1837. =No haya más=, _Let that be the end of it._
1844. =No lo acabes de decir=, _Don't go any farther._
1854. =Llegue el lacayo gallina=, _Let the chicken-hearted lackey come
on._
1858. =mohadas==_mojadas_, coll., _knife-thrusts_.
1863. =Pues con él haberlas quiero=, _Well I am willing to have it out
with him._
1901. =dueño= is regularly used in its present sense when referring to a
woman as well as to a man. The feminine _dueña_ has the same meaning,
but more commonly means _house-keeper_ or _chaperon_.
1911. =mesmo==_mismo_.
1920. Cf. v. 1495 and note.
1929. =Tocó... el instrumento=, etc. The reference is evidently to the
_bandurría_ which in its ancient form was a very popular musical
instrument for such occasions as the one here described. Compare the
description of it with its direct descendant, the modern banjo.
1951. =Casa del Campo=, commonly written _Casa de Campo_, is a large royal
park immediately in the rear of the royal palace and grounds and on the
other side of the Manzanares, which is here spanned by the Puente del
Rey.
1960. =Felipe y Isabel=, that is, Philip IV of Spain and his first wife,
Isabel de Bourbon, daughter of Henry IV, king of France. (See
Introduction.) Observe that modern Spanish would require "Felipe e
Isabel."
1963. =las colores.= _Color_ is now almost limited in usage to the
masculine, but Lope, like other authors of the 16th and 17th centuries,
used it indifferently in the masculine and in the feminine.
2003. =pecho=, _courage_.
2044. =labrar=, _embroider_.
2109. =que antes ha sido=, etc., _for rather has it been so that I cannot
see her_.
2131. =Porque ha mucho que no soy=, _Because I have not been there for a
long time._ There is perhaps a play upon _ser_, "to exist" in this
verse.
2146. =Que más de cuatro manteos=, etc., _That more than a few_ (lit.
"four") _of those mantles of yours with fabrics of gold cover many
defects._
2164. =aceto==_acepto_.
2172. =en pelo=, _bareback_. With mock respect doña María asks pardon for
using in the presence of people well-bred a term as commonplace as _en
pelo_. Cf. v. 769 and note.
2217. =Alcance=, the present subjunctive with the conjunction _que_
omitted.
2236. =De cántaro la tenía==_Tenía el alma de cántaro. Alma de cántaro_ is
a colloquial term nearly equivalent to our "harebrained fellow."
2238. =proverbio=, that is, the proverbial use of _cántaro_ in the
expression _alma de cántaro_.
2282. =Atlante=, a name usually applied to masculine figures in Greek
architecture, which, like the female caryatides, take the place of
columns. The reference here seems to be to the mythological Atlas, from
which word we have the architectural term _Atlante_. The author used it
in the same sense in one of his sonnets:
/*[3]
Igualará la pluma á la grandeza,
Y el Parnaso de vos favorecido
Tendrá en su frente el cielo como Atlante.
_Obras Sueltas_, vol. IV, p. 277.
*/
But Lope knew it in its more exact architectural sense and apparently
uses it so in the following lines:
/*[3]
Y otras del reino importantes,
Que siendo en ellos atlantes,
Serán rayos de Archidona.
_La Estrella de Sevilla_, Act I, Scene IV.
*/
2315. =Tened.= Note the change from the less formal second person singular
as soon as don Juan suspects doña María to be above the servant class.
2342. In Zerolo's edition there is a comma at the end of this verse
instead of a period, which is clearly the more correct punctuation.
2347. =Vos salisteis diferente=, _Your origin has been different._
2349. =Y yo sin dicha==_Y yo salí sin dicha_.
2360 and ff. Compare the similar sentiment expressed by the author in
_el Cuerdo en su casa_, Act II, Scene XXIV:
/*[3]
El que nació para humilde,
Mal puede ser caballero.
* * *
Haya quien are y quien cave;
Siempre el vaso al licor sabe.
*/
2399. =Que darme yo á entender=, _For me to assume_.
2420. =por armas=, _as a coat of arms_.
2422. In the Valencia edition this passage is identical except that it
continues through one more _octava_.
2438. =Vinculadas en lacayos=, _Handed down from lackey to lackey.
Vincular_, "to entail, continue, perpetuate."
2440. =Aunque poca me ha cabido=, _Although little has fallen to my
share._
2444. =Mondoñedo=, a town in Galicia, northeast of Lugo, with a population
of about 12,000. This region has been particularly prolific in noble
houses and among them is that of Lope de Vega. He mentions the fact in
_el Premio de bien hablar_, when he makes don Juan say:
/*[3]
Nací en Madrid, aunque son
En Galicia los solares
De mi nacimiento noble,
De mis abuelos y padres.
Para noble nacimiento
Hay en España tres partes:
Galicia, Vizcaya, Asturias,
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_:
/*[3]
_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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