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furnished, however, deals with chronology. On page 31, López Martínez notes that in 1588 (and quite evidently towards the end of that year), Gaspar de Porres authorized the Sevillian autor, Mateo de Salcedo, to perform in Granada, on or after January 6 (1589?) two plays by Lope with which Porres had had success: Los celos de Rodamonte and Las ferias de Madrid. It may be recalled that the MS copy of El trato de la corte y ferias de Madrid in the Biblioteca de Palacio is dated Granada, January 17, 1589. Thus López Martinez's document gives a terminus ad quern for these two plays of 1588. They may be dated conservatively 1585?-88 (perhaps 1587?-88). Thus we now have 17 plays by Lope securely dated before 1596: numbers 1-13 in Table I of the Chronology of Lope de Vega's Comedias ; Los celos de Rodomonte and Las ferias de Madrid; and the two copied by Gálvez and announced by A. G. de Amezúa in his Colección manuscrita y desconocida (Madrid, 1945), Carlos el perseguido (1590) and El caballero del milagro (1593). On page 69, the author states that Mateo de Salcedo sold on January 25, 1601, 29 plays to Andrés de Heredia, among which are the following: El enemigo engañado, La escolástica, El padrino desposado, El testimonio vengado, La francesilla, and El niño inocente. We know from the Gálvez copy that La francesiüa was written in 1596. El enemigo engañado and El padrino desposado have been dated before 1600, the first by verse, the second by internal evidence. The date of El testimonio vengado (1596-1603) should be changed to 1596-1600. If, as seems probable, La escolástica is La escolástica celosa , the date should be changed to 15961600 ; and if El niño inocente is El nino inocente de la Guardia, the date should be 1598-1600 instead of 1598-1608. The other 23 titles correspond to no Lope titles known. La segunda del Transilbano may be evidence that El prodigioso principe transilvano was written not later than 1600. Suggestions for Editing a "Comedia " Diéresis and Ligature by Walter Poesse, Indiana University At the informal meeting of the Comediantes in New York, December 1950, there was some discussion of uniformity in editing a comedia. The writer is not aware that anything came of the suggestions offered at that time, but he would like to offer some regarding the use of diéresis, a matter of some importance in the comedia. The problem is to indicate deviations as fully as possible with the fewest number of diacritical marks, which not only increase printing costs but clutter up the page if used too copiously. It would appear desirable then to establish a basis of normal usage on the part of the writers of the comedia and to indicate only the exceptions, even though normal usage in the comedia is not always normal usage otherwise . Moreover, the consistent use of diacritical marks in this regard will eliminate numerous footnotes to the effect that a given word is to be read with diéresis or synaeresis. To begin with, the following practices obtain, in general, in the comedia: 1.Every combination of two vowels in an atonic syllable is usually of one syllable: tr-iu-nfantes, h-ui-rás, cr-ue-ldad, d-eu-dor, l-ea-ltad, hág-ao-s, nec-io-, 2.The combination of two strong vowels where one is stressed is usually of two syllables : re-al, dese-o. 3.The combination of a weak and a strong or a strong and a weak, in which the weak is stressed and marked, is usually of two syllables: habt-a, re-tr. 4.The combination of a weak and i strong or a strong and a weak in which the strong is stressed is usually of one syllable: envid-ia-r, ac-ei-te. 5.The combination of two weak vowels, regardless of which is stressed, is usually of one syllable: tr-iu-nfo, desc-ui-do. In case number one, a single-syllable use of the combination being...


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