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Lit 2020. 18
VERI
STAS
barvard College Library
FROM
the library of
Prof. Charles S. Thomas
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Grosch
BENVENUTO CELLINI.


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LIBRARY
1 I:L
WORLD'S BEST LITERATURE.
Ancient and Modern
CHARLES DUDLEY WARMR
FLITOR
FAMILTON WRIGHT MABIE,
LUCIA GIUSERI ♪
GEORGE H. WAS NLR
ASSOCIATE FEITOKS
THIRTY VOLUMES
VOL. VI
NEW YORK
R. S. PEALE AND J. A. HILL
PUBLI: HERS


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1


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LIBRARY
OF THE
WORLD'S BEST LITERATURE
Ancient and Modern
CHARLES DUDLEY WARNER
EDITOR
HAMILTON WRIGHT MABIE, LUCIA GILBERT RUNKLE,
GEORGE H. WARNER
ASSOCIATE EDITORS
THIRTY VOLUMES
VOL. VI
NEW YORK
R. S. PEALE AND J. A. HILL
PUBLISHERS


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Lit 2020. 18
14
UNIVERS
LIBRARY
L
COPYRIGHT 1897
BY R. S. PEALE AND J. A. HILL
All rights reserved
WERNER COMPANY
PRINTERS
BINDERS
AMRON O
919
97-27
21-3


## p. 3055 (#13) ############################################

THE ADVISORY COUNCIL
CRAWFORD H. TOY, A. M. , LL. D. ,
Professor of Hebrew, HARVARD UNIVERSITY, Cambridge, Mass.
THOMAS R. LOUNSBURY, LL. D. , L. H. D. ,
Professor of English in the Sheffield Scientific School of
YALE UNIVERSITY, New Haven, Conn.
WILLIAM M. SLOANE, PH. D. , L. H. D. ,
Professor of History and Political Science,
BRANDER MATTHEWS, A. M. , LL. B. ,
Professor of Literature, COLUMBIA UNIVERSITY, New York City.
JAMES B. ANGELL, LL. D. ,
President of the
PRINCETON UNIVERSITY, Princeton, N. J.
UNIVERSITY OF MICHIGAN, Ann Arbor, Mich.
WILLARD FISKE, A. M. , PH. D. ,
Late Professor of the Germanic and Scandinavian Languages
and Literatures,
CORNELL UNIVERSITY, Ithaca, N. Y.
EDWARD S. HOLDEN, A. M. , LL. D. ,
Director of the Lick Observatory, and Astronomer,
UNIVERSITY OF CALIFORNIA, Berkeley, Cal.
ALCÉE FORTIER, LIT. D. ,
Professor of the Romance Languages,
TULANE UNIVERSITY, New Orleans, La.
WILLIAM P. TRENT, M. A. ,
Dean of the Department of Arts and Sciences, and Professor of
English and History,
UNIVERSITY OF THE SOUTH, Sewanee, Tenn.
PAUL SHOREY, PH. D. ,
Professor of Greek and Latin Literature,
UNIVERSITY OF CHICAGO, Chicago, Ill.
WILLIAM T. HARRIS, LL. D. ,
United States Commissioner of Education,
BUREAU OF EDUCATION, Washington, D. C.
MAURICE FRANCIS EGAN, A. M. , LL. D. ,
Professor of Literature in the 7d.
CATHOLIC UNIVERSITY OF AMERICA, Washington, D. C.


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PEDRO CALDERON
TABLE OF CONTENTS
JOHN CALDWELL CALHOUN
VOL. VI
BY MAURICE FRANCIS EGAN
The Lovers (The Secret in Words')
Cyprian's Bargain (The Wonderful Magician')
Dreams and Realities (Such Stuff as Dreams are Made
Of')
The Dream Called Life (same)
CALLIMACHUS
LIVED
1600-1681'
BY W. P. TRENT
Remarks on the Right of Petition (Speech in the Senate,
1840)
Hymn to Jupiter
Epitaph
Epigram
Epitaph on Heracleitus
State Rights (Speech on the Admission of Michigan, 1837)
On the Government of Poland (A Disquisition on Gov-
ernment')
1782-1850
Urging Repeal of the Missouri Compromise (Speech in
the Senate, 1850)
CHARLES STUART CALVERLEY
Third Century B. C.
Epitaph
The Misanthrope
Epitaph upon Himself
Epitaph upon Cleombrotus
1831-1884
From An Examination Paper,' The Posthumous Papers
of the Pickwick Club'
Ballad (Imitation of Jean Ingelow)
Lovers, and a Reflection (Imitation of Jean Ingelow)
Visions
Changed
PAGE
3071
3087
3101
3107
Thoughts at a Railway Station
"Forever"


