NOTES
- For more detailed information about Lope's play and Lanini's adaptation, see the catalogue, under Antonio Roca.
- See Ann L. Mackenzie, ‘The comedias of Don Pedro Lanini Sagredo (?1640-?1715)’, in The Eighteenth Century in Spain. Essays in Honour of I. L. McClelland, ed. Ann L. Mackenzie, BHS, LXVIII (1991), 139–51; hereafter, Mackenzie, ‘Lanini’.
- See Mackenzie, ‘Lanini’, at pp. 143–46, esp. 143.
- Regrettably, I have not been able to consult the doctoral thesis on Lanini by Mercedes Alcaraz Lledo, which is still unpublished: Pedro Francisco Lanini y Sagredo, dramaturgo del siglo XVII. Estudio bibliográfico-crítico (Madrid: Universidad Complutense, 1983).
- During my period of research in libraries in Madrid, where the large majority of Lanini's manuscripts are located, I utilized a considerable body of invaluable material in the Biblioteca Municipal. However, I omitted to consult while there, the manuscripts of Guzmán de Alfarache, El apóstol de Alemania and El falso profeta Mahoma. The recent removal of the Biblioteca Municipal from its traditional building in Fuencarral to a new location has involved the closure of the library for a period, and has prevented thus far my access to these manuscripts during subsequent research visits. Nor have I been able, as yet, to examine personally in the library of the Instituto del Teatro de Barcelona the manuscripts of El apóstol de Valencia (El apóstol valenciano), Los valles de Sopetrán and Vida, muerte y colocación de San Isidro.
- For details see Mackenzie, ‘Lanini’, at p. 140, and Emilio Cotarelo y Mori, Colección de entremeses, loas, bailes, jácaras y mogigangas, NBAE, XVII (Madrid: Casa Editorial Bailly/Baillière, 1911), Vol. I, cxv–cxvii.
- A substantial body of material is housed in the Biblioteca Nacional, Madrid and in the Biblioteca del Instituto del Teatro de Barcelona.
- For information on the dramatist's period and activities as censor de comedias see Mackenzie, ‘Lanini’, at pp. 141–42.
- A satirical poem (1687) describes him as follows: y en el Rocín del Químico Iuanini con fflauta y tamboril sale Lanini. The full text of this poem is reproduced in Francisco Bances Candamo, Theatro de los theatros de los passados y presentes siglos, ed. Duncan W. Moir (London: Tamesis Books, 1970), Appendix I (see p. 141).
- Riego printed plays in the period 1714–62. See Germán Vega García-Luengos, ‘Impresos teatrales vallisoletanos del siglo XVIII’, Boletín de la Biblioteca de Menéndez Pelayo, LXVI (1990), 271–94, at pp. 291–92.
- In contrast, Lanini refused to censor his own play, Habladme en entrando (q.v.); cf. Mackenzie, ‘Lanini’, 142.
- See Alva V. Ebersole, José de Cañizares, dramaturgo olvidado del siglo XVIII (Madrid: Ínsula, 1975), 17.
- See Lázaro Montero de la Puente, ‘El teatro en Toledo durante el siglo XVIII (1762–1776)’, RFE, XXVI (1942), 411–68; at p. 447; Francisco Aguilar Piñal, Sevilla y el teatro en el siglo XVIII (Oviedo: Cátedra Feijoo, Universidad de Oviedo, 1974), 276.
- See A. Par, ‘Representaciones teatrales en Barcelona durante el siglo XVIII’, BRAE, XVI (1929), 326–46, 492–513; at pp. 340, 503.
- Emilio Cotarelo y Mori describes and criticizes the play in ‘Don juan Bautista Diamante y sus comedias’, BRAE, III (1916), 272–97, 454–97; at pp. 463–66. He complains about ‘tanta aglomeración de episodios inconexos’ in Part I, ‘que tampoco sobresale por otras bellezas’ (464).