Click to increase image sizeClick to decrease image sizeBSS Subject Index: LINDO DON DIEGO, EL [A. MORETO]MORETO Y CABAÑA, AGUSTÍN (1618–1669)NO PUEDE SER [A. MORETO]YO POR VOS, Y VOS POR OTRO [A. MORETO] Notes 1. Articles which contain detailed textual studies of this play are: Frank P. Casa, ‘Diana's challenge in El desdén con el desdén,’ Romanistisches Jahrbuch, XXIII (1972), 307–18 and Bruce W. Wardropper, ‘Moreto's El desdén con el desdén: the comedia secularized,’ BHS, XXXIV (1957), 1–9. I wish to thank Professor Wardropper for his many suggestions during the preparation of this study, which I began while a participant in his 1975 NEH summer seminar, ‘Comedy in the Drama of the Spanish Golden Age’. 2. Studies that treat the subject of comedy and the gracioso in the plays of Moreto include the unpublished dissertation of Anna Marie Lottman, ‘The Comic Elements in Moreto's Comedias’ (Colorado 1958) and portions of Ruth Lee Kennedy's The Dramatic Art of Moreto (Philadelphia 1932), Frank P. Casa's The Dramatic Craftsmanship of Moreto (Cambridge, Mass. 1966), and James A. Castañeda's Agustín Moreto (New York 1974). 3. Tacón, the gracioso of El parecido en la corte and Millán, the trickster of Trampa adelante, are in near complete control of the comic plot, but they are in essence improvisers rather than careful planners. Neither Tacón nor Millán devises a clearly articulated plan in the style of the plays-within-the-play of Polilla (El desdén, con el desdén), Mosquito (El lindo don Diego), Tarugo (No puede ser) or Motril (Yo por vos, y vos por otro). Tacón, in El parecido en la corte, takes advantage of a simple case of mistaken identity and forces his master into an impersonation of Don Lope de Luján so that the two of them will have food and a place to sleep. Millán, in Trampa adelante, deceives everyone, including his master, in order to gain both time and the money that enables Don Juan to become a truly competitive suitor for the hand of Doña Leonor. Moclín, the gracioso of Et poder de la amistad, is not sole master of the comic plot, for in this play it is Matilde who is the confidante of the heroine and Luciano who formulates much of the comic strategy. For a brief comparison of the rôles of Moclín and Polilla, see the introduction to Dwain Edward Dedrick's critical edition of this play (Valencia 1968), xix–xxii. 4. Quotations and numbered line references in the text from El desdén, con el desdén are taken from the edition by Francisco Rico published in the Clásicos Castalia series (Madrid 1971). 5. Covarrubias defines casero: ‘El que vive en la casa que es de otro y la tiene por alquiler, o en guarda.’ 6. Covarrubias defines façoleto: ‘Vale lienço que llamamos de narices …’ 7. Quotations and numbered line references in the text from El lindo clon Diego are taken from the edition by Bruce W. Wardropper in Teatro español del Siglo de Oto (New York 1970), 787–896. 8. All page references in the text from No puede ser and Yo por vos, y vos por otro are taken from the edition by Luis Fernández-Guerra y Orbe in Comedias escogidas de D. Agustín Morelo y Cabaña, BAE, XXXIX (Madrid 1950), 187–208 and 373–90, respectively. 9. See Rico's note, p. 97. 10. See Rico's note, p. 97. See also Anne Fountain's article, ‘Venereal disease and the gracioso: a look at Moreto's El desdén con el desdén’, Bulletin of the Comediantes, XXIX (Spring, 1977), 23–25. 11. Wardropper, op. cit., 2. 12. Other amusing scenes in which Polilla and Diana discuss her ‘symptoms’ are found in lines 1708–20 and lines 2531–40. Bearne, Carlos and Don Gastón discuss with Polilla the ‘remedies’ for lovesickness in lines 2021–30. 13. Other characters who also refer to the analogy between love and religion include Bearne (lines 2585–603) and Diana herself (lines 2634, 2785). 14. Rico speculates in his introduction that this play may have been intended for presentation at Court and that some of the ladies and gentlemen present may have taken part in the performance. 15. Yo entré allá, y le vi en la cama,de la frente al colodrilloceñido de un tocador,que pensé que era judío (345–48). 16. A dos palabras que hablele entenderás todo el hilodel talento, que él es necio,pero muy bien entendido (337–40). 17. This anecdote has a similar function in Yo por vos, y vos por otro to that of Polilla's famous parable of the fig in El desdén, con el desdén. In both plays the gracioso uses his story to predict the success of his comic strategy. 18. Once Don Juan and Doña Inés are formally betrothed, Mosquito is then free to affect the desengaño of Don Diego.