[97] Primavera, No. 163; Durán, No. 365.
[98] XV. Romances. (Ordenólos R. Foulché-Delbosc.) Barcelona [1907].
[99] Los Lunes de El Imparcial (9 de Julio de 1906): ‘El peor enemigo de Cervantes.’
[100] The present lecture was first delivered at the University of Pennsylvania, Philadelphia, on November 25, 1907.
[101] Yet Quinault had already adapted El galán fantasma under the title of Le Fantôme amoureux, which is the source of Sir William Lower’s Amorous Fantasme (1660), and there are other French imitations by Quinault, Scarron, and Thomas Corneille. Calderón was popular in Italy. As early as 1654, Cardinal Giulio Rospigliosi (afterwards Clement IX.) based on No siempre lo peor es cierto the libretto of Dal male il bene, which was set to music by Antonio Maria Abbatini and Marco Marazzoli. In 1656 El mayor monstruo los celos was arranged for the Italian stage by Giacinto Andrea Cicognini, who afterwards produced many other adaptations of Calderón’s plays: see an interesting and learned article by Dr. Arturo Farinelli in Cultura Española (Madrid, February 1907), pp. 123-127.
[102] If Calderón be really the author of the sainete entitled El Labrador Gentilhombre printed at the end of Hado y divisa de Leonido y Marfisa, he had evidently read Molière’s Bourgeois gentilhomme. But the authorship of this sainete is uncertain.
[103] Most Spaniards who ridicule Calderón for using hipogrifo accentuate the word wrongly in speech and writing. Hipógrifo is a mistake; the word is not a palabra esdrújula, as may be seen from Lope de Vega’s use of it in La Gatomaquia (silva vii.):—
Que vemos en Orlando el hipogrifo,
monstruo compuesto de caballo y grifo.
Calderón himself gives it as a palabra llana in his auto entitled La lepra de Constantino. For other examples, see Rufino José Cuervo, Apuntaciones críticas sobre el lenguaje bogotano con frecuente referencia al de los países de Hispano-América. Quinta edición (Paris, 1907), pp. 11-12.