Introduction Ann L. Mackenzie, Scholar and Editor

A long Scottish tradition (only recently eroded) prescribed that promising secondary-school pupils should attend the nearest university. At the end of the 1950s Scottish students had four ancient universities to choose from, but for someone born and living in Greenock, and a pupil at Greenock Academy, the place to go was Glasgow University, founded in 1451 and only thirty miles away: close enough to continue living at home. In those days, an Honours MA in Scotland was a four-year course; for a modern linguist, the course was five years, because the Scottish Education Department insisted on a year spent abroad (and checked stamps on passports if suspicions were aroused). Since specialization in a single foreign language was not an option, this meant completing a Double Honours degree, with an academic year spent in the country of one language and a term spent in the country of another. Having shown her interests and abilities in these languages at Greenock Academy (where she was awarded the German Prize and the Rankin Prize for Spanish) Ann chose to do Honours in Spanish (i.e., Hispanic Studies) and German. Thanks to a highly esteemed award from the Stevenson Exchange Scholarships Executive Committee, Ann spent her academic year abroad in Germany, as a Stevenson Exchange Scholar at the University of Freiburg; and the following year, supported by the Giralt Travel Scholarship she had won, during her required term in Spain she studied in Madrid, at what is now called the Universidad Complutense.

In the 1960s, William C. Atkinson was still Stevenson Professor of Hispanic Studies at Glasgow University (1932–1972), having succeeded William J. Entwistle.¹ Long before Ann's arrival, Atkinson had introduced Latin-American History, Thought and Literature into the curriculum,² not to mention his successful introduction of Portuguese Studies (for which he was honoured in due course [1972] by the Portuguese government). This resulted in Ann being required to read and be examined in Latin-American texts, both literary and historical, especially in her Higher Ordinary (i.e., second) year in the Department of Hispanic Studies, as well, of course, as continuing to study the Spanish language and the literature and history of Spain. Only in the final two years (the strictly Honours part) of her undergraduate programme, was she allowed to specialize entirely in Peninsular Studies. This meant studying Portuguese language from scratch, and, at the same time, mostly Renaissance Portuguese texts (Gil Vicente, Francisco Manuel de Melo, António Ferreira!); for there was a compulsory full Portuguese Language and Literature Paper in the Final Honours Examinations. Atkinson, who had published books in the good days before publications were weighed and measured, became (1966) the first Director of Glasgow's Institute of Latin-American Studies. Not only did he encourage his best students (whether Latin American or Peninsular specialists) to do research and to seek funding for doing so (again, in the period before successful grant-seeking was measured to produce further rewards), but he attracted like-minded staff, among whom were J. C. J. [Jack] Metford, and, later on, Geoffrey Connell. Appointed by Entwistle in 1930, Ivy McClelland was already in post at Glasgow when Atkinson arrived there. She was a superb role model for any young female Hispanist. Decades later, Ann would write a memoir on Atkinson in the Bulletin of Hispanic Studies,³ a long biography/memoir for Ivy McClelland, and Ivy's entry in the Dictionary of National Biography.⁴ It so happened that Ivy (all her students called her Ivy, though not, in those more formal days, when actually addressing her) put on a new Honours special subject in 1964–65, which was Ann's Final Honours Year. The special subject in question (the equivalent of what we now call an ‘option’, though in Atkinson's day there was nothing ‘optional’ about it) dealt with ‘Lope de Vega and the Comedia de capa y espada’. Characteristically thorough, Ivy began by making her students read Plautus and Terence, then the Celestina, Lope de Rueda, Torres Naharro and Juan de la Cueva, before immersing them in Lope and the drama of the Golden Age. Like her own professor at Liverpool University, E. Allison Peers, Ivy believed in making her Honours students do ‘proper research’ for their special subject. Thus Ann's career as a scholar began; and Ivy remained thereafter Ann's lifelong teacher, guide and friend.

No one has counted the percentage of young Scottish linguists who, exposed to the languages, literatures and cultures of two continental European countries, one of them Spain, chose to pursue Hispanic Studies as their career. Perhaps northerners were and still are more attracted to the ‘exotic south’; or, perhaps the more likely reason was that the generation of British Hispanists who were born just before or in the first three decades of the twentieth century was an exceptional one in terms of teaching and the ability to inspire their students.⁵ In any event, after her recent sojourn in the Spanish capital, Ann chose to do research on a topic that would take her back there: the theatre of the Golden Age, of which Madrid, thanks to the presence of the court, had been the centre. So many plays were written then that it is still not too hard to find something that other scholars have failed to investigate; in the 1960s it was even easier. Perhaps least studied of all were Calderón's contemporaries, especially the best of the younger ones, such as Rojas Zorrilla and Moreto, and Antonio Coello, who, although not quite in the same category as those others, nevertheless managed to write at least two exceptional plays, El conde de Sex and Los empeños de seis horas—or did he? Not every specialist would regard his authorship as certain.

Her researches supported by a three-year Major [postgraduate] Scottish Studentship awarded by the Scottish Education Department, Ann spent at least two years in Madrid, mostly as a resident, as Ivy had been before her, of the Colegio Mayor Femenino ‘Santa Teresa de Jesús’, in Fortuny—a university hall of residence for women still being run, and still somewhat militarily in the last decade of the ‘Dictadura’, by the Sección Femenina of the Falange. She researched in the Biblioteca Nacional, and in all the capital's other major libraries and archives, making occasional visits to libraries elsewhere—such as the Biblioteca Municipal, Toledo—, consulting manuscripts and rare editions of hitherto almost unstudied historical or pseudo-historical plays by the innumerable followers and contemporaries of Calderón. Then part of the Museo Municipal in Fuencarral, Madrid's Biblioteca Municipal was known to house a particularly rich collection of manuscript plays. The former ‘Hospicio’, with its splendidly rococo doorway, had been ‘en obras’ for decades, therefore was closed and officially inaccessible to scholars. But, carrying a letter of recommendation from Ivy McClelland to Federico Carlos Sáinz de Robles, then its ‘Subdirector’, Ann gained entry. She researched there regularly for the best part of two years, during which period she appeared to be the only scholar in the place, apart from its ‘Subdirector’ and his friend Ángel Valbuena Prat. The great man called in most days, to do some research no doubt, but also to invite Sáinz de Robles to take coffee with him at a nearby ‘cafetería’. Ann followed Ivy's good advice and gave the library's caretakers presents of English or American cigarettes every few weeks in order to encourage them to bring for her down from the attics (where they were being stored) at least three different play manuscripts every other day. These early years of research into Golden-Age plays—the more obscure the better—led to a lifelong fascination with who wrote what, and on which topics and why, and in collaboration with whom.

Though she would have preferred to remain in Madrid to continue her researches, the final year of Ann's three-year full-time research period was spent at Glasgow University. This was at Professor Atkinson's insistence, for he was always a stickler for ‘the University's regulations’. So Ann began writing up some of her abundant research notes, in between tutoring, for the customary (small) remuneration, mostly first- and second-year undergraduates; but she was allowed (discreetly by Ivy) to take the occasional Honours class in Golden-Age Drama. Early in that year she applied for and was offered (1968) an Assistant Lectureship at Liverpool University, where the Gilmour Chair of Spanish (founded 1908) was the oldest in Britain, and among the most prestigious, thanks in part to the Bulletin of Spanish Studies, established by E. Allison Peers in 1923, but known from 1949 as the Bulletin of Hispanic Studies. The professor, therefore Head of the School of Hispanic Studies, from 1953 until 1962 had been Albert Sloman, a specialist in Golden-Age drama, a fact that the University library reflected. His successor Geoffrey Ribbans, since Gwynne Edwards had left to take up a post at Aberystwyth, advertised for, preferably, a specialist in Golden-Age literature, so was particularly pleased to have a new staff member in that field. Traditionally, the professor was editor of the Bulletin, but junior colleagues were expected to help, and once they had shown that they were worthy of it, they were given the title of ‘Editorial Assistant’, which came to Ann in 1975. Used to close scrutiny of texts, and already practised in the compilation of bibliographies, Ann advanced to Assistant Editor (1980), then, when Harold Hall, Geoffrey's successor as editor and professor, became terminally ill, she became Acting Editor (1981–82; with Joan-Lluís Marfany). In 1982 Dorothy Sherman Severin took over at Liverpool as the Gilmour Professor, and Editor of the Bulletin, and from 1983 Ann, who was by then Senior Lecturer, was titled Associate Editor. As her work and responsibilities became more onerous, Ann progressed to Editor (1988), and, eventually, to General Editor (jointly with Dorothy Severin) from 1992, the year before Liverpool University promoted her to Reader in Hispanic Studies.

