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An Analysis And Edition Of Lope De Vega'S "Porfiar Hasta Morir"

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An Analysis And Edition Of Lope De Vega'S "Porfiar Hasta Morir"

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Content AN ANALYSIS AND EDITION OF LOPE DE VEGA'S
PORFIAR HASTA MORIR
by
Stanton Neuhart Shopmaker
A Dissertation Presented to the
FACULTY OF THE GRADUATE SCHOOL
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
DOCTOR OF PHILOSOPHY
(Spanish)
February 1973
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Xerox University Microfilms
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I
I
73-18,840
SHOPMAKER, Stanton Neuhart, 1938-
AN ANALYSIS AND EDITION OF LOPE DE VEGA'S
PORFIAR HASTA MORIR.
University of Southern California, Ph.D., 1973
Language and Literature, general
University Microfilms, A XEROX C om pany , Ann Arbor, M ichigan
Copyright by
STANTON NEUHART SHOFMAKER
1973
THIS DISSERTATION HAS BEEN MICROFLIMED EXACTLY AS RECEIVED
UNIVERSITY O F S O U T H E R N C A L IFO R N IA
TH E G RA D U A TE S C H O O L
U N IV ER SIT Y PA R K
LO S A N G E L E S. C A L IFO R N IA 9 0 0 0 7
This dissertation, written by
STANTON NEUHART SHOPMAKER
under the direction of Ai.?.... Dissertation Com
mittee, and approved by all its members, has
been presented to and accepted by The Graduate
School, in partial fulfillment of requirements of
the degree of
D O C T O R O F P H I L O S O P H Y
Dean
D ate December 1972
DISSERTATION COMMITTEE
Chairman
TABLE OF CONTENTS
Page
LIST OF TABLES...................................... iv
INTRODUCTION ........................................ 1
PART I
Chapter
I . EDITIONS OF THE PLAY.......................... 4
II. ANALYSIS...................................... 7
Plot Analysis
Themes
Techniques
Versification
Character Analysis
III. HISTORICAL AND LITERARY BACKGROUNDS ......... 80
Historical Background
Literary Background
PART II
PREFACE............................................ 104
PORFIAR HASTA MORIR ............................... 106
TEXTUAL NOTES ...................................... 212
ii
Page
BIBLIOGRAPHY ......................................... 2 31
iii
LIST OF TABLES
Table Page
1. Types of Verse Forms in Lope de Vega's
Porfiar hasta morir by Line Numbers ......... 58
2. Types of Verse Forms in Lope de Vega's
Porfiar hasta morir by Frequency of Use
and Numbers of L i n e s ....................... 61
iv
INTRODUCTION
The principal purpose in preparing this analysis and
edition is to present a work that preserves the characteris
tics, including spelling, punctuation, vocabulary, and sub
ject matter, of Lope's play, while analyzing it and at the
same time rendering the text intelligible to the modern
reader by means of explanatory material.
The genius of the prolific dramatist Lope de Vega is
universally recognized. Many of his plays are worthy of an
analysis and edition. One which has not been studied is
Porfiar hasta morir. This play is of special interest since
it deals with the historical, literary, and legendary fig
ure, Macias.
Macias, an early fifteenth century poet, has been the
object of a variety of treatments and legends. It is, how
ever, generally agreed that he met and fell in love with a
beautiful woman, only to learn that she was promised to
another. He persisted in his attempts to win her love, even
1
after the lady's marriage. The consistency of agreement of
the basic incidents, in the many versions, suggests a basis
in historical fact.
Macias has had a notable impact on Spanish literature,
as a historical, literary, and legendary figure. The verses
written by him to his lady survived his era and anticipated
the unrequited love element of the nineteenth-century Roman
tic School.
It is not surprising that Lope, who excelled both in
poetry and in love, found Macias a source for his play,
Porfiar hasta morir. It is surprising, however, that there
is not an analysis and edition of this play.
The following work presents an accurate reproduction of
the first edition of the text, found in Parte XXIII of Obras
completas (1638), copies of which may be found in the Bibli-
oteca Nacional, Madrid, and elsewhere. Porfiar hasta morir
is analyzed, and Macias is studied in depth as the protago
nist of the play.
PART I
3
CHAPTER I
EDITIONS OF THE PLAY
Numerous libraries have been searched and several
authorities contacted in reference to manuscripts of Lope de
Vega's Porfiar hasta morir. Unfortunately, the original
manuscript of this play has not survived its era. It would
appear reasonably certain that no manuscript of Porfiar
hasta morir has been preserved.
Lope de Vega apparently did not insist or persist in
publishing Porfiar hasta morir because it only appeared
posthumously, in 1638, three years after his death. The
first edition appears in Parte XXIII of Obras completas
(1638), copies of which may be found in the Biblioteca
Nacional, Madrid. According to S. Griswold Morley and
Courtney Bruerton,^ it was composed between 1624 and 1628
and is attributed only to Lope de Vega.
Porfiar hasta morir was included among Lope's plays
published in Madrid in 185 7 in the Biblioteca de Autores
4
Espanoles. Vol. XLI, edited by Juan Eugenio Hartzenbusch.
Elias Zerolo included Porfiar in his Obras escogidas de Lope
de Vecra (Paris, 1886). La Real Academia Espanola included
Porfiar hasta morir in its collection of the plays of Lope
de Vega, Obras de Lope de Vega (Madrid, 1899).
Porfiar hasta morir has been published as a school text
by two critics of Spanish literature. Angel Valbuena Prat
published the play together with Fuente Oveiuna in Porfiar
hasta morir v Fuente Oveiuna (Madrid, 1930). E. Allison
Peers presented the text of the play with a short introduc
tion in his edition (Porfiar hasta morir [Liverpool, 1934]).
Sainz de Robles includes Porfiar hasta morir in his Obras
escocridas de Lope de Vega (Madrid, 1946) .
The above are the only previous editions of Lope's
Porfiar hasta morir.
6
NOTES TO CHAPTER I
^Cronolocria de las comedias de Lope de Vega. Biblioteca
Romanica Hispanica (Madrid, 1968), pp. 534-535.
CHAPTER II
ANALYSIS
Plot An a 1' v s is
The first edition of Porfiar hasta morir published in
1638 is not divided into scenes. In the following analysis,
scenes are determined by the entrance or exit of characters
within the acts, according to the system established by Juan
Eugenio Hartzenbusch in the nineteenth century. These may
be blocked according to location: in Act I, scenes i through
vii take place on the open road; scenes viii through xiv in
a room in the house of the Maestre in Cordoba; scene xv in a
room in the alcazar: scenes xvi through xxi in a room of the
house of the Maestre.
Lope immediately presents his protagonist. Macias is
traveling to Cordoba, accompanied by Nufio, the gracioso. in
scene i, they discuss their journey; Lope inserts some fore
shadowing advice from Nuno in the form of "No guia amor"
(I.i.13). The road, not love, will guide Macias to Cordoba.
7
8
Yet love leads Macias down a different road, one of tragedy
caused by his "persistence until death." In scene ii,
Macias and Nuno grapple with three ruffians who have sur
rounded a hunter. The robbers flee in scene iii. An inn
keeper comments on their evil nature. The innkeeper com
ments on their evil behavior, stating that they have been
instrumental in discrediting his inn. In the following
scene, the stranger, in a display of gratitude, offers
Macias a diamond ring. Macias refuses, but a friendship has
been founded that will later be revered. The Maestre, who
has not yet been identified as such, offers to help Macias
in Cordoba and takes his leave. Scene v finds Macias and
Nuno discussing their encounter with the stranger. The
genius and physical ability of Macias are referred to as
symbolizing peace and war, respectively. In scene vi, Tello
de Mendoza, Fernando, and Paez enter. They are searching
for the Maestre. Macias now learns the identity of the
stranger and informs the three men that the Maestre was
there earlier. Macias explains that he is carrying a letter
to him. He is invited by Tello to accompany them to the
house of the Maestre, and Macias accepts the invitation. In
scene vii, Macias and Nuno discuss the fact that they did
not recognize the Maestre.
Scenes viii through xiv take place in the house of the
Maestre in Cordoba. Scene viii introduces the Condesa, dona
Juana, and Clara. They are worried because the Maestre has
not returned. The Maestre enters, in scene ix, and relates
how a nobleman (Macias) helped him and refused acceptance of
a diamond ring. The Condesa asks why the Maestre did not
insist that the nobleman accept it. The Maestre informs her
that he is coming to the court where he will be paid and
thanked. In scene x, Tello, Macias, Fernando, Paez, and
Nuno enter. Macias has not arrived without recommendation.
Macias relates to the Maestre that he has brought a letter
to him. The letter is from don Luis Alvarez de Toledo,
cousin of the Maestre. The letter names Macias as the most
honored nobleman of the vassals of Don Luis Alvarez de
Toledo, and states that he has left his studies to take up
arms. Don Luis Alvarez de Toledo asks the Maestre to favor
him. The Maestre says that Macias will stay with him and
that he will be treated with friendship. Macias offers to
be his slave. The only characters in scene xi are Macias,
Clara, and Nuno. Clara relates that she stayed behind to
see whether the letter would enlighten her. She asks Macias
why he is leaving letters in favor of arms. Macias counters
with a statement that the sword helps to understand her
10
beauty. Rare beauty provided soldiers with greater deeds,
he states, referring in history to Samson and to Hercules.
Clara talks about love also. She states that it surrenders,
subjects, and enslaves. Macias asks her name. She replies,
"Clara." Macias says "O clara!" Nuno, in an aside, says,
"O escura!" (I.xi.257). This has a foreshadowing effect as
well as providing comic relief at a point when the play has
been filled with serious discussions of love. In scene xii,
Macias expresses to Nuno the beauty of Clara. Nuno protests
that Macias has just met Clara and already has fallen madly
in love with her. Macias retorts, "Is there a more rash
passion than a madness of love?" Nuno counters that madness
and poetry, in some manner, find each other. Nuno mentions
various forms of poetry and writing and talks of Virgil and
Homer. Scene xiii concerns Tello, Macias and Nuno. Macias
expounds on the beauty of Clara to Tello, who, in turn,
explains that she is promised to another. At the end of the
scene, Tello pointedly explains to Macias that he himself is
the intended of Clara. Scene xiv finds Macias and Nuno
alone again. Macias asks, "What love has not been attained
without difficulty?" Nuno, shocked, demands, "Are you still
going to love Clara after being warned?" Later, Nuno adds,
"Where are you going to enter, if you close the door?"
11
Macias cries to the heavens that love has not come to him
without jealousy. This serves as both a retort to Nuno and
as a reference to Tello, who presents an obstacle.
Scene xv involves the King, the Maestre, and Tello. It
takes place in a room of the royal alcazar. The King and
the Maestre discuss the war with the Moors. The Maestre
orders Tello to arm a squadron, in order to conquer Granada.
Scenes xvi through xxi return to the home of the
Maestre. In scene xvi, Nuno relates to Leonor, servant to
Clara, the love that Macias bears for Clara. Leonor com
ments that Macias and Nuno are not at all similar. Nuno
asks her if she would like him to talk amorously to her.
She replies that she does not deserve this. Nuno ignores
her and so speaks, regardless. Later, Nuno gives Leonor a
paper from Macias that contains some verses for Clara.
Scene xvii involves Clara and Leonor. Leonor delivers the
paper from Macias as Tello is arriving. Tello tells Clara
that he must go to the war to defend the borders. In part
ing, he comments, "Everything is war, and that of love is
the greatest war for me." Scene xix concerns the Maestre,
the Condesa, Clara, Macias, Leonor, Nuno, Fernando, and
Paez. The Maestre speaks of the war. He compliments his
vassals, comparing them to Hector, Achilles, and Caesar.
12
Macxas is offended because the Maestre has not included him
among his vassals. In scene xx, Macxas tells Clara that he
is going to the war for her. Clara displays no interest.
Clara’s "Senora" has promised her to Tello and Clara has
every intention of.obeying. Despite her lack of interest,
Macxas relates how he loved her at first sight. Even though
she may not want it, Macxas says that it is not possible for
him to live with himself without her. Scene xxi involves
Macxas and Nuno. Macxas tells Nuno that he is lost and that
he is jealous of Tello. He also states that there is noth
ing worse than an impossible love and seeing another man
enjoy a woman whom he himself loves.
In Act I, Lope has followed his own formula for the
first act of a play. He has presented the main characters,
created a setting, and introduced the plot. In Act II, he
will continue with his formula by providing plot complica
tions .
Act II is composed of fourteen scenes. As in Act I,
they have been blocked according to location, in order to
facilitate their study. Scenes i through iii take place on
a terrace of the pa lace; scenes iv through ix in a room in
the house of the Maestre; scene x in a room of the palace;
13
scenes xi through xiii in a room in the house of the
Maestre; scene xiv in the country.
Scenes i through iii take place on a terrace of the
palace. In scene i, Tello relates the admiration of the
town for the heroism of the Maestre. Tello calls him a
Castilian Caesar. Paez takes pleasure in announcing that
the King will honor him. Scene ii involves the King, the
Maestre, and Macias. The King thanks the Maestre for his
victory in Granada. Macias asks the King for the hand of
Clara. The King orders the Maestre to carry out this wish
of Macias; however, the Maestre informs him that Clara is
already promised to another. In scene iii, Macias laments
the loss of Clara. Life has become more like death for
Macias. He is filled with confusion and despair. Macias
wonders why Tello should enjoy his love. Macias stated this
feeling earlier in Act I. Nuno attempts to console him and
again fails.
Scenes iv through ix take place in a room in the house
of the Maestre. In scene iv, the Condesa, Clara, and Leonor
are preparing Clara for a meeting with Tello. The Condesa
gives her a belt and chain and informs her that what heaven
ordains is just. The Condesa is happy about the coming wed
ding and refers to Tello as a good nobleman of Castile. In
14
scene v, Fernando and Paez discuss the beauty of Clara.
Clara, in the following scene, discusses the wedding parties
with the Condesa and Leonor. Clara again expresses her loy
alty to the Condesa. She tells the Condesa that she is her
slave. Clara mentions her intent to write to her parents in
reference to the wedding parties. In scene vii, Clara gives
Leonor her freedom because she showed good faith, especially
as a confidante in her relations with Tello. Scene viii
involves Macias, Nuno, Clara, and Leonor. Macias informs
Clara that he has asked the King for her hand. His wish was
granted, but it was learned that she was promised to
another. Macias pours out his passion to Clara, pledges
undying love, and wishes only that he will not offend her.
In scene ix, Nuno exalts Clara. He relays her own words,
"If I were not already promised, I would belong to Macias
eternally." Nuno cautions Macias that the more he persists
in his love, the more he proclaims his own death. Macias
rejects Nuno's warning and says that for the one who tires
of life only death remains.
Scene x takes place in the palace. The King and the
Maestre are the only characters in the scene. They discuss
the book of poetry Macias wrote to Clara when he lost her.
The King believes Macias to be an excellent poetj had Macias
15
married Clara, all would have been lost, the poetry would
have gone unwritten. Macias has offered his verses to the
King.
Scenes xi through xiii return to the room in the house
of the Maestre. Scene xi finds Macias and Nuno discussing
the wedding party. Macias confides that he fell blindly
down the stairs through despair. The wedding has taken
place offstage. Scene xii shows the newlyweds' happiness
after the marriage. Tello and Clara have entered the scene
accompanied by pages, Paez, Fernando, the Condesa and the
Maestre. Macias feels that all of heaven is against him.
With that exception, the general mood is one of celebration
as Clara expresses her good fortune and everyone exalts her
beauty. In scene xiii, Nuno compares the devotion and loy
alty of Macias to those of a hunting dog. Macias exclaims,
"Jealousy, envious of love, do you want me to kill myself?"
Later, in this scene, Macias alludes to mythology. He sees
Tello as Mars, god of war, and Clara as Venus, goddess of
beauty and love. Seeking revenge, Macias orders Nuno to
inform Tello that the Moors have come and that he must rise
and leave his wife. Before Macias is able to make any suc
cessful advance toward Clara, the Maestre arrives. Macias
complains that no misfortunes are lacking to him.
16
Scene xiv takes place in the country where the Maestre
is hunting with Fernando and Paez. Macias and Nuno arrive
to accompany them.
Lope has continued to follow his own dramatic struc
tural formulae. In Act II, he has ably complicated the
plot, leaving Macias little recourse as he finds Clara's
love unattainable.
Act III takes place in and outside the palace of the
Maestre.
The characters in scene i are the King, Paez, Fernando,
Macias, and Nuno. The King asks Macias about his poetry.
Macias, in a long soliloquy, speaks of Tello and of Clara.
At the end of his speech, Macias says, "I alone, without
adventurous fortune, earned the prize of a galan that has
been a lie since I lost the prize of being a husband." The
King honors Macias by naming him mayor of Arjona. In
scene ii, Macias laments his ill fortune to Nuno. He tells
Nuno to take love away from him because if he does not noth
ing can restrain him. Nuno does not and tragedy ensues.
Scene iii takes place in the house of the Maestre.
Tello complains to the Maestre about the actions of Macias.
Lope foreshadows the doom of Macias when Tello announces
that he will punish the madness of Macias at the first
17
opportunity. The Maestre states that he will guard the
honor of Tello. Scene iv involves the Maestre and Paez.
The Maestre asks \e z if Macias is there. Paez answers that
Macxas is reading some verses. In an aside, the Maestre
states that he will not have another opportunity; when
Macxas enters, he will tell him to cease his attentions to
Clara, thus appeasing Tello. In scene v, Macxas relates to
the Maestre that he has been given the mayoralty of Arjona
and has gained the King's favor. The Maestre, as promised
to Tello, warns Macxas about harming the honor of Tello and
Clara with his poems. In scene vi, Macxas, in a soliloquy,
again laments his fate. Scene vii is a continuation of the
preceding one, which ended with Macxas alluding to the con
fusion of love, "that for long love, forgetting is not long
lasting." Macxas relates to Nuno his plight and his feel
ings for Clara. Nuno tells Macxas that he saw signs in
Clara's eyes. With a spirit of renewed hope, Macxas asks
him if he will be able to see Clara again. Nuno replies
that he must see her with discretion only.
Scenes viii through xi take place in or outside of the
palace of the Maestre. Clara and Leonor occupy scene viii.
Clara comments on insane jealousy and deceitful jealousy.
Leonor assures her that she is innocent. Scene ix involves
18
Macias, Nuno, Clara, and Leonor. Macias relates to Clara
that he did not wish to offend her love. She orders him to
withdraw, saying that he does not love her since he does not
desire her honor. She also tells him to cease writing poems
to her as they disturb her husband. At the cost of her mar
riage, she states, "you are gaining fame as a poet." His
songs and favors are, for her, tears. He should stop writ
ing of love and write of wars. Clara adds that he should
write of his disgraces and not hers. As Macias is attempt
ing to respond to her the scene closes. In scene x, Tello
enters, sees Macias, and hides behind a tree. Clara asks
Macias what his insisting serves as it may give occasion to
his death. Macias repeats that it was not his intent to
offend her. Macias asks himself how a man in love can be
discreet. Scene xi involves Tello and the Maestre. Tello
has his sword unsheathed and tells the Maestre that he was
going to cut down a tree. The Maestre, however, knows that
Tello saw Macxas. Tello reminds the Maestre about protect
ing his honor. Tello thinks that the Maestre has not spoken
to Macias. Nevertheless, he again puts his faith in the
Maestre for guarding his honor.
Scenes xii-xxi return to a room in the house of the
Maestre. In scene xii, Nuno tells Macias that his will
should suffer this small discomfort of forgetting since
afterwards he will enjoy his liberty. In scene xiii, Paez
informs Macias that he has come to arrest him under the man
date of the MaestreT Macias says that the Maestre is his
master and judge. If the Maestre so ordered he will obey.
Macias asks if the Maestre stated why., and Paez answers neg
atively. Nuno is dismayed that Macias should be put in
prison. Macias tells him to be silent, for the servant dis
obedient to the demands of his master deserves punishment.
In scene xiv, Tello speaks to Clara of the honor of the
Spaniard. Clara tells him that the dishonor was hers. She
relates how Macias, with his persisting, even without hope,
has made it difficult for her. Clara mentions the vanity
caused by the songs of love of Macias. Scene xv involves
the Condesa, the Maestre, Paez, Fernando, Tello, Clara, and
servants. Although little action takes place, Tello, in an
aside, tells Clara that his honor must be defended. In
scene xvi, the musicians enter. They sing a song that tells
of a dark prison. The Maestre orders them to stop singing.
In scene xvii, Tello tells Paez his plan for killing Macias.
He is going to throw a spear through the iron grating of the
prison tower. In scene xviii, Nuno relates to Paez that
Macias has written three verses in which he asks the Maestre
20
for his freedom. In scene xix, the man in charge of the
prisoners orders his soldiers to arrest Tello, and if this
is not possible, to kill him. This man, the alcaide.
relates that, despite his efforts to prevent it, Tello has
killed Macias by throwing a lance through the iron grating.
Scene xx finds Macias, impaled by a lance, being supported
by soldiers. Macias, in a long soliloquy, expresses the
fact that he is dying. For the first time in the play the
title is mentioned. In scene x of this act, Clara mentioned
persisting and dying but not in the same form. The charac
ters in scene xxi are the Maestre, the Condesa, Clara,
Leonor, Nuno, Macias, the alcaide. and servants. Macias
concludes his dying speech by repeating the title of the
play. The Maestre remarks that it is a pity that Tello
not captured. Nuno, in his role of the gracioso, closes the
play, in typical Golden Age fashion, "And here Porfiar hasta
morir comes to an end."
Themes
The principal theme of Porfiar hasta morir is derived
from the life of Macias. Lope recognized Macias as a poet
and lover and could probably identify himself with him. The
principal theme of the play is reflected in the title.
21
Macxas was impelled to continue his love for Clara even
though he realized that he could never be successful. The
most important part of the life of Macxas, in Porfiar hasta
morir. was his love for Clara. in spite of all the
obstacles in his path, Macxas was striving toward his goal.
He deserved a favor from the Maestre as he helped save the
Maestre's life. Macxas naturally chose Clara's hand in mar
riage. This was not possible since Clara was already prom
ised to another. This did not deter Macxas but rather
caused him to want Clara more. Macxas continued to show his
attention and affections openly to Clara; he also wrote love
poems to her. Clara's marriage to Tello did not deter
Macxas. Macxas persisted in his love for Clara to the full
est expression of his emotions, and therefore fulfills his
role in Lope's play as he was "faithful until death."
There are also numerous other relevant themes in the
play. The first one encountered is that of love, a predomi
nant theme in all of the plays written by Lope. Macxas,
naturally, is the first character to speak of love. In
Act I, scene i, he says:
Esse nombre a amor le dan,
porque es ciego, y ciegos guia.
(11-12)
22
Macias has wasted no time in mentioning love, as this is one
of his first comments. He first refers to love as blind,
then in Act I, scene xii, he speaks of love as madness:
Que quieres?
ay pasion mas temeraria,
que vna locura de amor,
quando vn cuerdo se remata?
(361-364)
Later in this scene, Macias states, for the first time, his
intention of loving Clara:
Pues yo pienso amarla.
(408)
In scene xiii, Macias speaks of the beauty of Clara, indi
cating his love for her.
Yo vi, luego que aqui puse la planta,
El Sol de la belleza, la hermosura,
Que la naturaleza misma espanta,
Y en otras lo que obro, copiar procura:
Yo vi, quando la Aurora se leuanta,
Los claros rayos de su lumbre pura,
Antes que el Sol vezino a sus laureles,
La busque entre jazmines y claueles.
Yo vi, mas bella que en la fuente clara
Se bahaba Diana, vn Angel bello,
Que me quitara el ser, si me tirara
Vna flecha sutil de su cabello:
No porque entonces el cristal faltara
Venciendole la nieue de su cuello,
Mas porque mas honesta en sus rigores,
Pudiera al mismo amor matar de amores.
Finalmente yo vi de amor hermoso
Las armas, y mejor que fueron hechas
De Apeles, de Prochogenes famoso,
Las cejas arcos, y los ojos flechas:
23
En este centro celestial dichoso
De mi bien o mi mal ciertas sospechas,
Paro mi alma, y se cubrio de oluido
Con otro nueuo ser, cuanto auia sido.
Dixome, abriendo vn cielo por dos rosas,
Que se llamaba Clara, y claro estaba,
Que si el nombre conuiene con las cosas,
En el su claridad significaba:
Suplicoos me digais (pues sus hermosas
Partes os dige, aunque mi amor bastaba)
Quien es, que calidad, para que intente
Seruirla y adorarla honestamente.
(417-448)
Macias also mentions here the possibility of dying
because of love.
In scene xiv, he talks about the problems of love:
Que amor (dime) no ha tenido
algun estorvo o azar?
(493-494)
Macias continues along these same lines, later in this same
scene, stating that he has been unfortunate for finding love
together with jealousy:
A cielos,
que me entro el amor co zelos,
del primero encuentro azar?
(554-556)
When Macias informs Clara of his love for her, in
scene xx, he tells her that he would give his life for her:
Bien pudiera,
pero falta, quien me entienda.
Yo os arao, desde que os vi,
con fe tan pura y honesta;
que os quisiera dar mil almas:
si esta quereis, sera vuestra.
24
Y aungue vos no la querais,
no es posible, que ya pueda
viuir conmigo sin vos.
Dadme, senora, vna prenda,
para que me sirua de alma,
mientras aqui se me queda:
que os prometo a fe de hidalgo
que sin despojos no buelua,
aunque me cueste la vida,
que anima vuestra presencia.
Que dezis? en que pensais?
(755-771)
In scene xxi, he again talks of love and jealousy:
Pero si con mas amor
con lo que dize me dexa^
y si antes zelos no tuue,
ya con los zelos se aumenta;
como la puedo oluidar?
(799-803)
In the same scene, Macias continues to comment on love and