## p. 3058 (#16) ############################################

JOHN CALVIN
Prefatory Address to the 'Institutes'
Election and Predestination (Institutes of the Christian
Religion')
Freedom of the Will (same)
LUIZ VAZ DE CAMOENS
BY ARTHUR CUSHMAN MCGIFFERT
From The Lusiads'
The Canzon of Life
Adieu to Coimbra
THOMAS CAMPBELL
vi
CAMPION
Hope (The Pleasures of Hope')
The Fall of Poland (same)
The Slave (same)
Death and a Future Life (same)
Lochiel's Warning
The Soldier's Dream
BY HENRY R. LANG
GEORGE CANNING
A Hymn in Praise of Neptune
Of Corinna's Singing
From 'Divine and Moral Songs'
CESARE CANTÙ
LIVED
1509-1564
BY ERNEST RHYS
To a Coquette
Songs from 'Light Conceits of Lovers'
1777-1844
Lord Ullin's Daughter
The Exile of Erin
Ye Mariners of England
Hohenlinden
1524? -1580
The Execution (Margherita Pusterla')
The Battle of Copenhagen
From the Ode to Winter'
-1619
Rogero's Soliloquy (The Rovers')
The Friend of Humanity and the Knife-Grinder
On the English Constitution (Speech on Parliamentary
Reform')
On Brougham and South America
1770-1827
PAGE
3117
1807-1895
3129
3159
3184
3189
3199


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vii
GIOSUE CARDUCCI
THOMAS CAREW
A Song
The Protestation
Roma ('Poesie ')
Homer (Levia Gravia')
In a Gothic Church (Poesie ')
On the Sixth Centenary of
Dante (Levia Gravia')
EMILIA FLYGARE-CARLÉN
BY FRANK SEWALL
THOMAS CARLYLE
BLISS CARMAN
The Mother
The Ox (Poesie ')
Dante (Levia Gravia')
To Satan (Poesie')
To Aurora (Odi Barbare')
Ruit Hora
The Inquiry
1807-1892
The Pursuit of the Smugglers (Merchant House among
the Islands')
Hack and Hew
At the Granite Gate
A Sea Child
Song
The Spring
BY LESLIE STEPHEN
Labor ('Past and Present')
The World in Clothes (Sartor Resartus')
Dante (Heroes and Hero-Worship')
Cromwell (same)
The Procession (French Revolution')
The Siege of the Bastille (same)
Charlotte Corday (same)
The Scapegoat (same)
LIVED
1835-
1589? -1639
The Mock Turtle's Education (same)
A Clear Statement (same)
1795-1881
BY CHARLES G. D. ROBERTS
1861-
LEWIS CARROLL (Charles Lutwidge Dodgson) 1833-
Alice, the Pig-Baby, and the Cheshire Cat (Alice in
Wonderland')
PAGE
3206
3221
3225
3231
3302
3307


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LEWIS CARROLL - Continued:
The Walrus and the Carpenter (Through the Looking-
Glass')
CASANOVA (De Seingalt)
The Baker's Tale (Hunting of the Snark ')
You are Old, Father William (Alice in Wonderland')
1725-1803
Casanova's Escape from the Ducal Palace ('Escapes of
Casanova and Latude from Prison')
BARTOLOMEO DE LAS CASAS
1474-1566
Of the Island of Cuba ('A Relation of the First Voyage')
1478-1529
BALDASSARE CASTIGLIONE
viii
Of the Court of Urbino (I Cortegiano')
CATO THE CENSOR
On Agriculture (De Agricultura')
From the 'Attic Nights' of Aulus Gellius
JACOB CATS
CATULLUS
BY J. W.
Dedication for a Volume of
Lyrics
A Morning Call
Home to Sirmio
Heart-Break
To Calvus in Bereavement
The Pinnace
An Invitation to Dinner
LIVED
Fear after the Trouble
"A Rich Man Loses his Child, a Poor Man Loses his
Cow»
BENVENUTO CELLINI
The Escape from Prison
The Casting of Perseus
A Necklace of Pearls
Benvenuto Loses his Brother
MACKAIL
234-149 B. C.
1577-1660
84-54 B. C. ?
1500-1571
An Adventure in Necromancy
Benvenuto Loses Self-Control under Severe Provocation
PAGE
(All the above are from Cellini's Memoirs, Symonds's
Translation)
3321
3333
3339
3347
A Brother's Grave
Farewell to His Fellow Officers
Verses from an Epithalamium
Love is All
Elegy on Lesbia's Sparrow
"Fickle and Changeable Ever"
Two Chords
Last Word to Lesbia
3353
3359
3371


