In 1925, Manuel Machado published a previously unedited plan of a play by Lope de Vega called La palabra vengada . Written in Lope's own hand and totaling some 1700 words, it is quite detailed. Based on its location within Durán's codex of Lopean autographs, Machado believes the plan was composed in late 1628 or early 1629, and the comedia itself written shortly thereafter. A half century later, a play entitled La palabra vengada was included in Parte 44 of the Comedias escogidas (Madrid, 1678), where it bears the name of Fernando de Zárate, the alias assumed by Antonio Enríquez Gómez upon his clandestine return to Spain from exile in France around 1649. Except for the denouement and a few other minor differences, the play follows Lope's plan closely. This study examines features of Parte 44 that appear in Lope's works but not Enríquez's, features that indicate that it is indeed Lope's lost play. Among these features are 1) the large number of verse forms and the use of specific meters; 2) references to four historical and quasi-historical figures; and 3) the laudatory reference to the Fénix himself. (JBW)
Both parts of La hija del aire bore Calderón's name when the play was first performed before the court in 1653. More than ten years later, both parts were published in the Tercera parte of his comedias . However, the second part had already been printed in 1650 under the name of Antonio Enríquez Gómez and without the Segunda parte designation. The chronological priority of this edition is the basis for Constance Rose's claim that the second part was indeed written by Enríquez and not by Calderón. My study presents a number of stylistic traits that appear in Calderón's comedias and autos and in Hija II but not in any of the Enríquez plays nor in any of those attributed to him or to his alter ego, Fernando de Zárate. (JBW)
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