jealousy. More importantly, however, the playwright
stresses the fact that love being impossible only causes it
to grow more. Macias naturally wants Clara even more since
he cannot have her:
Entonces la querre mas,
que no ay cosa que mas crezca
el amor, que vn impossible,
y el verse vn hobre a la puerta
de vna muger que otro goza.
(813-817)
In Act II, scene iii, Macias informs the King of his
love for Clara:
25
Clara es su noitibre, y obscuro
el Sol mirando su frente.
Llevome el alma* sin alma,
que vida tenerla puede?
desasosiegos de amor
me pusieron de tal suerte,
que me alegre de que el Moro
tan atreuido viniesse,
pues con gusto de morir
fui a la guerra, mas la muerte
nunca viene a quien la busca,
que a los descuidados viene.
(149-160)
This situation, called a reversal, emphasizes the idea that
he who seeks to evade the inevitable merely accelerates its
fulfillment.^
Macias again speaks of love and jealousy, in the same
breath, in Act II, scene iv:
Tello de Mendoga (ay cielosI)
ha de gozar de mi bien?
como puede ser, que esten
juntos mi amor, y mis zelos:
(249-252)
In Act II, scene xiii, the poet, in an analogy, relates
that he is buffeted as the ship is by the winds:
Ay fortunas inconstantes
del mar de amor en que voy,
como en el golfo la naue,
combatida de los vientos!
(786-789)
In this same scene, Macias combines jealousy, love, and
death:
26
Diles, que para enterrarme
(ay Nuno!) toquen a muerte,
y sino lo estoy matadme
zelos embidias de amor;
o quereis que yo me mate.
(810-814)
In Act III, scene vi, Macias refers to his situation as
an amorous deceit. He also states that forgetting does not
come quickly after a lengthy love.
0 confusion de mi amoroso engano1
Esto faltaba solo a mi tormento;
En que puede ofender mi pensamiento,
La hermosa causa de mi eterno dano?
O ley cruel, o injusto desengano!
Que aun no quiere que sienta el mal que sieto?
Que honor puede quitar mi entendimiento;
Con cuyos versos mi esperanga engano?
Mandarme que no quiera; es la violencia
Mayor, que puedo hazer a mi sentido,
Y en presencia del bien sufrir ausencia.
Que estando (como estoy) de amor perdido,
Aumentara el amor la resistencia,
Que para largo amor, no ay breue oluido.
(315-328)
In Act III, scene ix, Macias does not ask for any
reward from love, except the satisfaction that his love was
used well so that he might die happy;
Hermosa Clara, ocasion
de mis versos y mis penas,
buelue essas luzes serenas
a mi obscura confusion:
no pido mas galardon
de amor tan desatinado,
que saber, que mi cuidado
hallo lastima en tu pecho,
27
para morir satisfecho,
de que fue bien empleado.
(479-488)
Finally, in scene xx, Macias gives what seems to be a sum
mary of his feelings on love. He only wanted to love and
serve, but, without wishing it, he persisted in his love
until his death:
No se,
Nuno, solamente puedo
dezirte, que ya tu miedo
verdad en mi muerte fue:
quise bien, cante, llore,
escriui, y el escriuir,
amar, llorar, y sentir,
y quanto he escrito y sentido,
y lloradoj todo ha sido
porfiar hasta morir.
Ay Clara, que me has costado
la vida, que no tenia
mas que te dar, si te auia
todas mis potencias dado:
honestamente te he amado,
que tu lo puedes dezir,
pero de amar y seruir,
justo galardon me alcanga,
pues quise sin esperanga,
porfiar hasta morir.
(793-812)
Macias felt that love, in itself, was a reward. Love
was a gift to be enjoyed by all. Jealousy and marriage to
another were obstacles to the paths of love. Love was not
only the best thing in life, it was everything, and by his
actions, Macias proved the importance of love to him.
28
Clara expresses her thoughts on love in Act I,
scene xi. She speaks of love as a powerful force that
enslaves a person:
El amor
rinde, sugeta, avasalla,
quanto cubre el cielo, a cuya
pasion ninguna se iguala;
pero no es tal su poder,
que en vn instante (que pasa
como cometa de fuego)
tan grandes efetos haga.
(331-338)
In another passage in the same scene, she refers to the
effects of love on the body humors:
Amor, yo pienso que anda
al paso de los humores;
que los colericos aman
presto, y no es assi mejor:
que los flematicos tardan,
pero quieren largo tiempo.
(342-347)
Everett W. Hesse, in his study on Calderon's La vida es
sueno. says:
The notion that ail created matter is composed of
the four elements of earth, air, fire and water was a
commonplace harking back to ancient times and was so
frequent in the literature of the Renaissance and
Golden Age that Clarin excuses himself for using it.
The naturalistic view of the integration of all man's
parts and faculties— a kind of physiological monism—
was based on the venerable idea that all created mat
ter is composed of the 'four elements of earth, air,
fire and water. Furthermore, the function of the four
elements in determining man's nature and temperament
was also a commonplace (cf., e.g., Huarte, Examen de
inaenios). Each element had two properties: earth—
29
dry and cold; water— cold and moist; air— hot and
moist; fire— hot and dry. Man the microcosm has four
corresponding humors or subtle fluids:
1. blood (like air), hot and moist
2. choler (like fire), hot and dry
3. phlegm (like water), cold and moist
4. melancholy (like earth), cold and dry
(pp. 51-52)
For further discussion of the effects of the humors, refer
to G. B. Harrison, ed., Shakespeare: The Complete Works
(New York, 1952), Appendix 3. In his poem, "Mignon II,"
Goethe refers to love1s burning effect upon the intestines.
In Act I, scene xx, Clara comments on love after Macias
has expressed his love for her:
Ha poco tiempo, que fuera
a esse amor agradecida,
que era mia, y soy agena.
Trata casarme con Tello
mi senora la Condesa,
y aunque no me ha dicho nada,
basta saber, que concierta
su Senoria estas bodas,
para que yo la obedezca.
Creedme a fe de hijadalgo,
que esse amor agradeciera,
porque vos lo mereceis:
no puedo, dadme licencia.
(772-784)
In Act II, scene viii, Clara complains to Macias of his
advances toward her. She states that if she were not
already promised to another she would be his eternally. Yet
30
she adds that if he persists in his attentions toward her,
she will tell Tello to kill him:
Pues hidalgo noble, aduierte.
No solo me has dado pena
de la que amando me tienes,
pero a no estar ya casada,
fuera tuya eternamente.
Esto sin que aya esperanga,
ni atreuimiento que llegue
a pasar tu amor de aqui;
porque el dia que esto fuesse,
yo propia dire a mi esposo,
honrado como valiente,
que te quitasse la vida.
(458-469)
In Act III, scene ix, Clara again speaks to Macias of
his love for her, saying that he cannot love her as he is
not concerned with her honor:
Mazias, quando me hablaste
en la pena que tuuiste,
de saber que me perdiste,
ha dezirte me obligaste;
que lo agradeci, pues baste,
que agradezca yo tu amor,
para vn hombre de valor:
retirate a ti de ti;
que no me quieres a mi,
mientras no quieres mi honor.
(499-508)
Clara does not commit herself openly to her feelings on
love, especially in reference to Macias. Her concept of
love is formed in the traditional sense. Marriage is an
arrangement made by nobles and does not derive from personal
feelings. Although Clara does not commit herself in love to
31
Macias, neither does she commit herself fully to Tello.
Clara realizes that she is an object and is not expected to
have personal feelings on love.
Nuno rarely expresses his feelings on love; however, in
Act II, scene ix, he states that women are prudish and also
deceitful:
Cuerpo de tal que muger,
esta si, que no mugeres,
todas melindres y enganos,
sino dezir lo que sienten.
(473-476)
In this scene, Nuno also points out the fact that Macias
admits that his love for Clara will cause his death:
Aqui no queda que hazer,
Mazias, mas de que entierres
tu amor, pues tu mismo dizes,
que estas muerto.
(495-498)
Nuno's personal feelings on love cannot be ascertained,
clearly, from anything he directly says. Between the lines,
however, he gives the impression of having little use for
love. He believes in a true and honorable love but feels
that this rarely exists. He sees early that the love of
Macias for Clara can only end tragically. Nuno shows the
basic realism of a Sancho Panza in his perceptions of the
relation of Macias to Clara. Conversely, Macias demon
strates the quixotism of a Don Quixote.
32
Tello, the prospective husband, mentions love in Act I,
scene xviii, referring to it as war. He states that every
thing is war, and that for him love is the greatest war:
"todo es guerra, y la de amor,/ es para mi mayor guerra"
(717-718). This is the only commentary by Tello on love.
He is much more interested in honor and frequently makes
reference to that quality.
Honor is another principal theme of the play. Lope
treats it in traditional Golden Age fashion. The code of
honor (pundonor) was strictly enforced: honor and a decent
woman were inseparable; honor was deposited in the valor of
the man and in the fidelity of the woman; any stain upon
the honor of one member of the family stained all; women
were castigated merely upon the suspicion of loss of honor,
as in Calderon's El medico de su honra. There were several
ways by which a man might restore honor. These included:
receiving an apology, a duel, a marriage, or taking the life
of the one who caused the dishonor. Hesse states:
Honor was a favorite theme of Spanish dramatists of
the 16th and 17th centuries. A whole code of honor
evolved which laid down rules of conduct between various
individuals: king and subject, husband and wife, one
hidalgo and another, etc. (p. 128)
Gustavo Correa has divided honor into two basic groups. He
refers to vertical honor as that which exists from nobility
33
of birth or from extraordinary merit. Horizontal honor, on
the other hand, refers to the complex relations among the
members of a community, that is, between individuals of
equal class or merit.
La honra horizontal, en cambio, se refiere a las
complejas relaciones entre los miembros de la comunidad
en el sentido horizontal de grupo. Tal concepto de
honra puede ser definido como fama o reputacion y
descansaba por entero en la opinion que los demas
tuvieran de la persona. La honra vertical actuaba como
factor diferenciador en el sentido ascendente de status,
al paso que la honra horizontal obraba con un sentido de
icfualamiento en claidad de simbolo de cohesion social.^
Tello best displays the Golden Age concept of honor.
In a long speech in Act III, scene iii, he tells the Maestre
of the honor of Clara and the intent of Macxas to spoil it:
Bien se, que Clara es honrada,
bien conozco su virtud:
mas vna necia inquietud,
y voluntad porfiada.
Vn siempre constante amor,
q en los ojos muestra el pecho,
a muchas buenas ha hecho
dexar de serlo, senor.
Quien se puede prometer,
viuir honrado y seguro?
cerco Dios de foso y muro
los ojos de vna muger?
Que guardas puso en su pecho,
para que pueda el honor
viuir del ageno amor
agrauiado y satisfecho?
Es la voluntad por dicha
diamante o vidrio, por quien, .
en quien le guarda mas bien,
puede entrar qualquier desdicha.
34
Tengo yo de estar sin miedo
mientras se. desuela aquel,
que no puedo guardar del
el alma, que ver no puedo?
Que se yo, si vendra dia,
en que a Clara desvanezca
de vn loco amor la porfia?
Y atropellando la honra,
puede comengar a amar
de lastima, y acabar
su lastima en mi deshonra.
Fuera desto, es bien, senor
que se atreua vn hombre assi,
fiado en el Rey, y en ti,
a querer manchar mi honor?
Es bien, que en Cordoua cante
los ninos claras canciones
de Clara3 que a los varones
de prudencia y honra espanten?
Es bien, que esto se prosiga,
despues de casado yo?
(169-210)
Later, in the same scene, he places the defense of his honor
in the hands of the Maestre:
Te. Pongo en tus manos mi honor.
Vase.
Maes. Pues yo le sabre guardar.
(251-2 52 )
And then in scene x, Tello complains about Macias to him
self, and unsheathes his sword:
Ya es infame el sufrimiento
que pone el honor en duda.
(559-560)
When the Maestre discovers him with his sword unsheathed,
he knows that Tello is lying when he says that he was only
35
planning to cut down a tree. Macias and a tree do share
common characteristics. Perhaps Lope is referring to the
persistence and permanency of Macias. Tello complains that
the Maestre has not helped defend his honor:
Yo te dixe sus porfias,
poniendo mi honor en ti.
Y su priuanga, senor,
de mi honor te ha descuidado:
que si le huuieras hablado,
no se atreuiera a mi honor.
Quise matarle, mirando
su atreuimieto.
(565-572)
The Maestre explains that he has spoken with Macias, and
Tello apologizes for his mistake.
In a dialogue with Clara, in Act III, scene xiv, Tello
gives his opinion on his honor and Spanish honor in general:
Cierto estoy de tu valor,
conozco tu honestidad,
pero tanta libertad
obliga a mirar mi honor:
no te den, Clara, temor
mis diligencias, a efeto
de auer tenido respeto
al Maestre, que si fuera
de otra suerte, yo me huuiera
vengado menos discreto.
Bueno es, que sepa vn marido
que siruen a su muger,
y que lo que puede ser,
pueda poner en oluido?
El que su afrenta ha sabido,
no es hombre, ni aun animal,
si consiente tanto mal:
36
pues en ocasiones tales,
hazen muchos animales
venganga al agrauio igual.
Entre todas las naciones,
tiene el Espanol valor,
fundado todo su honor
en agenas opiniones:
y en estas satisfaciones,
que en fin de la honra son,
en que estriua su opinion,
aunque fundada en muger
veo que debe de ser
la mas honrada nacion.
(641-670)
In Act XII, scene xvii, Tello discloses his plan to kill
Macxas to Paez, protesting that Macxas has destroyed his
honor and so he will destroy Macxas, even at the risk of
offending the Maestre.
Tell. Pues que has sentido, de ver
que con tal atreuimiento
haga de mi honor Mazias
Romances, estando preso?
Los Musicos de Archidona
embia a Cordoua el necio,
para que los oiga Clara?
Pae. Lo que del Maestre entiendo
es, que le quiere muy bien.
Tell. Pues yo que lo entiSdo y veo
que paga assi mis seruicios,
que aguardo?
Pa. No te acQsejo
que te quexes, pues matarle
no puedes.
Te. Como no puedo?
Por la rexa de la torre
(ay del, Paez, si le acierto)
le he de tirar vna langa.
37
Pa. No haras Tello, q eres cuerdo
y si te prende el Maestre,
que te quitasse sospecho
la cabega.
Tell. Noble soy,
no importa, mi honor defiendo.
(749-770)
In Act III, scene xix, Tello says that he has avenged his
loss of honor, since he cannot live a life without honor:
Creo,
si ya he vengado mi honor,
q estxmo la rauerte menos.
(786-788)
Tello has followed the code in its strictest sense. Despite
any other possible consequences, he has chosen the only
recourse available to him, the restoring of his honor by
killing him who destroyed it.
Macxas makes no direct comments on honor. He has his
own sense of honor. As long as he receives what he wants,
he is not concerned with it. Por Macxas, his love of Clara
is not dishonorable.
Clara tries her best to fulfill the role of the honor
able Spanish woman. She does not succumb to the intentions
of Macxas although she definitely experiences some moments
of indecision. She vacillates but clings to her code of
honor. In Act I, scene xx, she will honor the wishes of the
38
Condesa, regardless of her personal feelings (see p. 14
above).
Nufio does not comment on honor but it is evident that
he, also, believes that the code of honor should be upheld.
In scene iv of the second act, Nuno tells Macias that Tello
will be the husband of Clara and that Macias should accept
that fact:
Que no eres tan desdichado
como tienes presumido,
ni Tello por ser marido
es tan bien auenturado.
Que aunque la ventura es suya,
a pocos dias de Clara,
estoy cierto que tomara
Tello, tu Cruz por la suya.
Que en trato discreto, o necio,
si a los exemplos te pones,
ay muy pocas possessiones
que no paren en desprecio.
Yo te doy, que cada dia
comas perdiz, y capon,
desearas vn salpicon
de cebolla y vaca fria.
Piensas tu, que la deidad
de vna muger en su estrado,
es de su marido al lado
la misma.
(307-32 7)
Nuno speaks of guarding honor, in scene ix of the same act:
Hablo noble y justamente
para atajarte los pasos:
bien aya quien agradece
el amor, y el honor guar da
no como algunas crueles.
39
que por pescar las haziendas
a los hombres desvanecen.
(488-494)
In scene xi, Nuno says that.women are worthy of love and
reverence:
Muy dignas son las mugeres
de amar y reuerenciar.
(717-718)
The three primary themes in the play, then, are:
1. The Macxas legend
2. Love
3. Honor
There are numerous minor themes in the play, such as:
1. Jealousy
2 . Deceit
3 . Virtue
4 . Death
5 . War
6 . Monarchy
7 . Faith
8 . Family
9 . Vengeance
10. Justice
11. Greed
12 . Vanity
40
13. Gratitude
14. Honesty-
15 . Fame
16. Heroism
17. Religion
Many of the minor themes are related to and support the
major ones. For example, in the section on the theme of
love, it can be seen that jealousy plays a major role in the
development of love in the play. In fact, Macias states
emphatically that jealousy and love are found together. The
minor themes of virtue and honesty are related to the honor
theme.
Techniques
It is commonly known that Lope de Vega was a great
improviser. Perhaps no other type of play in the world is
so thoroughly an improvised creation as that of Lope. Lope
always had at his disposal all the unusual gifts with which
nature blessed him. He was a master in the art of employing
diversified techniques within a single play. His dramatic
devices have been widely exploited and imitated. Although
they may not be original to Lope, certainly his use of them
has contributed greatly to dramatic literature. Many of
41
these are important to the development of the characters and
themes in the play Porfiar hasta morir.
There is a passage in Act I, scene xi, through which
several techniques of Lope can be illustrated. This scene
is an example of the use of foreshadowing, puns, antithesis,
and light and darkness effects.
Maz. Dezidme
vuestro nombre.
Cla. Clara.
Maz. 0 claraI
Nu. O escura!
(355-357)
In this scene, Macxas meets Clara for the first time.
He asks her name and she replies "Clara." The Diccionario
3
de la lencrua espanola de la Real Academia Espanola has more
than twenty basic definitions of the word claro. Many of
these are applicable to Clara, the principal female charac
ter in Porfiar hasta morir. For example, she is fair, beau
tiful, unclouded, pure, and innocent. Her fairness and
beauty are expressed by Macxas in Act I, scene xiii:
Oxdme, senor, la causa.
Yo vi, luego que aqui puse la planta,
El Sol de la belleza, la hermosura,
Que la naturaleza misma espanta,
Y en otras lo que obro, copiar procura:
Yo vi, quando la Aurora se leuanta,
Los claros rayos de su lumbre pura,
42
Antes que el Sol vezino a sus laureles,
La busque entre jazmines y claueles.
(416-424)
Her beauty is again referred to by Macxas in Act I,
scene xiv:
Ya, Nuno, a tata hermosura
el alma incendios preuiene.
(487-488)
Macxas employs both the words clear and crystal in one
of his first speeches concerning Clara. This occurs in
Act I, scene xiii:
Yo vi, mas bella que en la fuente clara
Se banaba Diana, vn Angel bello,
Que me quitara el ser, se me tirara
Vna flecha sutil de su cabello:
No porque entonces el cristal faltara,
Venciendole la nieue de su cuello,
Mas porque mas honesta en sus rigores,
Pudiera al mismo amor matar de amores.
(425-432)
Later in this same speech he refers to her name and her
clarity:
Dixome, abriendo vn cielo por dos rosas,
Que se llamaba Clara, y claro estaba,
Que si el nombre conuiene con las cosas,
En el su claridad significabaj
Suplicoos me digais (pues sus hermosas
Partes os dige, aunque mi amor bastaba)
Quien es, que calidad, para que intente
Seruirla y adorarla honestamente.
(441-448)
In Act III, scene vii, Macxas uses the word crystal in ref
erence to Clara:
43
Ay quien fuera tan dichoso,
que de aquella raano be11a,
de aquel cristal, de aquel nacar,
esse fauor recibiera?
(379-382)
In Act III, scene viii, Leonor comments on the virtue
of Clara:
Zelos pueden, sefiora,
en tu virtud de todos conocida,
tener inquieto agora,
a quien conoce de tu honesta vida,
tan gran recogimiento?
(451-455)
The innocence of Clara is mentioned by Leonor later in this
same scene:
Yo sospecho,
que no le desvanece
culpa, que ofenda tu inocente pecho:
que en el seruir ay cosas,
que obligan a tristezas cuidadosas.
(464-468)
The term honestidad is used in reference to Clara on
numerous occasions. Honestidad. in addition to honesty, may
connote composure, decency, modesty, good manners, honor and
respect. Leonor refers to it above, in the first cited
stanza. Tello is the character who most frequently refers
to her honestidad. This is to be expected as this quality
in her is most important to Tello. One example occurs in
Act I, scene xiii, when he mentions it along with her
virtue.
44
Senor Mazias, essa bella dama,
Siruiendo a mi senora la Condesa,
Tiene de honesta como hidalga fama,
Y en todos actos la virtud profesa,
Vn Cauallero, que la quiere y ama,
Y que publicamente lo confiessa;
La sirue agora, y de casarse trata,
Y ella, aunque honesta, no le mira ingrata.
(449-456)
This occurs immediately before Tello informs Macias that he,
Tello de Mendoza, has been promised Clara as his bride.
Naturally, Tello mentions many of Clara's virtues during
scene xiii. Tello again refers to her honestidad in
Act III, scene xiv:
Cierto estoy de tu valor,
conozco tu honestidad,
pero tanta libertad
obliga a mirar mi honor:
no te den, Clara, temor
mis diligencias, a efeto
de auer tenido respeto
al Maestre, que si fuera
de otra suerte, yo me huuiera
vengado menos discreto.
(641-650)
Lope hyperbolically presents the brightness and bril
liance of Clara in a statement by Macias in Act II,
scene iii:
Clara es su nombre, y obscuro
el Sol mirando su frente.
(149-150)
Lope employs to full advantage the numerous connota
tions of clara in his play Porfiar hasta morir. They are
45
distributed fairly well throughout the play although there
does appear to be some concentration in Act I, scene xiii.
Lope is able to establish depth in his principal female
character through her name alone.
The aforementioned conversation involving Macias,
Clara, and Nuno in scene xi ("Clara," "O clara," "O escura")
is also an example of antithesis and chiaroscuro or light
and darkness effects. This is closely related to the tech
nique of apariencia v realidad. What appears clear and
beautiful to Macias will lead him to darkness and death.
Although Lope manipulates the light and darkness effect, he
does not develop the technique of apariencia v realidad
throughout the play.
The same scene, xi, is also an example of another favo
rite technique of Lope de Vega. This is one known as fore
shadowing. It may be employed in relation to plots, charac
ters, themes, or events. It enlightens the viewer as to
what will occur later in the play. In Spanish, the tech
nique of foreshadowing may be referred to as plantar la
semilla de la intriga.
Lope uses foreshadowing at the very beginning of the
play. In Act I, scene i, Nuno tells Macias, "No guia amor."
Love will not guide Macias but will destroy him, because he
46
insists on an impossible love. This idea is further devel
oped in scene xii, when Macias remarks: "ay pasion mas
temeraria,/ que vna.locura de amor,/ ..." (362-363).
This madness of love will lead Macias to his death. In
scene xiii, Macias is speaking to Tello of the beauty of
Clara. In this speech, Lope inserts the most forceful fore
shadowing effect in the play. (See p. 42 above, -"Yo vi, mas
bella que en la fuente clara/ . . . .") The love of Macias
for Clara is the love that will inevitably kill him. It is
interesting to note that later in this very scene, Tello
warns Macias that Clara is promised to another:
Senor Mazias, essa bella dama,
Siruiendo a mi senor la Condesa,
Tiene de honesta como hidalga fama,
Y en todos actos la virtud profesa,
Vn Cauallero, que la quiere y ama,
Y que publicamente lo confiessaj
La sirue agora, y de casarse trata,
Y ella, aunque honesta, no le mira ingrata.
En dos vezes que el Sol por lineas de oro.
Pinto dos Primaueras, dos Estios,
Ha mostrado guardandole el decoro,
En fiestas galas, y en batallas brios:
Con mil despojos del Alarbe Moro,
Sufriendo sus desdenes y desvios,
Obligada la tiene, a que le estime,
Y a proseguir su pretension se anime.
Tratan ya de casarlos el Maestre,
Y mi senora la Condesa en tanto
Le da licencia, que con fiestas muestre
Su gallardia desta tierra espanto:
Si amor os ha cegado; que os adiestre
Sera razon, con aduertiros quanto
47
Importa, que dexeis (pues no os importa)
Vna esperanga, que nacio tan corta.
Esta es la dama, y la belleza rara,
Que araais, disculpa due, que es gentil moga:
Esta es la Clara, y porque sea mas clara;
Es Tello de Mendoga el que la goza.
Tello will later become a fundamental instrument in the
destruction of Macias.
In Act I, scene xx, Clara also tells Macias that she is
promised to another:
Trata casarme con Tello
mi sefSora la Condesa,
y aunque no me ha dicho nada,
basta saber, que concierta
su Sehoria estas bodas,
para que yo la obedezca.
Creedme a fe de hijadalgo,
que esse amor agradeciera,
porque vos lo mereceis:
no puedo, dadme licencia.
(775-784)
In Act II, scene iii, Macias states:
Clara es su nombre, y obscuro
el Sol mirando su frente.
Llevome el alma, sin alma,
que vida tenerla puede?
desasosiegos de amor
me pusieron de tal suerte,
que me alegre de que el Moro
tan atreuido viniesse,
pues con gusto de morir
fui a la guerra, mas la muerte
nunca viene a quien la busca,
que a los descuidados viene.
(149-160)
48
This statement presents the antithetic in the situation of
Macias. Later, when he is not seeking death he finds it.
This situation, called a reversal, merely accelerates its
4
fulfillment. Yet Macias, in his persistence in his atten
tions toward Clara, does not attempt to avoid his fate.
In Act II, scene iv, Macias says that his death arrived
on the day that Clara was not his. It actually arrives much
later, but nevertheless there is a direct correlation
between his not possessing Clara and the loss of his life.
This is a poetic technique of the Renaissance. Garcilaso de
la Vega uses it greatly. Part of his fame as a poet rests
with his treatment of love and death themes.
Que desdicha puede auer
Nuno que iguale a la mia,
llego de mi muerte el dia,
ya no es Clara mi muger:
No se que tengo que hazer
sin esperanga ninguna,
porque donde ay alguna,
que mire a la possession,
aun falta jurisdicion
al poder de la fortuna,
Ay de mi Clara perdida?
(229-2 39)
In Act II, scene viii, Macias again equates his loss of
Clara with his death:
Puedo darte el parabien
de tu dicha y de mi muerte,
Clara hermosa?
(412-415)
49
There is further foreshadowing along these lines in Act II,
scene ix. Macias and Nuno have been discussing his loss of
Clara:
Maz. Que hare?
Nu. Dexarlo de hazer.
Maz. Y quien podra.
Nu. Tu si quieres.
Maz. Quiero y no puedo.
Nu. Porfia.
Ma. Por Dios Nuno^ q me dexes,
que a quien le cansa la vida,
sera partido la muerte.
(516-520)
Nufio's telling Macias to persist is an ironic note, for
Macias persists in his attentions toward Clara rather than
forgetting her.
In Act III, scene x, Clara asks why Macias persists in
his attentions toward her when it may cause his death:
De que sirue porfiando,
dar ocasion a tu muerte?
(540-541)
At the end of scene x, Tello unsheathes his sword.
There have been hints of his desire to avenge himself on
Macias, but here his intentions are clear. In scene xi,
Tello again complains to the Maestre about the actions of
Macias:
50
Yo te dixe sus porfias,
poniendo mi honor en ti.
Y su priuanga, senor,
de mi honor te ha descuidado:
que si le huuieras hablado,
no se atreuiera a mi honor.
Quise matarle, mirando
su atreuimieto.
(565-572)
In scene xvii, Tello tells Paez of his plan to kill