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ix
CELTIC LITERATURE
I-IRISH
The Miller of Hell
Signs of Home
Oisin in Tirnanoge
CERVANTES
BY WILLIAM SHARP AND ERNEST RHYS
From The Coming of Cuculain ›
The Mystery of Amergin
The Song of Fionn
Vision of a Fair Woman
From The Wanderings of Oisin'
The Madness of King Goll
II-SCOTTISH
St. Bridget's Milking Song
Prologue to Gaul
Columcille Fecit
In Hebrid Seas
III- WELSH
IV-CORNISH
LIVED
From The Poem of the Passion'
From Origo Mundi,' in the Ordinalia
1547-1616
BY GEORGE SANTAYANA
Treating of the Character and Pursuits of Don Quixote
Of What Happened to Don Quixote when he Left the Inn
Don Quixote and Sancho Panza Sally Forth: and the
Adventure with the Windmills
Sancho Panza and his Wife Teresa Converse Shrewdly
Of Sancho Panza's Delectable Discourse with the Duchess
Sancho as Governor
The Ending of All Don Quixote's Adventures
ADELBERT VON CHAMISSO
1781-1838
The Bargain ('The Wonderful History of Peter Schlemihl')
From Woman's Love and Life'
WILLIAM ELLERY CHANNING
1780-1842
The Passion for Power (The Life and Character of
Napoleon Bonaparte')
The Causes of War (Discourse before the Congregational
Ministers of Massachusetts')
Spiritual Freedom ('Discourse on Spiritual Freedom')
PAGE
3403
3451
3503
3513


## p. 3062 (#20) ############################################

GEORGE CHAPMAN
Ulysses and Nausicaa (Translation of Homer's Odyssey)
The Duke of Byron is Condemned to Death (Tragedy of
Charles, Duke of Byron')
FRANÇOIS RENÉ AUGUSTE CHÂTEAUBRIAND
THOMAS CHATTERTON
1768-1848
Christianity Vindicated (The Genius of Christianity')
Description of a Thunder-Storm in the Forest ('Atala')
Mynstrelles Songe
X
Final Chorus from
Goddwyn'
The Farewell of Sir Charles Baldwin to His Wife (The
Bristowe Tragedie ')
An Excelente Balade of Charitie
The Resignation
GEOFFREY CHAUCER
Prologue to the 'Canterbury Tales'
From the Knight's Tale
From the Wife of Bath's Tale
ANDRÉ CHÉNIER
From the Pardoner's Tale
The Nun's Priest's Tale
Truth Ballade of Good Counsel
LIVED
1559? -1634
The Young Captive
Ode
VICTOR CHERBULIEZ
BY THOMAS R. LOUNSBURY
LORD CHESTERFIELD
1752-1770
13-? -1400
BY KATHARINE HILLARD
1829-
The Silent Duel (Samuel Brohl and Company')
Samuel Brohl Gives Up the Play (same)
1762-1794
1694-1773
From 'Letters to His Son': Concerning Manners; The
Control of One's Countenance; Dress as an Index to
Character; Some Remarks on Good Breeding
The Choice of a Vocation
PAGE
3523
3531
3539
3551
3601
3609
3625


## p. 3063 (#21) ############################################

xi
THE LITERATURE OF CHINA
RUFUS CHOATE
BY ROBERT K. DOUGLAS
Selected Maxims of Morals, Philosophy of Life, Character,
Circumstances, etc. (From the Chinese Moralists)
1799-1859
BY ALBERT STICKNEY
ST. JOHN CHRYSOSTOM
LIVED
The Puritan in Secular and Religious Life (From Address
at Ipswich Centennial, 1834)
The New-Englander's Character (same)
Of the American Bar (From Address before Cambridge
Law School)
Daniel Webster (From Eulogy at Dartmouth College
347-407
BY JOHN MALONE
That Real Wealth is from Within
On Encouragement During Adversity (Letters to Olym-
pias')
Concerning the Statutes (Homily)
PAGE
3629
3649
3665


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## p. 3065 (#23) ############################################

LIST OF PORTRAITS
IN VOL. VI
Pedro Calderon
John Caldwell Calhoun
John Calvin
Luiz Vaz de Camoens
Thomas Campbell
George Canning
Emilia Flygare-Carlén
Thomas Carlyle
Bliss Carman
Jacob Cats
Catullus
Bartolomeo de las Casas
Baldassare Castiglione
Benvenuto Cellini
Cervantes
Adelbert von Chamisso
William Ellery Channing
George Chapman
François René Auguste Châteaubriand
Thomas Chatterton
Geoffrey Chaucer
André Chénier
Victor Cherbuliez
Lord Chesterfield
Confucius
Rufus Choate
Full page
Full pape
Full page
Full page
Vignette
Vignette
Vignette
Full page
Vignette
Vignette
Vignette
Vignette
Vignette
Full page
Full page
Vignette
Vignette
Vignette
Vignette
Vignette
Full page
Vignette
Vignette
Full page
Vignette
Vignette


