Note 6 — PREFACE

The sun was setting and a comedia was approaching its last phase, precursor of the denouement. It was presented in a theater of Madrid (or corral as it was then called) by four gallants, two ladies, an old man, two graciosos, two graciosas, and other minor characters, before an audience with hats pulled down as those who had no other roof above them than that of heaven. Already the leading lady had made her last entry, decked in the richest costume of her wardrobe; her lover, absorbed by the noble bearing of that woman who, although a humble servant, knew, nevertheless, the pompous farthingale as if in all her life she had not worn any other style of skirt; blind with passion and trampling on the respect due his lineage, had approached her and, beside himself, seizing her hand, had offered her his. The second gallant had resolutely opposed the irregular and hasty match, but on hearing that the supposed Isabel bore as true name the illustrious one of Doña María Guzmán y Portocarrero and was, although a water-maid, a relative of the Duke of Medina, his resistance had vanished. Then with a sweeping and silent bow to the fiancée the actor approached the front of the stage to pronounce this brief address to the public:

Aquí Puso fin á esta comedia Quien, si perdiere este pleito, Apela á Mil y quinientas. Mil y quinientas ha escrito: Bien es que perdón merezca.

From the gradas and barandillas, from the windows and desvanes, from all the seats, but especially from those which filled the patio, there must have gone forth then amid clamorous applause a unanimous shout of admiration, of enthusiasm, and very just national pride. "¡Vítor, Lope!" shrieked that tumultuous multitude time and again. "Long live el Fénix de los ingenios! Long live Lope de Vega!"