An Unpublished Loa by Rodrigues Lobo
1987; Liverpool University Press; Volume: 64; Issue: 4 Linguagem: Inglês
10.1080/1475382872000364319
ISSN1469-3550
Autores ResumoClick to increase image sizeClick to decrease image size Notes 1. I am not including here the Entremês do poeta since this work was printed as anonymous and was not ascribed to Rodrigues Lobo, as Ricardo Jorge has pointed out in Francisco Rodrigues Lobo: estudo biográfico e crítico (Coimbra: Imprensa da Universidade, 1920), 358. 2. See R. Jorge, 122-26; Carlos Alberto Ferreira, ‘Francisco Rodrigues Lobo: fontes inéditas para o estudo da sua vida e obra’, Biblos, XIX (1943), 285–87 and 297–98; Andrée Crabbé Rocha, A epistolografia em Portugal (Coimbra: Livraria Almedina, 1965), 141–45; Cancioneiro de Fernandes Tomás, ed. D. Fernando de Almeida (Lisbon: Edição do Museu Nacional de Arqueologia e Etnologia, 1971), 127–127". 3. Lisbon, Arquivo Nacional da Torre do Tombo (henceforth ANTT), Arquivo Fronteira, Codex M–VII–19, 267–67v. 4. See E. Cotarelo y Mori, Colección de entremeses, loas, bailes, jácaras y mojigangas desde fines del siglo XVI a mediados del XVIII, I (Madrid: Editorial Bailly/Baillère, 1911); J. A. Meredith, Introito and Loa in the Spanish Drama of the Sixteenth Century (Philadelphia: Department of Romance Languages and Literatures, University of Pennsylvania, 1928); Jean-Louis Flecniakoska, La loa (Madrid: Sociedad General Española de Librería, 1975). See also H. J. Chaytor, Dramatic Theory in Spain (Cambridge: Cambridge U.P., 1925). 5. See, however, Luciana Stegagno Picchio, História do teatro português (Lisbon: Portugália, 1969), 180. Compare also the facsimile edition by Claude-Henri Frèches (Lisbon: O Mundo do Livro, 1971) with C.-H. Frèches, ‘Les Comédias de Simão Machado-I’, Bulletin d’Histoire du Théâtre Portugais, II (1951), 151–53, and Simão Machado, Comédias portuguezas (Lisbon: Na officina de António Pedrozo Galram, à custa dos herdeiros de Domingos Carneyro, 1706), 205–12. In this latter edition the four loas are attributed to Lope de Vega. 6. See Stegagno Picchio, 379 and 180. 7. D. António Caetano de Sousa, História genealógica da casa real portugueza, X (Lisbon: Na régia officina Sylviana e da Academia Real, 1735–49), 804–05; M. C. Pereira da Costa, ‘O cronista Frei Luís de Sousa em documentos, I’, Cartório Dominicano Português, séc. XVI, 14, B., XI (1980), 53, 60–61. 8. ANTT, Inquisição de Lisboa (henceforth IL), Processes nos. 10540, contrad., fols. 19–20; 10666, genlg., fol. 2, and 7233, conf., fol. 4V. See also ANTT, Cartório Jesuítico, Maço 8, no. 203. 9. ANTT, Registos Paroquiais da Freguesia do Sacramento, Livro Misto, 2 (1597–1608), fol. 84v; Sousa, XII, Pt. 1, 378–80; M. J. da C. Felgueiras Gayo, Nobiliário de famílias de Portugal, II (Braga: A. A. Meirelles e D. A. Affonso, 1938), 74–89. 10. See Selma Pousão-Smith, ‘The Judaism of Francisco Rodrigues Lobo’, MLR, LXXVIII (1983), 331–36. See also ANTT, IL, Proc. no. 10540, genlg., fols. 1–2. 11. ANTT, Chancelaria de Filipe III, Liv. 36, fol. 195v. 12. Ferreira, 267. 13. For various opinions see Theophilo Braga, História do theatro portuguez, II (Oporto: Imprensa Portugueza Editora, 1870–71), 217; R. Jorge, 124 and 356; Aubrey F. Bell, Portuguese Literature, (Oxford: Oxford U.P., 1970), 155; Stegagno Picchio, 180; Luiz Francisco Rebello, História do teatro português (Lisbon: Publicações Europa-América, 1967), 68. 14. See Ferreira, 257–58. 15. See R. Jorge, 164 and 255–68; M. L. Belchior Pontes, Itinerário poético de Rodrigues Lobo (Lisbon: Publicação da Faculdade de Letras da Universidade de Lisboa, 1959), 225–39. See also Primeyra e Segunda Parte dos Romances de Francisco Roĩz Lobo, ed. A. Pérez y Gómez (Valencia: Pérez y Gómez, 1960), Pt. 1, 41; Pt. 2, 105–06, and 140. 