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CALDERON


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FOLL
1



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3071
PEDRO CALDERON
(1600-1681)
BY MAURICE FRANCIS EGAN
HE reputation of Pedro Calderon de la Barca has suffered in
the minds of English-speaking people from the injudicious
comparisons of critics, as well as from lack of knowledge of
his works. To put Calderon, a master of invention, beside Shake-
speare, the master of character, and to show by analogies that the
author of 'Othello' was far superior to the writer of The Physician
of His Own Honor,' is unjust to Calderon; and it is as futile as are
the ecstasies of Schultze to the coldness of Sismondi. Schultze com-
pares Dante with him, and the French critics have only recently for-
given him for being less classical in form than Corneille, who in
'Le Cid' gave them all the Spanish poetry they wanted! Fortu-
nately the student of Calderon need not take opinions. Good editions
of Calderon are easily attainable. The best known are Heil's (Leip-
zig, 1827), and that by Harzenbusch (Madrid, 1848). The first
edition, with forewords by Vera Tassis de Villareal, appeared at
Madrid (nine volumes) in 1682-91. Commentaries and translations are
numerous in German and in English; the translations by Denis
Florence MacCarthy are the most satisfactory, Edward Fitzgerald's
being too paraphrastic. Dean Trench added much to our knowledge
of Calderon's best work; George Ticknor in the History of Spanish
Literature,' and George Henry Lewes in The Spanish Drama,' left
us clear estimates of Lope de Vega's great successor. Shelley's
scenes from 'El Magico Prodigioso' are superb.
No analyses can do justice to the dramas, or to the religious
plays, called "autos," of Calderon. They must be read; and thanks to
the late Mr. MacCarthy's sympathy and zeal, the finest are easily
attainable. As he left seventy-three autos and one hundred and
eight dramas, it is lucky that the work of sifting the best from the
mass of varying merit has been carefully done. Mr. Ticknor men-
tions the fact that Calderon collaborated with other authors in the
writing of fourteen other plays.
Calderon was not "the Spanish Shakespeare. " "The Spanish Ben
Jonson" would be a happier title, if one feels obliged to compare
everything with something else. But Calderon is as far above Ben
Jonson in splendor of imagery as he is below Shakespeare in his


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PEDRO CALDERON
3072
knowledge of the heart, and in that vitality which makes Hamlet
and Orlando, Lady Macbeth and Perdita, men and women of all
time. They live; Calderon's people, like Ben Jonson's, move. There
is a resemblance between the autos of Calderon and the masques of
Jonson. Jonson's are lyrical; Calderon's less lyrical than splendid,
ethical, grandiose. They were both court poets; they both made
court spectacles; they both assisted in the decay of the drama; they
reflected the tastes of their time; but Calderon is the more noble,
the more splendid in imagination, the more intense in his devotion
to nature in all her moods. If one wanted to carry the habit of
comparison into music, Mozart might well represent the spirit of
Calderon. M. Philarète Chasles is right when he says that 'El
Mágico Prodigioso' should be presented in a cathedral. Calderon's
genius had the cast of the soldier and the priest, and he was both
soldier and priest. His comedias and autos are of Spain, Spanish. To
know Calderon is to know the mind of the Spain of the seventeenth
century; to know Cervantes is to know its heart.
The Church had opposed the secularization of the drama, at the
end of the fifteenth century, for two reasons.
The dramatic specta-
cle fostered for religious purposes had become, until Lope de Vega
rescued it, a medium for that "naturalism" which some of us fancy
to be a discovery of M. Zola and M. Catulle Mendès; it had escaped
from the control of the Church and had become a mere diversion.
Calderon was the one man who could unite the spirit of religion to
the form of the drama which the secular renaissance imperiously
demanded. He knew the philosophy of Aristotle and the theology of
the 'Summa' of St. Thomas as well as any cleric in Spain, though
he did not take orders until late in life; and in those religious spec-
tacles called autos sacramentales he showed this knowledge wonder-
fully. His last auto was unfinished when he died, on May 25th, 1681,
-sixty-five years after the death of Shakespeare, -and Don Melchior
de Leon completed it, probably in time for the feast of Corpus
Christi.
The auto was an elaboration of the older miracle-play, and a spec-
tacle as much in keeping with the temper of the Spanish court and
people as Shakespeare's Midsummer Night's Dream' or Ben Jonson's
'Fortunate Isles' was in accord with the tastes of the English. And
Calderon, of all Spanish poets, best pleased his people. He was the
favorite poet of the court under Philip IV. , and director of the the-
atre in the palace of the Buen Retiro. The skill in the art of con-
struction which he had begun to acquire when he wrote The
Devotion of the Cross' at the age of nineteen, was turned to stage
management at the age of thirty-five, when he produced his gorgeous
pageant of Circe' on the pond of the Buen Retiro. How elaborate