The books which she had been preparing during her research in the late sixties had to wait a bit longer for their completion while Ann prepared her new courses of Golden-Age lectures, and delivered them, took several groups of weekly essay tutorials, and taught the inevitable, time-consuming language and translation classes. She also did growing amounts of departmental administration; which included, as departmental ‘Research Correspondent’, preparing the department’s (highly successful) submission for the Research Selectivity Exercise (Grade 5; 1989). All the time she became increasingly involved in the Bulletin.

Her first article in her chosen field was a revised version of the paper she had read at her second international conference, which was the third of the Anglo-German Calderón Colloquia (held in Westfield College, London, in 1973): ‘Examen de El monstruo de la fortuna: comedia compuesta por Calderón (I), Pérez de Montalbán (II) y Rojas Zorrilla (III)’.⁶ Just as the play was emblematic of its genre, so the article was representative of Ann's interests, and of her approach: a collaboration play by three eminent Golden-Age writers, based on supposed historical facts some of which had already been dramatized, successful in its time but largely ignored by modern critics and literary historiographers. Disposing of a probable ghost introduced by Barrera (another play, supposedly of the same title, allegedly written by Rojas Zorrilla, Antonio Coello and Luis Vélez de Guevara), she discussed the play's relationship with its dramatic predecessor (Lope's La reina Juana de Nápoles). Referring to its alternative title, La lavandera de Nápoles, she cast polite aspersions on Hartzenbusch's improbable suggestion that Tirso's reference ‘a Pérez la lavandera’ (in Del enemigo el primer consejo, written by September 1633) was an allusion to the play: ‘Resulta bastante difícil aceptar que Tirso se refiera aquí a la colaboración de Pérez de Montalbán en una comedia tratando de la famosa lavandera de Nápoles’ (112). The fascination with who wrote what and in collaboration with whom, was also evident in ‘El saco de Amberes, comedia falsamente atribuida a Calderón. ¿Es de Rojas Zorrilla?’,⁷ and ‘Luis Vélez de Guevara As Dramatic Collaborator, with Specific Reference to También la afrenta es veneno (I. Vélez II. Coello III. Rojas Zorrilla)’.⁸ Historical subjects dealt with by different writers, not least if they had differing national viewpoints, were especially attractive as subjects of her analysis: ‘Dos comedias tratando de la reina Cristina de Suecia: Afectos de odio y amor por Calderón y Quien es quien premia al amor por Bances Candamo’;⁹ ‘A Study in Dramatic Contrasts: The Siege of Antwerp in A Larum for London and El saco de Amberes’;¹⁰ ‘The “Deadly Relationship” of Elizabeth I and Mary Queen of Scots Dramatized for the Spanish Stage: Diamante's La reina María Estuarda and Cañizares’ [?] Lo que va de cetro a cetro, y crueldad de Inglaterra’;¹¹ ‘Shakespeare y Calderón: dos interpretaciones dramáticas de Henry VIII y La cisma de Inglaterra’.¹² All of these, naturally, involved not only textual and critical analysis, but a study of sources. On occasion, the dramatist's source was a novel, rather than history or/and a previous drama: ‘El licenciado Vidriera: hacia una comparación de la novela de Cervantes con la comedia de Moreto’;¹³ ‘Cervantes's Exemplary Novel Converted for the Stage: El celoso extremeño As Dramatized by Antonio Coello’.¹⁴ A particular fondness was reserved for neglected dramatists and their undeservedly forgotten plays: ‘A “Lost” Play by a Forgotten Dramatist: Manuel de Acosta de Silva's La lealtad no agradecida, y la amistad desgraciada’ (a play in manuscript which Ann had chanced upon in the Biblioteca Bartolomé March, Madrid);¹⁵ ‘Una comedia casi perdida y desconocida tratando del Gran Cardenal de España, Don Gil de Albornoz’ (the playwright in this case was Antonio Enríquez Gómez);¹⁶ ‘Concerning Juan de Zabaleta and a Recent First Edition of La honra vive en los muertos’;¹⁷ ‘Juan Bautista Diamante 1625–1687’;¹⁸ ‘The comedias of Don Pedro Francisco Lanini Sagredo (?1640–?1715)’.¹⁹ She had still more to say about ‘Don Pedro Francisco Lanini Sagredo (?1640–?1715). A Catalogue, with Analyses, of His Plays. Part I’; this latter article was selected for inclusion in the online archive 'Portal del Teatro del Siglo de Oro' (Biblioteca Virtual Miguel de Cervantes), hosted by the Biblioteca Nacional de España.²⁰ Other articles in which Ann pursued comparable interests were: ‘Álvaro Cubillo de Aragón, a Playwright in the School of Calderón’;²¹ ‘Antonio Coello como discípulo y colaborador de Calderón’;²² and ‘ “A Dramatist in His Own Right”: Juan Pérez de Montalbán and the Authorship of Los desprecios en quien ama’. Ann was well aware, of course, of the debt owed to Victor Dixon by all investigators of Montalbán, and the article on Los desprecios en quien ama (alias El embajador fingido) was written for his Festschrift.²³ There are several candidates for the authorship of Los desprecios, and some of the evidence is contradictory, but Ann found new evidence that it was by Montalbán.

Ann became interested in this hitherto largely neglected play after discovering ‘Comedia[s] de Lope Vol. II. A Unique Volume of Early comedias sueltas in Liverpool University’s Sydney Jones Library’,²⁴ made up of twenty-one Golden-Age plays of which Los desprecios was one. Quite a number were, or were thought to be sueltas of plays by followers or near contemporaries of Calderón (Cubillo, Enríquez Gómez, Pérez de Montalbán, Luis Vélez etc.), whose works Ann was already engaged in researching. Arguably the most important item in the volume, however, was a hitherto undiscovered early suelta of Calderón’s La vida es sueño, attributing it to Lope de Vega, no less (!), and referring to its performance, previously undocumented, by the company of Cristóbal de Avendaño (died 1634). Given his acknowledged expertise, Ann naturally enlisted Don Cruickshank to examine this and all the other sueltas in the volume, none of which stated when, where or by whom they had been printed. Don’s preliminary findings (he cautioned further research was needed) indicated that the plays in the volume appeared to have been printed in Seville in the first half of the seventeenth century. He suspected that Francisco de Lyra could have been the printer responsible for the suelta of La vida es sueño by Lope [sic], and that its date might be as early as 1635; meaning that the ‘Liverpool’ suelta was possibly the earliest text of Calderón’s masterpiece to have survived. Much more work on these twenty-one comedias sueltas remains to be done; and the ultimate objective of both scholars is to accomplish a comprehensive study of The ‘Comedia’ in Seville 1620–1650: Researches into a Unique Volume of ‘comedias sueltas’.

As regards Ann's article on Antonio Coello (2001), it examined especially El conde de Sex, one of Coello's two most successful plays (the other being Los empeños de seis horas, which Samuel Pepys described in 1663, when he saw it in translation, as ‘the best play that ever I saw, or think ever shall’, adding that, in comparison, Othello was ‘but a mean thing’).²⁵ El conde de Sex is a fanciful explanation of the reasons for the execution of the Earl of Essex in 1601: he might appear in it to have been unable to betray his beloved Blanca, the real instigator of the plot, in which he had no part, against the English queen, Elizabeth I; but Ann was able to argue that his real motivation was a very Spanish one, his pundonor. The play is a depiction of Elizabeth Tudor as unusual as that by Cervantes in La española inglesa, which it resembles. No doubt Cervantes was an influence, but not even Ann could find what she regarded as a satisfactory source, although she remained unconvinced by efforts to ascribe the play, or some of the play, to better-known writers. El conde de Sex is one of the few plays by ‘less famous’ writers to have enjoyed a critical edition,²⁶ and she ended her article with a plea for collaboration among scholars to produce more critical editions, and more studies too, of the works of a whole list of playwrights, some of whom she had herself rescued from obscurity.

