Sin la vida? El seso pierdo;
Pero como seré cuerdo
Si fué traydor el Marques?
Que cordura, que concierto,
Tendré yo, si estoy sin mí?
Sin ser, sin alma y sin tí?
Ay, Lucinda, que me has muerto!—
and so on. Guerin de Bouscal, one of a considerable number of French dramatists (see Puybusque, Tom. II. p. 441) who resorted freely to Spanish sources between 1630 and 1650, brought this drama of Guillen on the French stage in 1638.
[506] It is in the second volume of Guillen’s plays; but it is also in the “Flor de las Mejores Doce Comedias,” etc., Madrid, 1652.
[507] This comedia de santo does not appear in the collection of Guillen’s plays; but my copy of it (Madrid, 1729) attributes it to him, and so does the Catalogue of Huerta; besides which, the internal evidence from its versification and manner is strong for its genuineness. The passages in which the lady speaks of Christ as her lover and spouse are, like all such passages in the old Spanish drama, offensive to Protestant ears.