## p. 3073 (#31) ############################################

PEDRO CALDERON
3073
this spectacle was, the directions for the prelude of the greater
splendor to come will show. They read in this way:-
―
"In the midst of this island will be situated a very lofty mountain of
rugged ascent, with precipices and caverns, surrounded by a thick and dark-
some wood of tall trees, some of which will be seen to exhibit the appearance
of the human form, covered with a rough bark, from the heads and arms of
which will issue green boughs and branches, having suspended from them
various trophies of war and of the chase: the theatre during the opening of
the scene being scantily lit with concealed lights; and to make a beginning
of the festival, a murmuring and a rippling noise of water having been heard,
a great and magnificent car will be seen to advance along the pond, plated
over with silver, and drawn by two monstrous fishes, from whose mouth will
continually issue great jets of water, the light of the theatre increasing ac-
cording as they advance; and on the summit of it will be seen seated in
great pomp and majesty the goddess Aqua, from whose head and curious
vesture will issue an infinite abundance of little conduits of water; and at the
same time will be seen another great supply flowing from an urn which the
goddess will hold reversed, and which, filled with a variety of fishes leaping
and playing in the torrent as it descends and gliding over all the car, will
fall into the pond. "
This Circe was allegorical and mythological; it was
one of
those soulless shows which marked the transition of the Spanish
drama from maturity to decay. It is gone and forgotten with thou-
sands of its kind. Calderon will be remembered not as the director
of such vain pomps, but as the author of the sublime and tender
'Wonderful Magician,' the weird 'Purgatory of St. Patrick,' 'The
Constant Prince,' 'The Secret in Words,' and 'The Physician of His
Own Honor. ' The scrupulous student of the Spanish drama will
demand more; but for him who would love Calderon without making
a deep study of his works, these are sufficiently characteristic of his
genius at its highest. The reader in search of wider vistas should
add to these 'Los Encantos de la Culpa' (The Sorceries of Sin), and
'The Great Theatre of the World,' the theme of which is that of
Jacques's famous speech in As You Like It':-
"En el teatro del mundo
Todos son representados. »
("All the world's a stage,
And all the men and women merely players. ")
On the principal feasts of the Church autos were played in the
streets, generally in front of some great house. Giants and grotesque
figures called tarascas gamboled about; and the auto, which was more
like our operas than any other composition of the Spanish stage, was
begun by a loa, written or sung. After this came the play, then an
VI-193


## p. 3074 (#32) ############################################

PEDRO CALDERON
3074
amusing interlude, followed by music and sometimes by a dance of
gipsies.
Calderon boldly mingles pagan gods and Christ's mysteries in
these autos, which are essentially of his time and his people. But the
mixture is not so shocking as it is with the lesser poet, the Portu-
guese Camoens. Whether Calderon depicts The True God Pan,'
'Love the Greatest Enchantment,' or 'The Sheaves of Ruth,' he is
forceful, dramatic, and even at times he has the awful gravity of
Dante. His view of life and his philosophy are the view of life and
the philosophy of Dante. To many of us, these simple and original
productions of the Spanish temperament and genius may lack what
we call "human interest. " Let us remember that they represented
truthfully the faith and the hope, the spiritual knowledge of a
nation, as well as the personal and national view of that knowledge.
In the Spain of Calderon, the personal view was the national view.
Calderon was born on January 17th, 1600, according to his own
statement quoted by his friend Vera Tassis, at Madrid, of noble
parents. He was partly educated at the University of Salamanca.
Like Cervantes and Garcilaso, he served in the army.
The great
Lope, in 1630, acknowledged him as a poet and his friend. Later,
his transition from the army to the priesthood made little change in
his views of time and eternity.
On May 25th, 1881, occurred the second centenary of his death,
and the civilized world-whose theatre owes more to Calderon than
it has ever acknowledged - celebrated with Spain the anniversary
at Madrid, where as he said,
"Spain's proud heart swelleth. »
The selections have been chosen from Shelley's 'Scenes,' and
from Mr. MacCarthy's translation of The Secret in Words. ' 'The
Secret in Words' is light comedy of intricate plot. Fabio is an
example of the attendant gracioso, half servant, half confidant, who
appears often in the Spanish drama. The Spanish playwright did
not confine himself to one form of verse; and Mr. MacCarthy, in his
adequate translation, has followed the various forms of Calderon,
only not attempting the assonant vowel, so hard to escape in
Spanish, and still harder to reproduce in English. These selections
give no impression of the amazing invention of Calderon. This can
only be appreciated through reading The Constant Prince,' 'The
Physician of His Own Honor,' or a comedy like The Secret in
Words. '
nammi
Francis Egan
――――
―――
-


