[Page 177].—l. 9. A good example of Sapphic verse in Spanish.
[SALVADOR JACINTO POLO DE MEDINA]. A satirist and imitator of Quevedo. Cf. his Obras, Saragossa, 1670; and see vol. II of the Líricos del siglo XVI, in the Biblioteca de autores españoles. According to Ticknor, III, 38, note, the Apolo y Dafne “is partly in ridicule of the culto style.”
[Page 178].—l. 16. con mil sales, with a thousand graces.
[Page 179].—l. 10. ¡Vive Chipre! a disguised oath.
[PEDRO CALDERÓN DE LA BARCA]. The compeer of Lope de Vega in the history of the Spanish drama, Calderón is certainly Lope’s equal, if not his superior, in lyrism. Less inventive and less prolific than the earlier poet, Calderón surpasses him in all that relates to perfection of form. His lyrics have been collected in part in the volumes entitled Poesías, Cadiz, 1845, and Poesías inéditas (Biblioteca universal), Madrid, 1881. Cf. Ticknor, II, 346 ff.; Günther, Calderón und seine Werke, Freiburg, 1888; Menéndez y Pelayo, Estudios, II; R. C. French, Calderón, his life and genius (New York, 1856 and since).
[Page 181].—l. 11. A selection from the drama El mágico prodigioso, Jornada tercera, Escena V.
[Page 183].—l. 13. This famous passage containing the counsel of the alcalde to his son occurs in Jornada segunda, Escena XXII of the play El alcalde de Zalamea. It must remind one of the advice of Polonius to his son in Hamlet, Act I, Scene III.
[Page 184].—l. 26. entres, vuestro. The combination is ungrammatical, but the refrain is thus given by Ticknor, II, 353, note (5). A correction to entréis seems permissible.
[AGUSTÍN DE SALAZAR TORRES]. Salazar’s lyrics, published posthumously (1677) as La cythara de Apolo, evince in him a Gongoristic strain as well as some imitation of the manner of Villamediana. Cf. vol. II of the Líricos del siglo XVI in the Biblioteca de autores españoles; Ticknor, III, 27; Menéndez y Pelayo, Poetas hispano-americanos, I, p. lxiv.
[SOR JUANA INÉS DE LA CRUZ]. A Mexican nun who has left us secular poems—written doubtless before her profession—full of force and the genuine fervor of love, and religious poems of a mystic and ascetic tendency. She was a humanist by temperament and, as the Redondillas in defense of women show, a vigorous champion of her sex’s rights. Cf. Menéndez y Pelayo, Antología de poetas hispano-americanos, vol. I (Madrid, 1893: published by the Academy), pp. 5 ff., with an excellent sketch of her life and work on pp. lxvi ff.; Líricos del siglo XVI, vol. II: Ticknor, III, 51 note.