Macias. The seed of the plot has been planted, fertilized
and watered; the harvest is near. In scene xx, Macias is
wounded and the prior foreshadowing of his death becomes
reality as he dies in scene xxi.
The foreshadowing of the death of Macias is most impor
tant in the development of the themes and characters of the
play. It is of no consequence that the reader or audience
previously knows or suspects early in the play that Macias
will die. This will not detract from the interest as to how
and when he will die, which are still in doubt. Plantar la
semilla de la intriqa is an impressive technique, and it is
repeated and developed throughout the play.
Many of Lope's techniques were basic ones. Lope was
the playwright of the people. He attempted to write plays
that would appeal to the people for a variety of reasons.
Perhaps the most important was involving the audience in the
play. If they could identify with some character, emotion,
51
or element of the play their appreciation and enjoyment of
the play would be increased. For example, many individuals
must have experienced unsuccessful loves similar to that of
Macias. They could empathize with him and be interested in
the development of this theme. The technique of involving
the audience was a factor in the success of Lope's plays.
The humor in Porfiar hasta morir is presented princi
pally through the character of the crracioso. Nuho. In
Act I, scene i, Nuno casually mentions his lack of any feel
ing because of having imbibed the liquor of Bacchus (the
Roman mythological god of wine). This is not tremendously
humorous, but it serves to lighten the mood of the scene
after the discussion of love.
In Act I, scene vii, Nurio insults one of the ruffians
who attacked the Maestre:
No tengas a poca dicha
auerle dado fauor,
y con tanta valentia,
que le avras aficionado;
que aun pigso, q a mi me estima
por auer dado al rufian
que el dinero le pedia,
cuchillada, que le pueden
poner vn colchon por hilas.
(188-196)
In Act I, scene xi, the aforementioned ”0 clara!"
uttered by Macias is followed with "O escural" by Nufio
52
(357). This line is, in addition to other interpretations,
significant for providing comic relief. Nufio's comment not
only foreshadows the plight of Macias but inserts humor into
the scene. In this scene, Macias comments on the beauty of
Clara: "Que gran bellezal" (357). In scene xii, Nuffo
counters with:
Que gran necedadl y tanta;
que a dezirtelo me obligal
Entras oy en esta casa,
y enamoraste?
(358-360)
Macias falling in love with Clara, whom he has just met,
appears to be very foolish to Nuno. Nuno seems to be most
humorous when he is commenting on statements by Macias.
In scene xii, Nuno also comments on madness and poetry
and the manner in which a poet gains fame:
En esso, sefior, te engahas:
la locura y la Poesia
de vna manera se hallan.
Haze vn hombre quando mogo
dos Romances a su dama,
de alii se pasa a vn Soneto,
luego a vna cancion se pasa,
luego a vn libro de Pastores.
Y quando ya tiene fama,
y es declarado Poeta
(que no es pequeffa desgracia)
dize, que es Virgilio, Homero;
desprecia con arrogancia
a todos cuantos escriben.
Y de aquesta misma traza
es vn loco: a los principios
deja el sombrero y la capa:
53
luego (sino se la quitan)
saca furioso la espada;
y quando esta rematado,
dize, que es Rey, o Monarca,
estrella, Sol, y aun se atreue
a las Deidades sagradas.
Tu, que en viendo vna muger,
tantas locuras ensartas j
de que linage de locos
tienes el humor, que gastas?
Assi, ya he caido en ello:
porque no se me acordaba,
Mazias, que eres Poeta.
(368-397)
Nurio is also adept in relating anecdotes. In Act I,
scene xvi, he relates the anecdote of the one-eyed woman:
Dixole una dama tuerta
a vn galan, vos no me amais,
pues la boca me alabais
siempre cerrada o abierta.
Los cabellos de perfetos,
la frente, y los ojos no;
y quien ama, pienso yo,
que ha de alabar los defetos.
Las gracias, quando lo son
ellas estan alabadas:
dad a estas nihas turbadas
vn requiebro, que es razon.
Alabadme la desgracia
deste ojo, aunq a ver no acierto
que en verdad, que para tuerto,
no mira con poca gracia.
(639-654)
In Act I, scene xvi, Nuno comments on the facial expressions
of Leonor:
Nu. No ves, que gestos que hazia?
Leo. Gestos, estrana inuencion!
54
Nu. Y entre razon y razon
vfia y media se comia.
(663-666)
It is evident that the habit of biting one's fingernails is
not a new one. In this same scene, NuSlo relates the anec
dote of an artificial poet:
Vn poeta artificial
entre a ver, que no debiera:
y en la cama componia
con vn tocador, y antojos:
diole en la boca y los ojos
vna cierta perlesia,
con que pario sin comadre
vn verso, que apostare,
que al parirme le coste
menos dolor a mi madre.
(669-678)
Nuno, in scene xxi, terminates the first act by describing
his relationship to a woman on a cold night:
Pues viue Dios, que si yela,
que quiero mas vna manta,
que mil balcones y rexas:
si esta la dama acostada,
y yo en la calle por ella.
(822-826)
In Act II, scene xi, Nuno relates that he saw a woman with
out teeth: reminiscent of the anecdote of the one-eyed
woman.
No es nada la nouedad,
pues oy vna dama vi,
que sin dientes conoci,
y los tiene en cantidad.
55
Y dixela, cosa vil,
que falta de doze perlas,
supla quien llegare a verlas
vn forastero marfil.
Y respondiome, ha mil dias
que los traia, en verdad,
y por mayor nouedad
troque por estas las mias.
(735-746)
Hunger is, of course, the constant complaint of the
crracioso. This is common in Golden Age literature.
Lazarillo is constantly looking for ways to feed himself and
Sancho Panza is always wanting to stop and eat. And so in
Act II, scene xiv, Nuno shows his fondness for food when he
asks Paez:
Nu. No lleuas almuergo Paez?
Pae. Leuantaste de la cama,
y quieres comer?
(914-916)
In Act III, scene xii, Nuno relates an anecdote con
cerning a man with a toothache. It is more a means of
offering advice to Macias than a pun.
A lupiter se quexaron
las muelas del hombre vn dia,
diziendo a su Sefforia,
los anos que trabajaron
desde la muela primera,
mascando lo que comia:
y que por dolor de vn dia,
luego las echaban fuera.
Don lupiter le rino,
y el respondio: que he de hazer,
sino dexan de doler?
56
a quien luego replico:
hombre, sufre, pues te toca
el dolor, que bien podras,
que despues te alegraras
de ver tu muela en tu boca.
Sufra, pues, tu voluntad
esse pequefio disgusto;
que despues te dara gusto
gozar de tu libertad.
(603-622)
Nufio is telling Macias to suffer his small displeasure now
in order to enjoy his freedom later. This is the only
example of this type in Act III. In El burlador de Sevilla.
Tirso de Molina has the gracioso, Catalifion, offering humor
even around the tragic end of the play. In the events lead
ing up to the death of Macias and following it, Lope does
not inject any humor.
Nufio possesses many good qualities, such as shrewdness,
wit, ingenuity and resourcefulness, in offering solutions to
problems. His favorite means of supplying humor are of one
line, building upon a statement of Macias, and the anecdote.
His humor is usually witty, sly, and clever. He fulfills a
function of comic relief similar to Sempronio in La
Celestina and Tello in El caballero de Olmedo. Nufio often
injects a pun in order to demonstrate something or to teach
a lesson. Nufio is a good example of Lope's gracioso, as he
57
offers both humor and advice, and at times serves to direct
the action.
Versification
Lope de Vega was a master in applying appropriate verse
forms within a play. His ability as a poet is evident in
Porfiar hasta morir. as in his other plays. The majority of
the lines are redondilla and romance. There are, however,
decimas, octavas reales, sonetos, liras, pareados, and a few
lines of arte mayor that he quoted from Juan de Mena. (See
Tables 1 and 2.)
The following definitions of the verse forms employed
by Lope in Porfiar hasta morir are from Morley and Bruerton:
Romance. Octosilabos en tiradas de duracion
indeterminada, con la misma asonancia
en los versos pares.
Redondilla. Cuatro octosilabos: ABBA.
Decima (espinela). Diez octosilabos: ABBA;ACCDDC.
Octaves (reales). Ocho endecasilabos: ABABABCC.
Liras. Seis versos de siete y once silabas,
con tres rimas; los cuatro primeros
versos tienen dos rimas, y los dos
ultimos forman un pareado con la
tercera rima; en Lope el ultimo
verso tiene once silabas. La forma
mas corriente . . . es ABABCC.
Pareados. Disticos de octosilabos.
Soneto. Catorce endecasilabos, los primeros
ocho en el rigido orden de ABBAABBA.
58
TABLE 1
TYPES OF VERSE FORMS IN LOPE DE VEGA'S
PORFIAR HASTA MORIR BY LINE NUMBERS
Lines
Number of
Lines
Type
Act I
1-152 152 Redondilla
15 3-196 44 Romance (i-a)
197-248 52 Redondilla
249-272 24 Octava real
2 73-2 78a
2 79-2 90 12 Redondilla
291-416 126 Romance (a-a)13
417-480 64 Octava real
481-5 72 92
c
Redondilla
573-614 42d Pareados
615-694 80 Redondilla
695-826 132 Romance {e-a)
Act II
1-80 80 Redondilla
81-196 116 Romance (e-e)
197-228 32 Redondilla
22 9-2 58 30
✓ 6
Decima (espinela)
259-334 76 Redondilla
59
TABLE 1— Continued
Lines
Number of
Lines
Type
335-412 78 Lira
413-52 0 108 Romance (e-e)
521-572 52 Redondilla
573-580 8
_ , f
Arte mayor
581-584 4 Redondilla
585-592 8
CT
Arte mayor
593-600 8 Redondilla
601-710 110
i i i
Decima (espinela)
711-750 40 Redondilla
751-918 168 Romance (a-e)
Act III
1-12 0 12 0 Octava real
12 1-2 72 152 Redondilla
273-314 42 Romance (e-a)
315-328 14 Soneto1
32 9-432 104 Romance (e-a)
433-468 36 Lira
469-558 90 Decima (espinela)
559-622 64 Redondilla
62 3-640 18 Romance (e-e)
641-700 60 Decima (espinela)
701-724 24 Redondilla
60
TABLE X— Continued
Lines
Number of
Lines
Type
725-792 68^ Romance (e-o)
793-822 30 Decima (espinela)
82 3-844 22 Romance (e-o)
aThere is some prose here.
First meeting alone of Clara and Macias.
CLove laments of Macias.
Lope has left out a line.
eLove laments of Macias.
fThe Maestre reads from the work of Macias, quoted by Lope
from Juan de Mena.
^The Maestre again reads, Lope quoting from Juan de Mena,
tl
Love laments of Macias.
^Love laments of Macias.
^Eight lines are a cancion.
61
TABLE 2
TYPES OF VERSE FORMS IN LOPE DE VEGA'S PORFIAR HASTA MORIR
BY FREQUENCY OF USE AND NUMBERS OF LINES
Number of Times
Each Type Used
Number of
Lines
Type
11 940 Romance
15 92 0 Redondilla
5 32 0 Decima (espinela)
3 2 08 Octava real
2 114 Lira
1 42 Pareados
2 16 Arte mayor
1 14 Soneto
62
Arte mayor. Estrofa compuesta de ocho versos ^
dodecasilabos que riman ABBAACCA.
It must, however, be noted that the rhyme scheme of Lope de
Vega's lira is not ABABCC but aBaBcC.
Character Analysis
Everett W. Hesse, the esteemed scholar of Golden Age
literature, offers in his work, Analisis e interpretacion
0
de la comedia, a method of character analysis. Hesse sug
gests that the personality of characters may be revealed
through their dialogue or by any commentary on the part of
another. He also states that the dramatists of the Golden
Age recognized that nothing reveals personality as well as
the actions and reactions of the individual himself. In
Porfiar hasta morir. the personalities of the characters are
shown in all of the manners presented by Hesse. Most of the
action occurs in dialogues between the principal characters,
through which they are presented and developed. For
example, in the numerous dialogues between Macias and Nufio,
their personalities are revealed, both by themselves, their
statements to each other, and their actions and reactions.
Macias is presented to the audience not only through
what he says but also by how he acts and reacts. His inter
actions with the other principals reveal more than do his
63
words alone. For example, in the encounter with the ruf
fians who attack the Maestre, in Act I, scene ii, Macias
demonstrates both his bravery and recklessness when faced
with a crisis. His actions toward Clara are similar. He
reacts recklessly and foolishly both when he meets Clara
and, later, when he cannot possess her.
Although Macias may appear to be a basic character
typej a lover who will pursue his love disregarding every
thing else, he is very complex. He may appear superficially
to be a combination of two famous Spanish literary charac
ters: Don Alvaro and Don Juan. Although there are similar
ities between Macias and the aforementioned heroes, he is
above all an individual. He is his own man. Macias is a
persistent lover, as was Don Juan and a tragic hero as was
Don Alvaro. Yet in regard to love, honor, the ability to
communicate with his fellow man, and basic philosophies of
life, he is very different. Love, for Tirso's Don Juan, was
principally a conquest. There was little or no emotion,
only deceit. Don Alvaro's love was sincere and real.
Macias is completely motivated by love in all of its
aspects. Don Alvaro believed in the code of honor and
attempted to follow it. Don Juan had his own definition of
pundonor. Don Juan did not consider his acts as
64
dishonorable but rather demonstrations of technique. He
considered his ability to deceive others a desirable attri
bute. Macxas ignored pundonor. Love, in itself, was all-
consuming; there was nothing else. What mattered was his
success at love, not the circumstances surrounding it. Don
Juan did not want to communicate with people. Ironically,
his attempt to communicate with Don Gonzalo, the comendador
or father figure, was at least partly responsible for his
death. Don Alvaro wanted to communicate but was not capable
of it. Macxas communicated but was still unsuccessful. It
would be difficult to summarize the philosophies of the
three literary characters. Their feelings on love and honor
alone show their differences. Parallels could be drawn
between Macxas and the other literary figures. They are,
however, individuals and must be analyzed accordingly.
Macxas is awed by the beauty of Clara. She, for him,
is the epitome of beauty, a creation of nature, a reflection
of God. He loves Clara for all of these reasons, in addi
tion, his desire for Clara is enhanced by his inability to
attain her love. If it had been easily attainable, he would
have taken her for granted, and his love for her would not
have reached its magnificent proportions. Por Macxas, love
is a basic drive which must be satisfied. He cannot rest
65
until this goal has been achieved. Even the possibility of
death will not deter him. Death is a small wager, such is
the importance of fulfilling his love.
The persistence of Macias gives him strength and char
acter. In addition, he is successful, with one important
exception, in whatever endeavor he undertakes. He is a cap
able poet and a good soldier, he communicates with people,
and, until his dilemma with Clara, he has enjoyed life.
Macxas may also be analyzed in reference to the seven
deadly sins since the moral issue does figure in much of the
drama of this period. In his work, El espanol y los siete
7
pecados capitales, Fernando Dxaz-Plaja discusses the seven
deadly sins, most of which Macxas commits, in reference to
the Spaniard. These are the sins of:
1. Pride
2 . Envy
3. Anger
4. Sloth
5 . Gluttony
6. Greed
7. Lust
Macxas is at all times a proud man. However, according
to Dxaz-Plaja, the Spaniard does not consider pride a sin.
66
For the Spaniard, the moral and religious may be relative.
What is immoral and sacrilegious for one man may be the
opposite for another. In addition, the time, occasion, or
incident may change the morality of the situation. The fol
lowing lines are from Act I, scene v:
Maz. Tengo a las armas el pecho,
mas que al estudio inclinado.
Y estas cartas que he traido,
pienso que han de aprouechar,
para que tenga el lugar
por la guerra pretendido,
0 dare en ser cortesano,
que tambien tengo aficion
a su estudio.
Nu. Iguales son,
seftor, tu ingenio y tu mano.
Para paz y guerra tienes
habilidad y valor.
(135-146)
Macias is proud of his ability as a poet and is anxious to
prove his merit as a soldier. He refers to the letters from
the cousin of the Maestre. Macias listens proudly as the
Maestre reads a letter from his cousin, in scene x:
Dara a V. S. esta carta Mazias, el mas honrado hi
dalgo de mis vasallos: dexo los estudios por seguir las
armas, con que he dicho su inclinacion, y que debo supli
car a V. S. le fauorezca a la sombra de sus vanderas, q
el lo merece, y yo fio su seruicio y agradecimiento.
Don Luis Aluarez de Toledo.
(273-278)
Macias is also guilty of envy. The previously quoted
lines from Act I, scene xxi, are appropriate:
67
Entonces la querre mas,
que no ay cosa que mas crezca
el amor, que vn impossible,
y el verse vn hdbre a la puerta
de vna muger que otro goza.
(813-817)
Macxas is definitely envious of Tello, In act II, scene iv,
Macxas laments:
Tello de Mendoga (ay cielosi)
ha de gozar de mi bien?
como puede ser, que esten
juntos mi amor, y mis zelos:
mal pueden fuegos y yelos
tener en paz mi cuidado;
mas si elado y abrasado
no puede ser que me vea,
hara, que posible sea
la dicha de vn desdichado.
(249-258)
Antonio Machado, who certainly excelled Macxas as a poet, a
and was one of the best Spanish poets of the Generation of
'98, if not the best, writes of envy:
Los ojos siempre turbios de envidia o tristeza
guarda su presa y llora la que el vecino alcanza;
ni pasa su infortunio ni goza su riqueza
le hieren y acongojan fortunas y malacanzas.
Jealousy is certainly related to pride and envy. Macxas
comments on jealousy in Act I, scene xiv:
A cielos,
que me entro el amor cc5 zelos,
del primero encuentro azar?
No se que ha de ser de mi.
(554-557)
68
Macias refers to jealousy many times throughout the play.
He is extremely jealous of Tello. He is frequently con
scious of his jealousy and it has an effect on the outcome
of the play. It, in addition to his persistence in an
impossible love, causes him to act as he does. Diaz-Plaja
cites the following refran that refers to love and jealousy:
"Amor sin celos no lo dan los cielos" (p. 95). This quota
tion is most applicable to Macias and to his plight. Macias
frequently laments that love has come to him together with
jealousy.
Macias expresses anger also. Like most of his other
"sins," it is caused by his unrequited love. In the work
by Lope, La creacion del mundo (1640), Lope himself talks of
anger through the character San Miguel:
Adan, Adan, ya el Sefior
menos enojado, quiere
consolar tu desconsuelo, ^
dar tolerancia a tu muerte.
Macias is not guilty of sloth. He is not basically a
lazy person. He has proven his ambition in war, letters and
most importantly to Macias, in love. The Spaniard, in gen
eral, does not consider sloth a sin, but rather an admirable
attribute and a demonstration of intelligence and common
sense. In his discussion of sloth, Diaz-Plaja relates an
69
anecdote about a foreigner wishing to visit the office of a
government official in Spain (pp. 251-252). As he enters
the building he is detained by a porter who tells him there
is no one inside. The gentleman, surprised, says, "Oh!
Don't they work in the afternoon?" The porter replies,
"It's in the morning they don't work. In the afternoon they
don't come."
Lust, like sloth, is not considered a sin by the Span
iard, according to Dxaz-Plaja. In fact, it would be sinful
not to look at a woman, thus endangering one's masculinity.
The term macho is a familiar one, even to people who do not
speak Spanish. The Spaniard is very conscious of his mascu
linity . The failure to flatter a woman with a piropo would,
in itself, be a sin. Macias compliments Clara, in Act I,
scene xi:
Porque no estorua la espada
para que el entendimiento,
como potencia del alma,
entienda vuestra hermosura.
Porque la belleza rara
sugeto los Capitanes,
que con mayores hazaffas
han asombrado la tierra.
(32 0-32 7)
The intentions of Macias toward Clara and the importance of
his receiving her as a wife are illustrated in Act II,
scene iii:
70
Por vida de vuestra Alteza,
que nunca que yo me acuerde,
auia sacado la espada,
porque no a todos se ofrecej
hasta que a los Moros vi:
mas amor que haze valientes,
me dio tal brio y valor,
para que obligar pudiesse
al Maestre, que no creo,
que airado ciergo en Nouigbre
derriba al olmo las hojas,
que del medio secas penden,
con mas violencia y furor,
y en remolinos embuelue,
que to cabegas de Moros,
y esto es facil de creerse;
porque las fuergas de amor
a todo impossible exceden.
Como me mandaste aqui,
que te pidiesse mercedes,
y se que aun el mismo Dios
quiere que le pidan siempre.
Pareciome bien pedirte,
que le mandes al Maestre,
me de por muger a Clara,
que todo el Orbe de Oriente
no estimare, como ser
su marido: si concedes
esta merced a mi amor,
porque los humanos bienes
no compiten con las almas,
Reino que el amor possee.
Y assi en hazerme este bien
mostraras senor quien eres,
que en tenerla esta mi vida
y en perderla esta mi muerte.
(161-196)
This statement of Macias shows not only his lust for Clara
but perhaps also his pride in daring to ask for her of the
King.
71
Dxaz-Plaja says that the Spaniard scarcely sins with
avarice; greed is not compatible with the other sins of the
Spaniard. If Macxas is greedy it is because he desires
something that he cannot have.
There is no indication that Macxas is guilty of glut
tony. Although the play does not affirm or deny it, it is
most likely that he is not a glutton. This would more
likely be Nuno's sin; it usually is the gracioso1s.
The greatest sin of Macxas is his persistence. Yet,
that in itself is not a sin. Actually his faithfulness to a
meaningful love, in spite of the consequences, might be con
sidered admirable. Nevertheless, his actions were dishonor
able and caused Tello to seek revenge. Does fate cause
Macxas to sin or do his sins cause his fate? Although both
might be true, it is evident that Macxas' persistence in
loving a woman belonging to another causes his death. The
persistence of Macxas is his tacha fatal contributing to his
role as a tragic hero.
Macxas is a very complex character. Regardless of the
angle from which he is studied several basic characteristics
stand out. Macxas is creative and intelligent. He is
proud, jealous, ambitious, and, of course, persistent.
Macxas reacts as a child who has been denied a toy or the
72
freedom to do as he wishes. He is completely governed by
his emotions and is seldom rational. At times he is remi
niscent of Segismundo with his beastly desires. The animal
instinct of Macias is very strong. Between his emotions and
his baser drives there is little room for common sense and
rationality. For Macias, love is more important than any
thing else. His persistence in love is responsible for his
tragic end in the play.
The other characters are, for the most part, standard
types. Nufio is the gracioso of the play. The gracioso is
one of the fixed types whose use Lope advocated in his Arte
nuevo de hacer comedias en este tiempo.^ Richard E. Chand
ler and Kessel Schwartz include among the formal aspects of
Lope's theater the
use of fixed types, such as the galan. the vieio, and
the gracioso. an invention of Lope and a very useful
stereotype, descended from the pastor, bobo and parvo of
Encina, Rueda, and Vicente respectively and copied later
by the French and Italian theater. The gracioso appeared
as a nobleman's servant and served in Lope's drama as the
antithesis of his master for comic relief, parodying his
master's action on a lower level. In Alarcon he is
often the confidant and adviser; in Tirso he frequently
combines comedy and advice; and in Calderon he spouts
both philosophy and puns.H
Lope believed tha„ the humor should evolve from the gracioso
alone, as with Nuffo in Porfiar hasta morir. He also serves
as a confidant but does not parallel the actions of Macias
73
on a lower level. Nurio is a realist and the antithesis of
Macias. Nurlo is real, a personaie de carne y hueso. He is
fresh, frank, honest, and admirable. For some, Nuno might
be the only really likable character in the play. He serves
a necessary role as he reacts against the emotions and
actions of Macxas. Whereas Macxas sacrifices intellect for
emotion, the opposite is true with Nuno. In Act I, scenes
xi-xii, Nurlo reacts to Macxas falling instantly in love with
Clara:
Maz. Que gran belleza!
Vase Clara.
Nu. Que gran necedad! y tanta;
que a dezirtelo me obliga!
Entras oy en esta casa,
y enamoraste?
(357-360)
In scene xiv of Act I, Nufto reacts when Macxas is not
affected by Tello's warning:
Maz. Ya, NufLo, a tata hermosura
el alma incendios preuiene.
Ya se, que era mi coragon
grandes trabajos le esperan,
mas no por esso se alteran
las fuergas de la razon.
Que amor (dime) no has tenido
algun estorvo o azar?
Nu. Luego piensas intentar
querer a Clara aduertido?
Maz. Pues aqueste aduertimiSto
es de marido por dicha?
74
Nu. O te ha de sobrar desdicha,
o faltar entendimiento.
Llegas a seruir aqui,
y entras haziendo pesar
a quien te puede ayudar?
(487-503)
In Act III, scene ii, Nuno states his disapproval of the
actions of Macias:
Necio has andado, senor,
que te lo diga perdona.
Que estando Clara casada,
bien pudieras escusar
esta manera de hablar,
que es Tello persona honrada,
y ofendes su calidad:
y el Rey mostro sentimiento,
quando dixo descontentoj
essa memoria oluidadj
que fue discreta aduertencia.
(135-145)
Nuno is important not only to provide comic relief but also
to serve as a sounding board for the emotions of Macias.
Nurlo, in addition, acts as a confidant and offers excellent
advice which Macias does not follow. J. H. Arjona offers
excellent data on the importance of the gracioso in his
article, "La introduccion del gracioso en el teatro de Lope
de Vega. ”' L2
Clara is a standard type, typical of the era. She,
like most of Lope's women, is a weak character. She upholds
the honor and respect of the traditional Spanish lady.
Although sensitive to the attention she receives from
75
Macias, Clara cannot love him. She accepts the marriage
arranged for her. Showing little free will, she abides by
the rules and codes of her society. If Clara possessed more
freedom, her role in the play would be more subjective but
would undoubtedly alter the ending.
Tello is Clara's intended and eventual husband and the
rival of Macias. Unlike Clara, he has a will of his own.
Tello demands that the Maestre defend his honor, and he
defends it himself when he feels the former has failed. In
Act III, scene iii, Tello talks to the Maestre:
Tell. Con hablarle tendra fin
su porfia, y mi pesar.
Maes. Y yo salgo por fiador.
Te. Pongo en tus manos mi honor.
(248-251)
In Act III, scene xi, Tello again confronts the Maestre
about Macias:
Tell. Yo te dixe sus porfias,
poniendo mi honor en ti.
Y su priuanga, seftor,
de mi honor te ha descuidado:
que si le huuieras hablado,
no se atreuiera a mi honor.
Quise matarle, mirando
su atreuimieto.
Maes. Yo hable
con Mazias, y pense
que bastara, imaginando,
que era hombre de razon:
pero pues que no lo ha sido,
ni el auerle yo renido
templa su necia aficion:
ven conmigo.
Tell. Presumi,
que no le auias hablado:
perdona.
Maes. Estoy anojado.
Tell. Mi remedio pongo en ti.
Maes. Ya fue tu agrauio pequefio
con el que haze a mi valor,
porque no merece amor,
quien no obedece a su dueho.
(565-586)
In Act III, scene xvii, Tello tells Paez that he intends
defend his honor by killing Macxas:
Tell. Pues que has sentido, de ver
que con tal atreuimiento
haga de mi honor Mazias
Romances, estando preso?
Los Musicos de Archidona
embia a Cordoua el necio,
para que los oiga Clara?
Pae. Lo que del Maestre entiendo
es, que le quiere muy bien.
Tell. Pues to que lo entiedo y veo
que paga assi mis seruicios,
que aguardo?
Pa. No te acSsejo
que te quexes, pues matarle
no puedes.
Te. Como no puedo?
Por la rexa de la torre
(ay del, Paez, si le acierto)
le he de tirar vna langa.
77
Pa. No haras Tello, q eres cuerdo
y si te prende el Maestre,
que te quitasse sospecho
la cabega.
Tell. Noble soy,