## p. 3075 (#33) ############################################

PEDRO CALDERON
F
Fabio
[Flerida, the Duchess of Parma, is in love with her secretary Frederick.
He loves her lady, Laura. Both Frederick and Laura are trying to keep
their secret from the Duchess. ]
'REDERICK — Has Flerida questioned you
Aught about my love?
Fabio-
Frederick-
Fabio-
Frederick-
Frederick-Said she something, then, about me?
Ay, enough.
Fabio-
THE LOVERS
From The Secret in Words>
Frederick-
Fabio-
Fabio-
But I have made up my mind
That you are the prince of dunces,
Not to understand her wish.
Frederick-What?
No, surely;
Thou liest, knave!
Wouldst thou make me think her beauty,
Proud and gentle though it be,
Which might soar e'en like the heron
To the sovereign sun itself,
Could descend with coward pinions
At a lowly falcon's call?
Well, my lord, just make the trial
For a day or two; pretend
That you love her, and-
Supposing
That there were the slightest ground
For this false, malicious fancy
You have formed, there's not a chink
In my heart where it might enter,-
Since a love, if not more blest,
Far more equal than the other
Holds entire possession there.
Then you never loved this woman
At one time?
No!
Then avow
That you were very lazy.
Frederick-That is falsehood, and not love.
Fabio- The more the merrier!
Frederick
In two places
How could one man love?
3075


## p. 3076 (#34) ############################################

3076
PEDRO CALDERON
Fabio-
Fabio-
Why, thus:
Near the town of Ratisbon
Two conspicuous hamlets lay,-
One of them called Ageré,
The other called Mascárandón.
These two villages one priest,
An humble man of God, 'tis stated,
Served; and therefore celebrated
Mass in each on every feast.
And so one day it came to pass,
A native of Mascárandón
Who to Ageré had gone
About the middle of the mass,
Heard the priest in solemn tone
Say, as he the Preface read,
"Gratias ageré," but said
Nothing of Mascárandón.
To the priest this worthy made
His angry plaint without delay:
"You give best thanks for Ageré,
As if your tithes we had not paid! "
When this sapient reason reached
The noble Mascárandónese,
They stopped their hopeless pastor's fees,
Nor paid for what he prayed or preached;
He asked his sacristan the cause,
Who told him wherefore and because.
From that day forth when he would sing
The Preface, he took care t'intone,
Not in a smothered or weak way,
"Tibi semper et ubique
Gratias-Mascárandón! »
If from love, that god so blind,-
Two parishes thou holdest, you
Are bound to gratify the two;
And after a few days you'll find,
If you do so, soon upon
You and me will fall good things,
When your Lordship sweetly sings
Flerída et Mascárandón.
Frederick-Think you I have heard your folly?
If you listened, why not so?
Frederick-No: my mind can only know
Its one call of melancholy.


## p. 3077 (#35) ############################################

PEDRO CALDERON
3077
Fabio
--
Since you stick to Ageré
And reject Mascárandón,
Every hope, I fear, is gone,
That love his generous dues will pay.
S
Translation of Denis Florence MacCarthy.
CYPRIAN'S BARGAIN
From The Wonderful Magician ›
[The Demon, angered by Cyprian's victory in defending the existence of
God, swears vengeance. He resolves that Cyprian shall lose his soul for
Justina, who rejects his love. Cyprian says: -]
O BITTER is the life I live,
That, hear me hell, I now would give
To thy most detested spirit
My soul forever to inherit,
To suffer punishment and pine,
So this woman may be mine.
[The Demon accepts his soul and hastens to Justina.
Justina-'Tis that enamored nightingale
Who gives me the reply:
He ever tells the same soft tale
Of passion and of constancy
To his mate, who, rapt and fond,
Listening sits, a bough beyond.
Be silent, Nightingale! - No more
Make me think, in hearing thee
Thus tenderly thy love deplore,
If a bird can feel his so,
What a man would feel for me.
And, voluptuous vine, O thou
Who seekest most when least pursuing,-
To the trunk thou interlacest
Art the verdure which embracest
And the weight which is its ruin,-
No more, with green embraces, vine,
Make me think on what thou lovest;
For while thou thus thy boughs entwine,
I fear lest thou shouldst teach me, sophist,
How arms might be entangled too.
Light-enchanted sunflower, thou


