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THE SPANISH PASTORAL DRAMA BY J. P. WICKERSHAM CRAWFORD PROFESSOR OF ROMANIC LANGUAGES AND LITERATURES IN THE UNIVERSITY OF PENNSYLVANIA PHILADELPHKV 1915 (.IS I PUBLICATIONS OF THE UNIVERSITY OF PENNSYLVANIA DEPARTMENT OF ROMANIC LANGUAGES AND LITERATURES Extra Series, No. 4 MY FATHER JAMES CRAWFORD THIS LITTLE VOLUME IS AFFECTIONATELY DEDICATED PREFACE. In the belief that a fairly intensive study must be made of the various types of Spanish dramatic literature of the six- teenth century before we can properly appreciate the import- ance of Lope de Vega and his contemporaries, I have here attempted to treat in some detail the development of the pas- toral drama in Spain. I have included in the first chapter only the material which seemed necessary in order to show the sources from which the early plays of Enzina were derived and I have disregarded the comic scenes found in so many plays in which shepherds take part, since these belong, in my opinion, to the history of the farce. In the last chapter, I have merely tried to study pastoral themes up to the time when they were fused into the mythological and lyrical drama by Calderon de la Barca. I gratefully acknowledge my indebted- ness to my friend and colleague, Dr. Hugo Albert Rennert, for valuable suggestions and criticisms. J. P. W. C 5 CONTENTS PAGE CHAPTER I The Spanish Drama before Enzina 9 CHAPTER n The Plays of Juan del Enzina i8 CHAPTER HI Pastoral Plays after Enzina 51 CHAPTER IV The Pastoral Plays of Lope de Vega and Calderon de la Barca 105 7

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CHAPTER I. The Spanish Drama before Enzina. It has been generally conceded that the origin of the drama in Spain must be sought in the Church Liturgy. We have but few examples of early Hturgical texts from Spain/ but there is sufficient evidence to prove that the development of the re- hgious drama in Spain was analogous to that of other coun- tries. The Mass in itself is essentially dramatic and it is known that at an early period the Gloria in excelsis was chanted antiphonally. In the ninth century the Antiphonarmm of Gregory the Great was enriched by the insertion of new melodies for which certain texts called tropes were composed. A trope preserved in a tenth century manuscript from the Benedictine Abbey of St. Gall ^ contains a colloquy between the Maries and the angel at the sepulchre, and in a like man- ner the Oificium Pastorum was based on a Christmas dialogue about the praesepe or cradle. These tropes show the beginning of the liturgical drama and formed the basis for subsequent dramatic development. In the course of time new elements were added to the scene at the manger, such as the Magi or Tres Reges, a theme closely associated with the adoration of the shepherds. It has been shown that at an early date the liturgical Prophet play was combined with the older Adoration and Magi plays. The origin of the Prophet play is a pseudo-Augustinian sermon. Contra Judaeos, Paganos et Arianos, which was read in the * Two liturgical Easter texts of the eleventh century from the Mon- astery of Silos, published by K. Lange, Die lateinisrhen Osterfeiern, Miinchen, 1887, 24 ff., show the beginning of dramatic development. ^ E. K. Chambers, Mediaeval Drama, 1903, vol. ii, chap, xviii. 9 lO THE SPANISH PASTORAL DRAMA churches at Christmas time and is of such a form as to lend itself readily to dramatic representation/ The Old Testament witnesses to the coming of Christ were summoned, together with Vergil, the Sibyl and others who were believed to have foretold the Saviour's advent. Although few liturgical texts have been discovered in Spain, Spanish literature may boast of possessing one of the earliest religious plays in the vernacular, the Auto de los Reyes Magos, " probably belonging to the end of the twelfth or early part of the thirteenth century and derived from one of the Latin Offices employed at Limoges, Rouen, Nevers, Com- piegne and Orleans. We also have a grave-watcher's song, probably taken from an Easter play, in Berceo's Duelo que fiso la virgen, of the first half of the thirteenth century. Apparently the edict of Pope Innocent III (1210), forbid- ding religious plays because of the secular elements which had been introduced, was not generally observed in Spain, for the oft-quoted passage of the Siete Partidas (1252-1257) expressly permits Christmas, Epiphany and Easter representations with certain restrictions.^ References to these plays in the four- teenth century are rare, but we may assume an uninterrupted development on the basis of documents of the fifteenth century. The Council of Aranda (1473), forbade the introduction of profane elements into religious festivals, but permitted ser- ious performances. In the year 1462, the Constable Miguel Lucas de Iranzo with two pages performed a mask on Twelfth Night in which the presentation of gifts by the Wise Men to 1 See the five articles of Marius Sepet published in the Bibliotheque de I'Ecole des Charles, vol. xxviii, pp. i and 211; vol. xxix, pp. 105 and 261 and vol. xxxviii, p. 397. ^ For bibliography and discussion of the date, see Grober's Grundriss der romanischen Philologie, vol. ii, 2, 1897, p. 400 and James Fitz- maurice Kelly, Historia de la literatura espanola, 1913, pp. ii-i3- 3 Partida I, Tit. VI, Ley XXXIV. Quoted by Schack, Historia de la literatura y del arte dramatico en Espaiia, Madrid, 1885, vol. i, pp. 219-20.