no importa, mi honor defiendo.
(749-770)
The persistence of Macxas has left Tello without an alterna
tive. The events leading to his killing Macxas and his
actions are clear. Tello possesses many admirable quali
ties: bravery, intelligence, military skill, and immense
individuality. With a few changes Tello could have become
the protagonist, and for some may still be the hero of the
play.
The remaining characters are few and minor. The men
are all stereotypes. The King functions as the protector of
the people, and the Maestre as a just ruler. Women are, in
a sense, a "type" as well as a sex and are not described to
any extent. Tirso de Molina saw the women in his plays as
ardent, daring, and intrepid in the pursuit of their lovers,
as in Don Gil de las calzas verdes. Calderon de la Barca
saw the women as depositarios del amor de sus maridos. In
El medico de su honra. a woman is slain bloodily only
because of suspicion of infidelity. Lope excluded the role
of the mother in his plays. For the most part the women in
his plays are instruments upon which play the emotions of
the men. As an element, they are more passive than active.
This is definitely true in Porfiar hasta morir. With the
beautiful Clara, the impulsive Macias composes a tragic
symphony.
79
NOTES TO CHAPTER II
Everett W. Hesse, Calderon's La vida es sueho: A
College Student's Edition (New York, 1961), p. 54.
2
"El doble aspecto de la honra en el teatro del siglo
XVII," Hispanic Review. XXVI (April, 1958), 101.
"^(Madrid, 1970) .
4
Hesse, Calderon's La vida es sueno. p. 54.
5 ✓
Cronologia de las comedias de Lope de Vega. Biblioteca
Romanica Hispanica (Madrid, 1968), pp. 38-41.
^(Madrid, 1968).
7(Madrid, 1966).
8 ✓
Antonio Machado, Poeslas completas (1912), 3d ed.
(Madrid, 1933), p. 108.
9
in Biblioteca de Autores Espanoles. Vol. CLVIII:
Obras de Lope de Vega, ed. D. Marcelino Menendez Pelayo,
La Real Academia EspafSola, Vol. VII: Autos v Coloquios.
II (Madrid, 1963), 498.
10(Madrid, 1609).
~^A New History of Spanish Literature (Baton Rouge:
Louisiana State University Press, 1961), p. 85.
12
Hispanic Review, VII (1939), 1-21.
CHAPTER III
HISTORICAL AND LITERARY BACKGROUNDS
Historical Background
The principal theme in Porfiar hasta morir is the per
sistence of Macias' love for Clara. The basis for this
theme is found in the history and legends relating the life
of the poet Macxas. A great deal of knowledge concerning
Macxas may have been lost through the mixture of history and
legend. There are, however, some sources that may be con
sidered accurate. H. A. Rennert has written an excellent
work concerning Macxas. His work is entitled Macxas O
1
Namorado and deals with Macxas as a poet, an historical
figure, and a legendary hero. Macxas was born in Galicia
and lived, according to Rennert, in the latter half of the
fourteenth century in the reign of Don Pedro el Cruel (1350-
1369), and bore the nickname 0 Namorado. The fame of Macxas
was due more to his sad end than his poetry. Macxas has
80
81
been glorified by Spanish poets, including Lope, as the very
pattern of a true lover— faithful unto death.
According to Rennert (pp. 4-5), all the accounts of the
life and tragic fate of Macias are based upon two principal
sources:
1. The Satira de Felice e Infelice Vida, a work writ
ten by Don Pedro, the Constable of Portugal,
between 1453 and 1455.
2. The narrative of the celebrated Comendador Griego,
Fernan Nunez de Toledo.
The latter appears in the form of a gloss, written in
1499, to the one hundred and fifth copla of the Trecientas
2
of Juan de Mena. This version differs materially from the
first account dealing with Macias, says Rennert, but Argote
de Molina developed and embellished it with additional
touches of romance and printed the results in his Nobleza de
Andalucia, and it is this narrative that has been chiefly
followed by later writers (pp. 6-7).
The above are the three primary literary sources for
the Macias legend. They all agree in essence with the facts
of Macias' death because of his persistence in love, but
differ in the details.
82
The first and earliest of these accounts, also in the
form of a gloss, that of the Constable of Portugal, relates
that Macias was a great and virtuous martyr to love.
Macias, burning with the flames of love, cheerfully hastened
to an untimely death. This account states that Macias, hav
ing become enamoured of a beautiful lady, rescued her from a
fall into deep water. After being saved by Macias, she mar
ried another. Later, Macias again encountered her on the
road and asked her to step down from her horse. He thanked
her for this favor and than asked her to remount and ride
on, so that her husband might not find her with him. Her
husband arrived later and asked Macias what he was doing
there. Macias replied that his lady set her feet there, and
he intended to remain in her footprints and end his sad
life. The jealous husband, wanting in every feeling of
courtesy or nobility, dealt him a mortal blow with his
lance.
The second account of Macias, that of Fernan Nunez de
Toledo, differs from that of the Constable of Portugal.
According to Nufiez de Toledo, the story of Macias was well-
known, and there were many diverse accounts. What he
recorded was gathered from these. Nufiez de Toledo says that
Macias was a gentleman in the service of the Master of
83
Calatrava, in whose household lived a woman of great beauty.
Macxas fell in love with this woman. Due to his love, he
suffered a great deal without obtaining her favor. When the
Master gave this lady to another, Macxas did not cease to
woo her. The husband complained to the Master, whereupon
the Master admonished Macxas and commanded him to desist.
Macxas, however, could not force his attentions from her and
was imprisoned by the Master. The jealous husband conspired
with the jailer who left a window which overlooked Macxas'
cell open. Through this window the husband threw a lance at
Macxas and killed him.
Argote de Molina gives yet another account of the life
3
of Macxas. He relates that the Master of Calatrava at this
time was Don Enrique de Villena, and to his household
belonged Macxas, illustrious for the constancy of his love.
He fell in love with a beautiful maiden, who was also
attached to the household of the Master. Since the Master
was not aware of this love, he married the maiden to another.
Macxas, remembering the great love that this lady had for
him, did not believe it possible that such constancy could
change. He felt that she was being forced into this mar
riage by the Master. Macxas learned through secret letters
that she still loved him. He continued to love her as he
84
had before her marriage. Such a persevering love could not
be concealed for any length of time, and the husband became
aware of it. Since he did not dare kill Macias, who was an
esteemed gentleman, he decided to inform the Master of it.
The Master scolded Macias, ordering him to cease his love.
Macias, however, only became more persistent in the pursuit
of his love. Since Macias did not desist, the Master had
him taken to Arjonilla, a place belonging to the order of
Calatrava, five leagues from Jaen. Macias was imprisoned at
Arjonilla, where he lamented his fate in canciones which he
sent to his lady. These songs reached her husband, who, no
longer able to endure the anxiety and jealousy they caused
him, determined to end the matter. He rode to Arjonilla
armed with his lance. Upon arriving at the prison where
Macias was confined, he saw him at a window lamenting his
sad love. He hurled his lance, delivering the fatal blow to
Macias. Although Rennert considers the account of Argote de
Molina pure fiction, he says it is the one followed by later
writers (pp. 15-17).
Benito Varela Jacome, in the preface to his edition of
Larra's Macias, supports Rennert's view and adds to it.^ He
states that Larra also based his work on the account of
Argote de Molina, placing his life at the end of the
85
fourteenth century and the beginning of the fifteenth cen
tury to make it coincide with Enrique de Villena. Larra's
work differs from Lope's in that Macias is not killed by a
lance thrown through a window but by armed soldiers who
enter the prison with the husband. Another difference
between Lope's work and Larra's is that in the latter Elvira
(Clara) also dies tragically.
Alonso Zamora Vicente, in his work on Lope de Vega,
states that Lope changes the loves of Macias from the four
teenth century to the time of Enrique III:
Porfiar hasta morir plantea los amores de Macias, el
trovador gallego del siglo XIV, que Lope situa en la
epoca de Enrique III. Lope pone en boca del trovador
los versos que ya Juan de Mena le atribuia en el
Laberinto; "Amores me dieron corona de amores." Toda
una sutil niebla romantica envuelue a la comedia de gran
patetismo y poesia.
In the prologue of his edition of Porfiar hasta morir.^
Angel Valbuena Prat offers more information concerning the
sources of the play. He states that the play dramatizes
Macias, a prototype in the Middle Ages of trovadoresque
love. According to Valbuena Prat, Macias flourished at the
end of the fourteenth century, since at the beginning of one
of his poems is found "algunos trovadores disen . . . fiso
(la cantiga) contra el rey Don Pedro" (p. x). Valbuena Prat
also feels that Macias did not belong to the court of
86
Enrique III. He states that Macias is a poet belonging to
the trovadoresque-Galieian school, some of whose poems are
preserved in the Cancionero de Baena. According to Valbuena
Prat, the forms of the legend coincide on two important
events. Macias suffers from an impossible passion for a
married noble lady and meets his death at the hands of her
husband.
In another school text edition of Porfiar hasta morir.
E. Allison Peers, in the prologue, says:
Round a figure which has so far captured the Spanish
imagination as to have passed into the language of
proverb, tradition has woven a considerable variety of
legends.?
In his discussion of the legends concerning Macias,
Peers relates that most, if not all of them, make him the
page of Don Enrique de Aragon, generally known as the
Marques de Villena, in whose service he met the beautiful
Elvira. Doha Elvira is a lady-in-waiting to the wife of the
Master. When Macias returns to the court after a short
absence, he learns that his beloved has been married to a
wealthy hidalgo of Porcuha. At the husband's hand, he meets
his death. The legends show the greatest disimilarity as to
the manner in which Macias meets his death. One story
describes his successful rival killing him with an arrow
87
shot through the bars of his cell, a second has him murdered
by hired assassins, and a third has the jealous husband
killing him along the highroad on which he has seen his lady
pass, while he is literally worshipping the ground upon
which she has trodden. The plot of Lope's play follows none
of the legends in exact detail, though it is similar to all
of them.
✓ 8
In his article, "Macias in Legend and Literature,"
Kenneth Hale Vanderford also used Rennert as his main
source. Rennert concluded that Macias must have flourished
between 1340 and 1370. Vanderford states that those histo
rians who have accepted the account of Argote de Molina have
placed Macias in a considerably later period than when he
lived. Don Enrique de Villena became Grand Master of
Calatrava in 1404, under the reign of his cousin, Don
Enrique III (1390-1406), commonly called "El Doliente."
Though a political failure, he enjoyed the reputation of a
learned man. In reference to the birthplace of Macias,
Vanderford says that his birthplace is thought to be in the
environs of the Roca de Padron.
Although the details of Macias 1 life are shrouded by
legend and errors by historians some basic similarities can
be drawn from the various accounts pertaining to Macias.
88
Macias was born in Galicia, and lived in the latter half of
the fourteenth century, around 1340-1370, in the reign of
Don Pedro el Cruel (1350-1369). The three primary literary
sources for the Macias legend all agree that he died for
love. Macias wrote several poems, some of which are con
tained in the Cancionero de Baena. His fame rests not upon
his poetry, but rather upon his amorous adventures and the
tragic consequences. Many literary greats, such as Lope de
Vega in Porfiar hasta morir. have chosen Macias for their
works.
Literary Background
Lope had many sources from which to draw the theme of
Porfiar hasta morir. Macias el Enamorado appears frequently
throughout the history of literature. As an author, he is
remembered by some poems found in the Cancionero de Baena.
Peers says: "His fame, however, rests upon the works of
others, who have seen in him an ideal hero of romance"
(p. v). Macias appears in the lyric poetry of Spain in the
works of Juan de Mena and the Marques de Santillana. In
addition to Lope1s drama he appears in Bances Candamo's
El Espafiol mas amante y desqraciado Macias, and in Macias,
one of the first dramas of the Romantic period in Spain,
89
written by Jose Mariano de Larra. The latter work is a
dramatization of Larra's novel, El Doncel de Don Enrique el
Doliente.
The first appearance of Macias in literature was
through his own works. He, along with other poets, contrib
uted verses which now appear in the Caricionero de Baena.
Macias was one of the Gallego-Portuguese poets. Rennert
tells us the following:
Of the twenty-one poems that have been attributed to
Macias with more or less probability, only the first
four in the following list have, in general, been con
sidered authentic and are mentioned by the Marquis of
Santillana in his letter. These four, and the fifth,
"Con tan alto poderio," are contained in the Cancionero
of Baena, and there, also, they are ascribed to Macias.
They are written in the Galician dialect, as are, in the
opinion of Professor Baist, the majority of the poems
that were erroneously attributed to Macias, precisely
account of their language. The list of poems is as
lows:
I. Cativo de mha tristura
II. Amor cruel e brioso
Ill. Senora en que fianga
IV. Provei de buscar mesura
V. Con tan alto poderio
VI. Pero te sirvo sin arte
VII. Loado sejas Amor
VIII. De ledo que era triste
IX. Pois prazer non posso haver
X. Crueldad e trocamento
XI. Pues mi triste corazon
XII. Pues me fallescio ventura
XIII. Vedes que descortesia
XIV. De quien cuido e cuide
XV. El gentil nifio Narciso
XVI . Poderoso amor loado
90
XVII. Ay que mal aconsejado
XVIII. Amor siempre partire
XIX. Cuidados e maginanga
XX. Pues que dios y mi ventura
XXI. Ruysenyor beote quejoso.
(pp. 18-19)
The following poems, attributed to Macxas, appear in the
Cancionero de Baena.^
Cantiga de Magias para su amiga.
Cativo de mina trystura,
Ya todos prenden espanto
E preguntan cque ventura
Foy que me tormenta tanto?
Mays non sey no mundo, amigo,
Que mays de meu quebranto
Diga desto que vos digo.
Que eu ben see nunca devia
Al pensar, que fas folya.
Cuyde sobyr en altesa
Por cobrar mayor estado,
E cay en tal pobresa
Que moyro desanparado
Con pesar e con deseio
Que vos dyrye mal fadado
Lo que yo he ben obexo.
Cando o loco que mays alto
Sobyr, prende mayor salto.
Pero que prove saudege
Por que me deva pesar,
Miffa locura asy cresge
Que moyro por en torvar;
Pero mays non averey
Sy non ver e deseiar
E por en asy dyrey:
Quen en cargel sole bivir
En cargel deseia morer.
91
Myna ventura en demanda
Me puso atan dubdada,
Que mi coragon me manda
Que seia senpre negada;
Pero mays non saberan
De mifia coyta lasdrada
E por en asy diran:
Can rravioso e cosa brava
De su sefior se que trava.
Esta cantyga fiso Magias contra el Amor, enpero
algunos trobadores disen que la fiso contra
el Rrey don Pedro.
Amor cruel e bryoso,
Mal aya la tu altesa
Pues non fases ygualesa
Seyendo tal poderoso.
Abaxo me mi ventura
Non por mi meregimiento
E por ende la ventura
Puso me en grant tormento.
Amor, por tu fallimiento
E por la tu grant cruesa,
Mi coragon con tristesa
Es puesto en pensamiento.
Rey eres sobre los Rreyes
Coronado Enperador,
Do te plase van tus leyes,
Todos an de ty pavor;
E pues eres tal ssenor
Non fases comunalesa,
Sy entyendes que es proesa
Non soy ende judgador.
So la tu cruel espada
Todo omme es en omildanga,
Toda duena mesurada
En ty deve aver fianga:
Con la tu briosa langa
Ensalgas toda vilesa,
E abaxas la noblesa
De quien en ty obo fianga.
Ves, Amor., por que lo digo
Se que eres cruel e forte,
Adversaryo o enemigo,
Desamador de tu corte:
Al vyl echas en tal sorte
Que por pres le das vylesaj
Quien te sirve en gentilesa
Por galardon le das morte.
Cantiga de Magias para su amiga.
Senora, en que fyanga
He por gierto syn dubdanga,
Tu non ayas por venganga
Mi tristura.
E en ty adoro agora
E toda vya,
De todo lealmente:
Mienbra te de mi, sefiora,
Por cortesya,
E sienpre te venga en miente,
E non dexes tu serviente
Perder por olvidanga
E tu faras buen estanga
E mesura.
Non por mi merecimiento
Que a ty lo manda;
Mas por tu merged conplida
Duele te del perdymiento
En que anda
En aventura mi vydaj
Fas que non sea perdida
En ty mi esperanga,
Pues que toda mi menbranga
Es tu fygura.
Non se lugar tan forte
Que me defenda
De la tu muy grant beldad:
En ty traygo yo la morte
Syn contenta
Sy me non vala tu vondat;
E por que esto es verdat
IAy Amor! en rremenbranga
En men cor tengo tu langa
De amargura.
Aquesta langa syn fa11a
IAy coytado!
Non me la dieron del muro
Nin la pryse yo en vatalla
I Mal pecado!
Mas veniendo a ty seguro,
Amor faIso e perjuro
Me firio e syn tardanga,
E fue tal la mi andanga
Syn ventura.
Esta cantiga fiso e ordeno el dicho Magias
quexandose de sos travajos.
Prove de buscar mesura
0 mesura non fallesge,
E por menguada ventura
Ovyeron me lo a sandege;
Por ende dyrey de sy
Con cuydado que me crege
Un trebello, e dyse asy:
"Anda meu coragon
Muy triste e con rason."
Meus olios tal fermosura
Fueron ver por que peresge
Mi coragon con trystura
E amor non me guaresge,
Nin me pone tal consello,
Por que yo prenda ledege;
Por en digo este trebello:
"Ben puede Deus faser
Tras grant pesar, plaser."
Estos trebellos cantey
Con coyta desd'aquel dya
Que mesura demandey
E yo vy que fallesgia.
Mesura morroy chamando,
94
E dixiendo a grant porfya
Tal trebello sospirando:
"Meus olios morte son
De vos, meu coragon."
Poys mesura non achey
0 fallesger non solya
Mesura, lo olvidey
E canto plaser avyaj
Con pesar que tenno migo
E tristesa toda vya,
Aqueste trebello digo.
Esta cantiga fiso e ordeno el dicho Magias
en loores del Amor, la qual es bien fecha
e bien asonada.
Con tan alto poderyo
Amor nunca fue juntado,
Nin con tal orgullo e brio
Qual yo vy por mi pecado
Contra mi que fuy sandio,
Denodado en yr a ver
Su grant poder
E muy alto sefloryo.
Con el venia Mesura
E la noble Cortesya,
La poderosa Cordura,
La briosa Logania;
Rreglavalos Fermosura
Que traya grant valor,
Por que Amor
Vengio la mi grant locura.
El mi coragon syn seso
Desque las sus ases vydo,
Fallesgiome e fuy preso
E fynque muy mal ferydo:
La mi vida es en pesso
Sy acorro non me ven,
Ora de quen
El desir m'era defeso.
95
Rendyme a su altesa,
Desque fuy desbaratado,
E priso me con cruesa
Onde bivo encargelado:
La mis guardas son Tristura
E Cuydado en que bevi,
Despues que vy
La su muy grant rrealesa.
The fame of Macias as a lover is attested by the numer
ous references to him by Spanish poets. The earliest of
these was probably the Marquis de Santillana, who, in his
"Infierno de amor" names Macias among those who suffer the
pangs of love.'*'0 Macias can be recognized in Santillana's
poem "Querella de amor." Rafael Lapesa says that, in this
work, Santillana synthesized the attitude of the enamored
martyr. Lapesa states that Macias can be recognized as the
protagonist and that two of the lyric fragments belong to
the Galician troubadour. Lapesa, in his discussion of the
Galician-Castilian poets, mentions the disastrous end of
Macias, causing him to be an example of lovers:
Mientras una pasion y fin desastrados convertian al
gallego Macias en ejemplo de amadores, Pero Gonzalez de
Mendoza (1340-1385), el abuelo de Santillana, lamentaba
quedar privado de su amiga, encerrada en un convento.11-
In the work "Bias contra fortuna," Lapesa says that
Santillana portrays the nostalgia of Macias:
Otras veces, mas recatada, encarna la nostalgia de
Macias por una felicidad irremisiblemente perdida, anora
96
la paz del vivir campesino o se arroba oyendo cantar a
los pajaros. De un modo u otrOj es la voz del verdadero
poeta, que del suelo de lo particular historico, huidizo
y cambiante, saca flores de goce duradero. (p. 177)
In his Trecientas Juan de Mena mentions and cites
Macias in stanzas 105-106:
Tanto andovimos el cerco mirando,
que nos fallamos con nuestro Macias,
e vimos que estava llorando los dias
con que su vida tomo fin amando;
llegueme mas cerca turbado yo, quando
vi ser un tal onbre de nuestra nacion,
e vi que dezia tal triste cancion,
en elegiaco verso cantando:
"Amores me dieron corona de amores,
porque mi nombre por mas bocas ande:
entonces non era ni mal menos grande,
quando me davan plazer sus dolores;
vencen el seso los dulces errores,
mas non duran siempre segund luego plazen;
pues me fizieron del mal que vos fazen,
sabed al amor desamar, amadores."
Diez-Echarri gives a great deal of credit to Bances
Candamo for continuing the themes and techniques of the
drama of the seventeenth century. He says that in the pro
lific dramatic production of Bances Candamo are found all
the genres in force in the theatrical work that preceded
him. Bances Candamo used entrerneses and bailes; comedias de
historia nacional, de historia clasica, de historia
extraniera. and de mitologxa: and piezas religiosas. Diez-
Echarri states the following in reference to Bances Candamo:
97
Las mejores comedias de Bances han de buscarse entre
las de historia nacional: El sastre del Campillo, sobre
la oposicion de Leon y Castilla, con duelos caballeres-
cos, intrigas amorosas, damas disfrazadas de caballeros,
traiciones, etc., todo muy bien dosificadoj El espafiol
mas amante y desgraciado Macias, ya llevado a la escena
por Lope de Vega en Porfiar hasta morir, y, sobre todas,
Mas vale el hombre gue el nombre. en la que se reaciona
briosamente contra el duelo:
"iAy de Espafia, si no quita
esta costumbre de Espana!"
y contra el falso concepto del honor, destacando a cada
paso la conducta como el mayor timbre de nobleza.-^
Bances Candamo was a disciple of Calderon and wrote in
the baroque tradition. Although his work, El espafiol mas
amante v desgraciado Macias is not considered his best by
Diez-Echarri, it deals, as does Lope's work, with the Macias
legend.
Another poem which was popular at the beginning of the
sixteenth century and has helped perpetuate the memory of
Macias is the "Infierno d'Amor" of Garci-Sanchez de Badajoz.
The stanza referring to Macias is:
En entrando vi assentado
en una silla a Macias,
de las heridas llagado
que dieron fin a sus dias,
y de flores coronado:
en son de triste amador
diziendo con gran dolor,
una cadena al pescuezo,
de su cancion el empiego
"Loado seas amor ^
por quantas penas padego."
98
Larra's works have been treated by many scholars.
Joseph Pons published an article in Boletin Hispanique. com
paring Larra's Macias with Lope's play. Pons says that
Larra probably knew Lope's play but that Larra's sentiment
opposed that of Lope. In Larra's work, Elvira (Clara) is
near Macias when he is killed by the jealous husband and
later kills herself. This is understandable since Larra
wrote in the romantic school and time of Spanish literature.
Pons states that Larra does not accept the Macias legend of
the Middle Ages, whereas Lope found it sufficiently pathetic
and did not make a great effort to imagine the past but
styled it as if it were made of the present. This is also
understandable and in character with Lope as he often used
legends as themes for his plays. Pons praises Lope's play
and compares it favorably with the romantic treatment:
Mais, qu'il s'agisse de developper jusqu'au prodige
un vieux romance ou de susciter des personnages vivants
autour d'une legende obscure, Lope triomphe en se
jouant.
Le romance n'est plus qu'une epigraphe pour les
romantiques et chez Lope il est l'etiencelle d'ou
jaillit la comedie.-*-4
There are many works in which Macias is referred to or
quoted. He is even mentioned in the Celestina. He is
✓ 15
alluded to as "aquel Macias ydolo de los amantes." It
would be impossible to include all the references to the
99
great Galician lover* but it is apparent that his fame and
verse have lived on through other writers and will continue
to do so. The statements of Rennert are appropriate:
So in spite of the judgment of the critics, that his
fame is not justified by his poetry, the star of Macias
is in no wise dimmed after a lapse of more than five hun
dred years. His immortality seems assured, and his verse
will find readers, as his tragic fate will find sympathy
as long as all romance is not dead, and all sentiment has
not passed out of this world. (p. 60)
Since Rennert's work, other scholars have studied
Macias as a poet, and as a historical and legendary figure.
Vanderford in his article on Macias mentions Porfiar hasta
morir as one of Lope's better dramas. Vanderford also says
the following:
The most recent detailed treatment of the legend is
that of Mariano Jose de Larra (1809-37) in his drama
Macias and his historical novel El donee1 de don Enrique
el Doliente. All of these later treatments follow
rather closely the version of the legend originally
outlined by Argote de Molina. (p. 62)
As stated earlier, Lope also followed closely the
account of Argote de Molina in writing Porfiar hasta morir.
Lope based many of his plays on history and legend. His
work, El caballero de Qlmedo. was derived from a legend of
the region of Valladolid. Lope, like Macias, was a great
lover. Lope's poetic and dramatic genius, however, allowed
him to combine the Macias legend with his sentiments toward
100
the Spanish people and the comedia del siglo de oro in writ
ing another excellent drama, Porfiar hasta morir.
NOTES TO CHAPTER-III
^(Philadelphia* 1900).
2
El laberinto de fortuna o las trecientas (1444)* ed.
Jose Manuel Blecua (Madrid* 1943)* pp. 59-64.
3
Cited in Rennert* p. 16.
4
Benito Varelo Jacorae, ed.* Macias (1834)* by Mariano
Jose de Larra (Madrid* 1967), pp. ix-xxxii.
5
Lope de Vega: Su vida v su obra (Madrid* 1961)*
p. 2 74.
g
Porfiar hasta morir v Fuente Ovejuna (Madrid* 1930)*
pp. x-xiv.
7
Porfiar hasta morir (Liverpool* 1934)* p. vi.
Q
Modern Philology. XXXI (1933-1934), 35-63.
9
El cancionero de Juan Alfonso de Baena (1445; Leipzig*
I860), pp. 3-6.
"^In Cancionero de Lope de Stuniqa: Coleccion de
Libros Espafioles Raros o Curiosos (Madrid, 1872), p. 115.
~*~^La obra literaria del Marques de Santillana (Madrid*
1957), p. 9.
12 ✓ ✓ /
Emiliano Diez-Echarri and Jose Maria Roca Franquesa,
Historia de la literatura espanola e hispanoamericana
(Madrid* I960), p. 697.
101
13
In Cancionero general (Toledo, 152 0);, ed. Hernando
Castillo (New York, 1967), I, 479.
"Larra et Lope de Vega," Boletin Hispanique, XL
(1942), 130.
■^Fernando de Rojas, La Celestina (Burgos, 1499), in
Clasicos Castellanos, ed. Julio Cejador y Frauca, XX
(Madrid, 1913), 63.
PART II
103
104
PREFACE
This text is identical to the first edition, with the
exception of the modern "s," the substitution of the acute
accent for the grave accent, and the blocking of scenes as
established by Juan Eugenio Hartzenbusch. The diacritical
mark appearing as a tilde in hobre, entiedo, etc. is the
same in the original as the superior bar in q, porq, etc.]
the mark as it appears in the original is not clearly either
a tilde or bar but resembles both.
It appears that Lope de Vega was not determined to pub
