoza...la Mar-

quesa en El exam^n de maridos...tienen figonomia bella, c^racter amable o virtuoso, y tal vez algun rasgo mag­nifies; pero la mayor parte d^ las mujeres pintadas por Alarcon ap^recen de mezquina indole y facciones comunes obran mal a sangre fria, su travesura carece de gracia, dicen que aman, y su amor no se ve: defecto gravisimo, porque entibia muchas escenas, bien discurridas y ver- sificadas por otra parte. :

136

Bibliography

I. Works containing texts of the plays.Barry, Edouard. La verdad ao^pechoaa. Comedia en •frres actos

de D. Juan Ruiz de A3,arcon. Collection,publiee sous la direction,de &I. E. ilerimee. Quatrieme edition, revue et corrigee. Paris: Librairie Gamier Freres, (n. d.).

Bourland, garoline B. Las paredes oven por Juan Ruiz deAlarcon y Mendoza. Edited with Introduction and Notes by. New York: Henry Holt and Company, c. 1914.

Garcia-Ramon. Teatro de J. R. de Alarcon. Con un estudio critico y apuntes sobre cada comedia por. Paris: Casa Editorial Gamier Hermanos, 1884. 2 vols.

Hartzenbusgh, Don Juan Eugenio. .Comedias- de J. Ruiz deAlarcon y i'endoza. Coleccion hecha e”Tlustrada por. Madrid: Imprenta de los sucesores de Hernando, 19^6. (Biblioteca de autores espaho^es desde la formacioa de la lengua hasta nuestros dias. -vol. XX.T"

Henriquez ■IJrena, Pedro, and Jorge Bogliano. rJuan Ruiz de Alarcon.’ La verdad sospechosa. Coleccion de textos : literarios dirigida por Amado Alonso. Buenos Aires: Editorial Losada, S. A., c. 1939.

Jimenez Rueda, Julio. Juan Ruiz de Alarcon. La verdad sos­pechosa. Notas preliminares de. Mexico: Culture, 1917.

Ochoa, Don Eugenio de. Tesoro del teatro espahol desde su origen (ano 1356) hasta questros dias..: (Volumes X-XIV, respectively, of Coleccion de los me.lores autores espa- nolesy) Paris: Vol. I^ Libraria Suropea de Baudry; . II-III, Baudry, Libraria Europea; Dramard-Baudry y Ca, Sucesores; IV-V, Gamier Hermanos, Librerqs-Editores, 1838-1899. 5 vols? Vol. IV, Gamier, 1698, containsthe works of Alarcon. . . .

Owen, Arthur L. La verdad sospechosa de don Juan Ruiz de Alarcon y Mendoza. Edited with Introduction, Notes, and Vocabulary by. Boston: D. C. Heath and Company, c. 1928.

137

Reyes, ^Ifonso. Ruiz de Alarcog. Teatro. (Vol. XXXVII of Clasicos castellanosTl Prologo y notas de. Segunda edicion. Madrid: Sdiciones de "La Lectura," 1923.

Ruiz de Alarcon, Ji an. La. verdad sospechosa. Mexico: Bi- • blioteca dramatica del Palacio de Bellas Artes, 1934.

II. Critical Works.Brooks, John. "La verdad sospechosa: The Source and Pur­

pose" . Hispania. XV (1932), 243-52.Ford, J. D. M. Main Currents of Spanish Literature. New

York: Henry Holt and Company, c. 1919.Hurtado y J. de la Serna, Juan, and Angel Gonzalez Paleycia.

Historia de la literature espahola. Segunda edicion. Madrid, 1^25.

Northup, George Tyler. An Introduction to Spanish Litera­ture . Chicago: The University of Chicago Press, c. T936.

Owen, Arthur L. "La verdad sospechosa in the Editions of • 1630 and 1634" . Hispania. VIII (1925). 85-97.

Rangel, Nicolas. Bibliografia de rJuan Ruiz de Alarcon.Mexico: Monografias ~Bibliograficas Mexicanas, Publica- das por la Secretaria de Relaciones exteriores, 1927.

Romera-Navarro, II. Historia de la literatura espahola. Boston: D. G. Heath and Company, c. 1928.,v ;

Schack, Adolfo Federico, ^onde de. Historia de la litera­tura x del arte dramatico en Espana. Traducida direc- tamente del aleman al cast^llano por Eduardo de Mier. Madrid: Imprenta y Fundicion de I.I. Tello, 1885-87. #5 cols. Vol. IV, 1887, contains information on Alarcon

Ticknor. George. History of Spanish Literature. Sixth American Edition, Corrected and Enlarged. Boston: Houghton Mifflin and Company, the Riverside Press, Cambridge, c./1891. 3 vols. Vol. II contains informa­tion on Alarcon.

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