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Reviews279 ander Parker's work on Golden Age tragedy, which questions Lope's adherence to the honor code, or to the substantial amount of material available on Calderón's negative stand on honor. In spite of these shortcomings, Alix Zuckerman-Ingber's study throws considerable light on the complexities of Lope's treatment of honor. Barbara Mujica Georgetown University REGUEIRO, J.M. & A.G. REICHENBERGER. Spanish Drama of the Golden Age I A Catalogue of the Manuscript Collection at the Hispanic Society of America. New York: The Hispanic Society of America, 1984. 2 vols, xxxii, 848, 72 pp. of illustrations. $85.00. This two-volume catalogue is an expensive and visually impressive production. According to the accessions list at the end of volume II, the cataloguers describe 111 separate HSA manuscript holdings, some containing several distinct works. The catalogue itself is divided into three parts: Authors, Anonymous, and Collections (plus Bibliography, Index, Accessions list and, at the end of each volume, reproductions of many manuscript pages). In addition to complete works the holdings described include dramatic verses miscellanea, play fragments, and other bits and pieces. All author-identifiable works are described in full in the Authors section. Listing is alphabetically by author; fifty-four are represented: thirty-seven by single works, the remainder by from two to five listings. Calderón predominates with over thirty items. There are multiple copies of some works. The Anonymous section contains descriptions of sixty works of unknown authorship listed alphabetically by title. The Collections division discusses eighteen multi-item manuscript miscellanies (all single-author collections were treated under Authors). Each sub-item in a collection is described fully unless—as is usually the case—it has been catalogued previously under Authors or Anonymous. In the Introduction (by Prof. Regueiro, I assume) much is given of the history and computerization of the catalogue and less, perhaps, than should be about its cataloguing method. Some promises are made, but not always fulfilled, as to what data will be provided. Some format 280BCom, Vol. 37, No. 2 (Winter 1985) guidelines are conspicuous for their absence. There are discrepancies between the publicity flyer and the work itself. The flyer states that:«Each entry includes a collational formula, a description of watermarks, calligraphy and ornamental designs, a line count and versification pattern , and a detailed transcription of all titles, preliminary matter, marginalia, list of characters, and opening and closing speeches for each scene and act.» The Introduction, however, states that: «standardized collational formulas have been generally eschewed in favor of a brief description of [the manuscript's] internal arrangement;» some watermarks are described; the line count is approximate, «and should not be regarded as definitive;» and the only «versification patterns supplied are tentative reconstructions of the opening and closing speeches whether based on the lines transcribed or extending beyond.» The preceding is mentioned as it exemplifies certain aspects of this catalogue that can readily disenchant its user. To illustrate more specifically, the first author-identified play catalogued (pp. 5-7) is David perseguido, by Joan de Abellaneda (also an item in the collection Ocio entretenido described on pp. 733-36). No page dimensions are given for the play; they are for the collection. Yet (Introduction, p. xxviii) «The description of each manuscript begins with the approximate dimensions of the first folio.... When an item forms part of a collection, the dimensions noted are those for the individual play; the dimensions noted in the description of the collective volumes are those of the title page....» The play collation covers fols. 43r to 96r. Fol. 96v (presumably blank) is not accounted for in the play or collection description. If, as is assumed from the Introduction and text—but nowhere clearly stated save in the publicity flyer—verse text transcription is first speech/last speech for scenes and acts, why are three speeches transcribed for the opening of Act I, and two for the closing of Act II of David perseguido? Also, is there no more than one scene per act? If versification patterns are for first/last speech, how can«romance in i-o preceded by a four-line copla and a long passage in silvas rhymed in pairs» be given for...


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