[152] “Coronas del Parnaso y Platos de las Musas,” Madrid, 1635, 12mo. There is some resemblance in the idea to that of the “Convito” of Dante; but it is not likely that Salas Barbadillo imitated the philosophical allegory of the great Italian master.
[153] The “Primera Parte de las Noches de Invierno, por Antonio de Eslava,” was printed at Pamplona in 1609, and at Brussels in 1610, 12mo; but, as was so common in these works of amusement, I believe no second part followed. It is ordered to be expurgated in the Index of 1667, p. 67.
[154] “Doce Novelas Morales y Exemplares, por Diego de Agreda y Vargas,” Madrid, 1620; reprinted by one of his descendants, at Madrid, in 1724, 12mo. Diego de Agreda, of whom there is a notice in Baena, (Tom. I. p. 331,) was a soldier as well as an author, and, in the tale he called “El Premio de la Virtud,” relates, apparently, an event in the history of his own family. Others of his tales are taken from the Italian. That of “Aurelio y Alexandra,” for instance, is a rifacimento of Bandello’s story of “Romeo and Juliet,” used at just about the same time by Shakspeare.
[155] “Guia y Avisos de Forasteros, etc., por el Licenciado Don Antonio Liñan y Verdugo,” Madrid, 1620, 4to. In a discourse preceding the tales, which are fourteen in number, their author is spoken of as having written other works, and as being an old man; but I find no notice of him except that in Antonio, (Bib. Nov., Tom. I. p. 141,) which gives only the titles of the tales, and mistakes the year in which they were printed. Some of the stories, it may be added, seem true, and some of the sketches of manners are lively.
[156] See, ante, Vol. II. pp. 156, 157, an account of these tales of Lope, and the way in which four others that are not his were added to them, and yet appear in his collected works, Tom. VIII.
[157] Literally, Pinks of Recreation,—“Clavellinas de Recreacion, por Ambrosio de Salazar,” Ruan, 1622, 12mo. He wrote several other Spanish works, printed, as this was, in France, where he was physician to the queen. Antonio, Bib. Nov., Tom. I. p. 68.
[158] “Novelas de Francisco de Lugo y Avila,” Madrid, 1622, 12mo.
[159] “Novelas Amorosas por Joseph Camerino,” Madrid, 1623 and 1736, 4to. (Antonio, Bib. Nova, Tom. II. p. 361.) He was an Italian, as appears from the hint in Lope de Vega’s sonnet prefixed to his tales, as well as from his own Proemio. His Spanish, however, is pure enough, except in those affectations of style which he shared with many Castilian writers of his time. His “Dama Beata,” a longer tale, was printed at Madrid, in 1655, in 4to.
[160] Baena, Hijos de Madrid, Tom. II. p. 267. I find no edition of the “Cigarrales de Toledo” cited earlier than 1631; but my copy is dated Madrid, 1624, 4to, and is evidently of the first publication. Covarrubias (ad verb. Cigarral) gives the proper meaning of the word, which is perhaps plain enough from the work itself. The “Deleytar Aprovechando” was reprinted at Madrid in 1765, in 2 tom. 4to. In the “Cigarrales,” Tirso promises to publish twelve novelas, with an argument to connect them, adding, satirically, ”Not stolen from the Tuscans”;—but they never appeared.
[161] Baena, Tom. III. p. 157. I own the ninth edition of “Para Todos,” Alcalá, 1661, 4to. Quevedo seems to have borne some personal ill-will against Montalvan, whom he calls “a little remnant of Lope de Vega,” and says his “Para Todos” is “like the coach from Alcalá to Madrid, full of all sorts of passengers, including the worst.” (Obras, Tom. XI. p. 129.) Quevedo does not appear among those who in 1639 offered verses or other tributes to the memory of Montalvan, though their number is above a hundred and fifty, and includes, I think, nearly or quite every other Spanish author of any note then living. See “Lágrimas Panegyricas en la Muerte de Montalvan,” 1639.