The Coello article was read as an invited paper at the Universidad Complutense de Madrid in 2000 as part of a Calderón quatercentenary conference (Simposio Internacional ‘Pensar a Calderón desde el 2000′), organized by José María Díez Borque. Ann received many international invitations down the years, to read papers at conferences or give lectures or participate in round tables. Because of her busy professional life in Liverpool and her family responsibilities in Scotland, quite a lot of these invitations she regretfully had to decline. So she was unable to serve as a visiting professor at the University of the West Indies in the early 1980s, or to contribute a lecture on Shakespeare and Calderón to the ‘Cursos de Verano’ organized at El Escorial by the Universidad de Alicante in 1994, or to undertake a lecture tour on Shakespeare and Spanish theatre to the Universities of Valencia, Murcia and Alicante in 1997; nor could she speak at a conference on ‘Calderón, nuestro contemporáneo' at the Universities of Ottawa, Montreal and McGill (2000), or on Moreto at Burgos University in 2006, or on Rojas Zorrilla at the Jornadas de Teatro Clásico de Almagro in 1999–2000, or in 2007; nor did she manage to get to the University of Milan in 2008 to contribute to a colloquium on comedias colaboradas; or to attend the ‘Congreso Internacional’ at the Colegio de México in 2011 to discuss ‘Calderón de capa y espada’; nor, most recently, could she accept an invitation to speak on ‘autoridad y poder’ in Golden-Age theatre at a conference to take place at the University of Chicago in 2016.

But there were a lot of other invitations, despite her dislike of aeroplanes, which she was able to accept: Wolfenbüttel (1975), the University of Kentucky, Vanderbilt University and the University of the South, Sewanee (1978), Würzburg (1981), the University of Illinois at Chicago, Brown University, Providence and the University of Delaware (1990), the Jornadas de Teatro del Siglo de Oro at Almería (1992), and, as already mentioned, the Universidad Complutense de Madrid (2000). She also delivered papers at conferences, symposia and seminars in the UK—including at St Andrews University, Queen Mary College, London, the Institute of Romance Studies, London, and, naturally, Liverpool University and the University of Glasgow. The subjects she dealt with included Petrarchism, Góngora and Baroque style, Cervantes, as well as, especially, the Comedia. Taking her turn with good grace, she organized with characteristic efficiency the ninth Anglo-German Calderón Colloquium at the University of Liverpool in 1990.²⁷ In several universities, both abroad and in this country (Brown University, the University of Kentucky, Glasgow University), she was invited to address postgraduates: to them she spoke of what research they could do, what research needed to be done, and how they could do it. On more than one occasion she spoke to them about editing a learned journal, and what editors were looking for from submitted articles: namely, quality and originality of content and clarity of presentation. She was invited more than once to address broader audiences on the radio. She did participate with José María Ruano in a Spanish radio programme to discuss the performance of the first version of Calderón’s La vida es sueño in Almería (1992); but in the UK she turned down invitations to talk about Saint Teresa on Woman’s Hour and to discuss Don Quijote with Melvyn Bragg and others on In Our Time (2006). Due to retire that same year, Ann no longer had to concern herself with the next RAE (Research Assessment Exercise) or REF (Research Excellence Framework). She could choose to refrain from speaking to the general public, receptive or otherwise, about Spain's Golden Age in order to bring about what university managers nowadays insist on calling ‘Knowledge Exchange and Impact’.

An Assistant/Associate Editor of a major Hispanic journal, especially one experienced in compiling the Bulletin's twice-yearly survey ‘Review of Reviews’, is well placed to compile bibliographies, so in 1980 Ann duly volunteered, or was commandeered, to compile a major part of the Spanish section of The Year's Work in Modern Language Studies: ‘Spanish Studies: Literature, 1490–1700 (Drama)’. She did this for five successive years, 1980–1984 (published 1981–1985): an arduous and largely thankless task, since the compiler must discover and read all that has been published. Ann's years of YWMLS service were particularly onerous, seeing that they included the year 1981, marking the tercentenary of Calderón's death, which produced a huge increase in Calderón-related publications needing to be commented upon, however briefly. She must have been relieved to find in José María Ruano a more than able ‘calderonista’ willing from 1985 to succeed her. However, her work for YWMLS proved ultimately to be a rewarding experience which served Ann well.

In 1992 Ann's application for a major grant to the Leverhulme Trust to enable her to accomplish a large-scale Team Project of Hispanic Research Bibliographies was successful. Part of the project focused, understandably, on the theatre of Spain, while the rest, also understandably, involved cataloguing by author and subject the contents of Hispanic-related journals. The grant allowed for a research assistant or assistants to be appointed: first, Fiona Maguire; then, in 1993 Ceri Byrne and Patricia McDermott came in as Ann's collaborators. From the USA, Szilvia E. Szmuk kindly acted for a period as Ann's co-director for the theatre-related part of the Project. Initially for three years (1992–1995), the award was extended, on re-application to the Trust, for a further fifteen months (until 1997). Still in progress, therefore, when Ann, with Ceri Byrne, moved to Glasgow University in 1995, the Hispanic Research Bibliographies Project relocated with them. Published as supplements or parts to the Bulletin, the Project's substantial outcomes on Spanish theatre to date have included Margaret A. Rees' bibliography of The Nineteenth-Century Theatre in Spain (2001) and Philip B. Thomason and Ceri Byrne on The Eighteenth-Century Theatre in Spain. A Bibliography of Criticism and Documentation (2005). In connection with the Project's other stated objective, Ceri Byrne, Ann Mackenzie and Graham Whitaker catalogued comprehensively, by author and by subject, the entire contents of the Bulletin of Spanish/Hispanic Studies from its foundation in 1923 until 2003. The purpose-built methodology used to compile these Indexes (printed in three ample volumes in 2008 and 2011; and made available online from 2015) was devised by Ann, who also was responsible for providing the Introduction and Notes for Users;²⁸ the same methodology is currently being utilized to catalogue online all the articles and reviews which have appeared in the Bulletin of Spanish Studies from 2004 to the present.

During her time at Liverpool University, Ann became a firm friend and collaborator of Kenneth Muir (1907–1996), the King Alfred Professor of English Literature (from 1974, emeritus). Muir was a Shakespeare scholar, and, like many Shakespeareans, he had an interest in the early modern drama of other countries, especially that of Spain. His translation of five Racine plays had appeared as early as 1960,²⁹ and soon after Ann's arrival in Liverpool, he published an article on ‘The Comedies of Calderón’:³⁰ it was almost inevitable that they should collaborate. Their first joint volume of translations into English blank verse was Four Comedies by Pedro Calderón de la Barca, in which the plays translated were: Peor está que estaba, El secreto a voces, No siempre lo peor es cierto and Dicha y desdicha del nombre.³¹ Their second volume was Three Comedies by Pedro Calderón de la Barca, and the plays they put into English were: Casa con dos puertas, mala es de guardar, Mañanas de abril y mayo and No hay burlas con el amor.³² Turning to tragedy, they produced The Schism in England (La cisma de Inglaterra).³³ Their last collaboration, to appear posthumously in the case of Muir, was another tragedy, El mayor monstruo, los celos (Jealousy, the Greatest Monster).³⁴

For a long time, it was hard to persuade academic bean-counters that translation was a scholarly exercise. But Ann's contribution in critical study and detailed commentary on The Schism, for example, ran to more than one hundred pages, half a book. As for Muir, the affectionate obituary notice by Hermione Lee in The Independent (6 October 1996), while it indicates that at times ‘[h]e could be a coldly angry man’, also refers to his generosity and kindness towards junior colleagues.³⁵ With his long list of publications Kenneth Muir had nothing to fear personally from bean-counters, and one can imagine what he might have said to them.³⁶

