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rive from Mira's. Moreto's El Demonio and Un Sacristán (also the gracioso) correspond exactly to Mira's demon and sacristán-gracioso named, respectively, Honorio and Damián. Moreto's Hugo Wicliff [sic] , opponent of the doctrines of the Real Presence and the Immaculate Conception, clearly develops from Mira's Hugo, opponent of the Real Presence of Christ in the Eucharist. Corresponding to the Archduchess Matilde 's role as antagonist of Hugo in Mira are Queen Margarita and King Ladislao who in Moreto defend respectively the doctrines of the Real Presence and the Immaculate Conception . Finally, and again illustrating Moreto's tendency to make his characters more complex than those of his source, the role assigned by Mira to San Jorge is assumed in Moreto by Los Tres Reyes Magos. Moreto's utilization of Mira's play is also evident in a number of passages. I shall conclude by citing one of these. Compare the words of Moreto's Sacrist án% BAE, 58, 556a,3 with those of Mira's Damián, fol. 8 r. : Conjurallas quiero en culto que es conjuro del ynfierno: crepúsculos, esplendores, presajios caliginosos, morbos, numen, noticiosos, o tu candor y fulgores¡Por Dios que huyen! Yo tiro unas metas y ostentar; allá va a purpurear; doiles con mi cola y giro. Nubes candidas, armiñas, veloz desacedos mente; de esa cojéis agua fuente; a nuestras no toquéis viñas. La ynvención es estremada.¿Qué es menester ejorcismos sino usar con solecismos de eloquencia endemoniada? I hope to show in my edition of Mira's play that Cotarelo's negative opinion of La fe de Hungría is quite unfounded. NOTES 1 First printed in Navidad y Corpus Christi festejados por los mejores ingenios de España . . . , Madrid, 1664, pp. 259-281. Concerning this edition, Emilio Cotarelo writes in "La bibliografía de Moreto", BRAE, XIV (1927), 491:". . . hay también copia manuscrita en la Bib. Nac. (15 h. en 4°, letra de un librero llamado Juan Martínez de Mora, que vivía por el tiempo del texto impreso, del cual será copia.)". More accessible are the editions of E. González Pedroso in BAE, 58, 551-563, and Nicolas González Ruiz in Piezas maestras del teatro teológico español, I, 865-888. 2 See the studies of Ruth Lee Kennedy (Northampton, Mass., 1932), Ermanno Caldera (Pisa, 1960), and Frank P. Casa (Cambridge , Mass., 1966). 3 This passage was one of the sources for Dámaso Alonso's "Lista de palabras afectadas según censuras y parodias literarias del siglo XVII" included in La lengua poética de Góngora , 3rd ed., Madrid: C.S.I.C, 1961, pp. 95108 . The author, of course, was not aware of the fact that the passage derives substantially from Mira de Amescua. 4 Mira de Amescua y su teatro: estudio biogr áfico y crítico, Madrid, 1931, pp. 152-3. REPORT OF THE 1971 COMMITTEE ON HONORARY MEMBERS As instructed at the December 28, 1969 dinner meeting of the "Comediantes ," I selected two other members for my committee: Bruce W. Wardropper (Duke University) and Joseph H. Silverman (Stevenson College, University of California, Santa Cruz). The committee report includes the following recommendations concerning future poHcy: 22 1.That an initial limit of 10 Honorary Members be established. 2.That a maximum of 2 new Honorary Members be elected each year. 3.That members be informed in the Spring issue of the Bulletin of the composition of the Committee on Honorary Members for the current year. 4.That suggested nominations be sent by any member directly to the chairman of the Committee, along with a written statement of qualifications on the basis of which each nomination is being presented. 5.That the election of new Honorary Members be announced in the Spring issue of the Bulletin in a manner acceptable to the editor (see, for example, Vol. XXII [Spring, 1970], 1-3). 6.That the three members of the committee have staggered threeyear terms, with the chairman rotating off the committee. To estabHsh the proper rotation, it is proposed that Professor Wardropper succeed to the chairmanship for 1972 and that Professor...


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