16. Jornada II, fol. 116v, second column. For reference, I shall be using throughout the edition kept at the Biblioteca Nacional in Lisbon (Res. 88010P.). 17. Obras políticas e pastoriz de Francisco Rodrigues Lobo, II, Primavera, (Lisbon: Na officina de Miguel Rodrigues, 1774), Pt. 2, Floresta 1, 122–24, and Pt. 1, Florst. 12, 117–20 respectively; and III, Pastor peregrino, Livro 2, Jornada 8, 267–69. Compare also these passages with Romances, Pt. 2. 139, ll. 11–20, and Pt. 1, 57, ll. 9–16. 18. Francisco Rodrigues Lobo, Églogas, ed. J. P. Tavares (Lisbon: Imprensa Nacional, 1964). 19. Obras políticas e pastoriz, IV (Lisbon: Na officina de Miguel Rodrigues, 1774). 20. Francisco Rodrigues Lobo, O Condestabre de Portugal D. Nuno Alvres Pereira (Lisbon: Pedro Crasbeeck, 1610). 21. Compare with what Eugenio Asensio writes concerning J. Ferreira de Vasconcelos in the introduction to his edition of the Comédia Eufrosina (Madrid: C.S.I.C., 1951), x–xi. 22. The first licence reads: ‘Vistas as informações, que se houverão, podemse imprimir estes dous Autos (menos o que vai riscado no primeiro) . . .’. The Auto del Nascimiento was published together with the anonymous Entremês do Poeta: the first auto (containing material which was riscado) is the Auto del Nascimiento, which, unlike the Entremês, has authorship given to Rodrigues Lobo (BNL, Res. 88010P., fol. 126v). 23. See Pousão-Smith, 332–38. 24. It is beyond the scope of this article to discuss Lobo's possible debt in the Auto to Tasso, Lope de Vega and even Simão Machado. It is, however, in these contexts that the term ‘pastoral comedy’ should be understood. 25. See N. Salomon, Recherches sur le thème paysan dans la ‘Comedia’ au temps de Lope de Vega (Bordeaux: Féret & Fils, 1965), 11–30; Margaret Wilson, Spanish Drama of the Golden Age (Oxford: Pergamon, 1969), 51. 26. Take for example the case of Serrano in the Pastor peregrino, Liv.1, Jorn. 2, 22–26. 27. See Asensio, introduction to the Eufrosina, x–xi. 28. Lope de Rueda, Pasos, ed. F. G. Ollé and V. Tusón (Madrid: Cátedra, 1981), 177–84. Compare the use made of the husband/wife antithesis to drive the slender plot to its climax. See also Chaytor, 17 and 33–34; and Meredith, 94–95. 29. Corte na aldeia, ed. A. Lopes Vieira, (Lisbon: Sá da Costa, 1959), diálogo XI, 229. 30. Consider, for example, the characters of Belisa and Pastora do Bosque in the Primavera and Pastor peregrino, and Arcélio in the Desenganado. 31. Obras completas de Gil Vicente, I, ed. Marques Braga (Lisbon: Sá da Costa, 1974), 18–20; Primeira Parte dos Autos e Comédias Portuguesas &c, juntas e emendadas por Afonso Lopez & c, e à sua custa (Lisbon: A. Lobato, impressor de livros, 1587), fol. 34v; and Machado, Comédias (Lisbon: António Pedrozo Galram, à custa dos herdeiros de Domingos Carneyro, 1706), 58. 32. The curiously detailed reference to the setting—the Carmo monastery—may point to Lobo's possible familiarity with the classical prologues of Plautus and Terence, where the setting had always to be referred to. Both these playwrights were studied in the Latin curriculum of the schools and Lobo's knowledge of them is attested by references in the Corte. See, for example, diálogo V, 106. 33. See Jorge Ferreira de Vasconcelos, Comédia Eufrosina, ed. Francisco Rodrigues Lobo (Lisbon: António Alvarez, 1616), prólogo-carta addressed to Dom Gastão Coutinho; and Corte, diálogo IX, 175. Compare also with cantiga Hũa fermosa serrana in Pastor peregrino, (Lisbon: Pedro Crasbeeck, 1608), Liv. 2, Jorn. 1, fols. 90–91. 34. Francisco Rodrigues Lobo, Cartas dos grandes do mundo, ed. R. Jorge (Coimbra: Imprensa da Universidade, 1934). 