A Current Bibliography of Foreign Publications Dealing with the Comedia

Vidriera," Bulletin Hispanique, XXXII (1930), 70-72. 7.Con su pan se lo coma is not listed by Cayetano de la Barrera (Catálogo . . . del teatro antiguo español, Madrid, 1860). Nor is Abigaû; it is Pérez Pastor's question mark that follows the title in our reproduction of the document. No le arriendo la ganancia is listed (p. 598) a? an auto by Tirso and also by Valdivielso ; the: ~ is of course no doubt that it is Tirso's auto with which we are concerned here. As for El caballero de Gracia, La Barrera (p. 594) lists it, but with no author suggested. Inasmuch as Tirso wrote a full-length comedia of this title, one may wonder for a moment whether it is the comedia that is involved here. But since the contract labels all four plays as autos, our Caballero must be the auto of unknown authorship that La Barrera names. 8.The incident described by Lope may be read in Agustín G. de Amezúa's reproduction of the letter in his Epistolario de Lope de Vega (Madrid, 1941), III, 204-207. Amezúa explains the circumstances surrounding the incident in Volume II of his Epist. (Madrid, 1940), p. 338. 9.Furthermore, the Señora misread the San Román document, although we shall not discuss her error here because it does not concern the dating of Don Gil. 10.Actually, not all of them are acceptable. Item one, for example, uses a mention of the Huerta del Duque to date Don Gil as of 1614 rather than 1615, yet Doña Blanca dates Tirso's Marta la piadosa as of late 1615 or early 1616 (Obras de T., II, Madrid, 1952, 339-353), in spite of the fact that this play has a reference to the Duque's garden in III, xiii. As regards item two, we have seen that No le arriendo la ganancia was not written in 1612. It item four, there is no assurance that Don GiVs last line refers to the breeches-losing incident Doña Blanca thinks it does. For one thing, the actor involved in the incident was not named Osorio, but Olmedo . For another, the incident may not have occurred in 1614, the year the Señora assigns to it; Antonio Castro Leal (Juan Ruiz de Alarcon . Su vida y su obra, Mexico, 1943, p. 110) would date the incident vaguely as of 1613-1615, and he dates the play in which Alarcón makes reference to it as "¿1614-1615?" 11.In "Cómo se hacía un libro en nuestro Siglo de Oro," Opúsculos histórìco-liferarios (Madrid , 1951), I, 358. 12.Nor did she herself seem convinced. The heading to her preámbulo (p. 1597) is 1615 rather than 1614. It is also 1615 that heads the brief account of Don Gil on page cxli. 13.In addition to the seven new plays, the contract calls for the presentation of some old ones that are not named. It is not probable that Don Gil was "old" as early as October 31 of 1614. De paso, we recall that the records show that Pedro de Valdés produced Tirso's Amar y celos hacen discretos and Quien habló pagó. La próspera fortuna de don Alvaro de Luna and its second part, La adversa fortuna de don Alvaro (both doubtfully Tirso's) were also done by Valdés. (See Rennert, Spanish Stage, p. 613.) It is quite possible that other records, now lost, would show Valdés's production of other of Tirso's plays. A Current Bibliography of Foreign Publications Dealing with the Comedia Compiled by Warren T. McCready University of Toronto K.-L. Selig University of North Carolina 1960—2 Miscellaneous Carreter, Fernando Lázaro (ed.). Teatro medieval; textos íntegros de. . . . Valencia, Edit. Castalia, 1958. Pp. 227. Review by Frida Weber de Kurlat, NRFH, XIII (1959), 380-86. Cuadernos del Instituto del Teatro. Nos. 1 and 2 (1957). Review by Luciana Stegnano Picchio, Quaderni Ibero-Americani, no. 24, pp. 612-13. Diaz Plaja, Guillermo (ed.). El teatro. Enciclopedia del arte escénico. Barcelona, Noguer, 1958. Pp. 635. Review by José Montero...