lish Porfiar hasta morir. since it appeared only posthu
mously, in 1638, three years after his death.
105
P A R T E
VE1NTE Y TRES
D E
l a s c o m e d i a s de l o p e
F E L I X D E V E G A C A R P I O ,
D E L A B I T O D E S A N P E D R O
Y d e S. I v a n .
D E D 1 C A D A S
A D .G utierrc Domingo d eT cn m .y Caftaneda,feiiordcl3|
~ -C a fa deTcran del Valle de Ygufu Montanas
dc Burgos. S r P r * " ;
S L t * ? i— • Fof Manuel de Faria y Soujlx CavaflerodelAbito de /
Cbrifto,yde la Cafa %yaU ^
9 ~ V * 75« '^*'1\ y J k
/i('k\&Lr+ ^ i f \ \ . ‘ • - ■ • '
Ano
S C M : y&af ' ^ v s r f f J J i
Q ! 2 ^ 5 8
M y ,<£-
Con Prfoilegb, E n M adrid. Per'Marfa de Qujf;cntit
A cofta de Pedro Cocllo Mercader ds Iabrosj,
106
PORFIAR
HASTA MORIR
Comedia famosa.
De Frey Lope Felix de Vega Carpio.
Personas que hablan en ella.
Mazias galan.
NUrio Gracioso .
Maestre de Santiago.
Rey don Enrique.
Condesa dofia Iuana.
Tres Rufianes.
Vn Ventero.
Clara Dama.
Leonor Esclaua.
Paez.
Fernando.
Tello de Mendoga .
Vn Alcaide.
Musicos.
107
[ACT I]
Escena I
Salen Mazias, y Nuffo de camino.
Maz. Para quien llegar desea,
ni largas noches, ni fiestas:
estas son las ventas?
Nu. Estas
son las ventas de Alcolea. *
Maz. Y esta la famosa puente? 5
Nu. Esta fue, por quien passaron *
tantos ciegos, que dejaron
tal memoria entre la gente:
la delantera tenia
el buen viejo don Beltran. 10
Maz. Esse nombre a amor le dan,
porque es ciego, y ciegos guia.
Nu. No guia amor, pues le ven
tantos yerros en quien ama. *
Maz. De vna manera se llama 15
el guiar al mal que al bien.
Luego avemos de salir, *
aunque dormir te prometas.
Nu. Que cristalino en limetas
yaze al buen Guadalquivir! 2 0
Aunque en estas ocasiones
mejor lo tinto me agrada:
que braba esta la portada
de naranjas y limonesI
Come alia en las Cortes graves
ponen galas los roperos;
aqux estos santos venteros
a la puerta pezes, y aues.
Descansa, assi Dios te guarde,
si el sabalo te prouca3
que de aqui a Cordoua ay poca
tierra, aunque parece tarde.
Maz. Pues que leguas ponen?
Nu. Dos.
Maz. Ya refresca, Nuno, el dia,
con ser en Andaluzia.
Nu. No siento nada por Dios,
con solo auer arropado
de licor de Baco el pecho.
Escena II
Salen tres Rufianes. v el Maestre
de Santiago de caca con craban,
cubierta la Cruz.
1_. Que sirue hablar sin prouecho
oloroso y entonado?
Por el agua de la mar,
que ha de dar prenda o dinero.
Maes. Mirad, que soy Cauallero.
2_. No tenemos que mirar,
porque auemos de comer.
_3. Qual se estaba el cortesano
a la chimenea muy vano,
dexandonos perecerI
Maes. Si yo comiera, no fuera
descortes, mas no he comidoj
solo cebada he pedido.
1_. Luego cebada comiera?
Maes. Perdime por esta tierra
cagando, y aqui llegue.
2_. Mas que ha de boluerse a pie.
_3. Si hara, que es liana la tierra.
Maes. No hare, porq si ha comido
el cauallo, me ire luego.
1_. Suelte el gaban, palaciego.
Ma. q os vais en bue hora os pido.
1_. Suelte digo.
Maes. Pues Rufianes,
gallinas, aqui vereis
quien soy.
Maz• Y al lado teneis
dos hombres.
Nu. Y dos Roldanes.
Escena III
Acuchillanlos y sale el ventero quan
do huyen los Rufianes.
Vent. Acude Gil, que se matan.
tener, tener.
Maz. Los ladrones
huyen.
Maes. En las ocasiones
al viento raismo retratan.
Vent. Dios os lo pague* que aueis
estos Rufianes echado
de la venta, que me han dado
la pesadumbre que veis,
con quantos vienen aqui.
Nu. Ladrando va el vno dellos,
que le rape los cabellos
y vn palmo de casco abri.
Tienen mugeres?
Ven. Pues no?
aqui estan dos mugerzillas.
Nu. Pues a agotes quiero abrillas
Ven. Mejor sabre hazerlo yo;
que me han desacreditado
la venta.
Nu. Santo venteroI
Vase el ventero.
Escena IV
Ma. Daros muchas gracias quiero
de auer como hidalgo honrado,
ayudado a vn hombrej al fin
hombre solo.
Maz. Antes sospecho,
senor, que agrauio os he hechoj
que aunque tres, es gente ruin.
Maes. Vais a Cordoua?
Maz. Halla voy.
Maes. Podria ser, que os siruiesse
en ella, si en algo fuesse
de prouecho.
Maz. Cierto estoi
de vuestra presencia noble:
corao aueis llegado aqui?
Maes. Cagando, el rastro perdi
por entre vno y otro roble.
Y c o m o v i t a n c a n s a d o
e l c a u a l l O j y m e a c o r d e
d e s t a v e n t a , e n e l l a e n t r e ,
d o n d e c e u a d a l e han d a d o .
Llegue al fuego, en que tenian
su comida estos rufianes,
de tales damas galanes,
como veis que merecian.
Y dierales cortesmente
dineros: o prenda de oro:
mas no perdiendo el decoro
de quien soy con tal vil gente.
Lo demas que sucedio
aueis visto, yo he quedado
a seruiros obligado:
ya mi cauallo coraio,
112
y me es forgoso partir:
seruios deste diamante.
Dale vn anillo. y no le toma
Mazias .
Maz. Que en ocasion semejante
os acertasse a seruir,
debo a mi buena fortuna.
Guardadle, que podra ser,
si alia os vengo a conocer,
que tenga por vos alguna.
Maes. Dios os guarde.
Maz. Guardeos Dios.
Vase el Maestre.
Escena V
Nu. No preguntaras quien era?
Maz. Si menos priesa tuuiera*
discurrieramos los dos
de aqui a Cordoua en mis cosas
que no poco me importara,
por ventura las guiara
a partes mas prouechosas
por la paz, que por la guerra,
respeto de auer yo sido
estudiante.
Nu. Auer querido
dexar tu estudio y tu tierra;
115
12 0
*
*
125
130
113
no se si ha sido acertado,
pero ya enefeto es hecho.
Maz. Tengo a las armas el pecho,
mas que al estudio inclinado.
Y estas cartas que he traido,
pienso que han de aprouechar;
para que tenga el lugar
por la guerra pretendido,
0 dare en ser cortesano,
que tambien tengo aficion
a su estudio.
Nu. Iguales son3
sefior, tu ingenio y tu raano.
Para paz y guerra tienes
habilidad y valor.
Escena VI
Salen Tello de Mendoca. Fer
nando . y Paez.
Tell. Buscarle mas, sera error.
Fer. Y mas donde agora vienes;
que esta gente que camina,
como puede saber del?
Tell. Ir a Cordoua sin el,
Fernando, me desatina.
A hidalgos, vieron passar
vn Cauallero por dicha,
con vn gaban de color,
plumas negras y pagizas,
* 135
140
* 145
*
15 0
155
114
las espuelas plateadas,
de oro y verde la mochila,
de vn alazan cabos negros.
Maz. Duefto destas senas misraas
salio desta venta agora,
tanto, que con poca prisa
le alcangareis, si os importa:
pero quien es, por mi vida?
Tell. El Maestre de Santiago,
que la sangrienta cuchilla,
que le honraba el fuerte pecho,
con aquel gaban cubria.
Ma. Por Dios q he hablado cS el,
y que tengo por desdicha
el no auerle conocido,
que le traigo de Castilla
vn pliego de cartas.
Tell. Fuera,
galan, menos cortesia
darle cartas en el carnpo.
El cauallo en que camina,
de nadie dexa alcangarse,
quando el Maestre le pica.
Si con nosotros venis,
mas acertado seria
darle esse pliego en su casa.
Maz. Es razon, como aduertida
de vn Cauallero de Corte;
ire en vuestra compania,
si me dais licencia.
160
165
*
170
175
*
180
Tell♦ Paez.
Pae. Senor .
Tell. Adelante guia.
Vanse los tres.
Escena VII
Maz. Que no conoci al Maestre?
Nu. No tengas a poca dicha
auerle dado fauor,
y con tanta valentia,
que le avras aficionado
que aun pigso, q a mi me estxma
por auer dado al rufian
que el dinero le pedia,
cuchillada, que le pueden
poner vn colchon por hilas.
Vanse.
Escena VIII
Sale la Condesa dofla Juana, y
Clara dama suya.
Con. Nunca tanto se ha tardado
el Maestre mi sehor.
Cla. Siempre esta depriesa amor,
nunca se para el cuidado.
Con. Como la guerra y la caga
son cosas tan parecidas,
amor las haze temidas
115
185
190
*
195
*
2 00
116
del alma a vna misma traga.
Y assi quando al monte sale,
mi paz y quietud destierra,
como quando va a la guerra.
Cla. Pues no es razon, q se iguale
la caga guerra fingida,
con la verdadera y cierta.
Con. La memoria que despierta
me tiene, Clara, ofendida.
Escena IX
Sale el Maestre en la forma
que primero.
Maes. Por lo menos he venido,
como mas solo, mas presto.
Con. Solo, Maestre, que es esto?
Maes. Condesa, auerme perdido,
Y no sin peligro fue,
mas no donde me perdx:
pues que dos leguas de aqui
ciertos valientes halle,
que con obras y razones
me prouaron el valor.
Con. Si Moros no os dan temor;
como os le daran ladrones?
No estaba yo temerosa
sin causa.
Ma. Vn hidalgo hdrado
a buen tiempo tuue al lado.
2 05
210
215
220
225
117
Con. Y diesteisle alguna cosa? *
Maes. No lo quiso, y me peso:
que ya vn diamante le daba, *
porque en trage noble estaba,
y en las obras lo mostro,
gallardo, valiente, y diestro.
Con. Que sin premio le dexastes?
porque no le porfiastes?
Ma. Porq este diamate es vuestro *
Con. Truxeradesle con vos,
donde yo le agradeciera,
que essa vida defendiera,
con que viuimos los dos.
Y creed, que yo me holgara,
y aun quedara agradecidaj
que defender vuestra vida
con mis prendas se pagara. *
Maes. El viene a la Corte, y creo,
que en Palacio le vere,
donde pagarle podre,
y obligar vuestro deseo.
Escena X
Salen Tello. Fernando. Paez, Mazias, y Nuno.
Tell. Tu mismo jusga, gran senor3 agora,
Con el cuidado que nos has tenido,
Desde que corono la blanca Aurora *
Con circulos de luz el negro oluido:
230
2 35
240
245
250
Mas quando iguales monte, y valles dora
De su diadema el claro Sol vestido:
Llegamos a la ventana, y a la puente,
Que oprime al Betis la feroz corriente.
Alii tuuimos deste hidalgo auiso,
Que boluais a Cordoua.
Maes. Aueis hecho
En traerle muy bien.
Maz. Tan de improuiso
No te fue mi seruicio de prouechoj
Mas ya, senor, que mi fortuna quiso,
Que del animo quedes satisfechoj
Esse recibe solo, y estas cartas,
Porque el fauor entre los dos repartas.
Dale vn plieco.
Con. Sois vos, hidalgo, el que al Maestre
hizistes
Tanto fauor?
Maz . La tierra humilde beso
Dessos pies, gran senora.
Con. Merecistes
Mas honra, que el os hizo en tal
sucesso:
Tomad esta cadena.
Maz. Ya quisistes,
que fuesse con prisiones vuestro preso:
pero de manos, que qual debo adoro,
no fueran menos que prisiones de oro.
118
255
*
260
*
119
Lee el Maestre.
Maes. Dara a V.S. esta carta Mazias, el
mas honrado hidalgo de mis vasallos:
dexo los estudios por seguir las artnas,
con que he dicho su inclinacion, y que
debo suplicar a V.S. le fauorezca a la
sombra de sus vanderas, q el lo merece,
y yo fio su seruicio y agradecimiento.
Don Luis Aluarez de Toledo.
Maes. Adonde queda mi primo?
Maz. En Alua quedaba agora,
que con dos Soles se dora.
Maes. La carta por suya estimo,
y por el buen portador.
En mi seruicio os quedad,
ya es trato con amistad.
Maz. Soy vuestro esclauo, senor.
Con. En mi tendreis buen tercero
para el Maestre.
Maz. Senora,
querre impossibles agora.
Con. Hazeros merced espero.
Vanse todos y quedan Clara. Ma-
zias, y Nuno.
280
2 85
290
12 0
Escena XI
Cla. Quedeme aqui, por saber
(como en fin soy Castellana
y vos pienso que lo sois,
que assi lo dize la carta)
de ciertos deudos que tengo.
Maz. Adonde?
Cla. En el Barco de Auila.
Maz . SefSor de Valdecorneja
al Toledo heroico llaman,
y el Barco entre sus lugares
no merece humilde fama.
Pero nunca estuue en el;
puesto que yo imaginaba,
que no la tierra, que el cielo
es de los Angeles patria.
Mas siendo del Barco vos,
avra para el cielo. Barca,
como la ay para pasar
a los abismos las almas,
como dizen los Poetas;
desuerte, que a vuestra gracia
passaran los venturosos
que merecieron hallarla,
y a vuestras penas aquellos,
que mate vuestra desgracia.
Cla. En fin en el no estuuistes?
Maz. No ha sido mi dicha tanta;
pero he estado en vuestros ojos.
2 95
*
*
300
305
310
315
121
Cla. Si las letras por las armas
dexais, como sois tan tierno?
Maz. Porque no estorua la espada
para que el entendimiento,
como potencia del alma,
entienda vuestra herraosura.
Porque la belleza rara
sugeto los Capitanes,
que con mayores hazanas
han asombrado la tierra.
Mirad las historias sacras,
vereis rendido a Sanson:
y mirad en las humanas
a Hercules.
Cla. El amor
rinde, sugeta, avasalla,
quanto cubre el cielo, a cuya
pasion ninguna se igualaj
pero no es tal su poder,
que en vn instante (que pasa
como cometa de fuego)
tan grandes efetes haga•
Maz. Sino fueran sus efetos
tan breues, no te pintaran
rompiendo en el aire vn rayo.
Cla. Amor, yo pienso que anda
al paso de los humores;
que los colericos aman
presto, y no es assi mejor:
32 0
325
*
330
*
*
335
340
*
345
122
que los flematicos tardan,
pero quieren largo tiempo.
Maz. Pues en mi todo se ha11a,
celera para ser luego,
flema para edad tan larga;
que siendo el alma inmortal,
tendre la vida del alma.
Cla. Que no lo intenteis os ruego,
que llegan tarde essas ansiasj
y quedad con Dios.
Maz. Dezidme
vuestro nombre.
Cla. Clara.
Maz. 0 clara!
Nu. 0 escuraI
Maz. Que gran belleza !
Vase Clara.
Escena XII
Nu. Que gran necedad! y tanta;
que a dezirtelo me obliga!
Entras oy en esta casa,
y enamoraste?
Maz. Que quieres?
ay pasion mas temeraria,
que vna locura de amor,
quando vn cuerdo se remata?
En vn instante se buelue
el seso, de que gozaba,
y comienga a hazer locuras.
350
355
*
360
365
12 3
Nu. En esso, sehor, te engaftas:
la locura y la Poesia
de vna manera se hallan.
Haze vn hombre quando mogo
dos Romances a su dama,
de alii se pasa a vn Soneto,
luego a vna cancion se pasa,
luego a vn libro de Pastores.
Y quando ya tiene fama,
y es declarado Poeta
(que no es pequena desgracia)
dize, que es Virgilio, Homeroj
desprecia con arrogancia
a todos cuantos escriben.
Y de aquesta misma traza
es vn loco: a los principios
deja el sombrero y la capa:
luego (sino se la quitan)
saca furioso la espadaj
y quando esta rematado
dize, que es Rey, o Monarca,
estrella, Sol, y aun se atreue
a las Deidades sagradas.
Tu, que en viendo vna muger,
tantas locuras ensartas;
de que linage de locos
tienes el humor, que gastas?
Assi, ya he caido en ello:
porque no se me acordaba,
Mazias, que eres Poeta.
370
375
*
380
385
390
395
124
Pues ya que fue requebarla
en viendo la necedad;
fue con discretas palabras.
Alii, porque fue del Barco,
trugiste la negra barca
de Caron, que solo hazer
vn mal Orfeo te falta:
luego a Sanson por exemplo,
de que va tan engadada,
que no te vera en su vida.
Maz. Pues yo pienso amarla.
Nu. Amarla?
Maz. Lo que durare la vida.
Escena XIII
Sale Tello.
Tell. Que os acomode me manda
el Maestre mi senor:
Venid, sabreis la posada.
Maz. Sera dentro de Palacio?
Te. pues viene a ser de importacia
si aueis de asistir aqui?
Maz. Oidme, sefior, la causa.
Yo vi, luego que aqui puse la planta,
El Sol de la belleza, la hermosura,
Que la naturaleza misma espanta,
Y en otras lo que obro, copiar procura:
Yo vi, quando la Aurora se leuanta,
Los claros rayos de su lumbre pura,
400
405
410
415
42 0
Antes que el Sol vezino a sus laureleSj
La busque entre jazmines y claueles.
Yo vi, mas bella que en la fuente clara
Se banaba Diana, vn Angel bello,
Que me quitara el ser, si me tirara
Vna flecha sutil de su cabello:
No porque entonces el cristal faltara,
Venciendole la nieue de su cuello,
Mas porque mas honesta en sus rigores,
Pudiera al mismo amor matar de amores.
Finalmente, yo vi de amor hermoso
Las armas, y mejor que fueron hechas
De Apeles, de Prochogenes famoso,
Las cejas arcos, y los ojos flechas:
En este centro celestial dichoso
De mi bien o mi mal ciertas sospechas,
Paro mi alma, y se cubrio de oluido
Con otro nueuo ser, quanto auia sido.
Dixome, abriendo vn cielo por dos rosas,
Que se llamaba Clara, y claro estaba,
Que si el nombre conuiene con las cosas,
En el su claridad significaba;
Suplicoos me digais (pues sus hermosas
Partes os dige, aunque mi amor bastaba)
Quien es, que calidad, para que intente
Seruirla y adorarla honestamente.
Tell. Sefior Mazias, essa bella dama,
Siruiendo a mi sefior la Condesa,
Tiene de honesta como hidalga fama,
Y en todos actos la virtud profesa,
12 5
42 5
★
430
* 435
440
445
450
126
Vn Cauallero, que la quiere y araa,
Y que publicamente lo confiessa;
La sirue agora, y de casarse trata,
Y ella, aunque honesta, no le mira ingrata.
En dos vezes que el Sol por lineas de oro.
Pinto dos Primaueras, dos Estios,
Ha mostrado guardandole el decoro,
En fiestas galas, y en batallas brios:
Con mil despojos del Alarbe Moro,
Sufriendo sus desdenes y desvios,
Obligada la tiene, a que le estime,
Y a proseguir su pretension se anirae.
Tratan ya de casarlos el Maestre,
Y mi seflora la Condesa en tanto
Le da licencia, que con fiestas muestre
Su gallardia desta tierra espanto:
Si amor os ha cegado; que os adiestre
Sera razon, con aduertiros quanto
Importa, que dexeis (pues no os importa)
Vna esperanza, que nacio tan corta.
Esta es la dama, y la belleza rara,
Que amais, disculpa fue, que es gentil moga:
Esta es la Clara, y porque sea mas clara;
Es Tello de Mendoga el que la goza.
Maz. Pues ya me aueis dicho quien es Clara,
Dezidme, quien es Tello de Mendoga?
Tell. Luego no lo sabeis?
455
*
460
*
465
470
475
12 7
Maz.
Que
Tell.
Escena XIV
Maz. Ay sucesso como el mio?
Nu. Terrible, sefior, estas,
pues no llegas, quando das
en tan loco desvario.
Si bien, con saber que tiene
dueno, cesso tu locura.
Maz. Ya, Nufio, a tata hermosura
el alma incendios preuiene.
Ya se, que era mi coragon
grandes trabajos le esperan,
mas no por esso se aIteran
las fuergas de la razon.
Que amor (dime) no ha tenido
algun estorvo o azar?
Nu. Luego piensas intentar *
querer a Clara aduertido?
Maz. Pues aqueste aduertimieto
es de marido por dicha?
Nu. 0 te ha de sobrar desdicha,
o faltar entendimiento.
Llegas a seruir aqui,
y entras haziendo pesar
a quien te puede ayudar?
Deseo sabello,
le quiero embidiar.
Pues yo soy Tello.
Vase.
480
485
490
495
500
Maz. NunOj estoy fuera de mi.
Nu. Lo primero que ha de hazer
quien sirue, es ganar la gracia
del priuado* que en desgracia
suyaj que ha de pretender?
Lo primero que conquista
el amante, es la criada,
el lisongero la entrada,
el escriuana el pleitista,
el pretendiente el portero;
tantOj que fue desdichado
Orfeo, por no auer dado
vn regalo al CancerberOj
ni lleuara por tesoro
de la huerta Dragontea,
sin agradar a Medea
Iason las manganas de oro.
No seria necedad,
que viniesse vn forastero
a vn lugar, y los primero
fuesse con poca humildad
murmurar los naturales,
que le pudieran honrar?
Yo nunca he visto medrar
hombres de arrogancias tales.
Dizen, que el cangrejo vn dia
(que entonces sabia andar)
pretendio entrar en la mar
con tan soberia osadia,
que a nadar desafio
128
505
510
515
*
*
*
* 52 0
525
530
a las mayores vallenas.
Iupiter, que en las arenas
del mar su arrogancia vio,
dixo: Cangrejo arrogante,
yo te mando, que de oy mas
tanto camines atras,
quanto fueres adelante.
Maz. Nufio, bien conozco yo,
que fuera bien (como dizes)
para entrar con pies felizes,
y con pronosticos no,
agradar los naturales.
Nu. Pues di, si son majaderos
los que siendo forasteros,
entran con acciones tales]
como quieres ofender
a Tello? Tello que ha sido
para el fauor pretendido,
la puerta que has de tener?
por donde quieres entrar,
si cierras la puerta?
Maz. A cielos,
que me entro el amor cQ zelos,
del primero encuentro azar?
No se que ha de ser de mi.
Nu. Que propio amor de Poeta I
no ay sangre a amor tan sugeta.
Maz. Iustamente me perdi,
justa fue mi perdicion:
de mis males soy contento,
12 9
* 535
540
545
550
555
560
130
pues vuestro mereciraiento
satisfizo a mi pasion.
Nu. Ya compones Villancicos?
Maz. Este tengo de glossar,
y tu se le has de lleuar.
Nu. Ea pues, salgamos ricos
los dos desta pretension:
Mas yo glosare primero,
pues sirue a tal.
Maz. Di.
Nu. Escudero,
justa fue mi perdicion.
Vanse.
Escena XV
Sale acompanamiento. el Rev, y el Maestre.
Rev. Desta manera se me atreue el Moro,
perdiendo a las palabras el decoro,
y el temor a las armas Castellanas?
Maes. Quando vos, gran senor, vuestras
Christianas
vanderas leuanteis, y deis al viento
el Castillo dorado, el Leon sangriento,
arrepentido boluera a Granada,
de auer sacado contra vos la espada,
sino le alcanga la que tengo al lado,
antes que de mi gente atropellado
muera tan lexos de la puerta Eluira,
como cerca feroz las nuestras mira.
* 565
570
575
580
Rev. Que quebraste la tregua? estoy
corrido
de auer, Maestre, entonces admitido
la suspension de nuestras armas tanto,
que de parar en Cordoua me espanto.
Salgan luego en vanderas y pendones
las Cruzes, los Castillos, y Leones,
a quien pierde respeto el Africano:
que yo se, pue ha de ser rayo en mi mano
el castigo esta vez, y que ha de verme
donde entre lirios y espadaHas duerme
Genii, voluiendo en barbaros corales
de su fingida plata los cristales:
que si vna vez el tafetan despliego,
entrare por Granada a sangre i fuego.
Maes. Senor, sera tenerle en mucha estima,
salir vos en persona: y assi os ruego,
me permitais, que su furor reprima.
Yo saldre con mi gente: mis criados
han de ser deste exercito soldados,
y aun pienso, que es tambien tenerle en
mucho.
Rev. No veis, que desde aqui su voz
escucho?
y me alteran sus caxas y trompetas?
Maes. Vos las tendreis a vuestros pies
sugetas,
sin que saigais de Cordoua.
131
585
590
595
600
605
132
Rev. Yo creo
de vuestro gran mayor trofeo.
Vase.
Maes. Tello, parte a auisar mi gente.
Tell. Al punto
veras armado vn esquadron, que junto
puede llegar la vitoriosa espada,
a coronar el muro de Granada.
Vanse.
Escena XVI
Salen Nuno. y Leonor esclaua.
Leo. Tanto amor tiene Mazias
en dos dias?
Nu. Si discreta
le consideras Poeta,
tendras por affos los dias.
Yo le siruo, y viue Dios,
que estoy ya sin sufrimiento,
de escuchar su atreuimiento.
Leo. Poco os pareceis los dos.
Nu. Quisieras, que te digera
amores?
Leo. No los merezco?
Nu. A dezirtelos me ofrezco.
Leo. Ya no quiero.
Nu. Escucha, espera.
En essos hierros, Leonor,
610
615
62 0
625
que te siruen de lunares,
puso el amor mis pesares,
porque son cifras de amor,
en ellos de mis destierros.
Leo. No me digas mas razones,
pues auiendo perfecciones,
me has alabado los hierros,
y acordado mis desgracias.
Nu. Comence por los defetos,
que dizen, que es de discretos,
para encarecer las gracias.
Dixole una dama tuerta
a vn galan, vos no me amais,
pues la boca me alabais
siempre cerrada o abierta.
Los cabellos de perfetos,
la frente, y los ojos no:
y quien ama, pienso yo,
que ha de alabar los defetos.
Las gracias, quando lo son
ellas estan alabadas:
dad a estas nifias turbadas
vn requiebro, que es razon.
Alabadme la desgracia
deste ojo, aung a ver no acierto
que en verada, que para tuerto,
no mira con poca gracia.
Leo. Aora bien, tu eres bellaco,
no mas socarronerias;
que es del papel de Mazias?
133
630
635
640
645
650
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134
Nu. Espera, que ya le saco.
Leo. Si no son versos, no creas,
que Clara le ha de tomar.
Nu. Vile escribir, y pensar.
Leo. Que importa, que to lo veas?
Nu. No ves, que gestos que hazia?
Leo. Gestos, estrana inuencion!
Nu. Y entre razon y razon
vfla y media se comia.
Leo. Si escribe dessa manera,
no tiene buen natural.
Nu. Vn Poeta artificial
entre a ver, que no debiera:
y en la cama componia
con vn tocador, y antojos:
diole en la boca y los ojos
vna cierta perlesia,
con que pario sin comadre
vn verso, que apostare,
que al parirme le coste
menos dolor a mi madre.
Leo. Clara viene, vete presto.
Nu. Este es el papel, a Dios.
Dale el papel v vase.
Escena XVII
Sale Clara.
Cla. En conuersacion los dos?
Leonor, es termino honesto?
660
665
670
675
680
135
Leo. Diome este loco vn papel
de vnos versos de Mazias.
Cla. En esso te entretenias?
Leo. Tengo yo que hablar con el?
como aqueste hidalgo ha dado
en quererte; hablaba en ti.
Cla. Son essos los versos?
Leo. Si,
que tiene ingenio estremado.
Cla. Muestra.
Leo. Tan presto? es mudanga
de tu honesto proceder?
Cla. Pues Leonor, a que muger
le peso de su alabanga?
Leo. Escondele, que ha venido
Tello.
Escena XVIII
Sale Tello.
Tell. Aunque el primero sea,
que de una ausencia tan breue,
sefiora, te traigo nueuas;
no lo he podido escusar.
Cla. Como, Tello, breue ausencia?
Tell. Pues q mas breue, que luego?
Cla. Adonde vais?
Tell. A la guerra;
porque auiendo de ir el Rey
a defender las fronteras
685
690
695
700
de Almangor Rey de Granada,
que atreuido las molesta.
le ha suplicado el Maestrej
que remita a las vanderas
de su exercito el castigo,
y el Rey le ha dado licencia.
Ya se viene despidiendo
(o Clara) de la Condesa,
para egemplo de mi mal,
que no porque le consuela.
Y alborotando el Palacio,
caxas y trompetas suenan:
todo es guerra, y la de amor,
es para mi mayor guerra.
Escena XIX
Salen el Maestre. la Condesa, Ma-
zias, Fernando, Paez,
v Nufio.
Maes. Quien viue tan ensenada
a mis jornadas y empressas,
quiere, que agora el sentillas
por raalos agueros tenga.
Es nouedad en mi casa
este genero de ausencia?
tantos dias ha que vine
de la guerra de Antequera?
Ya no lo puedo escusar.
136
* 705
710
715
72 0
725
137
Con. Ni es justo, mas no osparezca
nueuo el sentimiento mio.
Maes. Siento yo veros con pena.
Con. Lleuais gete a vuestro gusto?
Maes. No milita en mis vanderas
hombre, que no pueda ser
Hector, Aquiles, y Cesar.
Lleue gente de mi casa
a Tello, a Fernando, Esteuan,
a Aluaro, a Fortun Paez,
Ramiro, y Sancho de Biedma,
y otros hidalgos vassallos.
Maz. Y a mi, sehor, no me cuenta
entre ellos Vuesenoria?
Maes. Como os criastes en letras,
es presto para las armas.
Maz. Esso es en quien gouierna:
mas para mandar la espada,
quien le quita, que no pueda
a Platon, como Alexandro?
Maes. Venid conmigo, y entienda,
quien lo hiziere como hidalgo,
q no ha de andar en las puertas
de Palacio a pretender,
que yo premio, si el pelea.
Vanse con sus cumplimientos; que-
dan Mazias, que detiene
a Clara, v Nuno.
730
*
735
740
745
*
750
Escena XX
Maz. Old, sefiora.
Cla. En que os sirue?
Maz. Yo voy por vos a la guerra.
Cla. No dezis mas?
Maz. Bien pudiera,
pero falta, quien me entienda.
Yo os amOj desde que os vi,
con fe tan pura y honesta;
que os quisiera dar mil almas:
si esta quereis, sera vuestra.
Y aunque vos no la querais,
no es posible, que ya pueda
viuir conmigo sin vos.
Dadme, serSora, vna prenda,
para que me sirua de alma,
mientras aqui se me queda:
que os prometo a fe de hidalgo
que sin despojos no buelua,
aunque me cueste la vida,
que anima, vuestra presencia.
Que dezis? en que pensais?
Cla. Ha poco tiempo, que fuera
a esse amor agradecida,
que era mia, y soy agena.
Trata casarme con Tello
mi sefiora la Condesa,
y aunque no me ha dicho nada,
basta saber, que concierta
138
755
760
765
770
775
su Senoria estas bodas,
para que yo la obedezca.
Creedme a fe de hijadalgo,
que esse amor agradeciera,
porque vos lo mereceis:
no puedo, dadme licencia.
Vase.
Escena XXI
Maz. A NufiOj yo soy perdido.
Nu. Pues que ay enesto q pierdas
no fue esta resolucion
de vna muger muy discreta?
no estas contento de ver,
que tu deseo agradezca?
Ya es de Tello; que la quieres?
Maz. Pues q importa, q la quiera
quitaseme a mi el amor,
porque diga, que es agena?
Si ella me diera vn remedio,
con que yo la aborreciera,
aunque fuera mas hermosa,
yo dexara de quererla.
Pero si con mas amor
con lo que dize me dexa;
y si antes zelos no tuue,
ya con los zelos s e aumenta;
como la puedo oluidar?
Nu. Con imaginar las prendas
del que ha de ser su maridoj
que no es razon, que te atreuas
a vn hombre de su valor.
Maz. Que bendicion de la Iglesia
tiene este hombre, maxadero?
dexame adorar en ella,
mientras que no tiene dueho.
Nu. Y despues quando le tenga?
Maz. Entonces la querre mas,
que no ay cosa que mas crezca
el amor, que vn impossible,
y el verse vn hdbre a la puerta
de vna muger que otro goza.
Nu. Yo mucho mas la quisiera
si fuera el que la gozara.
Maz. Que grosera impertinencia!
c
que vil imaginacionl
Nu. Pues viue Dios, que si yela,
que quiero mas vna manta,
que mil baleones y rexas:
si esta la dama acostada,
y yo en la calle por ella.
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810
815
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ACTO SEGVNDO
PORFIAR HASTA
morir.
Escena I
Tocan caxas. salen en alarde soldados, Paez, Fernando,
Tello, Nufio. Macias, el Maestre.
Tell. Toda Cordoua se adtnira
de tu venida sefior.
Maes. Desta manera el valor
los enemigos retira.
Fer. Que veloz el Africano 5
supo a Granada boluer.
Tell. Hasta en el ver y el veneer
eres Cesar Castellano. *
Por mas que intente dezirte,
sera impossible alabarte. 10
Pae. El Rey lo muestra en hSrarte,
pues que sale a recibirte.
Escena II
Sale el Rev.