## p. 3078 (#36) ############################################

3078
PEDRO CALDERON
All-
Who gazest ever true and tender
On the sun's revolving splendor,
Follow not his faithless glance
With thy faded countenance,
Nor teach my beating heart to fear
If leaves can mourn without a tear,
How eyes must weep! O Nightingale.
Cease from thy enamored tale,-
Leafy vine, unwreath thy bower,
Restless sunflower, cease to move-
Or tell me all, what poisonous power
Ye use against me-
Love! love! love!
Justina-It cannot be! Whom have I ever loved?
Trophies of my oblivion and disdain,
Floro and Lelio did I not reject?
And Cyprian? -
-
[She becomes troubled at the name of Cyprian.
Did I not requite him
With such severity that he has fled
Where none has ever heard of him again? —
Alas! I now begin to fear that this
May be the occasion whence desire grows bold,
As if there were no danger. From the moment
That I pronounced to my own listening heart,
"Cyprian is absent, O miserable me! »
I know not what I feel!
[More calmly.
It must be pity,
To think that such a man, whom all the world
Admired, should be forgot by all the world,
And I the cause.
[She again becomes troubled.
And yet if it were pity,
Floro and Lelio might have equal share,
For they are both imprisoned for my sake.
Alas! what reasonings are these? It is
Enough I pity him, and that in vain,
Without this ceremonious subtlety,
And woe is me! I know not where to find him now,
Even should I seek him through this wide world!
Enter Demon.
Demon-Follow, and I will lead thee where he is.
[Calmly.


## p. 3079 (#37) ############################################

PEDRO CALDERON
3079
Justina And who art thou, who hast found entrance hither
Into my chamber through the doors and locks?
Art thou a monstrous shadow which my madness
Has formed in the idle air?
Demon
No. I am one
Called by the thought which tyrannizes thee
From his eternal dwelling-who this day
Is pledged to bear thee unto Cyprian.
Justina - So shall thy promise fail. This agony
Of passion which afflicts my heart and soul
May sweep imagination in its storm,-
The will is firm.
Demon-
Already half is done.
In the imagination of an act.
The sin incurred, the pleasure then remains:
Let not the will stop half-way on the road.
Justina - I will not be discouraged, nor despair,
Although I thought it, and although 'tis true
That thought is but a prelude to the deed:
Thought is not in my power, but action is:
I will not move my foot to follow thee!
But a far mightier wisdom than thine own
Exerts itself within thee, with such power
Compelling thee to that which it inclines
That it shall force thy step; how wilt thou then
Resist, Justina?
By my free will.
Demon-
-
Justina-
Demon
Justina-
Must force thy will.
It is invincible;
It were not free if thou hadst power upon it.
I
Demon Come, where a pleasure waits thee.
Justina-
Too dear.
[He draws, but cannot move her.
It were bought
Demon
'Twill soothe thy heart to softest peace.
Justina 'Tis dread captivity.
Demon-
'Tis joy, 'tis glory.
Justina - 'Tis shame, 'tis torment, 'tis despair.
Demon-
But how
Canst thou defend thyself from that or me,
If my power drags thee onward?


## p. 3080 (#38) ############################################

3080
PEDRO CALDERON
Justina-
Demon
Justina-
Consists in God.
[He vainly endeavors to force her, and at last releases her.
Woman, thou hast subdued me
Only by not owning thyself subdued.
But since thou thus findest defense in God,
I will assume a feignèd form, and thus
Make thee a victim of my baffled rage.
For I will mask a spirit in thy form
Who will betray thy name to infamy,
And doubly shall I triumph in thy loss,
First by dishonoring thee, and then by turning
False pleasure to true ignominy.
My defense
I
Appeal to Heaven against thee; so that Heaven
May scatter thy delusions, and the blot
Upon my fame vanish in idle thought,
Even as flame dies in the envious air,
And as the flow'ret wanes at morning frost,
And thou shouldst never— - But alas! to whom
Do I still speak? — Did not a man but now
Stand here before me? —No, I am alone,
And yet I saw him. Is he gone so quickly?
Or can the heated mind engender shapes
From its own fear? Some terrible and strange
Peril is near. Lisander! father! lord!
Livia!
Enter Lisander and Livia.
Lisander-O my daughter! what?
Livia-
Justina-
Lisander-
Justina Have you not seen him?
Livia-
Justina I saw him.
Lisander-
What?
Saw you
A man go forth from my apartment now?
I scarce sustain myself!
A man here!
No, lady.
'Tis impossible; the doors
Which led to this apartment were all locked.
Livia [aside]—I dare say it was Moscon whom she saw,
For he was locked up in my room.
[Exit.


