[608] The clergy writing loose and immoral plays is only one exemplification of the unsound state of society so often set forth in Madame d’Aulnoy’s Travels in Spain, in 1679-80;—a curious and amusing book, which sometimes throws a strong light on the nature of the religious spirit that so frequently surprises us in Spanish literature. Thus, when she is giving an account of the constant use made of the rosary or chaplet of beads,—a well-known passion in Spain, connected, perhaps, with the Mohammedan origin of the rosary, of which the Christian rosary was made a rival,—she says, “They are going over their beads constantly when they are in the streets, and in conversation; when they are playing ombre, making love, telling lies, or talking scandal. In short, they are for ever muttering over their chaplets; and even in the most ceremonious society it goes on just the same; how devoutly you may guess. But custom is very potent in this country.” Ed. 1693, Tom. II. p. 124.
[609] The “Vida y Purgatorio del Glorioso San Patricio,” of which I have a copy, (Madrid, 1739, 18mo), was long a popular book of devotion, both in Spanish and in French. That Calderon used it is obvious throughout his play. Wright, however, in his pleasant work on St. Patrick’s Purgatory, (London, 1844, 12mo, pp. 156-159), supposes that the French book of devotion was made up chiefly from Calderon’s play; whereas they resemble each other only because both were taken from the Spanish prose work of Montalvan. See ante, [p. 298].
[610] When Enio determines to adventure into the cave of Purgatory, he gravely urges his servant, who is the gracioso of the piece, to go with him; to which the servant replies,—
I never heard before, that any man
Took lackey with him when he went to hell!
No,—to my native village will I haste,
Where I can live in something like content;
Or, if the matter must to goblins come,
I think my wife will prove enough of one
For my purgation.