Rev. Dadme los bragos Maestre.
Maes. Gran sefior?
Rev. Honrar es justo
vuestro valor, y este gusto
es bien que en publico muestre.
No os pregunto como estais,
pues vitorioso venis,
porque viniendo dezis
el estado en que os hallais.
Oy a vuestra roxa espada
aueis dado tanta gloria,
que ha de ser esta vitoria
freno y temor de Granada.
Porque boluer castigado
el Moro de la frontera,
como si en su Alhambra viera
nuestro pendon levantado,
me ha dado contento y gusto.
Maes. Honrais los buenos deseos
de ofreceros por trofeos
el mundo, Principe Augusto.
Estos soldados lo han hecho
contan heroico valor,
que merecen bien senor,
que honreis su valiente pecho.
Tello de Mendoga es
mi Camarero, y os juro,
que puede su alarbe muro
rendir Granada a sus pies.
Fortun Paez, y Fernando
Giron, mostraron en todo,
que tienen del nombre Godo
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15
20
25
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30
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35
40
sangre y valor heredado.
Mas desde que me ceni
la espada, puedo jurar,
que no he visto pelear
mas bien, que a este hidalgo vi,
recien venido a seruirme
de Castilla, porque creo,
que no he visto en quantos veo
hombre tan valiente y firme,
tan gallardo y alentado,
tanto, qhe ha dezir me atreuo,
que la vitoria le debo.
Ma. Quien fue, graf sefior, soldado
del Maestre, poco hacia,
quando mil Mores vender a,
pues del imitar pudiera
tanto valor aquel dia.
Yo visono solo fui
a dar principio al deseo
de seruiros.
Rev. En el veo
lo que dezis.
Maz■ Si ay en mi
algun atomo pequeno
de aliento, de animo y brio
(puesto que parece mio)
todo se reduce al dueno.
Rev. Que bien hablado y cortes;
pide mancebo galan
alguna merced.
Maz. Tendran
mis labios tus Reales pies
por merced tan singular,
que no quieren mas ventura.
Mas si tu Alteza procura
pecho tan humilde honrar,
le suplico sea seruido
de oirme aparte.
Rev. Si hare
porque es muy justo que este
a quien sirue agradecido.
Apartanse los demas.
Escena III
Maz. Inclito Rey don Enrique
sangre de los altos Reyes,
que el laurel que perdio Esparla
vas restaurando a su frente.
Tu que al diuino Pelayo
de tal manera pareces,
que a sus gloriosos principios
fin tan dichoso prometes.
Yo soy Macias, hidalgo
de los buenos, que decienden
de la Montafia a Castilla;
que supuesto que se debe
el buen nacimiento al cielo,
yo pienso, que quien le tiene,
tambien se puede alabar,
si obrando bien lo merece.
Los estudios de Palencia,
en este tiempo eminentes,
me dieron letras, bastantes
para no ignorar las leyes.
Mas yo, que en la variedad
hallaba mas gusto siempre,
la Retorica y Poesia
quise que mis ciencias fuessen.
Hize versos amorosos,
porque son los afios verdes
para sus conceptos alma.,
si bien el alma diuierten.
Fueme forgoso dexar
por algunos interesses
la patria, pense en la Corte,
que no ay cosa que se piense
mas presto, quSdo vn mancebo
salir de su patria quiere.
Truge cartas del sefior
de Alua, y dilas al Maestre,
recibiome en su seruicio;
y assi los cielos aumenten
tus glorias, y hasta Marruecos
tus roxos pendones lleguen:
que lo que quiero dezirte
me perdones, pues que tienes
ingenio, a quien no le espantan
los humanos accidentes.
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100
105
110
115
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12 0
La Condesa done Iuana,
sangre de Lara excelente,
a cuya virtud es sombra
la fama que la encarege,
Tiene en su seruicio agora
vna daraa, que si puede
disculparme el hazer versos,
es vn Serafin celeste.
Su bien compuesta persona
labro de purpura y nieue
naturaleza despacio,
no con la priesa que suele.
De suerte, que quiso ser,
aunque el arte se le niegue
para su marmol Lisipo,
para su pintura Apeles.
Retrato el Sol en sus ojos,
y en vn hilo de lucientes
perlas, puso artificiosa
dos encendidos claueles.
Perdona otra vez seftor,
si mi loca lengua excede
del modo con que es razon
que los Reyes se respeten.
Clara es su nombre, y obscuro
el Sol mirando su frente.
Llevome el alma, sin alma,
que vida tenerla puede?
desasosiegos de amor
me pusieron de tal suerte,
147
que me alegre de que el Moro
tan atreuido viniesse,
pues con gusto de morir
fui a la guerra, mas la muerte
nunca viene a quien la busca,
que a los descuidados viene.
Por vida de vuestra Alteza,
que nunca que yo me acuerde,
auia sacado la espada,
porque no a todos se ofrece,
hasta que a los Moros vi:
mas amor que haze valientes,
me dio tal brio y valor,
para que obligar pudiesse
al Maestre, que no creo,
que airado ciergo de Nouiebre
derriba al olmo las hojas,
que del medio secas penden,
con mas violencia y furor,
y en remolinos embuelue,
que yo cabegas de Moros,
y esto es facil de creerse;
porque las fuergas de amor
a todo impossible exceden.
Como me mandaste aqui,
que te pidiesse mercedes,
y se que aun el mismo Dios
quiere que le pidan siempre.
Pareciome bien pedirte,
que le mandes al Maestre,
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165
170
175
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180
me de por muger a Clara,
que todo el Orbe de Oriente
no estimare, como ser
su marido: si concedes
esta merced a mi amor,
porque los humanos bienes
no compiten con las almas,
Reino que el amor possee.
Y assi en hazerme este bien
mostraras senor quien eres,
que en tenerla esta mi vida
y en perderla esta mi muerte.
Rey. Huego de auerte escuchado,
que como hombre tal vez
soy de los hombres juez,
y en la piedad lo he mostrado:
Retirate hidalgo alii,
Maestre?
Maes. Sefior.
Rey. Sabed,
que os pide a vos la merced
este soldado por mi.
Maes. Sefior, con tan buen tercero
no queda que encarecer.
Rey. Dalde a Clara por muger.
Maes. Diosela a mi Camarero
la Condesa, y ya se han dado
las manos.
Rey. Pesame.
Maes. Hare
que no se casen.
Rev. Sere,
si ya lo impido, culpado
para con Dios.
Maes. Esto es cierto.
Rev. Macias.
Ma . Sefior .
Rev. Esta
casada essa dama ya
por escrito su concierto.
Maz. Desdichado soy sefior.
Rev. Con vna Cruz de Santiago
lo que he prometido pago,
bien debido a tu valor.
Maestre.
Maes. Sefior.
Rey. Dareis
por mi vn Abito a este hidalgo,
que por sus meritos salgo.
Maes. Vos le dais y vos le hazeis,
que ninguno le ha tenido
por termino mas honrado,
su vn Rey le ha calificado,
y su informacion ha sido.
Vanse. v quedan Mazias y
Nufio solos.
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220
225
150
Escena IV
Maz. Que desdicha puede auer
Nuno que iguale a la mia,
llego de mi muerte el dia,
ya no es Clara mi muger:
No se que tengo de hazer
sin esperanga ninguna,
porque donde ay alguna,
que mire a la possession,
aun falta jurisdicion
al poder de la fortuna.
Ay de mi Clara perdida?
vida para que sois buena,
que de tantos males llena,
mas sereis muerte, que vida,
de vna esperanga asida
con el bien de su memoria:
animastes la vitoria,
que a estar de perderla cierto,
quedar en el campo muerto
tuuiera mi amor por gloria.
Tello de Mendoga (ay cielosi)
ha de gozar de mi bien?
como puede ser, que esten
juntos mi amor, y mis zelos:
mal pueden fuegos y yelos
tener en paz mi cuidado;
mas si elado y abrasado
no puede ser que me vea.
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250
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255
hara, que posible sea
la dicha de vn desdichado.
Nu. Mai tus sentimientos mides
con tu ingenio y discrecion,
que injusta lamentacion
quando te dan lo que pides.
De vna sustancia es el pago,
y la Cruz el testimonio,
pues por la del matrimonio,
te han dado la de Santiago.
La diferencia ha de ser,
(dexo aparte los decoros)
el pelear con los Moros,
o con la propia muger.
Aquella es roxa cuchilla,
y esta del martirio palma,
aquella se pega al alma,
y esta en la capa y ropilla.
Qual dellas venga a tener
mayores obligaciones,
consiste en otras razones,
que ay de marido a muger.
Pero es justa imitacion,
por la roxa Cruz del lado,
que ha de traerla el casado
al lado del coragon.
Que con este amor se abone,
es del honor vida y luz.
que ay casado, que la Cruz
a las espaldas la pone.
Hombre imita al Cauallero,
ponla en el pecho, y veras,
que lo que te pesa mas,
es en el alma ligero.
Maz. Que tiene Nuno que ver
esse discurso conmigo,
mejor lo hare yo contigo,
si ha sido cruz la muger.
Porque como vn Cauallero
muerte en la tumba la pone,
esso mismo el Rey dispone,
que me pongan quando muero.
Vamos a verla, entretanto
que vivo, si son consuelos
de amor, ver zelos, que zelos
tienen por consuelo el llanto.
Vayan mis ojos a ver
lo mismo que han de llorar,
porque no ay mayor pesar,
que del ageno placer.
Nu. Que no eres tan desdichado
como tienes presumido,
ni Tello por ser marido
es tan bien auenturado.
Que aunque la ventura es suya,
a pocos dias de Clara,
estoy cierto que tomara
Tello, tu Cruz por la suya.
Que en trato discreto, o necio,
si a los exemplos te pones,
ay muy pocas possessiones
que no paren en desprecio.
Yo te doy, que cada dia
comas perdiz, y capon,
desearas vn salpicon
de cebolla y vaca fria.
Piensas tu, que la deidad
de vna muger en su estrado,
es de su marido al lado
la misma.
Maz. Que necedadl
Vnos amores discretos
tratados pueden perder.
Nu. Digo yo, si la muger
va descubriendo defetos.
Pero si discreta ha sido,
limpia, y de buen parecer,
ya se, que es la tal muger
corona de su marido.
Vanse.
Escena V
Salen la Condesa. Clara, y Leonor.
Con. Estos vestidos gusto,
que lleues esta noche.
Cla. Tus pies beso,
mas mira, que no es justo,
que llegue tu fauor a tanto excesso.
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335
154
Con. No es excesso querertej
yo quiero que te vistas desta suerte;
la cintura y cadena
te doy tambien, y el parabien, que es
j U S t O j
de lo que el cielo ordena
para remedio tuyo, tan a gusto
del Maestre, que creo,
que retrato tu dicha su deseo:
Es Tello de Mendoga
hidalgo de los buenos de Castilla.
Escena VI
Salen Fernando, v Paez.
Fer. Por Dios, que es bella moga.
Pae. No la ay desde Toledo hasta Seuilla
de tal ingenio y cara.
Fer. Merece a Tello justamente Clara.
Con. A todes regozija
tu casamiento, gracias doy al cielo.
Fer. Salir a la fortija
que han intentado, me had de dar desvelo.
Pae. Que mayores tesoros,
que para la inuencion vender dos Moros.
Fer. Tantos hemos traido,
que no valdran entrambos treinta reales.
Pae. Buscar de los que han sido,
para rescate Moros principales.
Fer. Quien ha de mantenella?
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350
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360
155
Pae. Tello sera mantenedor por ella.
Fer. Dixeron, que Mazias.
Pae. No se porque razon fauorecido
anda triste estos dias.
Fer. La ausencia de la patria avra sentido.
Pae. Voy a vender vn Moro.
Fer. Trocalde a vn mercader a seda y oro.
Vanse Fernando, y Paez.
Escena VII
Con. Las fiestas de tu boda,
Clara, traen la casa alborotada.
Cla. De quererme bien toda
nace alegrarse, de que este casada
con hidalgo tan noble.
Con. Y por su dicha del se alegra al doble:
a tus padres escribe.
Cla. Con tu licencia los escribo agora.
Con . Clara, contents viue,
y Dios te haga dichosa.
Cla. 0 gran seffora,
aqui vna esclaua tienes.
Con. Tus meritos te dan los parabienes.
Cla. Dame, Leonor amiga,
recado de escribir.
Leo. Gozes mil anos,
sin que de la enemiga
fortuna sientas los contrarios danos,
estado tan dichoso,
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con Tello mi sefior, tu amado esposo:
mas siendo la primera,
que las nueuas te di, no me has pagado
con palabras si quiera
Cla. Leonor, todas mis galas te he dexado,
que quiere desde agora,
que me vista las suyas mi sefiora:
como fuiste presente
de Tello y nuestra fe, tomaste luego,
dude mas neciamente
el darte libertad, essa te entrego.
Leo. Beso tus pies mil vezes;
en fin sefiora, liberuad me ofreces?
Cla. Ya eres tuya.
Leo. Ya puedo
darme a quien yo quisiere?
Cla. Si eres tuya
bien puedes.
Leo. Pues si quedo
con libertad, como de cosa suya
dispone el alma mia,
que buelua a ser del duefio que solia:
ser por fuerga tu esclaua,
no te obligaba a ser agradecidaj
mas si quien libre estaba
te buelue a dar libertad rendida,
mas haze siendo suya.
Cla. Esso es Leonor, hazerme esclaua tuya.
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410
Escena VIII
Salen Mazias. y Nuno.
Maz. Puedo darte el parabien
de tu dicha y de mi muerte,
Clara hermosa?
Cla. Pienso yo,
que mi dicha le merece.
Maz. Que le merece tu dicha,
quie puede auer que lo niegue?
que mi muerte le merezca,
es lo que estrafio parece.
Mandome al Rey (por seruicios
que le hize) que pidiesse
mercedes, y te pedi
por las mayores mercedes.
Dixele al Maestre el Rey
(ay Dios I) que te mereciesse
por muger: y respondio
al mismo Rey libremente
que estauas casada ya.
el Rey (de ver que no fuesses
el premio de mis seruicios)
mandole, Clara, al Maestre,
que de vn abito me honrassej
pensolo discretamente:
porque si las de los muertos,
que por vltimas les deben,
llaman honras en Castilla.
El Rey por muerto me tiene,
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425
430
435
no se como hable contigo,
porque fue necedad siempre
hablarles en cosas tristes
a los que viuen alegres.
Casarte tu y morir yo,
son cosas tan diferentes,
que no puede concertallas,
ni quien viue, ni quien muere.
Pero en tu bien y en mi mal,
vna cosa solamente
puede caber, y no quiero
que ser esperanga pienses,
que no soy tan descortes.
Cla. Pues que sera lo que quieres,
siendo cosa tan honesta.
Maz. Que te de lastima el verme.
Cla. No quieres mas?
Maz. No por Dios,
que pedirte, que te pese,
fuera gran descompostura.
Cla. Pues hidalgo noble, aduierte.
No solo me has dado pena
de la que amando me tienes,
pero a no estar ya casada,
fuera tuya eternamente.
Esto sin que aya esperanga,
ni atreuimiento que llegue
a pasar tu amor de aqui;
porque el dia que esto fuesse,
yo propia dire a mi esposo,
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445
450
455
460
465
159
honrado como valiente,
que te quitasse la vida.
Maz. No ayas miedo, que yo dixe
de amarte.
Cla. Como?
Maz. No mas,
de amarte sin ofenderte.
Vase Clara.
Escena IX
Nu. Cuerpo de tal que muger,
esta si, que no mugeres,
todas melindres y engahos,
sino dezir lo que sienten.
Con que gracia de sus labios
resas de Abril entre nieue,
dixo, a no estar ya casada,
fuera tuya eternamente.
Maz. Y no es nada lo que dixo
despues; que si yo quisiesse
passar a esperanga sola,
o a mas que amarla atreuerme,
diria a su mismo esposo,
honrado como valiente,
que me quitasse la vida.
Nu. Hablo noble y justamente
para atajarte los pasos:
bien aya quien agradece
el amor, y el honor guarda;
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480
485
490
no como algunas crueles,
que por pescar las haziendas
a los hombres desvanecen.
Aqui no queda que hazer,
Mazias, mas de que entierres
tu amor, pues tu mismo dizes,
que estas muerto.
Maz. Bien lo entiendes,
con aduertimiento Nufio,
de que en nada me aconseges;
desde oy comiengo a seruir
a Clara.
Maz. Pues q pretgdes?
que han de sentir su marido,
la Condesa, y el Maestre,
si esta necedad que intentas,
que es fuerga llegue a saberse,
que ha de ser de ti y de mi?
Maz. No puedo quererla?
Nu. Puedes.
Maz. Quererla es delito?
Nu. No.
Maz. Ofendola?
Nu. No la ofendes.
Maz. Pues que importa?
Nu. Andar perdido.
Maz. Pues que pierdo?
Nu. El tiempo pierdes.
Maz. Yo no me muero?
Nu. Es locura.
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500
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505
510
Maz. Confiesso.
Nu. No lo confiesses.
Maz. Que hare?
Nu. Dexarlo de hazer.
Maz. Y quien podra.
Nu. Tu si quieres.
Maz. Quiero y no puedo.
Nu. Porfia.
Ma. Por Dios NunOj q me dexes.
que a quien le cansa la vida,
sera partido la muerte.
Vanse. v salen el Rey con vn
libro y el Maestre.
Escena X
Maes. Informacion truxo honrada
de su noble nacimiento,
Rev. De su ingenio estoy contento,
como lo estais de su espada.
en fin ha escrito Mazias
todo este libro?
Maes. Ha mostrado
lo tierno de enamorado,
mayormente en estos dias
que case a Clara, en hacer
Letras, Romances, Canciones,
a diuersas ocasiones,
que todos deben de ser
dirigidas, a auer sido
en perderla desdichado.
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Rey. Si le huuierades casado
todas se huuieran perdido.
Maes . Porque sefior?
Rev. Porque amor
en possession no desea,
y no ay materia que sea
para los versos mejor,
que vn amante desdenado,
o en esperanga del bien.
Maes. Pocos escriben tambien.
Rey. El tiene ingenio estremado,
tienen gracia y agudeza
los Espanoles, Maestre.
en hazer versos.
Maes. Que muestre
tanta aficion vuestra Alteza,
hara que buelua a tener
Espana en versos iguales,
mil Senecas y Marciales.
Rey. Las causas que dan de hazer
tan peregrines conceptos
en las obras amorosas,
mas que la historia y las prosas,
son del mismo amor efetos,
pues dizen, que no ay nacion
que assi estime, adore, y quiera
las mugeres, ni prefiera
a la hazienda, a la opinion,
y aun a la vida su gusto.
162
535
540
545
550
555
560
Maes. Bien se ve en las galas y oro
que les dan.
Rev. Con gran decoro
las siruen y aman, y es justo,
assi por deuda tan clara
del nacer, como por ser
la herraosura de muger
cosa tan perfeta y rara.
Leedme essa direccion,
que de su libro me haze
Mazias.
Maes. Si os satisfaze,
confirmareis su opinion.
Leo . Al muy poderoso sefior de Casti 11a,
El gran decendiente del Magno Pelayo,
De Espana corona, del Africa rayo,
De Moros Alarbes sangrienta cuchilla:
A quien obedezcan Granada, y Seuilla,
Como en el tiempo que fue de los Godos,
Mazias ofrece sus versos, y todos
Al pie soberano los postra y humilla.
Rev. Estremada direccion.
Maes. Como a quien va dirigida.
Rev. Pero leed por mi vida,
de amor alguna Cancion.
Maes. Amores me dieron corona de amores,
Porque mi norabre por mas bocas ande,
Entonces no era mi mal menos grande,
Quando me daban placer sus dolores:
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585
Vencen el seso sus dulces erroresj
Mas no duran siempte segun luego aplacen,
Y pues que me hirieron del mal que vos hazen,
Sabed al amor desamar amadores.
Rev. Que excelente, y que eggplar,
Maestre estimad este hombre.
Ma. Quien como vos desse nSbre
le puede calificar,
yerra en lo que persevera,
y mas casandose Clara.
Rey. Si el Moro no lo estoruara
grandes ingenios huuiera.
Vanse v salen Mazias y Nurio.
Escena XI
Nu. Que descompostura es esta,
tienes seso?
Maz. He le perdido,
con lo que he visto y 01do.
Nu. Bien claro se manifiesta,
para que entraste en la fiesta, •
si lo auias de sentir?
Maz. Si me vienen ha dezir,
que al nouio Nuno acompaffe,
quando mas me desengano
puedo dexar de morir?
En la noche confiado,
que en fin encubre mejor
qualquier efeto de amor,
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595
600
605
610
entre con el desposado,
lleuaba el color mudado,
como quien va a desafio,
y el coragon, aunque el brio
de tantas penas, deshecho,
tan descortes en el pecho,
como sino fuera mio.
Llegue, bolui atras, temble,
paro el pie la confusion;
pero luego el coragon
hizo el oficio del pie:
mire* perdime, llore,
y desuerte vine a estar,
que andaban para buscar
consejosj donde ay tan pocos
todos los sentidos locos,
sin conocer su lugar.
Pareciome, que no via
lo mismo que viendo estaba,
sin oxr le que escuchaba,
lo que imaginaba oxa:
no has visto vn fuego? assi ardia
la casa del alma, y luego
el entendimiento ciego
pedia con mil enojos,
a las fuentes de los ojos,
agua que templasse el fuego.
Como al crepusculo frio
del Alua, entre luzes roxas,
abre vna rosa las hojas,
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630
635
640
para beber el rozio:
estaba aquel dueno mio
aquella diuina fiera
tan hermosaj que pudiera
adoralle como al Sol,
a ser Indio el Espanol,
que entouces sus rayos viera.
Quando Dios no fabricara
purpura y cristal de roca,
naturaleza en su boca
cristal y purpura hallara:
y quando el Sol no formara,
se viera en sus bellos ojosj
y a no auer claueles roxos,
alii los vieran los cielos,
y quando no huuiera zelos,
se hallaran en mis enojos.
Leuantose del estrado,
y la Condesa con ella,
llego el desposado a ella,
mas dichoso que turbado,
y con el padrino al lado,
la sala se suspendio:
luego el padrino llego,
y temandoles las manosj
como cielos soberanos
viuo yo, si lo vi yo!
Pregunto a Tello (ay de mi!)
si por muger la queria*
dixo que si: y yo viuia,
que aun faltaba el otro si
luego a Clara; y hasta aqui*
como si en la horca fuera*
mi loca esperanga espera;
pero en oyendo mi dano*
el verdugo desengano
me arrojo de la escalera.
Yo no se como viui;
pero quien avra que crea*
que me pareciesse fea
al tiempo que dixo si:
mas por dicha no entendi
la causa que pudo auer,
hermosa debio de ser*
porque son todas las cosas*
Nufio* mucho mas hermosas
quando se quieren perder.
Mira tu* que pensamiento
el de vna loca aficion*
que tuue imaginacion
de poner impedimento:
pero en este necio intento
la bendicion les llego*
y Tello a Clara lleuo*
donde con otras sefior as
sentados culpan las horas,
que estoy dilatando yo.
Pero ya las dos seran*
y siento que se leuantan*
que ya ni dangan ni cantan*
antes pienso que se van:
ay Dios! la muerte me dan
con ver acortar los pianos,
de sus regalos y abragos,
que si una mano que dio
Clara a Tello me mato,
que hare si le da los bragos?
Nu. Tello no es tan venturoso
como a ti te ha parecido,
no es enefeto marido?
Maz. Y puede ser mas dichoso?
Nu. No se por Dios, no ha de estar
en casa?
Maz. Pues donde quieres?
Nu. Muy dignas son las mugeres
de amar y reuerenciar.
Pero esto de estar alii
a todas horas, es cosa
por facil menos gustosa.
Maz. Tal me sucediera a mi.
Nu. Aunque viendo lo que pasa,
ay muger, que por ser nueua,
denoche el dia se lleua
de vn buelo fuera de casa.
En vn ano vna muger
es silla, es banco, es bufete,
porque como no inquiete,
esso mismo viene a ser.
La nouedad es gran cosa.
168
705
710
715
72 0
725
730
169
Maz. No, para quien ha llegado
a tener (que dulce estado!)
muger discreta y hermosa.
Nu. No es nada la nouedad,
pues oy vna dama vi,
que sin dientes conoci,
y los tiene en cantidad.
Y dixela, cosa vil,
que falta de doze perlas,
supla quien llegare a verlas
vn forastero marfil.
Y respondiome, ha mil dias
que los traia, en verdad,
y por mayor nouedad
troque por estas las mias.
Pero retirate aqui,
que pienso que salen ya.
Retiranse al pafto embocados.
Maz. Conjurado, Nufio, esta
todo el cielo contra mi.
Escena XII
Hachas, Paez. Fernando. Tello de la
mano a Clara v la Condesa
v el Maestre.
Tell. Suplico a Vuesenoria
no pase mas adelante.
735
740
745
750
170
Cla. Sefiora, basta el fauor,
no es bien que adelante pase
de aqui vuestra Senoria.
Con. Aora bien, el cielo os guarde
y os haga muy venturosos .
Maes. Clara, no he podido hSrarte
de mas gallardo marido.
Cla. Ni hazerme fauor mas grade;
pero en fin de tales manos,
que beso mil vezes.
Fer. Paez,
viue Dios que lleuo embidia.
Pae. Linda moga!
Fer. Es como vn Angel.
Vanse los desposados por una parte,
y el Maestre. y la Condesa por
otra. v descubrense Ma-
zias y Nuho.
Escena XIII
Nu. Elios se van a acostar,
bien puedes desembogarte,
y vamos a hazer lo mismo,
pues ya no ay Clara q aguardes
sino es la maffana clara.
No hablas? pero no hables,
si ha de auer lamentaciones,
y aquello de los amantes,
quando glossan muchas vezes
755
760
765
770
con fiere mil disparates.
No gozes al desposado;
vamos a casa, que es tarde,
y es mariana la sortija
en que por lo menos sales
a ser el mantenedor.
Mira* que estas por las partes
de valiente, y de Poeta,
e inuentor de nueuos tragesj
en los ojos de la Corte,
y que sera bien que saques
galas, y discretas letras.
Maz. Ay fortunas inconstantes
del mar de amor en que voy,
como en el golfo la naue,
combatida de los vientos!
Nu. Anda pues, y no te pares.
Maz. Como andar?
Nu. Pues bien, que implica,
q au mismo tiepo hables yandes
En vn Auto vn dia del Corpus
dezia vn Representante;
quiero destruir el mundo;
y como entonces llegasse
la procession, aunque estaua
en figura venerable,
dixo vn Regidor, andando
y destruyendo Iuan Sanchez;
tu agora quexare y anda.
171
775
780
785
790
795
800
Maz. Sin andar pienso quexarme,
que no me puedo raouer
con peso de tantos males.
Nu. Pareces perro de caca,
que vio la perdiz delante,
que como te hal o te quedas:
mira que tocan a Laudes
en quarenta Monesterios.
Maz. Diles, que para enterrarme
(ay Nuno!) toquen a muerte,
y sino lo estoy matadme
zelos embidias de amorj
o quereis que to me mate.
Dexadme imaginaciones,
que de la pintura el arte
imitais en mis sentidos
pintando figuras tales,
que me abrasan y me yelan.
Ya veo en forma de Marte,
como Tello de Mendoga
le dize amores suaues:
ya veo la hermosa Venus,
que sobre las flores yaze
de vn verde prado, despues
que dio nieue a sus cristales.
Ya veo dos mil Cupidos
por los ramos de los suazes,
esparciendo azaar y rosa
sobre los tiernos amantes.
Nuno, sabes que he pensado?
173
que con grandes golpes llames,
y que,digas, que el Maestre
le manda que se leuante:
hazme este bien Nufio amigo.
Nu. Los malos remedios hazen,
lo que haze el agua en la fragua,
con que mas las llamas arden^
y este hotribre no es tan necio,
que en tal ocasion pensasse,
que le llamaba el Maestre.
Maz. No sirue? pues no te espates,
que el sabe, que los sefiores
no hallan cosa en que reparen,
quando los han menester.
Nu. Que ocasion avra bastante
para que el pueda creerlo.
que a tal hora, no es muy facil;
dezirle, que a la Condesa
le dio vn recio mal de madre,
es necedad, porque Tello
no cura destes a chaques.
Demas, que desde la cama
dira Clara, quemad page
vna plumas de perdiz,
y sino ponelde vn parchej
el Maestre orina bien?
Maz. Que consuelosI
Nu. Si los sabes
mejores, dilos, que ya
descubre el Alua celages
835
840
845
850
855
860
174
en el cuchillo del monte
que corta a Cordoua azaares.
Maz. Dile que hS venido Moros.
Nu. A que?
Maz. Como a que? a vengarse.
Nu. Como era tan demanana,
pense, que a dar por las calles
letuario y aguardiente:
mas si pregunta a que parte?
Maz. Di que a Ezija.
Nu. Y si dize,
que auiedo ocho leguas grades
no pueden llegar tan presto,
y que entretanto descanse
su Senoria, que haremos?
Maz. Da golpes, basta vengarme,
en que despiertes a Tello.
Nu. Necedad de necedades,
Tello auia de dormir,
teniendo al lado aquel Angel?
Maz. Maldigate el cielo Nuno,
que me has muerto!
Nu. No te canses,
mira que estas a su puerta,
mira que el Alua que sale,
se rie de tus locuras,
y se las cuentan las aues.
Maz. Que es possible q no quires
de la cama leuantalle?
865
870
875
880
885
175
Nu. Quieres tu que se resfrie
esse desposado en valde?
mira seffor que entra el dia.
Maz. Entre, y entren mil pesares
hasta el alma I
Nu. Gente suena
en casa, y las puertas abren,
donde van perros y aleones,
y cagadores delante:
Viue Dios que es el Maestre,
ya no ay que huir, no te apartes
que sera darle sospecha.
Escena XIV
Entre el Maestre de caca y Fer
nando, y Paez.
Ma. No ay desdicha que me falte!
Maes. Es Mazias?
Fer. Si senor,
sino es que el Alua me engafie.
Maes. Como has madrugado tSto?
Maz. Solo vengo a acompanarte,
que supe que al campo ibas.
Maes. Serame mas agradable
contigo, dalde el overo,
sino es que cauallo traes,
y dalde vna Aca a nufio.
Nu. Aca, o que sin acostarme,
tras esta noche vna Aca,
890
895
900
905
y entre arboles y jarales
andar buscando vn venado,
o vna garga por los aires?
muerto soy!
Maes. Vamos Mazias.
Nu. No lleuas almuergo Paez
Pae. Leuantaste de la cama,
y quieres comer?
Nu. A nadie
le de Dios tan mala noche:
bolueran presto?
Paez. A la tarde.
177
ACTO TERCERO
PORFIAR HASTA
morir.
Escena I
Salen el Rey, Paez. Fernando, y Mazias con abito de
Santiago., v Nuno.
Maz. A besaros los pies, senor, me embia
El Maestre, al honor agradecido,
Que traigo al pecho este dichoso dia,
Mas grande, quanto menos merecido.
Rey. Para que os viesse, vso de cortesia, 5
A el esse fauor aueis debido,
El es el dueflo desse honor: no es justo
Deberme mas, que intercession y gusto.
Maz. Vuestro valor el alto cielo estienda,