There is no doubt that Muir was a huge influence on Ann, for some of his most notable books, the earliest of them published while she was still at school, confirmed that the research topics, interests and directions she pursued were valuable ones: Shakespeare's Sources, Shakespeare As Collaborator and The Sources of Shakespeare's Plays.³⁷ As for translation, ‘Translating Calderón’ (1989) and ‘Translating Golden Age Plays’ (1992) appeared while he was in his eighties, long after he and Ann had begun their collaboration, but they too confirmed the correctness of her scholarly choices.³⁸

Another colleague at Liverpool University, who became Ann's collaborator, though in a quite different enterprise, was Adrian Allan, the University's Archivist. In 1989, Ivy McClelland had passed on to Ann the Edwardian desk at which Ivy's former professor, E. Allison Peers, had written not only most of his books, on the Spanish Civil War, the Spanish Romantics, the Spanish Mystics and the like, but also his accounts and analyses of British university life in and around the 1940s, for which he drew on his own experiences at Redbrick University—that is to say, at the University of Liverpool. Written under the pseudonym ‘Bruce Truscot’, his books, Redbrick University and Redbrick and these Vital Days were in their day hugely influential, and the identity of their author, described by Sir James Mountford, Liverpool University's Vice-Chancellor (1945–1963) as ‘probably the best kept literary secret of the last half century’, was not revealed until Peers' death in 1952.³⁹ In the drawer of Peers' desk, where they had reposed undisturbed for nearly forty years, lay his unpublished memoirs. These consisted of two sets of papers: there were the memoirs he had composed as if he were ‘Bruce Truscot’; and there were the parallel records he had kept in his own name, which gave a briefer, factual account of Peers' life and his early career at Liverpool. This straightforward record provided the keys to the true identities of the people (Peers' academic colleagues at or connected with Liverpool in the main) who figured in disguise, often in an unflattering light, in the much more ample Truscot papers: colleagues such as the Professors Inaccessible, Slocombe, Wormwood and Upright! Both sets of papers, while they dealt first of all with Peers'/Truscot's early life, education, period spent as a schoolmaster until he became a lecturer at Liverpool/Redbrick University, were particularly concerned to narrate the almost unbelievable history of their author's prolonged struggles (1920–1922) to get the better—as in the end he did—of a powerful group of academics within the Faculty of Arts, known as the ‘New Testament’. In conjunction with Peers' predecessor at Liverpool, James Fitzmaurice-Kelly (‘Professor Upright’),⁴⁰ members of the ‘New Testament’ plotted relentlessly, but (fortunately for the future of Hispanic Studies in the UK) ultimately in vain, to oppose and prevent Peers' appointment to the Gilmour Chair of Spanish at Liverpool.

It had been Peers' presumed wish that the Peers and Truscot memoirs should be published together to form a single suitably annotated book. Characteristically, his former pupils Audrey Lumsden-Kouvel and Ivy McClelland left it entirely up to Ann to decide whether the memoirs, concerned with mainly academic events from some seventy years previously, deserved to be not just preserved but published. Having read them, Ann was determined to bring about their publication; but there was a huge amount of research to be done to make the manuscripts (all of them in Peers' neat but tiny, almost indecipherable handwriting) ready for press. Fortunately, Ann persuaded Adrian Allan to collaborate with her in the enterprise. With his specialist expertise and his unlimited access to the University of Liverpool's Archives, Adrian was able to seek out essential information not only from Peers' own abundant papers housed there, but also from the University's mass of official records. Co-editing and annotating the memoirs, and then setting them in context (the latter task Ann mainly accomplished in the Introduction) took the two collaborators at least five years to complete. While still occupied in their work, with the cooperation of Janice Carpenter, then curator of the University's Art Collections, in 1994 they mounted an exhibition titled Redbrick Revisited: The University of Liverpool 1920–1952. To celebrate the career of E. Allison Peers, as ‘Bruce Truscot’, author of Redbrick University. The eventual outcome of their researches was a volume of 520 pages, whose publication, through Liverpool University Press, would have been impossible without a generous grant from the Vice-Chancellor's Development Fund, awarded for the purpose by Graeme Davies in his last week in office before he left Liverpool to become Chief Executive of the Universities Funding Council, soon to become known as the Higher Education Funding Council for England; to Graeme Davies the book was therefore appreciatively dedicated. By the time the Peers/Truscot memoirs were published in 1996, Ann had returned to her Alma Mater, where coincidentally Graeme Davies had just taken charge as Principal and Vice-Chancellor, and where he was to prove himself to be as firm a supporter of Hispanic Studies as he had been previously when at Liverpool. Peers' Redbrick University Revisited. The Autobiography of ‘Bruce Truscot’ proved appealing to academics and the wider public alike; and it was favourably reviewed by such respected higher educationists as Max Beloff and Asa Briggs.⁴¹

It was probably Ann's time-consuming work on Peers' memoirs which stimulated her to carry out other researches into the History of British Hispanism. This led her to publish more work about Peers himself, detailing what he had achieved, notably through the vehicle of the Bulletin of Spanish Studies (later, the Bulletin of Hispanic Studies) he had created. She illustrated, for instance, how he developed Portuguese Studies, in her Introduction to the Special Issue of the Bulletin titled Portugal: Its Culture, Influence and Civilization, published in 1994 with support from the Fundação Gulbenkian; and she commented further on Peers' career and enduring influence in her Introduction to the volume she edited as Spain and Its Literature: Essays in Memory of E. Allison Peers, co-published in 1997 by Liverpool University Press and the Modern Humanities Research Association (which, it is worth remembering, Peers had founded in 1918). There were other Festschrifts for influential Hispanists for which she was wholly or largely responsible. Besides the Bulletin's two homages for Ivy McClelland (already mentioned), she edited and introduced volumes to honour two outstanding scholars of Golden-Age drama: The ‘Comedia’ in the Age of Calderón. Studies in Honour of Albert Sloman (BHS, 1993) and Calderón 1600–1681: Quatercentenary Studies in Memory of John E. Varey (BHS, 2000). In 1992, in an extra BHS Special Homage Volume of Hispanic Studies in Honour of Geoffrey Ribbans, co-edited with Dorothy Severin, Ann had evaluated, in an ample Introduction, the career of her former Professor and Head of Department at Liverpool University. To nearly all of these volumes Ann also contributed articles of her own, usually on the Comedia. Soon forthcoming is a Bulletin volume belatedly to honour William C. Atkinson. After Peers' death, Atkinson, together with Audrey Lumsden(-Kouvel), had anonymously edited the Bulletin and, therefore, had kept it from going under until Sloman, once appointed to the Gilmour Chair, agreed to take over, from 1954, as the Bulletin's Editor. Studies on Spain, Portugal and Latin America in Memory of William C. Atkinson, edited by Ann L. Mackenzie and Ceri Byrne, will contain, besides articles from Hispanists who trained or worked at Glasgow University, Ann's definitive assessment of her former professor's career, together with Atkinson's own hitherto unpublished reminiscences. Next to Redbrick University Revisited, Ann's most ambitious project to centre on British Hispanism and Hispanists is her forthcoming book, The History of the ‘Bulletin of Spanish/Hispanic Studies’. A Survey of Its Contributions to Hispanism.⁴²