## p. 3081 (#39) ############################################

PEDRO CALDERON
3081
Lisander-
――
Livia
Justina-
-
Lisander-
Justina
It must
ave been some image of thy phantasy.
Such melancholy as thou feedest is
Skillful in forming such in the vain air
Out of the motes and atoms of the day.
My master's in the right.
Oh, would it were
Delusion; but I fear some greater ill.
I feel as if out of my bleeding bosom
My heart was torn in fragments; ay,
Some mortal spell is wrought against my frame.
So potent was the charm, that had not God
Shielded my humble innocence from wrong,
I should have sought my sorrow and my shame
With willing steps. Livia, quick, bring my cloak,
For I must seek refuge from these extremes
Even in the temple of the highest God
Which secretly the faithful worship.
Livia-
Here.
Justina [putting on her cloak]-In this, as in a shroud of snow, may I
Quench the consuming fire in which I burn,
Wasting away!
Lisander-
And I will go with thee!
Livia [aside]-When I once see them safe out of the house,
I shall breathe freely.
Justina-
So do I confide
In thy just favor, Heaven!
Let us go.
Thine is the cause, great God! Turn, for my sake
And for thine own, mercifully to me!
Translation of Shelley.


## p. 3082 (#40) ############################################

3082
PEDRO CALDERON
DREAMS AND REALITIES
From Such Stuff as Dreams are Made Of,' Edward Fitzgerald's version of
'La Vida Es Sueno
[The scene is a tower. Clotaldo is persuading Segismund that his expe-
riences have not been real, but dreams, and discusses the possible relation of
existence to a state of dreaming. The play itself is based on the familiar
motif of which Christopher Sly furnishes a ready example. ]
Clotaldo
Segismund-
Clotaldo-
Segismund-
Clotaldo
RINCES and princesses and counselors,
P
----
Fluster'd to right and left-my life made at -
But that was nothing-
Even the white-hair'd, venerable King
Seized on- Indeed, you made wild work of it;
And so discover'd in your outward action,
Flinging your arms about you in your sleep,
Grinding your teeth and, as I now remember,
Woke mouthing out judgment and execution,
On those about you.
Ay, I did indeed.
Ev'n your eyes stare wild; your hair stands up—
Your pulses throb and flutter, reeling still
Under the storm of such a dream-
That seem'd as swearable reality
As what I wake in now.
A dream!
Ay wondrous how
Imagination in a sleeping brain
Out of the uncontingent senses draws
Sensations strong as from the real touch;
That we not only laugh aloud, and drench
With tears our pillow; but in the agony
Of some imaginary conflict, fight
And struggle-ev'n as you did; some, 'tis thought
Under the dreamt-of stroke of death have died.
―――
Segismund― And what so very strange, too—in that world
Where place as well as people all was strange,
Ev'n I almost as strange unto myself,
You only, you, Clotaldo-you, as much
And palpably yourself as now you are,
Came in this very garb you ever wore;
By such a token of the past, you said,
To assure me of that seeming present.


## p. 3083 (#41) ############################################

PEDRO CALDERON
3083
Clotaldo
Ay?
Segismund — Ay; and even told me of the very stars
You tell me hereof - how in spite of them,
I was enlarged to all that glory.
Clotaldo-
Ay,
By the false spirits' nice contrivance, thus
A little truth oft leavens all the false,
The better to delude us.
For you know
'Tis nothing but a dream?
Nay, you yourself
Know best how lately you awoke from that
You know you went to sleep on. —
Why, have you never dreamt the like before?
Segismund-Never, to such reality.
Segismund-
Clotaldo-
Clotaldo-
Such dreams
Are oftentimes the sleeping exhalations
Of that ambition that lies smoldering
Under the ashes of the lowest fortune:
By which, when reason slumbers, or has lost
The reins of sensible comparison,
We fly at something higher than we are—
Scarce ever dive to lower- to be kings
Or conquerors, crown'd with laurel or with gold;
Nay, mounting heav'n itself on eagle wings,-
Which, by the way, now that I think of it,
May furnish us the key to this high flight —
That royal Eagle we were watching, and
Talking of as you went to sleep last night.
Segismund - Last night? Last night?
Clotaldo
Clotaldo-
Ay; do you not remember
Envying his immunity of flight,
As, rising from his throne of rock, he sail'd
Above the mountains far into the west,
That burned about him, while with poising wings
He darkled in it as a burning brand
Is seen to smolder in the fire it feeds?
Segismund - Last night-last night -Oh, what a day was that
Between that last night and this sad to-day !
And yet perhaps
Only some few dark moments, into which
Imagination, once lit up within
And unconditional of time and space,
Can pour infinities.