Donde hasta agora no plantas ningunas: 10
Y plegue al Cielo que de vos decienda,
Quien ponga en otro mundo las colunas.
Rev. Como va de las Musas? *
Maz. La contienda
(Claro senor) de embidias importunas
Las tiene retiradas, mas no tanto, 15
Que no os celebren en su dulce canto.
Apenas oy comienga, el que desea
Por los versos, senor, fama constante,
Quando quiere veneer con breue idea,
Al que la tiene en bronce y en diamante:
Otro vereis, que en enseflar se emplea,
Y esta de los principios ignorante;
Todos estos resiste la prudencia.
Rev. Que virtud se libro de competencia?
La fortija no vi por ocupado
Aquella tarde, y me alabo el Maestre,
Letras, galas, y langas de vn soldado,
Que no ay accion, en que valor no muestre:
Quien la mantuuo?
Maz. El mismo desposado,
Porque las armas el amor adiestre
Con mas primor, que el arte.
Rev. Buenosbrios
Maz. Ay dulce causa de los males mios.
Aparte.
Salio Tello galan de blanca tela,
Bordada de laureles, que le alcanga
Fauor, que enamorado se desvela,
Y vio la possession de su esperanga:
Dorada de la langa la arandela,
Los brios igualo la confianga.
Con manto al hombro, que barriendo el suelo,
Era cometa de arrogante cielo.
Prometo, gran sefSor, a vuestra Alteza,
Que vn castafio bridon de tela armado,
Le hazia vn edificio en la firmeza,
Si puede ser en aire fabricadoj
Aquella corpulenta ligereza,
Como baquetas de atambor templado,
Las fuertes manos con tal son mouia,
Que pensaban las piedras que tafiia.
Lleuaba dos Gigantes por padrinos,
Presos de vn nifto amor, que los guiaba:
Mis deseos, por Letra, y que eran dignos
De su grandeza, con razon mostraba:
Que puesto, que de Clara los diuinos
Cielos de amor pacifico gozabaj
Quise mostrar, que dulces Himineos
No tiemplan, antes crecen los deseos.
Fortun Paez salio de verde y plata,
Todo bordado de diuersas flores;
Lleuo por Letra, en quexas de vna ingrata:
No passan de esperancas a fauores:
Vn bayo obscuro los del Sol retrata,
Y tan ligero al aire dio colores.
Que aunque en Cordoua son hijos del viento,
Este lo fue del mismo pensamiento.
Fernando (que presente miras) quiso,
Para tomarlos mas, que dar consejos;
Ser de si mismo, y de su amor Narciso,
Y en oro y nacar se vistio de espejos:
Las damas, que temieron este auiso,
Mirabanse en sus luzes desde lexos;
Si bien por los espejos, y dos afios
De amor; por letra dio: Mis desencanos.
En esto vn monte bomitando fuego,
En dos partes la maquina diuide,
Y sale del vn Cauallero luego,
Que mil ardientes circulos
Cuyas breues cometas, a don Diego
De Lara dan lugar: la langa pide,
Y sospechoso a dos azules cielos,
Lleuo por letra: Aqux me tienen zelos.
Con el cauallo, en forma de vna fiera
Sierpe, ya imagen del celeste Polo,
Passe Dionis Peralta la carrera,
De suerte, que preuino el arco Apolo.
Y a la mitad con inuencion ligera
Cayo la piel, quedo el cauallo solo
Tan bianco, y tan hermoso, que se atreue
A llamar Cisne, retratado en nieue.
Entro de plumas Auestruz fingido,
Con vn hierro en la boca Recaredo;
La letra (de algun hierro arrepentido)
Dixo: Por ver, si digerirla puedo:
El cauallo de plumas guarnecido,
No tuuo al yerro de las plantas miedo,
Porque algando las manos parecia,
Que juntarlas al freno pretendia.
Mas para que te canso, si me esperas?
Yo entre en figura del furioso Orlando;
Tela negra sembre de Aspides fieras,
Que estaban coragones enlagando:
181
En abito Frances reconocieras,
Que la historia de Angelica imitandoj
Embidiaba, senor, algun Medoro,
dichoso duefio de la luz que adoro.
Cauallo negro, que seruir pudiera
Al carro de la noche, retratado
En ebano lustroso, y en la esfera
Del Sol quedar por su valor dorado*
Las arenas midio de la carrera
Paso a paso, tan firme y alentado;
Que si alguna en las plantas recogia,
Al leuantar las manos la boluia.
En figura de Astolfo, por padrino,
Iba delante Nuno mi escudero,
Con mi seso en vn vidrio cristalino,
Y por letra con el: Ya no le quiero:
Gano todo hombre, que a las fiestas vino,
Yo solo sin ventura auenturero,
Gane la joya de galan, que ha sido
Mentira, pues perdx la de marido.
Rev. Aueros visto quisiera,
mas basta aueros oxdo.
Maz. Corri, sefior, tan corrido,
que no es mucho que perdiera.
Rev. Essa memoria oluidad;
y porque menos se sienta,
con mil ducados de renta
lo pordxdo restaurad:
que estos vale la Alcaidia
de Arjona.
*
*
105
110
115
12 0
125
*
*
Maz. Cante la fama
tu nombre, en quanto derrama
su luz el Autor del dia.
Pae. Ya sois Alcaide de Arjona
Fer. Debeis al Rey grande amor
Vanse todos, quedan Mazias.
y Nuno.
Escena II
Nu. Necio has andado, sefior,
que te lo diga perdona.
Que estando Clara casada,
bien pudieras escusar
esta manera de hablar,
que es Tello persona honrada,
y ofendes su calidad:
y el Rey raostro sentimiento,
quando dixo descontento;
essa meraoria oluidad;
que fue discreta aduertencia.
Maz. Nufio, quitame el amor,
porque sino; que temor
me puede poner prudencia?
Vanse.
183
Escena III
Sale el Maestre, v Tello.
Maes . Aqui me pued.es hablar .
Tell. Sefiorj Dios sabe, que tengo
verguenga: mas ya que vengo
a hablar con tanto pesar;
yo se, que le has de tener.
Esta cierto, que me obliga
justa causa, a que te diga;
que siendo ya mi muger
Clara, no es justa razon,
que me la sirua hSbre humano:
antes de darla la mano,
Mazias tuuiera accion
a pretenderla: mas ya
Que es lo que intenta Mazias,
que con tan necias porfias
en el mismo error esta?
Que si bien qualquier error
por amor disculpa ha sido,
no la dieron al marido,
sino al que tiene el amor.
Bien se, que Clara es honrada,
bien conozco su virtud:
mas vna necia inquietud,
y voluntad porfiada.
Vn siempre constants amor,
q en los ojos muestra el pecho,
a muchas buenas ha hecho
150
155
160
165
170
175
dexar de serlOj seffor.
Quien se puede prometer,
viuir honrado y seguro?
cerco Dios de foso y muro
los ojos de vna muger?
Que guardas puso en su pecho,
para que pueda el honor
viuir del ageno amor
agrauiado y satisfecho?
Es la voluntad por dicha
diamante o vidrio, por quien,
en quien le guarda mas bien,
puede entrar qualquier desdicha.
Tengo yo de estar sin miedo,
raientras se desuela aquel,
que no puedo guardar del
el alma, que ver no puedo?
Que se yo, si vendra dia,
en que a Clara desvanezca
su hermosura, y la enternezca
de vn loco amor la porfia?
Y atropellando la honra,
puedo comengar a amar
de lastima, y acabar
su lastima en mi deshonra.
Fuera desto,.es bien, senor,
que se atreua vn hombre assi,
fiado en el Rey, y en ti,
a querer manchar mi honor?
184
180
185
190
195
2 00
Es bien, que en Cordoua cante
los nirlos claras canciones
de Clara; que a los varones
de prudencia y honra espanten?
Es bien, que esto se prosiga,
despues de casado yo?
Maes. No por cierto, Tello, no,
ni que de Clara se diga,
que pudo dar ocasion
a desatinos tan grandes.
Tell. Como tu, sefior, le mandes,
que dexe la pretension,
sin dezir, que to lo se;
yo se, que la dexara:
porque si ocasion me da.
Maes. Quando el ocasion te de,
castigare su locura,
pero no tengas temor.
Tell. Bien sabes tu, que el honor
no ha de estar en auentura.
Ni es razon, que vn hidalgote
se tome tanta licencia;
que a costa de mi prudencia
toda la Corte alborote.
Y que se atreua a seruir
la muger de vn Cauallero
como yo, porque primero.
Maes. No lo acabes de dezir,
que tienes mucha razon,
y yo lo escucho con pena;
185
* 2 05
210
215
220
225
230
porque en la muger mas buena:
puede auer mala opinion.
De que ay tantas ofendidas,
que muchas ay lastimadas
en el honor, siendo honradas,
porque fueron perseguidas.
Que en andando en pareceros,
deslustran sus claros nombres,
la necedad de los hombres,
la embidia de las mugeres.
Clara es quien es, pero en fin
la lengua del vulgo es talj
que dira de vn Angel mal.
Tell. Con habarle tendra fin
su porfia, y mi pesar.
Maes. Y yo salgo por fiador.
Te. Pengo en tus manos mi honor.
Vase.
Maes. Pues yo le sabre guardar.
Escena IV
Sale Paez.
Ola.
Pae. Sefior. Esta ai
Mazias?
Pae. Leyendo esta
vnos versos.
186
2 35
240
250
187
Maes. No tendra
mas ocasion; que entre, di.
Vase Paez.
Escena V
Sale Mazias.
Maz. Pense, que ocupado estabas
con Tello, y no entre, senor,
ha dezirte, vn gran fauor
del Rey.
Ma . Por esso dexabas
de darme parte, Mazias,
de tus auraetos?
Ma. Su Alteza
por su liberal grandeza,
que no por las prendas mias;
el Alcaidia me dio
de Arjona, con mil ducados
de renta.
Maes. Bie empleados.
Maz. Por ti me fauorecio
deste honor, que no por mi.
Mae. Yo tSgo q hablarte.
Ma. Soy
tu hechura.
Mae. Quexoso estoy
y no sin causa, de ti.
Quando veniste a seruirme,
pusiste en vna donzella
260
265
270
de la Condesa los ojos^
hermosa como discreta.
Y tan virtuosa y noble;
que la empleo la Condesa
en el hombre mas honrado,
que me sirue en paz y en guerra.
Por tus seruicios al Rey
se la pediste: que fuera
justo, pues el lo mandaba,
casarte entonces con ella.
Pero no se pudo hazer,
que las escrituras hechas,
y dadas las manos ya,
fuera impiedad y violencia.
Casose Tello: esse dia
cerro la razon la puerta
a tu esperanga, no es justo,
que neciamente la tengas.
q esta en medio el noble honor
de vn hombre de tales prendas,
que es tan bueno como yo.
Hanme dicho* que no cessas
de seruirla y inquietarla,
que me ha dado mucha pena.
Tello es mi propia persona:
aduierte que no te atreuas
a enojarle, que en mi casa
corre su honor por mi cuenta.
No porque el no esta seguro,
pero sus deudos se quexan
188
2 75
280
285
290
2 95
300
de tus versos y canciones,
famosos por la excelencia
de tu ingenio, a cuya causa
no solo aqui se celebran,
pero en Granada los Moros
las traducen en su lengua.
A tu entendimiento basta,
que esto de mi boca entiendas,
antes que lo entienda Tello,
que no sufrira su ofensa.
Vase.
Escena VI
Maz. 0 confusion de mi amoroso engafio!
Esto faltaba solo a mi tormentoj
En que puede ofender mi pensamiento,
La hermosa causa de mi eterno dafio?
0 ley cruel, o injusto desenganoI
Que aun no quiere que sienta el mal que
sieto?
Que honor puede quitar mi entendimiento;
Con cuyos versos mi esperanga engaho?
Mandarme que no quieraj es la violencia
Mayor, que puedo hazer a mi sentido,
Y en presencia del bien sufrir ausencia.
Que estando (como estoy) de amor perdido,
Aumentara el amor la resistencia,
Que para largo amor, no ay breue oluido.
189
305
310
315
32 0
325
190
Escena VII
Sale Nuno.
Nu. Bien me puedes dar albricias,
de que va la Primauera
a dar cristales al Betis,
o flores a sus riberas.
No sin embidia del Sol,
no sin igual competencia,
Clara.
Maz. Ay Dios.
Nu. Clara, sefior,
en vn coche en vna esfera
de luz con Leonor esmalta
las estampas de las ruedas.
Llevaba Clara vnos ojos,
que pudieran ser estrellas
de la mas templada noche:
poco he dicho, que pudieran
ser Soles del mismo Sol.
Mirome, y fue cosa nueua
mirarme, Clara, con ellos:
mas fue la causa mas cierta,
de mirarme aquellos ojos\
no tener otros tan cerca.
Tambien me miro Leonor,
y senti, no se que flechas
desde los ojos al alma.
Pareciome, que eran senas,
y acerqueme.
330
335
*
340
345
350
191
Ma. Bien hiziste.
Nu. Tabien, q en llegando a ellas,
me dieron vn cortinazo,
que entre la mano y la seda
me lleuaron las narizes.
Maz. Si acercabas la cabega
por el estriuo, no quieres,
que vn Angel, Nuno, se ofenda,
de que a su trono diuino
vn hombre humano se atreua?
Nu. Trono, o trueno, mis narizes,
que no destilaron perlas,
sintieron el disfauor:
que no ay parte que mas duela,
mas opuesta a qualquier dano,
mas delicada, y mas necia.
Tengolas derechas?
Ma. Nuno,
notables cosas me cuentas.
Que sentiste al tiempo, quando
essa dichosa cabega
por el estribo acercabas
a las blancas agucenas
de aquella diuina mano?
Nu. Senti lo que tu sintieras,
al lleuarte las narizes
vna agucena de piedra.
Maz. Ay quien fuera tan dichoso,
que de aquella mano bella,
355
360
365
370
375
380
192
de aquel cristal, de aquel nacar,
esse fauor recibiera?
Nu. Esso tienes por fauor?
mas porque embidia me tegas,
seguilas, y se apearon
del coche en la primer huerta,
y al baxar Clara, no se
si fue el brio, o fue la priesa;
yo vi .
Ma. Qu3to quieres, Nuno
antes que to dicha sepa,
por los ojos?
Nu. Pues los ojos
quieres, seffor, que te venda?
Maz. Cuenta, cuenta lo que viste.
Nu. Vi vnas botas de baqueta,
con que el cochero llego
a apearlas.
Maz. Esso era?
Nu. Pues que pensaste? que auia
capatilla Cordouesa,
argentada en oro y plata
de coragones y flechas?
pensaste que auia manteo
con guarnicion sobre tela?
Maz. Ya no te compro los ojos.
Nu. Si las narizes quisieras,
essas te vendiera yo:
porque las mas aguilefias
hara vn cortinazo romas.
385
390
395
400
405
193
Maz. Que tanta la dicha sea
de vn cocheroj que a los bragos
de vn Angel sin temor llega?
Nu. Si viesses vn aguador
con un vestido de gerga,
coger vna darna, y dar
en las xamugas con ella;
q dirias?
Maz. Que son dichas
que merece la inocencia.
Nu. Los cocheros y aguadores
son sacristanes de Iglesias,
que las imagenes ponen,
mas nunca rezan en ellas.
Maz■ No podre yo ver a Clara?
Nu. Con discrecion podras verla,
pero no sin discrecion.
Maz. Nuflo, como yo la vea;
que mal me puede venir?
y quando muchos me vengan;
no es por ella? pues que gloria
mayorj que tan dulce pena?
Nu. Yo me pongo en las narinesj
por si llegaremos cerca,
vn capirote de haIcon.
Maz■ Clara ofende?
Nu. Muy bien pega.
Vanse.
410
415
42 0
425
430
194
Escena VIII
Salen Clara, y Leonor.
Cla. No puedo, Leonor mia,
imaginar la ca.usa.
Leo. Pues tan presto
viue sin alegria?
Cla. Nunca en pensar el pensamiento he puesto
que de su nueuo estado
proceda la tristeza que le ha dado.
No falta en los fauores
mi esposo, y los regalos que solia,
con los mismos amores
le halla la noche, y le despierta el dia.
Leo. Pues en que se han fundado
essas tristezas?
Cla. En algun cuidado.
Leo. Cuidado?
Cla. Vnos suspiros
tal vez le salen del ardiente pecho,
que como al bianco tiros,
me traspasan el alma, en que sospecho,
que algunos locos zelos
le dan estas tristezas y desvelos.
Leo. Zelos pueden, senora,
en tu virtud de todos conocida,
tener inquieto agora,
a quien conoce de tu honesta vida,
tan gran recogimiento?
435
440
445
450
455
195
Cla ■ Zelos engarlos son del pensamiento.
Como va caminante
en noche obscura, hasta que llegue el dia;
assi zeloso amante
camina por su ciega fantasia,
hasta que deste engano
l e d i u i e r t a l a l u z d e l d e s e n g a h o .
Entre tanto padece
el sugeto que adora.
Leo. Yo s o s p e c h O j
que no l e d e s v a n e c e
culpa, que ofenda tu inocente pecho:
q u e e n e l s e r u i r ay cosas,
que obligan a tristezas cuidadosas.
Escena IX
Salen Mazias, y Nuno■
Nu. Alii estan.
Maz. Ya las he visto: *
pero como llegare;
pues bueluete.
Maz. No podre:
que hermoso marmol cSquistoI
pero porque me resisto,
si a lo mismo me prouoco?
cuerdo temo, y llego loco, *
pero temer no es tazon,
que quien pierde la ocasion,
tiene la fortuna en poco.
460
465
470
475
Hermosa Clara, ocasion
de mis versos y mis penas,
buelue essas luzes serenas
a mi obscura confusion:
no pido mas galardon
de amor tan desatinado,
que saber, que mi cuidado
hallo lastima en tu pecho,
para morir satisfecho,
de que fue bien empleado.
No quiero yo de ti, mas
de que digas (oye, aduierte)
hombre, pesame de verte
en el estado en que estas:
mira tu, que premio das
tan facil a mi tormento,
bien sabes tu, que no intento
cosa que ofenda tu honor,
pues este fue de mi amor
el mayor atreuimiento.
Cla. Mazias, quando me hablaste
en la pena que tuuiste,
de saber que me perdiste,
ha dezirte me obligastej
que lo agradeci, pues baste,
que agradezca yo tu amor,
para vn hombre de valor:
retirate a ti de tij
que no me quieres a mi,
mientras no quieres mi honor.
196
480
485
490
495
500
505
El que no estima el disgusto
que da, el quitarle la fama,
esse no estima su daraa,
que solo estima su gusto:
tu eres discreto, y no es justo,
que este a tu pluma sugeta,
no escriuas, que se inquieta
mi marido, y no es razon,
que a costa de mi opinion
ganes fama de Poeta.
Tus canciones y fauores
son para lagrimas mias,
escriue guerras, Mazias,
dexa de escriuir amores:
sugetos no son mejores
essas vanderas opuestas?
mas que me sirues, molestas,
y aduierte, que las casadas
perdemos por celebradas,
la opinion de ser honestas.
A vna casada le basta
para estimacion honrosa,
no el saber que ha sido hermosa,
sino saber, que fue casta:
tu piensas, que me contrasts
la vanidad que preuienes,
del grande ingenio que tienes?
pues en tan locos enganos,
escriue tus desenganos,
y no escriuas mis desdenes.
197
510
515
52 0
525
530
535
198
Maz. Senora, senora, aduierte.
Escena X
Sale Tello al pafio.
Tell. Que es esto q estoy mirando?
Cla. De que sirue porfiando,
dar ocasion a tu muerte?
Vase.
Maz. No fue mi inteto ofenderte
Leonor, Leonor.
Leo. No ay Leonor.
Vase.
Nu. Necio has andado, sefior.
Maz. Como puede andar discreto
aborrecido, y sugeto
vn hombre, que tiene amor.
Nu. Entre essos arboles vi
a Tello, como escondido.
Maz. Con el Maestre ha venido,
que suele andar por aqui:
si me vio?
Nu. Pienso que si:
mas ven por aqui, sefior.
Maz. A ver el coche es mejor.
Nu. Esso dizes?
540
545
550
555
199
Maz. Ya no esperes,
mientras con vida me vieres,
sino locuras de amor.
Vanse los dos.
Tell. Ya es infame el sufrimiento,
que pone el honor en duda.
Saca la espada, v sale el
Maestre.
Escena XI
Maes. Donde la espada desnuda?
Tell. Cortar vn arbol intento.
Maes. Pues tu me engafias a mi,
y auiendo visto a Mazias?
Tell. Yo te dixe sus porfias,
poniendo mi honor en ti.
Y su priuanga, sefior,
de mi honor te ha descuidado:
que si le huuieras hablado,
no se atreuiera a mi honor.
Quise matarle, mirando
su atreuimieto.
Maes. Yo hable
con Mazias, y pense
que bastara, imaginando,
que era hombre de razon;
pero pues que no lo ha sido,
ni el auerle yo renido
560
*
565
570
575
2 00
templa su necia aficion:
ven conmigo.
Tell. Presumi,
que no le auias hablado:
perdona.
Maes. Estoy enojado.
Tell. Mi remedio pongo en ti.
Maes. Ya fue tu agrauio pequeffo
con el que haze a mi valor,
porque no merece amor,
quien no obedece a su duefio.
Vanse.
Escena XII
Salen Mazias, y Nuno.
Maz. Vino el Maestre?
Nu. No se:
la Condesa esta esperando.
Maz. Y yo estoy desesperando
de que mi firmeza y fe
quieran con tanta desdicha.
Nu. Quien se puede diuertir,
y se ha dexado morir,
no se quege de su dicha.
Maz. Como tendre sufrimiento
para el dolor de oluidar,
quando lo quiera intentar?
Nu. Poniendo el entendimiento,
en que esto ha de durar poco.
- 580
585
590
595
Maz■ No podre tener paciencia,
para viuir en su ausencia,
Nufio, sin boluerme loco.
Nu. A Iupiter se quexaron
las muelas del hombre vn dia,
diziendo a su Senoria,
los affos que trabajaron
desde la muela primera,
mascando lo que comia:
y que por dolor de vn dia,
luego las echaban fuera.
Don Iupiter le rino,
y el respondio: que he de hazer,
sino dexan de doler?
a quien luego replico:
hombre, sufrej pues te toca
el dolor, que bien podras,
que despues to alegraras
de ver tu muela en tu boca.
Sufra, pues, tu voluntad
esse pequeno disgustoj
que despues te dara gusto
gozar de tu libertad.
Escena XIII
Salen Paez. v vn Alcaide.
Mazias.
Quien es?
Yo soy.
Pae.
Maz.
Pae.
201
600
605
610
615
62 0
Maz. Que quieres, Paez?
Pae. Aduierte,
que prenderte me han mSdado.
Maz. Quien?
Pae. El Maestre.
Maz. El Maestre
es mi dueno, y es mi juez:
Paez, si el lo manda, puede.
Dixote la causa?
Pae. No.
Maz. Vamos.
Paez. El Alcaide viene
a ponerte en essa torre.
Ale. No pienso yo, que lo sientes
como yo.
Maz. No tengas pena
don Pedro, que estos baibenes
deben de ser de fortuna,
si la cabega le duele.
Nu. A ti en prision?
Maz. Calla, Nufio,
que el criado inobediente
a lo que el dueno le manda,
este castigo merece.
Vanse.
2 02
625
630
*
635
640
203
Escena XIV
Salen Tello, y Clara.
Tell. Cierto estoy de tu valor,
conozco tu honestidad,
pero tanta libertad
obliga a mirar mi honor:
no te denj Clara, temor
mis diligencias, a efeto
de auer tenido respeto
al Maestre, que si fuera
de otra suerte, yo me huuiera
vengado menos discreto.
Bueno es, que sepa vn marido
que siruen a su muger,
y que lo que puede ser,
pueda poner en oluido?
El que su afrenta ha sabido,
no es hombre, ni aun animal,
si consiente tanto mal:
pues en ocasiones. tales,
hazen muchos animales
venganga al agrauio igual.
Entre todas las naciones,
tiene el Espanol valor,
fundado todo su honor
en agenas opiniones:
y en estas satisfaciones,
que en fin de la honra son,
en que estriua su opinion,
645
650
655
660
*
665
204
aunque fundada en mugerj
veo que debe de ser
la mas honrada nacion.
Cla. Tello, desdicha fue mia,
que aqueste necio aya dado
en ser sobre porfiado,
hombre de tanta osadia:
no porque en esta porfia
aya mas atreuimiento,
que dezir su pensamiento,
sin pretender esperanga.
Tell. Pues q espera, quien alcanga
poner en prision al viento?
Cla. No mas de la vanidad
de sus canciones de amor.
Tell. Y ha de estar siepre mi honor
sugeto a su libertad?
quien ha visto voluntad
tan necia en hombre discreto?
si es para solo el efeto
de escriuirj porque ha de ser
el sugeto mi muger?
falta en el mundo sugeto?
Cla. Como tu viuas de mi
(como merezco seguroj
de la opinion que auenturo
quiero consolarme assi.
Tell. Tus duenos vienen aqui,
no te entienda la Condesa.
670
675
680
685
690
695
2 05
Cla. De lo que sabe me pesa,
pero ella sabe mi honor.
Escena XV
Salen la Condesa, el Maestre,
Fernando v criados.
Con. Bien se que vuestro valor
le obliga a daros la empresa.
Quando sera la partida?
Maes. Antes que venga la gente
de Castilla, no ay que intente.
Con. Vos la lleuareis luzida.
A Tello no lleuareis,
que ya esta Tello casado.
Tell. No dexo de ser soldado,
sino es que vos lo mandeis.
Con. Lleuad a Paez por Tello,
a Fernando, o a Mazias.
Maes. Tengole preso, que ha dias
que tiene sobre el cauello
la espada de cierto honor.
Tell. Viue Dios, que no le prende,
Aparte.
por mi honor, que le defiende
de mi, por tenerle amor.
Cla. No digas tal por tu vida.
Tell. Clara, yo lo entiendo ya.
Con. Preso Mazias esta.
700
705
710
715
Maes. Mejor esta defendida
desta suerte su persona,
alii oluidara mejor.
Fer. Ya los musicos, senor,
han llegado de Archidona.
Escena XVI
Salen los Musicos.
Mus. A seruirte nos embia
el Alcaide.
Maes. Yo agradezco
assi vuestra voluntad,
como el gusto que me ha hecho.
Teneis muchas cosas nueuas?
Mus. Romances, senor, tenemos,
y algunas letras.
Maes. Cantad,
sin templar los instrumentos.
Cantan. Dulce pensamiento mio,
si en vna obscura prision
el hierro es mi dulce gloria,
la tiniebla es claro Sol.
Dezidla a mi be11a ingrata,
como en la imaginacion,
tan presente la contemplo,
quando ausente della estoy.
207
Maes. No canteis mas, bueno esta
varaos, senora, que quiero
hablar en nuestra jornada.
Vanse todos, v detiene Tello
a Paez.
Escena XVII
Tell. Paez, Paez.
Pae. Llamas, Tello?
Tell. Eres mi amigo?
Pae■ Si soy.
Tell. De los que son verdaderos,
o de los que son fingidos?
Pae. Verdad y amistad professo.
Tell. Pues que has sentido, de ver
que con tal atreuimiento
haga de mi honor Mazias
Romances, estando preso?
Los Musicos de Archidona
embia a Cordoua el necio,
para que los oiga Clara?
Pae. Lo que del Maestre entiendo
es, que le quiere muy bien.
Tell. Pues yo que lo entigdo y veo
que paga assi mis seruicios,
que aguardo ?
Pa. No te acdsejo
que te quexes, pues matarle
no puedes.
745
750
755
760
2 08
Te . Como no puedo ?
Por la rexa de la torre
(ay del, Paez, si le acierto)
le he de tirar vna langa. 765
Pa■ No haras Tello, q eres cuerdo
y si te prende el Maestre,
que te quitasse sospecho
la cabega.
Tell. Noble soy.
no importa, mi honor defiendo. 770
Vase, y sale Nuno.
Escena XVIII
NU. Porque estaba Tello aqui,
no entre a hablaros.
Pae. Mucho siento
de Mazias la prision.
Nu. q es de sentirla os prometo:
que este es vn honrado hidalgo, 775
que con amor tan honesto
ha querido a dona Clara;
que he visto a sus pensamientos
lo que sentia Platon,
pintando a vn amor perfeto.
No quiere mas de querer:
aqueste papel le lleuo
a1 Rey.
Pa. Querra libertad.
Nu. Essa pide en treinta versos.
2 09
Escena XIX
Ruido dentro. sale el Alcaide con la
espada desnuda tras Tello de
Mendoca que se sale
retirando.
Ale. Prendelde, y sino es posible,
matadle, soldados.
Tell. CreOj
si ya he vengado mi honor,
q estimo la muerte menos.
Vase.
Pa. Que es esto, senor Alcaide?
Ale. q ha muerto a Mazias Tello,
tirando por la rexa
vna lanqa.
Vase.
Escena XX
Sale Mazias con vn pedaco de lan-
ca por el pecho, v otros
teniendole♦
Maz. Ay cielo, oy muero.
Nu. Seffor, q es esto?
Maz. No se,
Nuffo, solamente puedo
dezirte, que ya tu miedo
verdad en mi muerte fue:
785
790
795
210
quise bien, cante, llore,
escriui, y el escriuir,
amar, llorar, y sentir,
y quanto he escrito y sentido,
y lloradoj todo ha sido
porfiar hasta morir.
Ay Clara, que me has costado
la vida, que no tenia
mas que te dar, si te auia
todas mis potencias dado:
honestamente te he amado,
que tu lo puedes dezir,
pero de amar y seruir,
justo galardon me alcanga,
pues quise sin esperanga,
porfiar hasta morir.
Di al Maestre mi seffor,
que a Tello perdono aqui,
pues to la ocasion le di,
y el ha guardado su honor:
Cielos, perdonad mi error,
pense, que vn casto seruir
se pudiera permitir.
Escena XXI
Salen el Maestre. la Condesa, Clara,
v Leonor, el Alcaide y todos.
Maes. Muerto?
Ale. Mira el desengano.
800
805
810
815
82 0
211
Maz. Si senor, que fue mi dafio
porfiar hasta morir.
Muere.
Co. Caso estrario!
Ma. Lastimoso!
que no prendiessen a Tello?
Ale. No fue possible, serior,
amigos le defendieron.
Cla. Leonor, quien ha de mirar
tanto dolor?
Leo. El que tengo
muestran mis ojos.
Cla. q hara
quien fue la causa?
Maes. Esta cierto,
Mazias, de tu venganga.
Viue el cielo, que si puedo,
he de poner su cabega
por pies de tu hQroso entierro .
Y por memoria de amor
tan verdadero y honesto;
en vn sepulcro famoso
honrar y poner tu cuerpo,
con vnas letras doradas
que digan en marmol terso:
Aqui yaze el mismo amor.
Nu. Y aqui, Senado discreto,
porfiar hasta morir
dio fin a seruicio vuestro.
82 5
830
8 35
840
212
TEXTUAL NOTES
Act I
4. Alcolea.— This bridge over the Guadalquivir River
is located about seventy-five kilometers from Cordoba.
6. passaron.— pasaron. The Spanish language of the
time frequently maintained this spelling.
13-14. Nurlo points out that mistakes are made by one
in love. This will have greater meaning later in reference
to Macias.
17. avemos.— habemos.
31-32. These lines indicate that they are near the
city of Cordoba.
37. auer.— haber.
38. Baco.— Bacchus was the Roman mythological god of
wine and the son of Zeus and Semele.
39-64. The Maestre is attacked by ruffians after
being lost on a hunting trip.
48. dexandonos.— dej andonos.
51. cebada.— barley.
54. cacando.— cazando.
57. porq.— porque.
213
60. bue.— buena or buen.
64. Roldanes.— Roldan or Rolando was Charlemagne's
greatest legendary paladin, famous for his prowess and death
in the battle of Roncesvalles (A.D. 778). He was a nephew
of Charlemagne. He is the hero of the French epic, Song of
Roland. Nufio's comment refers to the rescue of the Maestre.
74. vno.— uno.
77. mugeres.— mujeres.
78. mugerzillas.— mujercilla. The translation of the
word is little woman or insignificant woman. In this case,
it refers to women of ill repute.
8 0. hazerlo.— hacerlo .
92. estoi.— estoy.
114. deste.— de este.
121. Dios os guarde.— May God be with you, a greeting
which was used toward an inferior.
12 3. priesa.— This is an archaic but etymologically
correct form of prisa (Latin pressa).
134. enefeto.— en efecto.
135-143. Macias states his desire to change his inter
est from academic endeavors to military ones. He also men
tions the letters he is carrying which he will later present
to the Maestre.
145. Nuho comments on Macias' ability and valor for
both peace and war.
147-173. Tello, Fernando, and Paez have been looking
for the Maestre when they encounter Macias and NufEo. Macias
learns, for the first time, that he helped the man he was
coming to meet.
169. g..— que.
214
169. c<3.— con.
178-180. Tello offers to take Macias to see the
Maestre.
192. pieso.— pienso.
