[1042.] á cuantos los miran. Los refers to ojos mentioned above. The period at the end of the line must be a typographical error, for the sense seems to favor a comma. The two subordinate clauses introduced by si and connected by y do not require as much separation as is afforded by a period.
[1052.] Como quedó concertado. Note the repetition of line 1000. Lope is given to repetitions in his works, but this is perhaps the only verse in the play which he has unconsciously repeated.
[1062.] inglés á Cádiz. "Año de 1625." (Note by Hartzenbusch.) The incident referred to is the irrational attack upon Cadiz by the English fleet under Sir Edward Cecil in October, 1625. The English were ignominiously defeated and the Spanish encouraged to continue an unequal struggle.
[1066.] tusón dorado. The name of a celebrated order of knighthood founded in 1429 by Philip the Good, Duke of Burgundy and the Netherlands. It originally consisted of thirty-one knights and was self-perpetuating, but Philip II absorbed the nominating power. In 1713 Charles VI moved the order to Vienna, but this action was contested by the Spanish and the dispute was settled by dividing the order between the two countries.
[1067.] Con débil caña, etc. "En la edición antigua de la comedia: Con débil caña, con freno herrado." (Note by Hartzenbusch.)
[1068.] Marte... Cupido, Mars, the god of war, Cupid, the god of love.
[1076.] Sembrando. "En la Corona trágica se lee sembrando; en la edición antigua de la comedia, tendidas."(Note by Hartzenbusch.) The sonnet is found also in the Obras Sueltas, vol. IV, p. 500, under the title, Á la Venida de los Ingleses á Cádiz. Hartzenbusch speaks of it as though it appeared in the Corona trágica, but his note is misleading, for it really is found in a collection of Poesías varias in the volume stated which begins with the Corona trágica.
[1086.] Mas qué os, etc. More exact punctuation would place the initial interrogation after mas and before qué.
[1089.] Filis. In Greek mythology Phyllis, disappointed because her lover, Demophon, did not return at the time appointed for their marriage, put an end to her life. According to one account she was changed after death into an almond-tree without leaves. But when Demophon, on his return, embraced the tree, it put forth leaves, so much was it affected by the presence of the lover. To the mythological Phyllis, however, Lope is indebted only for the name. To him "Filis" was a more material being in the person of Elena Osorio, daughter of a theatrical manager and a married woman. During the early part of the period 1585-1590 he dedicated to her some of his most beautiful love-ballads, and in the latter part, when he turned against her and was exiled from Madrid and Castile, he continued to address poems to her, but now filled with bitter complaints. (See Introduction.) The fact that he mentions her name here in a play written in the later years of his life is of interest; either he wrote the sonnet in his earlier years and used it here, or it would seem that the poet's mind reverts to his youthful follies. But in one of the last works written just before his death Lope speaks of his daughter, Antonia Clara, under the name of "Filis," which has given rise to some confusion. "Phyllis," moreover, is a very common name in pastoral poems in the 16th and 17th centuries.
[1110.] devantal=delantal.