From the mid 1980s onwards, mainly as a result of Ann's initiatives, the Bulletin's editors published ‘special numbers’ with increasing frequency, to which, besides the ‘Introductions’, Ann usually contributed articles. There were some special issues she edited, or co-edited, for which Ann ‘merely’ wrote introductions: An Issue of Gender: Women's Perceptions and Perceptions of Women in Hispanic Society and Literature (1995); Traditions of Creativity in Modern Spanish Literature (1996); Medieval Studies II (1997). In a couple of cases ‘all’ she did was edit or co-edit the issues: Spain and Portugal: The Discoveries and the Colonies, 1492–1898 (1992); Dynamism and Conflict: Valencia 1808–1975 (1998).⁴³ Dynamism and Conflict was one of two publications on modern Spanish history which Ann co-edited with Paul Preston, the other one being The Republic Besieged: Civil War in Spain 1936–1939 which they dedicated, appropriately, to E. Allison Peers. Published in 1996 by Edinburgh University Press, this book, to which Ann contributed the Preface and Paul Preston the Introduction, was made possible by subventions from the University of Glasgow and the Cañada Blanch Foundation. While at Liverpool Ann also somehow made time to establish two book series: the E. Allison Peers Publications and (with Dorothy Severin) Hispanic Studies TRAC [Textual Research and Criticism]. Among the numerous books published in Hispanic Studies TRAC, and through Liverpool University Press, was Ivy McClelland's ‘Pathos’ dramático en el teatro español de 1750 a 1808 (1998), translated by Fernando Huerta Viñas and Guillermina Cenoz del Águila from the original English work in two volumes (Spanish Drama of Pathos 1750–1808) first issued by Liverpool University Press in 1970. Rightly convinced of the importance of making this definitive study available to non-English speaking Hispanists everywhere, Ann not only persuaded the original publishers to re-issue it in translation but edited the Spanish version anonymously, to which she also contributed one of two new Prefaces, while Francisco Aguilar Piñal, a leading authority on his country's Age of Reason, contributed the other.⁴⁴

In between all of this, Ann at last found time to publish her own books, using material from her first researches in Spain, and from the frequent return research visits she made there in the decades 1972–1992: La escuela de Calderón: estudio e investigación and Francisco de Rojas Zorrilla y Agustín Moreto: análisis.⁴⁵ A fragment of evidence, quoted by Ann, shows Lope, after he and Pérez de Montalbán had each written one act of a play in two days, taking five hours to finish one half of Act III, while Montalbán was taking nine hours to complete the other half. Lope was Spain's first professional writer, and among his contemporaries only he (the supposition is) could write fast enough and so make enough money as an author to live comfortably. By definition (the supposition continues), all the rest were hard up, and one way of earning money quickly was for a collaborating team to write parts of plays simultaneously, as Montalbán and Lope did in that case. Since the commonest team numbered three, and plays had three acts, this seemed plausible enough. In any case, short of discovering initial contracts which specified how the writers were to work, how could their modus operandi be demonstrated? Ann found a way. In Chapter 3 of La escuela de Calderón, ‘La técnica de componer comedias en colaboración’, she lists the evidence that, in the case of Calderón and his collaborators at least, ‘los colaboradores calderonianos componían uno tras otro, jornada por jornada, en estricta sucesión’.⁴⁶ In one of the first and most important studies ever written on collaborative composition, she was able to show that the writers of later acts must have seen (may have had before them) the previous act or acts, if only because they reiterated phrases used earlier. The discovery was particularly important because it destroyed the ‘earning-quickly’ supposition. And yet, if Calderón and his contemporaries were not trying to keep wolves from doors by producing play-texts rapidly, what was the point? Ann offers some feasible answers to that question too. Ann noticed other features of these collaboration plays: even when not obvious refundiciones (as they so often were), they frequently dealt with subject matter that had already been dramatized; and the matter was frequently historical, or had a historical setting. One of the first, in 1622, was such a case: Algunas hazañas de las muchas de don García Hurtado de Mendoza, marqués de Cañete, by nine authors led by Luis de Belmonte Bermúdez, which probably drew on Lope's earlier Arauco domado;⁴⁷ while an examination of Calderón shows a complex relationship between his own plays and those he wrote in collaboration.

Collaboration plays still get written, but they have come down in the world. In the Golden Age, as Ann noted, they were popular and appreciated. For example, if we believe the Avisos of Barrionuevo for 30 October 1655, ‘la reina se muere por ver’ the Vida y muerte de San Cayetano, written by no fewer than six wits (among them Moreto and Matos). The Inquisition recalled it, but the queen supposedly intervened and a revised version was played in the Corral del Príncipe in November to such full houses that one spectator was killed in the crush.⁴⁸ Ann shared Keith Whinnom's view, expressed in Spanish Literary Historiography, that we need to try to understand how the public's imagination was caught by works which were hugely successful in their time but which are now unvalued.⁴⁹

Francisco de Rojas Zorrilla y Agustín Moreto: análisis was planned as the second volume in a series (with the third to be Estudios sobre Calderón y sus discípulos dramáticos, forthcoming as a book-length issue of BSS & as a book edition [Abingdon/New York: Routledge]). Rojas and Moreto never collaborated with each other, as far as anyone can tell. In one way this was surprising, since both collaborated with the same individuals, although Ann had a simple explanation: Rojas' greatest period of productivity was the 1630s, with no play definitively dated after 1640, while Moreto (born only in 1618) did not begin writing until after 1640, with his productive height being reached in the 1650s. Moreover, for most of the period 1644–1649, the theatres were closed, in mourning for the deaths of Philip IV's first queen, Isabel de Borbón (1644) and their son, Baltasar Carlos (1646), and Rojas died in 1648. In some ways their talents were very different, and, if they had worked together, they would no doubt have produced ‘comedias sumamente desprovistas de coherencia dramática’;⁵⁰ and yet, as Ann argues, two such perceptive writers would undoubtedly have made discoveries from each other's techniques: collaboration was a valuable learning process, and writers knew this.

The plays examined include the obvious ones, such as Moreto's El lindo don Diego and El desdén con el desdén, or Rojas' (?) Lucrecia y Tarquino and Del rey abajo, ninguno (Ann in La escuela de Calderón had already argued that this latter text should be attributed to him); but there are also studies of plays which have rarely been examined, such as Rojas' Cada cual lo que le toca, controversial in its day, and his El Caín de Cataluña, or Moreto's El hijo obediente and his El valiente justiciero. Cada cual was whistled off the stage by its first audience or audiences because the protagonist had discovered on his wedding night that his bride was not a virgin; what is more, he could not bring himself to kill her, to redeem his honour.⁵¹ Like Del rey abajo, ninguno, this drama deals with a character that encounters a personal catastrophe he has not caused. In both plays the character survives, as does his wife; only the evil-doer is killed. But while García recovers his honour in Del rey abajo by ultimately killing the offender, Cada cual's Luis has the very hollow satisfaction of seeing his wife do the killing for him; and his wife cannot forgive him for his inaction. As for García, he cannot forgive himself for his earlier decision to kill his wife and for endeavouring to do so while knowing that she was chaste and blameless. Even though he proved himself incapable of harming his innocent wife, what he had attempted to do so haunts García that he is left permanently bereft of his former marital contentment and his peace of mind. Ann's study is important for its examination of Rojas' creation of flawed characters who survive their catastrophes but whose tragedy is that their lives will never be the same again: whoever may have written Del rey abajo, ninguno, these are two more tragedies to be added to the list of the so-called ‘tragedie di lieto fine’.

Both El valiente justiciero and El hijo obediente are historical plays dealing with subjects already dramatized, respectively, in El rey don Pedro en Madrid (author disputed) and Lope's El piadoso aragonés. Moreto's play is very different from Lope's: Ann shows that the younger dramatist had read the history books, and recreated John II of Aragón (father to the ill-fated Charles [Carlos de Viana], and to his half-brother, Ferdinand [the later Fernando el Católico]) as the self-centred and hypocritical schemer that he really appears to have been. Lope's play is a glorification of John and his son Ferdinand, Moreto's a much more complex portrayal of a tragedy created by a father who drives his elder son and heir to rebellion, and so to his destruction. The only other study of this play is one by Ruth Lee Kennedy; Ann's is very different, but much more convincing. Ann was to return to this play and analyse it at justified length in ‘Moreto's Historical Tragedy, El hijo obediente: Its Date, Performance History and Dramatic Quality’, an article she contributed to the monographic double issue of the Bulletin titled ‘De Moretiana Fortuna’: estudios sobre el teatro de Agustín Moreto which she jointly edited with María Luisa Lobato, Spain's best known specialist on Moreto.⁵²

The protagonist in El valiente justiciero is King Peter I (Pedro el Cruel) of Castile. Once again Moreto had read his history, recreating the unbalanced, even deeply disturbed man who happened to inherit the throne; and once again, Ann convincingly disagrees with an earlier critic: she shows that this is another example of a tragedy which the protagonist survives, but with a bleak future that the audience is left with clues to foresee, as in Ann's interpretation, now widely accepted, of Calderón's Henry VIII, in her edition/translation of La cisma de Inglaterra.