197-198. The Condesa is worried because the Maestre
has not returned.
201-207. The Condesa compares hunting and war.
2 08-210. Clara states that hunting and war should not
be equated.
216-222. The Maestre relates being lost and then res
cued from danger.
222. prouaron■— probaron.
228. disteisle.— le disteis. The plural^ vosotros.
was regularly used at this time for singular address. The
position of the complement is not yet fixed either.
2 30. diamante.— diamante. There is a difference in
spelling in line 2 36.
2 30-2 33. The Maestre answers the Condesa by saying
that he offered a diamond to his rescuer but it was refused.
2 36. The Maestre tells the Condesa that he did not
insist because the diamond is hers.
2 36. diamSte.— diamante.
244. pagara.— pagara. This is the past subjunctive
used as a substitute for the conditional.
251. Aurora.— She is a mythological goddess of the
morning in charge of opening to the Sun the doors of the
East. Dawn was often personified by the Romans and others
as a goddess. Eos was the Greek goddess of the dawn* iden
tified with the Roman Aurora.
215
256. Betis.— This is an antiquated name for the
Guadalquivir River, from the Roman Betica.
268. Dessos pies.— De esos pies.
2 72. prisiones de oro.— This is a reference to gold
shackles or gold chains.
2 78. Don Luis Aluarez de Toledo.— He is a cousin of
the Maestre in whose court Macias served.
291-357. Macias meets Clara for the first time.
2 96. Auila.— Avila. This is an old capital of Spain
and capital of the province of "Castilla la vieja," located
northwest of Madrid.
298. Toledo.— Toledo is a city in central Spain,
located southwest of Madrid. It was the capital of Visi-
gothic Spain. The Visigoths inhabited Spain from approxi
mately 403 to 711.
32 9. Sanson.— Samson. Samson was the fifteenth of the
"judges" of Israel, famous for his physical strength, and
was betrayed by his love for Delilah.
331. Hercules.— Hercules was a famous Greek hero who
possessed extraordinary strength but who surrendered and
humbled himself to Queen Omphale.
332-338. Clara comments on the power of love, which
Macias will experience fully.
342-347. This is a reference to the body humors. The
notion that all created matter is composed of the four ele
ments of earth, air, fire, and water was a commonplace dat
ing from ancient times and was frequent in the literature of
the Renaissance and Golden Age. Hesse, in Calderon's La
Vida es sueno (New York, 1961), writes:
The naturalistic view of the integration of all man's
faculties— a kind of physiological monism— was based on
the venerable idea that all created matter is composed
of the four elements of earth, air, fire and water.
216
Furthermore, the function of the four elements in deter
mining man's nature and temperament was also a common
place .... Each element had two properties: earth—
dry and cold; water— cold and moist; air— hot and moist;
fire— hot and dry. Man the microcosm has four corres
ponding humors, or subtle fluids:
1. blood (like air), hot and moist
2 . choler (like fire), hot and dry
3. phlegm (like water), cold and moist
4. melancholy (like earth), cold and dry
(pp. 51-52)
Here, Clara is saying that the cholerics or people who anger
easily love quickly but that the phlegmatics or people not
easily excited to action or feeling take longer but love
longer.
35 7. escura.— oscura, obscura.
379. Virgilio.— Virgil, 70-19 B.C., was a Roman poet,
author of the Aeneid.
402 -4 0 3. la necrra barca de Caron.— Caron or Caronante
was the navigator of Hell who ..passed by in this boat through
the Estigian lagoon for the souls of the dead. Estigia is
the river of Hell. Nufio is warning Macias.
404. Orfeo.— Orpheus. He was the son of Apollo and
Calliope, according to Greek mythology. He was a Thracian
singer and player of the lyre. He followed his dead wife
Eurydice to Hades and was allowed by Pluto, whom he had
charmed by his music, to lead her out, provided that he did
not look back. At the last moment he looked back, and she
was lost.
417-448. Macias glorifies the beauty of Clara.
426. Diana.— She was a Roman mythological goddess,
daughter of Jupiter and Latona. She obtained permission
from her father never to marry, and Jupiter made her queen
of the forests and goddess of hunting. This refers to the
story of Actaeon, who saw Diana bathing. She changed him
into a deer and he was killed by his own dogs.
217
435. Apeles.— Apelles. He was the most famous of the
Greek painters. He lived in the court of Alexander the
Great, in the fourth century B.C. (360?-315?). He was
famous for his paintings of a sleeping Venus and of Venus
Anadyomene.
458. Estios.— Summers.
461. Alarbe Moro.— alarabe or alarbe. This is a ref
erence to someone uncultured or brutal. Alarabe means the
Arab. Christian Spain supposed Arabs to be brutal.
495-496. Nuflo asks whether, or better yet, states that
Macias intends to love Clara even though he has been warned.
516. Cancerbero.— Cerbero. Cerberus, in mythology,
was the dog, usually represented as having three heads, that
guarded the entrance of Hell.
518. Draqontea.— According to Greek mythology, the
hundred-headed dragon which guarded the Gardens of the
Hesperides.
519. Medea.— According to Greek mythology, Medea was a
sorceress, the daughter of Aeetes, King of Colchis, and wife
of Jason, whom she assisted in obtaining the Golden Fleece.
520. Iason.— Jason. According to Greek mythology,
Jason was the leader of the Argonautic expedition in quest
of the Golden Fleece. The fleece of gold was taken from the
ram on which Phrixus was carried to Colchis and was recov
ered from King Aeetes by the Argonautic expedition under
Jason.
52 0. las mancanas de oro.— The golden apples of the
Hesperides. The daughters of Atlas possessed a garden whose
trees produced golden apples. Jason visited the Gardens of
the Hesperides on his return trip after taking the Golden
Fleece.
5 35. Iupiter.— Jupiter. Jupiter was the father of
the Roman gods, corresponding to the Greek Zeus. He was God
of Heaven, of daily light, and of time.
218
565. Villancicos.— These are popular poetic composi
tions of a religious nature. They are a traditional form.
In the modern age they are associated only with Christmas.
589-590. The King refers to the flags of several
provinces of Spain.
600. There is an error in the rhyme. Line 600 proba
bly does not belong since the rhyme to here has been
pareados.
655. Aora.— Ahora.
659-660. no creas, que Clara le ha de tomar.— In later
editions the comma after creas is omitted, clarifying the
meaning.
705. Almancor Rev de Granada.— Almanzor (Mohamed) was
a famous captain of Muslim Spain (939-1002). He took over
Santiago de Compostela but was defeated by the Kings of Leon
and Navarre and the Count of Castile in the battle of
Calatafiazos (1002).
726. Antequera.— This is a city in Spain, located near
Malaga.
734. Hector.— He was the most valiant of the Trojan
leaders, the eldest son of Priam, King of Troy. He was
united in marriage with Andromache, and as a husband and
father his character was not less admirable than as a war
rior. The Iliad ends with Hector's death at the hands of
Achilles.
734. Aquiles .— Achilles. Achilles, the hero of
Homer's Iliad, the greatest Greek warrior in the Trojan war,
came to be the ideal of Greek manhood. According to legend,
he died when Paris wounded him in the heel, where alone he
was vulnerable.
734. Cesar.— Julius Caesar, 102-44 B.C., the Roman
general, statesman and historian, conqueror of Gaul, Britain
and Spain.
219
747. Platon.— Plato* 42 7?-347 B.C.* the famous Greek
philosopher.
747. Alexandro.— Alexander the Great* 356-32 3 B.C. He
was King of Macedonia* 336-32 3 B.C.* conqueror of Greek
city-states and the Persian Empire from Asia Minor and Egypt
to India.
785. Macias laments his fate to Nuffo.
Act II
8. Cesar Castellano.— This is an analogy of the
Maestre as a Spanish Caesar.
27. Alhambra■— The Alhambra is the famous palace of
the Moorish Kings* dating from the twelfth century and
located in Granada.
32. Principe Augusto.— A Roman Emperor* known first by
the name of Octavio. He was a nephew of Julius Caesar.
43. Godo.— Goth. One of a Teutonic people who* in the
third to fifth centuries* invaded and settled in parts of
the Roman Empire. The Visigoths inhabited Spain from about
403 to 711. According to Covarrubias in Tesoro de la lengua
castellana (1611) from the Visigoths who took refuge after
the Moorish invasion came the modern Spanish nobility* hence
a synonym for "noble."
81. Rev don Enrique.— This is a reference to Enrique
III* of Castile* who lived from 1379 to 1406. He was the
son of don Juan I of Castile and doiia Leonor of Aragon. He
was born in Burgos on October 4, 1379 and died in Toledo in
1406. He succeeded his father when he was only eleven years
and five days old. After the death of the King* he was
moved to Madrid* where he resided with many noblemen* with
the purpose of making him obedient and helping him with his
role in the government* taking into account his young age.
He later participated in many bloody battles against the
Jews and the Muslims. He was called "el Doliente."
220
85. Pelayo.— The first king of Asturias. He died
around the year 737. He was perhaps a descendant of the
earlier Visigothic kings. He was elected king by the nobles
and bishops who were taking refuge in the mountains of
Asturias. In 718, he defeated the Moors in the famous vic
tory of Covadonga that initiated the Christian reconquest.
97. Palencia.— This is a city in Spain on the banks of
the Carrion River in "Castilla la vieja."
119. Marrubscos.— Morocco. This is a territory of
northern Africa, bordered on the north by the Mediterranean,
to the west by the Atlantic, to the south and the southeast
by the Sahara Desert, and to the east by Algiers. All the
invaders from the south (Moros) were said to come from
Marruescos, even though many were not from there— for
example, the Arabs.
126. Lara.— Los siete infantes de Lara. This is both
an old romance and epic poem dealing with the seven sons of
the Spaniard Gonzalo Bustos of the tenth century who, while
attempting to free their father, were killed as traitors by
their uncle Ruy Velazquez. The ballad called romance in
modern Spanish is a short epico-lyric poem, originally
intended to be sung to the accompaniment of music. It is
written in a natively Spanish meter of sixteen syllables in
length, divided into two equal hemistichs by a caesura, with
the final word of each line assonating. This meter, which
is frequently written in two lines, has also been described
as consisting of eight syllables, the even lines assonating,
the odd lines blank. There is no grouping into stanzas, and
poems vary in length, ranging from a few lines to several
hundred. The ballads represent the true traditional spirit
of Spain and reflect the national conscience and mentality
better than any other form of literature. They are episodic
in nature, related intimately in their origin to epic
poetry. They are highly condensed and begin abruptly with
out exposition or transition. In a few deft strokes they
imply an entire situation or identify some hero. They are
vigorous, exciting, simple, and direct. From them emanates
a warlike spirit and genuine patriotism, a live emotion and
poetic intensity. They frequently end as abruptly as they
begin, oftentimes seemingly unconcluded, a characteristic
221
which gives them an air of mystery and special charm. As
the repository of genuine national spirit they have had a
profound effect on Spanish literature since they were first
transcribed, and have consistently been a source of inspira
tion to writers of all ages, especially to those of the
Golden Age. Juan de la Cueva wrote Los siete infantes de
Lara, as well as Bernardo del Zamora. He was the first to
initiate an authentic Spanish drama based upon the epic tra
ditions and legends of the cronicas and romances. His dra
matic doctrines were set forth in his Exemplar poetico
(1606), in which he introduced a number of innovations,
improving over Bartolome de Torres-Naharro and filling the
gap between the latter and Lope de Vega. Lope de Vega bor
rowed from many of his predecessors, especially Juan de la
Cueva. Lope de Vega used ballads in many of his dramas. A
good example of his use of the romance is his play, El
caballero de Olmedo.
132. Serafin.— This is derived from the Latin "sera
phim" and the Hebrew "serafim." It refers to the blessed or
happy spirits that are distinguished by the incessant and
perpetual ardor with which they love things divine and by
the intense and fervent way in which they elevate God.
Macias uses the expression to refer to Clara as an extremely
beautiful woman.
139. Lisipo.— Lysippus. The Greek sculptor who lived
in the fourth century B.C. He sculpted statues of Alexander
the Great.
140. Apeles.— Apelles. He was the most famous of the
Greek painters. He lived in the fourth century B.C. in the
court of Alexander the Great, whose portrait he painted.
(See note to I.xiii.435).
157-160...................................
pues con gusto de morir
fui a la guerra; mas la muerte
nunca viene a quien la busca,
que a los descuidados viene.
This situation, called a reversal, underlines the profundity
of the idea that he who seeks to evade the inevitable merely
accelerates its fulfillment. Its effectiveness as a
222
dramatic device was apparent to the Golden Age playwrights
of Spain. There is a similar idea in Calderon's La vida es
suefio, Act III, scene xiii:
que por quererrae guardar
de la muerte, la busque.
Huyendo della, tope
con ella, pues no hay lugar
para la muerte secreto;
de donde claro se arguye
que quien mas su efecto huye
es quien se llega a su efecto.
(3076-3083)
In these lines, Clarin, who is dying, says that there is no
sure way to avoid death, least of all by flight. A similar
situation occurs in Oedipus Rex when Oedipus flees from
Corinth attempting to evade the oracle that he will slay his
father and marry his mother, only to fulfill the prophecy.
177-178. In these lines Macias is saying that the
forces of love will exceed anything impossible. As is later
shown, this will not prove true in Macias' case.
183-185. Macias asks the King to order the Maestre to
give him Clara as his wife.
195-196. These lines are truly spoken, but unfortu
nately for Macias, he loses Clara and, as he says, loses his
life.
197. Huego.— Huelgo. This is a printer's or author's
error in the first edition.
218. Cruz de Santiago.— This is a Spanish religious
and military order founded in 1611 in Leon. As to how it
was formed and by whom, we are not certain. According to
the most verisimilar explanation, twelve caballeros de Leon.
in the reign of Fernando II, decided to unite themselves
under some statutes and form a group in order to defend the
peregrines that visited the sepulcher of Santiago in Galicia
from the attacks of the Muslims and in order to guard the
223
borders of Extremadura. The congregation prospered, acquir
ing goods and territories and forming a type of diocese with
its capital in Ucles, where they had almost episcopalian
authority, exercised by a bishop. To the "diocese" belonged
towns from the provinces of Ciudad Real, Cuenca, and Toledo,
the convents of nuns of the Concepcion de la Membrilla and
Mother Superiors from Santiago de Madrid. Ucles remained in
power of the order until the reign of los Reyes Catolicos.
222. Abito.— This refers to the insignia of orders of
chivalry worn by knights. In this case, the sign worn was
that of the cross of the order of Santiago.
2 31-2 32. Macias states that the day of his death has
arrived since Clara is no longer his. This is a poetic con
ceit very common in the poetry of Garcilasco de la Vega.
2 51-2 52. Macias laments that love has come to him
together with jealousy.
342. el parabien.— This is a form of a congratulation.
369. Vov a vender un Moro.— In the epoch about which
Lope was writing Moors were sold as slaves.
384. recado de escribir.— Writing materials.
503-508. These lines are attributed to Macias in the
first edition. They are actually stated by NuKo.
551. Senecas v Marciales.— Seneca was a Spanish-Latin
poet and philosopher, born in Cordoba (4 B.C.-A.D. 65).
Martial was also a Spanish-Latin poet (A.D. 40-102).
650. entouces.— entonces.
807. hal o .— hallo. This is a printer's or author's
error in the first edition.
82 0. Marte■— Mars, in Roman mythology, was the god of
war, and the son of Jupiter and Juno. In Greek mythology,
his equivalent was Ares. Of Mars there is told a curious
tale. Mars, says Ovid, was enamored of Minerva and begged
224
Anna Perenna to act as go-between. She put him off as long
as possible and finally told him that Minerva consented. On
unveiling his bride, Mars discovered that she was not
Minerva, but hideous old Anna, and the gods had a hearty
laugh at his discomfiture.
82 3. Venus.— Venus, in Roman mythology, was the god
dess of love and beauty. She was the daughter of Jupiter
and Dione. Some say that Venus sprang from the foam of the
sea. The zephyr wafted her along the waves to the isle of
Cyprus where she was received and attired by the Seasons,
and then led to the assembly of the gods. All were charmed
with her beauty, and each one demanded her for his wife.
Jupiter, in revenge for her rejection of him, gave her to
Vulcan in gratitude for the service he had rendered in forg
ing thunderbolts. Therefore, the most beautiful of the god
desses became the wife of the most ill-favored of gods.
Venus supposedly possessed an embroidered girdle called
Cestus, which had the power of inspiring love.
Act III
13. Las musas.— This is a reference to the Muses, the
sister goddesses in Greek mythology who presided over song
and poetry and the arts and sciences. They were nine in
number, to each of whom was assigned some particular depart
ment of literature, art, or science. Calliope was the muse
of epic poetry, Clio of history, Euterpe of lyric poetry,
Melpomene of tragedy, Terpsichore of choral dance and song,
Erato of love poetry, Polyhymnia of sacred poetry, Urania of
astronomy, and Thalia of comedy. The Muses may have been in
origin water-spirits. Water, as anyone may hear, talks as
it flows; hence it is a widespread idea that water, or the
spirits of water, can prophesy. But a prophet is also a
poet, hence the idea that the Muses could inspire whom they
pleased to write, not only metrical oracles, but anything
metrical. Moreover, as they were very wise, they knew all
stories and could inspire anyone to tell them. Therefore,
they easily became the patronesses of every form of litera
ture as it developed, and by a natural extension of other
arts also.
225
55. Himineos .— Hymen. In Greek mythology, he was the
god of marriage, represented as a young man bearing a bridal
torch.
67. Narciso.— Narcissus. He was, in Greek mythology,
the son of the Boiotian river Kephissos and the nymph
Liriope. He was the loveliest of young men, and supposedly
rejected Echo, for he was cold to all love. But Narcissus
was punished for his cruelty. Happening to lean over a
clear spring in order to drink from it, he saw his own
reflection and at once fell in love with it. Unable to tear
himself away, he remained by the spring until he died of
exhaustion and unsatisfied longing and was turned into the
flower which bears his name.
82. Sierpe.— serpiente.
82. Polo.— Marco Polo (12 54-1324), the Venetian trav
eler in Asia, especially at the court of Kublai Khan.
84. Apolo.— Apollo. In Greek mythology, Apollo was
the god of archery, prophecy, and music. He was the son of
Jupiter and Latona, and brother of Diana. He was the god of
the sun, as Diana, his sister, was the goddess of the moon.
90. Recaredo.— He was the son of Leovigildo, King of
the Visigoths of Spain from 586 to 601. At a very young age
he was associated with the government. When Gontran, King
of Orleans, invaded the Septimania, it was Recaredo who
recorded the triumph of the Spanish, since he not only
repelled the enemy but also penetrated into Gaul with his
army, pursuing with such tenacity the troops of Gontran,
that he defeated them completely. Recaredo adopted Catholi
cism and Latin became the official language of the Church
and State.
98. Orlando.— Orlando was the hero of the Italian epic
poems, Orlando enamorado of Boyardo, and Orlando furioso of
Ariosto. He corresponds to the French epic hero, Roland,
protagonist of the Song of Roland. The latter work was
widely read in Spain during the sixteenth century.
226
99. Aspides.— Asps. Any of several poisonous snakes,
especially the Egyptian cobra, Naie haie. said to have
caused Cleopatra's death and much used by snake charmers.
An asp bite will cause almost instantaneous death, unless
the venom is trapped before reaching the heart. Cleopatra
was queen of Egypt, 47-30 B.C. She saved her kingdom by
winning the love of Julius Caesar and Marcus Antonius, but
was defeated by Octavian. After her death by suicide, Egypt
became a Roman province.
102. Angelica.— One of the most beautiful heroines of
Orlando furioso of Ariosto, poetic type of the woman, who
presents a pleasing contrast with the warlike Marfisa, and
the proud Bradamanta. She is the capricious and tender
woman, weak and strong at the same time, who scorns the most
valiant paladins in order to fall in love with Medoro, an
unknown whose misfortunes have awakened her generosity.
103. Medoro.— The lover and later husband of Angelica
in Ariosto's Orlando furioso. He is a young saracen adorned
with all the graces and animated with the most noble senti
ments . He is wounded when he tries to withdraw from the
battlefield the body of the prince Dardinel. Medoro is
saved by Angelica, who provides him refuge in the dwelling
of a shepherd. She cures him and later they are married.
113. Astolfo.— A legendary prince of England, who was
one of the most famous knights in Orlando furioso. A fairy
gave him a buglehorn whose sound was so powerful that one
would not be left alive if one heard it.
128. pordido.— This is a printer's or author's error
in the first edition. It should be perdido.
129-130. La Alcaidia de Arjona.— This refers to a ter
ritory in Jaen, a province in southern Spain. Alcaidia
refers to the office of a governor of a castle, or to that
of jailer or warden.
2 05. cante.— The tilde was still being used for final
"n." The tilde is the diacritical sign of the letter "n."
227
253. This line is erroneously attributed to Paez in
the first edition. The line belongs to the Maestre.
262-267. These lines belong to Macias.
2 71-314. The Maestre scolds Macias for continuing to
show his intentions toward Clara.
32 7-328. Macias emphasizes his feelings on love and
forgetting it. He states that forgetting does not come
quickly after a long love.
339-343. It was common in Golden Age dramas to use
Sol in alluding to a beautiful woman. The use of estrellas
in reference to beautiful eyes was also common.
469-471. Pues bueluete.— Pues vuelvete. These lines
are incorrectly attributed to Macias in the first edition.
They are Nufio's.
475-478................................
cuerdo temo, y llego loco,
pero temer no es razon,
que quien pierde la ocasion,
tiene la fortuna en poco.
In these lines Macias is saying that he is afraid while
sane, yet becoming mad, but to fear is not sane, for he who
misses the opportunity does not deserve good fate. Macias
is saying worrying accomplishes nothing, that it is better
to go ahead and make your own destiny.
561. The Maestre knows that Tello was about to defend
his honor by killing Macias.
611. Don Iupiter.— Jupiter. The father of the Roman
gods corresponding to the Greek Zeus. Jupiter, though
called the father of gods and men, had himself a beginning.
Saturn was his father and Rhea his mother. Saturn and Rhea
were of the race of Titans, who were the children of Earth
and Heaven, which sprang from Chaos. According to Bulfinch,
before earth and sea and heaven were created all things were
one aspect, to which was given the name of Chaos— a confused
and shapeless mass, nothing but dead weight, in which,
228
however, slumbered the seed of things. Earth, sea, and air
were all mixed up together; so the earth was not solid, the
sea was not fluid, and the air was not transparent. God and
Nature at last interposed, and put an end to the discord,
separating earth from sea, and heaven from both. The fiery
part, being the lightest, sprang up, and formed the skies;
the air was next in weight and place. The earth being heav
ier, sank below; and the water took the lowest place and
buoyed up the earth. For additional information, see
Bulfinch's Mythology: The Age of Fable. The Age of Chiv
alry. Legends of Charlemagne (New York, 1934), chap. ii.
634. don Pedro.— Don Pedro is the jailer.
661-670. Honor was a favorite theme of Spanish drma-
tists of the sixteenth and seventeenth centuries. A whole
code of honor evolved which laid down rules of conduct
between various individuals, such as King and subject, hus
band and wife, one hidalgo and another. Tello is stating
that the Spanish valor is based on the Spanish code of
honor. He is concerned with his own honor, not because
Clara is a dishonorable woman but because Macias does not,
according to Tello, live by the Spanish honor code. For
more on the subject of honor in Golden Age drama, see
Gustavo Correa, "El doble aspecto de la honra en el teatro
del siglo XVII," Hispanic Review. XXVI (1958), 99-107; and
C. A. Jones, "Honor in Spanish Golden-Age Drama: Its Rela
tion to Real Life and to Morals," Bulletin of Hispanic
Studies. XXXV (1958), 199-210.
675. porfia.— porfia. In Lope's plays this word has
many meanings. Generally, it signifies the amorous persis
tency of a lover. This is definitely the meaning that Lope
uses in this play. Covarrubias' definition allows this
usage: "... vna instancia, a ahinco en' defender alguno su
opinion o constancia en continuar alguna pretension; y assi
dize un proverbio: Porfia mata la caga. Dixose porfia, de
'per' y 'fido,' porque la mucha confianga es la que haze
instancia en porfiar."
733-740. Dulce pensamiento mio,
si en vna obscura prision
el hierro es mi dulce gloria,
la tiniebla es claro Sol.
229
Dezidla a mi bella ingrata,
corao en la imaginacion,
tan presente la contemplo,
quando ausente della estoy.
In these lines the musicians sing of a dark prison. It is
definitely in reference to Macias. There is a reference to
the claro-oscuro idea. Sol is mentioned. Sol is a common
usage in Golden Age drama alluding to a beautiful woman, in
this case Clara. The lines also say to tell her that he is
thinking about her even when he is away from her, as much as
if she were near. The musicians are asked to stop singing
after these lines.
842-844. This is a typical ending for a Lope play.
The crracioso tells the audience that the play has ended.
B I B L I O G R A P H Y
230
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Creator Shopmaker, Stanton Neuhart (author)

Core Title An Analysis And Edition Of Lope De Vega'S "Porfiar Hasta Morir"

Degree Doctor of Philosophy

Degree Program Spanish

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag Literature, General,OAI-PMH Harvest

Language English

Contributor Digitized by ProQuest (provenance)

Advisor Smith, John (committee chair), McMahon, Dorothy Elizabeth (committee member), Stahl, Herbert M. (committee member)

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c18-810536

Unique identifier UC11364219

Identifier 7318840.pdf (filename),usctheses-c18-810536 (legacy record id)

Legacy Identifier 7318840

Dmrecord 810536

Document Type Dissertation

Rights Shopmaker, Stanton Neuhart

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the au...

Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus, Los Angeles, California 90089, USA