35. See Carlos Boyl's Romance preceptivo in Chaytor, 42. 36. Cotarelo, XLIV–XLVI. 37. Jorge Cardoso, Agiológio lusitano, HI (Lisbon: Na officina de António Crasbeeck de Mello, 1652–1744), 216–17; and Frei Joseph Pereira de Santa Anna, Chrónica dos Carmelitas, I (Lisbon: Na officina dos herdeiros de António Pedrozo Galram, 1745–51), 462–71. 38. ANTT, IL, Proc. no. 3003, contrad., fol. 103. 39. Hugo A. Rennert, ‘Spanish Actors and Actresses between 1560 and 1680’, Revue Hispanique, XVI (1907), 509, 514. 40. Ferreira, 297, 11. 13–27, and 286, 1. 25. 41. And not before 1615 as Ricardo Jorge suggests in Contra um plágio do Prof. Theophilo Braga (Lisbon: Clássica Editora, 1918), 46, and FRL, 372. See Rennert, 443–44. 42. Besides the parallels already quoted (p. 325 of this article) see further Romances, Pt 1, 67, verses 8–15; Pt 2, 103, ll. 12–15; 124,1. 15. Note also that in a total of sixty romances, six are in dialogue form and thirty-one in apostrophized monologue form. 43. See p. 325 of this article. 44. Compare particularly with Vasco Afonso's declaration of love (Gil Vicente, Obras, I, 164–65). For Vicente's influence on Égloga X see Belchior Pontes, 24–25 and 318. 45. Note especially the sequences of the shepherd's conversations (genealogy, playing of games), the apparition of the Angel and the departure for the Adoration (Vicente, Obras, I, 9–31). 46. ANTT, IL, Proc. no. 9167, contrad. fols. 170–170v; J. Ferreira de Vasconcelos, Comédia Eufrosina, ed. Francisco Rodrigues Lobo (Lisbon: António Álvarez, 1616), prologue-letter to Dom Gastão Coutinho. 47. See Cotarelo, XXIII, and Flecniakoska, 10–11. 48. Bartolomé de Torres Naharro, Comedias, ed. D. W. McPheeters (Madrid: Castalia, 1973), 124–27. For the possible direct knowledge of Naharro by Lobo see Luciana Stegagno Picchio, Ricerche sul teatro portoghese (Roma: Edizioni dell'Ateneo, 1969), 333. 49. Carolina Michaëlis de Vasconcellos, Notas Vicentinas, IV (Lisbon: Edições Ocidente, 1949), 475–76 and note 510. 50. This loa was performed for the first time at the Corpus Christi festivities of 1592 at Toledo and was published by Flecniakoska, 143–50. 51. R. Jorge, Francisco Rodrigues Lobo, 312–14. 52. Compare verses 26–36 and 122–23 of Lobo's Loa with Flecniakoska, pp. 144, 147, 150. 53. Francisco de Quevedo y Villegas, Obras Completas, I, Historia de la vida del Buscón, ed. Felicidad Buendía (Madrid: Aguilar, 1961), 344. See also Flecniakoska, 54, 101–02. 54. Flecniakoska, 73. 55. Églogas, IV, 111–17. See also Yvonne David-Peyre, ‘La peste et le mal vénérien dans la littérature portugaise du XVIe et du XVIIe siècles’, II, Arquivos do Centro Cultural Português, II (1970), 427. 56. António José Saraiva and Óscar Lopes, História da literatura portuguesa (Oporto: Porto Editora, n.d.), 2nd éd., 255–58. 57. Belchior Pontes, 118–20. Note also the division of the Pastor peregrino in jornadas. 58. See the edition of the Eufrosina by Lobo, prologue-letter to Dom Gastão Coutinho: ‘o(desejo) que V.M. mostrou de 1er esta Comedia Eufrosina (quando na sua quinta do Carualhal me tratou delia) …’. 59. See Vieira de Almeida, ‘Le Théâtre de Camões’, Bulletin d’Histoire du Théâtre Portugais, I (Lisbon, 1950), 262–65. Camões’ autos must have made an impression on Lobo not only from the point of view of language. Compare for example the Emperor's speech on idleness and Mendo's love song (Auto, Jorn. I, fols. lllv and 113 respectively) with Filodemo, Obras Completas de Luís de Camões, III, ed. Hernâni Cidade (Lisbon: Sá da Costa, 1972), 148 and 154. 60. Fidelino de Figueiredo, História da literatura clássica, 2 a época (Lisbon: Clássica Editora, 1921), 136.
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