It may be said that the hallmark of her books is disagreement with the views of earlier critics, but disagreement based on close readings of the texts. The tendency, for example, had been to regard Rojas' Lucrecia (Lucrecia y Tarquino) as simply too virtuous to be a true tragic figure. As Ann says, Lucrecia is certainly chaste, but the text reveals the ‘necesidad sexual que tiene de su marido, lícita desde luego pero anormalmente fuerte’:⁵³ when her husband comes home late after being away, and is surprised to find her sewing instead of in bed, she replies: ‘Huyo del lecho en tu ausencia; / que sin ti es bóveda fría. / Vuelve a abrazarme’ (ll. 1169–71). The audience is invited to imagine how she is thinking of celebrating his homecoming. Her sexual dominance of her husband leads her to suppose that she can control any men who desire her, even when all she intends is to refuse them. Perhaps Tarquino, divining the nature of her sexuality, thinks that it may overpower her chastity. He is mistaken, but as Ann points out, there were such women, at least on the stage: Cleopatra (in Rojas' Los áspides de Cleopatra) is one such.

Ann's study of the neglected dramatists of Spain's Golden Age, and of their sometimes even more neglected plays, is not a question of a scholar finding a comfortable niche away from the so-called mainstream writers. Some of these plays had a huge impact on contemporary audiences, and numerous printed editions were sold well into the eighteenth century: we need to understand why. She is leading a crusade.

Nowadays, to the great benefit of Comedia researches, there are many scholars, working individually or in teams, who are engaged in the same crusade. In Spain, two Team Projects, international in scale—the one called PROTEO directed from Burgos by María Luisa Lobato, and the other, based at the Universidad Castilla-La Mancha, led by Felipe Pedraza and Rafael González Cañal—are in full operation, dedicated respectively to Moreto and Rojas Zorrilla. Both these projects have already accomplished numerous critical editions and studies. Their ultimate objective is to make available to scholars everywhere the entire corpus of plays by their chosen playwrights—including the plays written in collaboration—in truly definitive editions.⁵⁴ In addition, many scholars are now working individually on the hordes of previously neglected and underestimated plays by contemporaries and imitators of Calderón. This activity corroborates the importance of the research field in which down the decades Ann has broken much new ground. She must find particularly pleasing the amount of research currently being done on comedias colaboradas—as illustrated by two of the contributions to this Festschrift in her honour.⁵⁵ In 2008 the Primer Coloquio Internacional sobre Comedias Colaboradas en el Siglo de Oro, jointly sponsored by the Universities of León, Burgos and Valladolid, in cooperation with the Università degli Studi di Milano, took place in Milan. In inviting Golden-Age scholars internationally to contribute papers, that conference's organizers put on record the debt owed to the pioneering work contained in

[el] conocido capítulo ‘La técnica de componer comedias en colaboración’, en el libro de A. L. Mackenzie (La escuela de Calderón, 1993), un estudio que ha contribuido a superar la valoración negativa que este amplio caudal de piezas—unas 150, poco más o menos—soportaba desde la época de Cotarelo y Menéndez Pelayo.⁵⁶

Ann returned to Glasgow University in 1995. By then, invited to be Visiting Professor of Golden-Age Literature vice Ruth El Saffar, she had spent a semester at the University of Illinois, Chicago—an enjoyable and productive few months which, in 1990, enabled her to do further primary researches on Golden-Age theatre at the renowned Newberry Library. By then, too, she had been shortlisted and interviewed for some half dozen chairs of Hispanic Studies in the UK, Ireland and elsewhere; and, regretfully, she had turned down at least one. For family, as much as for professional reasons, she was eager to return to her home ground. So she was delighted when, after the usual interviewing and assessment procedures, Glasgow University offered her the new chair it had established to honour the internationally respected scholar of Enlightenment Spain whose teaching some thirty years previously had so much influenced Ann's own career as a Hispanist and theatre specialist. At Glasgow University, despite her designation as ‘research professor’, Ann took on a full administrative load at university, faculty and departmental levels. She participated ex-officio as a member of Senate, and was elected to the College of Senate; she was elected to the Arts and Divinity Planning Unit Management Group and also served on its Research Committee. Within the Department, she did her part as Honours Examinations Officer; and she put together the complex paperwork needed for its submission to the nationwide assessment (TQA; Teaching Quality Assessment) of university teaching in 1997; the submission had an ‘Excellent’ outcome. In recognition of her responsibilities for the Bulletin, the University provided the Department with financial support to relieve Ann of some undergraduate classes, and to lessen, especially, her load of language teaching. She continued to teach Honours Options in her fields of interest with particular enjoyment. From 2002 until her retirement, she taught a new Comparative Option she had devised on ‘German Tragedy and the Spanish Comedia: Cultural Interests and Contrasts’, which attracted Honours students in pleasing numbers from the relevant Modern Languages within the School. At postgraduate level, she supervised doctoral students researching Golden-Age theatre or the Spanish mystics: one of her former doctoral students has contributed an article on Santa Teresa to this Festschrift.⁵⁷ Not the least important of her Spanish theatre-related initiatives at Glasgow was the one which, with David Weston, then Keeper of Special Collections, brought about the University's purchase from a private owner of the outstanding Scarfe-La Trobe Collection of [mainly Golden-Age] Spanish Plays 1600–1900. Ann retired from the Ivy McClelland Research Chair of Spanish at Glasgow in 2006, but the University immediately reappointed her as E. Allison Peers Professorial Research Fellow attached to the Bulletin, a position she still holds.

The Bulletin had relocated to the University of Glasgow the same year that Ann returned there. That University provided it with generous support, mainly from the Principal's Strategic Development Fund, and continued to do so for as long as proved necessary; but it was clear that the journal needed additional funding to place itself on a firm footing. It fell to Ann to obtain outside funding from supporters and well-wishers. Vital donations, it is time to reveal, were discreetly given by Ivy McClelland, Geoffrey Ribbans and, from his own pocket, by the University's then Principal, Sir Graeme Davies. Substantial and crucial sums were donated more than once by Audrey Lumsden-Kouvel, whose generosity at a time of great need was truly memorable. Funds came not just from others but from Ann's own personal resources as well. The search for financial stability led to negotiations with the highly-regarded journal publisher Carfax (now part of the Routledge Taylor & Francis Group) which enabled the latter to take over the publication of the Bulletin. The injection of finance which followed and first Carfax's then Taylor & Francis' wide publishing expertise made an enormous difference, a difference which would not have come about but for Ann's dedication and negotiating skills. In 2001, news of the definitive settlement of the dispute between two famous universities over the Bulletin's ownership was received with relief by Hispanists worldwide, and once again it is to Ann to whom we must give our best thanks for a historic and amicable accommodation that allowed both Bulletins in Liverpool and Glasgow to follow their separate paths in the service of Hispanism. In her review of the history of the Bulletin, published in the Bulletin of Spanish Studies in January 2002, the first issue to revert to Allison Peers' original title for the journal he founded, Ann renewed Peers' 1933 assurance to all its ‘helpers’, promising the Bulletin's readers, subscribers and contributors: ‘that we shall do our utmost to carry on our work with the fullest confidence in their continued steadfastness’.⁵⁸ This promise Ann has fulfilled and continues to fulfil to this day. The response from potential contributors to her leadership has been so positive that the Bulletin has grown from four to ten issues per year in a relatively short time scale, and high-quality articles pour in. The survival and health of this journal, already beginning to plan its centenary celebrations, are due in large measure to Ann's enterprise and dedication.*

Notes

1 Entwistle had moved to the University of Oxford to take up the King Alfonso XIII Professorship of Spanish there, from 1932.