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THE SPANISH DRAMA BEFORE ENZINA 1 1 the Virgin was represented.' We also have an account of an elaborate Christmas play in Spanish produced by order of the Archbishop and Chapter of Saragossa in 1487 in honor of Ferdinand and Isabella, in which music and dancing formed an important part.^ The earliest descendant in Spanish of the OMciwn Pastorwm which has been preserved is the Representacion del Nacimi- ento de Nuestro Senor by Gomez Manrique, ^ written at the request of his sister Maria Manrique and represented by the nuns of the convent of Calabazanos on Christmas Eve, prob- ably between the years 1467 and 1481. Joseph expresses his doubts concerning the purity of Mary and she prays that God may open his eyes to the truth. An angel then appears to Joseph, telling him that he is an arch-fool since Isaiah had prophesied that a virgin would give birth to a child and that the prophecy will be fulfilled in Mary. The latter then ap- I>ears with the Christ Child in her arms and the announcement of the glad tidings is made to the shepherds who forthwith offer their homage to Jesus. Gabriel, Michael and Raphael then pledge their allegiance to the Virgin and present to the Child the symbols of his Passion. Here the liturgical drama has become secularized but not popularized. The song, para collar al niito, which closes the play is significant, for similar songs are found in nearly all the later shepherds' plays. It undoubtedly had its origin in the carols which were sung in connection with the Christmas service. No attempt is made to give a realistic picture of the life of shepherds and there is no comic element to detract from the sacredness of the sub- ject. *Jose Amador de los Rios, Historia critica de la literatura espanola, Madrid, vol. vii, 1865, 476 ff. * Amador de los Rios, ibid., vol. vii, 484 ff ., and Schack, ibid., vol. i, pp. 267-68. ' Published by Paz y Melia, Cancionero de Gomez Manrique, vol. i, Madrid, 1885, pp. 198-206. See also Eugen Kohler, Sieben spanische dramatische Eklogen, Dresden, 191 1, pp. 3-4. 12 THE SPANISH PASTORAL DRAMA We already find the fusion of comic and sacred elements accomplished in a portion of Fr. Ifiigo de Mendoza's Vita Christi, first pubHshed about 1480.^ This is a scene in dialogue form relating the appearance of the angels to the shepherds to announce the Nativity and written in the same lenguaje villanesco which had been used by the author of the Coplas de Mingo Revulgo. Fray Ifiigo apologizes in this manner for the use of comic elements in a sacred subject: ^ For que non pueden estar en vn rigor toda via los archos para tirar, suelenlos desenpulgar alguna piega del dia; pues razon fue declarar estas chufas de pastores para poder recrear, despertar y renouar la gana delos lectores. The shepherds see a figure flying toward them and Juan is thoroughly frightened : ^ Si, para Sant Julian ! ya llega somo la pena. Purre el Qurron del pan, acoger me he a Sant Millan, que se me eriza la grena. . . . Another shepherd asks mockingly: Tu eres hi de Pascual, el del huerte coraqon? Torna, torna en ti, zagal, ^ A few extracts were published by Menendez y Pelayo in the Anto- iogia de poetas liricos castellanos, vol. vi, Madrid, 1896, p. ccix ff., and the Vita Christi was published in full by R. Foulche-Delbosc in the Cancionero castellano del siglo XV, vol. i, Nueva Bihlioteca de autores espanoles, vol. xix, Madrid, 1912. ' Cancionero castellano del siglo XV, p. 22. 3 Ihid., p. 18.

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THE SPANISH DRAMA BEFORE ENZINA 13 se que no nos hara mal tan adonado gargon ; ponte me aqui ala pareja y venga lo que viniere, que la mi perra bermeja le sobara la pelleja a quien algo nos quisyere. An angel then announces the birth of Christ and bids the shepherds seek the Child in the manger. Juan exclaims, on hearing the song: Minguillo, daca, leuanta, no me muestres mas enpacho, que segfund este nos canta alguna cosa muy sancta deue ser este mochacho, y veremos a Maria, que juro hago a mi vida, avn quigal preguntaria en que manera podia estar virgen y parida. Mingo finally consents to obey the summons and tells his com- panion what gifts he should take: mas lieua tu el caramiello, los albogues y el rabe con que hagas al chequiello vn huerte son agudiello, que quiga yo baylare. The same simple rejoicing is shown in the account of another shepherd who relates what he has seen at the manger. It is true that this scene was not represented, but we may look upon it as a faithful transcription of the performances which were given at that time either in the church itself or in the yard. We could hardly conceive of a serious writer in- venting this scene in which the comic element plays so large a part. It is particularly interesting inasmuch as the shepherds here represented have the same characteristics that we find 14

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THE SPANISH PASTORAL DRAMA in the plays of Enzina and later writers. They speak their own crude language, they are filled with terror at the sight of the angel and star, they sing and dance as they go to the manger and tell of their love for food. It was used as an in- troduction to the Nativity scene, but already we find the shep- herds occupying a disproportionate place. It is difficult to determine definitely the origin of the comic element which was an important factor in the development of the Spanish drama. We know that the reign of the Roman mime did not come to an end with the fall of Rome, nor was his voice silenced by the vigorous protests throughout the Middle Ages by Church Fathers and Church Councils. The frequent references to him, and after the ninth century, to the joculator, his twin-brother, are sufficient proof of his success as an entertainer of an idle crowd.^ On holidays and at wed- dings, his presence was indispensable, and he even occasion- ally entered the churches to ply his profession. His accom- plishments consisted in singing, playing musical instruments, exhibiting trained animals, astonishing the gaping rustics with acrobatic feats, and sometimes in performing plays.