Lope Félix de Vega Carpio. La moza de cántaro.


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Ó ya montañas se llamen.—

2446. Volver la silla á el dosel, Conduct himself better on occasions of ceremony. The origin of the expression is explained in the following note in the London edition of the play: "Alude á la costumbre de estar en los actos públicos la silla del rey vuelta hacia el dosel siempre que S. M. no la ocupa. Así se mantuvo la silla real en las Cortes Extraordinarias de Cádiz y Madrid todo el tiempo que Fernando VII estuvo preso en Francia."

2452. Aunque pide, etc., Although the sack of salt requires greater fortune. A probable reference to the high cost of living and particularly to the high price of salt, of which Olivares made a government monopoly in 1631, the year previous to the revision or appearance of the play.

2468. Que no hay hueso que dejar, For nothing must be omitted. Lit. "For not a bone must be left out".

2534. Que á saber, For if I had known.

2539. Aunque á Alejandro, etc. Apelles was a famous Greek painter in the time of Philip and Alexander. His renown may be imagined, since the three cities, Colophon, Ephesus and Cos, claimed to be his birthplace. He spent, however, the greater part of his life in the Macedonian court, where he was very popular. Many anecdotes were told of Alexander and Apelles which show the intimate relations of the two and among which is the one referred to in the text. Apelles had painted Campaspe, also called Pancaste, the favorite of Alexander, undraped, and had fallen in love with her. The generous monarch learning of it yielded her up to the painter. This picture is said to have been the famous Venus Anadyomene. At the time of the first representation of the play, the author must have had Apelles fresh in mind, for about that date he cites another anecdote of the painter in his dedication of Amor secreto hasta Zelos, and mentions him several times in miscellaneous verse of the period.

2549-50. que no soy tan del Conde, I do not belong so much to the Count.

2559-61. These three lines are disconnected and are not adjusted either to the rime scheme of the preceding verses or to that of the following. They may be part of a popular song of the day.

2561. juegan cañas. Cane tourneys were modern adaptations of the medieval tilts or jousts, in which the contestants were mounted on horseback but armed only with reeds. The contests were made up of several features which permitted the participants to exhibit their skill in horsemanship. They were popular in the first part of the reign of Philip IV, for the king encouraged them and even took part in them himself.

2562. ¡Mala letra para novios! The reference finds its full expression in a rime of coarse sentiment which recounts the immediate fortunes attending the novio who dreams of bulls.

2567. Dos meses. Cf. v. 2146 and note.

2641. ¡Vive Dios, que si... bajeza! By heavens, if this be true I shall kill you rather than permit such a disgrace.

2679. por andar encubierta, in order to remain in disguise.

2685. á escuras=á oscuras.

2691. Compare this with the following lines from the Égloga á Claudio:

Mil y quinientas fabulas admira,
Que la mayor el numero parece,
Verdad que desmerece
Por parecer mentira,
Pues más de ciento en horas veintiquatro
Passaron de las Musas al Teatro.
Obras Sueltas, vol. IX, p. 368.
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Lope Félix de Vega Carpio. La moza de cántaro.
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