2 At Glasgow, Atkinson set about introducing degree-level courses on Latin America in the late 1940s; and he considered it his duty to persuade his counterparts at other British universities to do the same. See his article, ‘Programme for a School of Latin-American Studies’, BSS, XXIV:94 (1947), 139–46.

3 Ann L. Mackenzie & Nicholas G. Round, ‘William Christopher Atkinson (1902–1992)’, BHS, LXX:4 (1993), 435–40 (Part I, pp. 435–38). A Festschrift, long overdue, Studies on Spain, Portugal and Latin America in Memory of William C. Atkinson, ed., with an intro., by Ann L. Mackenzie & Ceri Byrne, is soon forthcoming (BSS, XCIII [2016]).

4 Ann L. Mackenzie, ‘Introduction: I. L. McClelland (1908–2006)’, in Hesitancy and Experimentation in Enlightenment Spain and Spanish America. Studies on Culture and Theatre in Memory of I. L. McClelland, ed., with an intro., by Ann L. Mackenzie & Jeremy Robbins, BSS, LXXXVI:7–8 (2009), 9–30; Ann L. Mackenzie, ‘McClelland, Ivy Lilian (1908–2006)’, Oxford Dictionary of National Biography, Volume 2005–2008 (Oxford: Oxford U. P., 2012), Oxford Biography Index No. 101097189 <http://dx.doi.org/10.1093/ref:odnb/97189> (accessed 19 November 2014). See also, The Eighteenth Century in Spain. Essays in Honour of I. L. McClelland, ed., with an intro., by Ann L. Mackenzie, BHS, LXVIII:1 (1991), 1–11.

5 E. Allison Peers (1891–1952) is an obvious example. Gilmour Professor of Spanish at Liverpool University and founder of the Bulletin of Spanish/Hispanic Studies, Peers trained a good number of students who went on to successful careers as Hispanists in the UK and beyond: Reg Brown, Jack Metford, Audrey Lumsden(-Kouvel), Harold Hall, Norman Lamb and, not least, Ivy McClelland. For an assessment of Peers’ career, see Geoffrey Ribbans, ‘E. Allison Peers: A Centenary Reappraisal’, in Spain and Its Literature: Essays in Memory of E. Allison Peers, ed., with an intro., by Ann L. Mackenzie, Hispanic TRAC (Textual Research and Criticism) 15 (Liverpool: Liverpool U. P./London: MHRA, 1997), 19–33. For accounts of Peers as a teacher, see Ivy L. McClelland, ‘Allison Peers as a University Teacher: Recollections of a Former Student in His Department’, 397–99, and Audrey Lumsden-Kouvel, ‘E.A.P. Remembered’, 400–03; both these essays are to be found in E. Allison Peers, Redbrick University Revisited. The Autobiography of ‘Bruce Truscot’, ed., with an intro., commentary & notes, by Ann L. Mackenzie & Adrian R. Allan, E. Allison Peers Publications 1 (Liverpool: Liverpool U. P., 1996). There are others we should name with respect, even reverence: Ignacio González-Llubera, who had been Atkinson's professor at Queen's University Belfast; Edward Wilson, at King's College London, then Cambridge; A. A. [Alec] Parker, Wilson's successor at King's before going to the chair at Edinburgh; Edward Riley at Trinity College, Dublin, then Edinburgh; Peter Russell at Oxford; Arthur Terry at Queen's University Belfast, then Essex University; Geoffrey Ribbans, himself a former student of Wilson's in KCL, at Liverpool University, before his move, in 1978, to Brown University, Providence, to become the William R. Kenan Jr Professor of Hispanic Studies. We could go on … 

6 Hacia Calderón. Tercer Coloquio Anglogermano. Londres 1973, ed. Hans Flasche (Berlin/New York: Walter de Gruyter, 1976), 110–25.

7 Hacia Calderón. Sexto Coloquio Anglogermano. Würzburg 1981, ed. Hans Flasche, con Pedro Juan-Tous (Wiesbaden: Franz Steiner Verlag, 1983), 151–68.

8 Antigüedad y actualidad de Luis Vélez de Guevara: estudios críticos, ed. C. George Peale et al., PUMRL 10 (Amsterdam/Philadelphia: John Benjamins Publishing Company, 1983), 182–202.

9 Hacia Calderón. Cuarto Coloquio Anglogermano. Wolfenbüttel 1975, ed. Hans Flasche, Karl-Hermann Körner & Hans Mattauch (Berlin/New York: Walter de Gruyter, 1979), 56–70.

10 BHS, LIX:4 (1982), 283–300.

11 Studies for I. L. McClelland, Dieciocho. Hispanic Enlightenment Aesthetics and Literary Theory, 9:1–2 (1986), 201–18. This paper was delivered, in a shortened form, as the Annual Ivy McClelland Lecture at Glasgow University in 1986.

12 Shakespeare en España: crítica, traducciones y representaciones, ed. José Manuel González Fernández de Sevilla (Alicante: Univ. de Alicante/Zaragoza: Libros Pórtico, 1993), 63–93.

13 Teatro del Siglo de Oro: Homenaje a Alberto Navarro González, coord. Víctor García de la Concha, Jean Canavaggio & Theo Berchem, Estudios de Literatura 7 (Kassel: Edition Reichenberger, 1990), 393–405.

14 Cervantes y su mundo III, ed. A. Robert Lauer & Kurt Reichenberger, Estudios de Literatura 92 (Kassel: Edition Reichenberger, 2005), 307–62.

15 Theatrum Mundi Hispanicum: Festschrift Charles Vincent Aubrun, ed. Sebastian Neumeister & Karl-Ludwig Selig, Iberoromania, 23 (1986), 185–203.

16 El mundo del teatro español en su Siglo de Oro: ensayos dedicados a John E. Varey, ed. J. M. Ruano de la Haza, Ottawa Hispanic Studies 3 (Ottawa: Dovehouse Editions, 1989), 373–93.

17 BHS, LXVII:4 (1990), 391–99.

18 Siete siglos de autores españoles (Kassel: Edition Reichenberger, 1991), 191–95.

19 The Eighteenth Century in Spain. Essays in Honour of I. L. McClelland, ed. Mackenzie, BHS, LXVIII:1 (1991), 139–51.

20 Hispanic Studies in Honour of Geoffrey Ribbans, ed.. with an intro., by Ann L. Mackenzie & Dorothy S. Severin, BHS, Special Homage Volume [Supplement] (1992), 105–28.

21 Calderón 1600–1681: Quatercentenary Studies in Memory of John E. Varey, ed., with an intro., by Ann L. Mackenzie, BHS (Glasgow), LXXVII:1 (2000), 265–87.

22 Calderón desde el 2000. Simposio Internacional Complutense, ed. José María Díez Borque (Madrid: Ollero & Ramos Editores, 2001), 37–59.

23 Spanish Theatre: Studies in Honour of Victor F. Dixon, ed. Kenneth Adams, Ciaran Cosgrove & James Whiston (London: Tamesis, 2001), 111–28.

24 The ‘Comedia’ in the Age of Calderón. Studies in Honour of Albert Sloman, ed., with an intro., by Ann L. Mackenzie, BHS, LXX:1 (1993), 17–35.

25 The Diary of Samuel Pepys, ed. R. C. Latham & W. Matthews, 11 vols (London: Bell, 1970–1983), IV, 8; VII, 255.

26 Antonio Coello, El conde de Sex, a Critical Edition and Study by Donald E. Schmiedel, Colección Scholar (New York: Plaza Mayor, 1972); reviewed by Ann L. Mackenzie, BHS, LIII:4 (1976), 348–50.

27 Hans Flasche put on record his warm appreciation of Ann's role as its organizer in the Colloquium's published Proceedings, not least on the title-page. See his ‘Palabras de bienvenida’, in Hacia Calderón. Noveno Coloquio Anglogermano. Liverpool 1990, organizado por Ann L. Mackenzie, directora del Bulletin of Hispanic Studies, Universidad de Liverpool, ed. Hans Flasche (Stuttgart: Franz Steiner Verlag, 1991), 7–8.

28 For details of these Hispanic Studies Author and Subject Indexes 1923–2003. Eighty Years of the ‘Bulletin of Spanish/Hispanic Studies’, see, in this Festschrift, Ceri Byrne, ‘The Publications, Professional Appointments and Related Activities (1968–2015) of Ann L. Mackenzie’ (Nos 23, 25 & 26).

29 Jean Racine, Five plays, trans. into English verse, and with an intro., by Kenneth Muir (London: Macgibbon & Kee, 1960).

30 See The Drama of the Renaissance: Essays for Leicester Bradner, ed. Elmer M. Blistein (Providence: Brown U. P., 1970), 123–33.

31 Four Comedies by Pedro Calderón de la Barca, trans., with an intro., by Kenneth Muir; with intros & notes to the individual plays by Ann L. Mackenzie (Lexington: The Univ. Press of Kentucky, 1980).

32 Three Comedies by Pedro Calderón de la Barca, trans., with an intro., by Kenneth Muir & Ann L. Mackenzie (Lexington: The Univ. Press of Kentucky, 1985).

33 Pedro Calderón de la Barca, The Schism in England (La cisma de Inglaterra), trans. Kenneth Muir & Ann L. Mackenzie; intro., commentary, and ed. of the Spanish play by Ann L. Mackenzie, Hispanic Classics Golden-Age Drama (Warminster: Aris & Phillips, 1990).

34 Pedro Calderón de la Barca, Jealousy, the Greatest Monster (El mayor monstruo, los celos), critical ed., with intro. & commentary, by Ann L. Mackenzie & José María Ruano de la Haza; verse-translation by Kenneth Muir & Ann L. Mackenzie, Aris & Phillips Hispanic Classics (Oxford: Oxbow Books), forthcoming.

35 Available at <http://www.independent.co.uk/news/obituary-professor-kenneth-muir-1357111.html> (accessed 9 December 2014).

36 For illuminating observations on Muir and Mackenzie's collaborations, see, in this Festschrift, Geoffrey Ribbans, ‘Translating Calderón: A Policy of Continuous Improvement’.

37 Kenneth Muir, Shakespeare's Sources: I, Comedies and Tragedies (London: Methuen, 1957); Shakespeare As Collaborator (London: Methuen, 1960); The Sources of Shakespeare's Plays (London: Methuen, 1977).

38 Kenneth Muir, ‘Translating Calderón: Some Problems’, in Comedias del Siglo de Oro and Shakespeare, ed. Susan L. Fischer, Bucknell Review, 33:1 (1989), 132–41; ‘Translating Golden Age Plays: A Reconsideration’, Translation and Literature, 1:1 (1992), 104–11.

39 See J. F. Mountford, ‘Bruce Truscot’, Memorial Number, BHS, XXX:117 (1953), 10–11 (p. 10).

40 Fitzmaurice-Kelly had resigned from the Gilmour Chair of Spanish at Liverpool in 1916, to take up the newly established Cervantes Chair of Spanish Language and Literature at King's College London.

41 See Max Beloff, ‘An Individual View of Universities in 1940s Britain’, Minerva. A Review of Science, Learning and Policy, 35:4 (1997), 385–86; Asa Briggs, ‘A Tang of Real Life’, Times Literary Supplement, 11 July 1997, p. 12. Peers, Redbrick University Revisited is fully referenced at note 5, above.

42 For the issues and books referred to in this paragraph, see Byrne's ‘The Publications of Ann L. Mackenzie’ (Nos 5, 6, 8, 12, 18, 21, 24, 27, 31).

43 For these items, see Byrne, ‘The Publications of Ann L. Mackenzie’ (Nos 7, 13, 16, 17, 20).

44 For full details of McClelland, ‘Pathos’ dramático en el teatro español de 1750 a 1808, see Byrne, ‘The Publications of Ann L. Mackenzie’ (No. 19).

45 Ann L. Mackenzie, La escuela de Calderón: estudio e investigación, Hispanic Studies TRAC (Textual Research and Criticism) 3 (Liverpool: Liverpool U. P., 1993); and Francisco de Rojas Zorrilla y Agustín Moreto: análisis, Hispanic Studies TRAC (Textual Research and Criticism) 8 (Liverpool: Liverpool U. P., 1994).

46 Mackenzie, La escuela de Calderón, 31–67 (p. 33).

47 Belmonte Bermúdez evidently wrote the last part of Act I. For information on the nine authors and the specific parts they wrote, see Algunas hazañas de las muchas de don García Hurtado de Mendoza, marqués de Cañete, ed. & annotated, with an intro., by Patricio C. Lerzundi (Lewiston/Queenston/Lampeter: Edwin Mellen Press, 2008).

48 Avisos de Jerónimo de Barrionuevo (1654–1658) y apéndice anónimo (1660–1664), ed. A. Paz y Melia, 4 vols (Madrid: Tello, 1892–1893), II, 190, 195.

49 Keith Whinnom, Spanish Literary Historiography: Three Forms of Distortion (Exeter: Univ. of Exeter, 1967).

50 Mackenzie, ‘Introducción’, in Francisco de Rojas Zorrilla y Agustín Moreto: análisis, 15–27 (p. 17).

51 Recorded (1689–1690) by Francisco Bances Candamo: see his Theatro de los theatros de los passados y presentes siglos, prólogo, ed. & notas de Duncan W. Moir (London: Tamesis, 1970), 35; see also Moir's ‘Prólogo’, xv–cii (p. lxxxii). Bances’ account of this event is quoted by Mackenzie, in Francisco de Rojas Zorrilla y Agustín Moreto: análisis, 36.

52 See BSS, LXXXV:7–8 (2008), 11–55.

53 Mackenzie, Francisco de Rojas Zorrilla y Agustín Moreto: análisis, 62.

54 These are not the only team projects actively researching the plays of contemporaries of Calderón. The exemplary project directed by Agustín de la Granja from the Universidad de Granada, has published several volumes of critical editons of the Teatro completo of Antonio Mira de Amescua. Outside Spain, the long-standing project dedicated to Luis Vélez de Guevara, initiated by William R. Manson and carried on and directed by C. George Peale from Purdue University, USA, is still producing critical editions of Vélez's plays.

In the meantime, other teams of scholars are ensuring that the works of Spain's three greatest Golden-Age dramatists are continuing to receive the attention that they richly deserve. PROLOPE, a team based at the Universitàt Autònoma de Barcelona, is editing Lope's partes de comedias under the direction of Alberto Blecua and Guillermo Serés. The Instituto de Estudios Tirsianos de Madrid is working in collaboration with GRISO (Grupo de Investigación Siglo de Oro) to edit and research the plays of Tirso de Molina. From the Universidad de Navarra, GRISO, under the direction of the indefatigable Ignacio Arellano, has been engaged for years in editing the autos of Calderón and is now working systematically on critical editions of his comedias. Also at work editing the partes of Calderón is the team (Grupo de Investigación Calderón de la Barca) based at the Universidade de Santiago de Compostela: previously headed by Luis Iglesias Feijoo, this team project is now being directed by Santiago Fernández Mosquera.

55 See Don W. Cruickshank, ‘Two Alleged Calderón-Moreto Collaborations’ and María Luisa Lobato, ‘Escribir entre amigos: hacia una morfología de la escritura dramática moretiana en colaboración’.

56 See, in particular, the ‘Primera Circular (28 de mayo de 2008)’ to announce the Primer Coloquio Internacional sobre Comedias Colaboradas en el Siglo de Oro, issued by its organizers, Juan Matas Caballero, José María Balcells, María Luisa Lobato, Germán Vega García-Luengos and Alessandro Cassol. The conference took place in Milan from 29 to 31 October 2008. Since then, a II Coloquio on La Comedia Escrita en Colaboración en el Siglo de Oro has taken place in León (at the Fundación Sierra Pambley) in 2013.

57 See John A. B. Paddock, ‘The Imagery of Fire, Water and Marriage in Saint Teresa of Ávila'.

58 ‘The Next Century: The Bulletin Goes Forward’, BSS, LXXIX:1 (2002), 7–32 (p. 32).

* Disclosure Statement: No potential conflict of interest was reported by the authors.