[96] _Primavera_, No. 131; Durán, No. 255. [97] _Primavera_, No. 163; Durán, No. 365. [98] _XV. Romances_. (Ordenólos R. Foulché-Delbosc.) Barcelona [1907]. [99] _Los Lunes de El Imparcial_ (9 de Julio de 1906): ‘_El peor enemigo de Cervantes._’ [100] The present lecture was first delivered at the University of Pennsylvania, Philadelphia, on November 25, 1907. [101] Yet Quinault had already adapted _El galán fantasma_ under the title of _Le Fantôme amoureux_, which is the source of Sir William Lower’s _Amorous Fantasme_ (1660), and there are other French imitations by Quinault, Scarron, and Thomas Corneille. Calderón was popular in Italy. As early as 1654, Cardinal Giulio Rospigliosi (afterwards Clement IX.) based on _No siempre lo peor es cierto_ the libretto of _Dal male il bene_, which was set to music by Antonio Maria Abbatini and Marco Marazzoli. In 1656 _El mayor monstruo los celos_ was arranged for the Italian stage by Giacinto Andrea Cicognini, who afterwards produced many other adaptations of Calderón’s plays: see an interesting and learned article by Dr. Arturo Farinelli in _Cultura Española_ (Madrid, February 1907), pp. 123-127. [102] If Calderón be really the author of the _sainete_ entitled _El Labrador Gentilhombre_ printed at the end of _Hado y divisa de Leonido y Marfisa_, he had evidently read Molière’s _Bourgeois gentilhomme_. But the authorship of this _sainete_ is uncertain. [103] Most Spaniards who ridicule Calderón for using _hipogrifo_ accentuate the word wrongly in speech and writing. _Hipógrifo_ is a mistake; the word is not a _palabra esdrújula_, as may be seen from Lope de Vega’s use of it in _La Gatomaquia_ (silva vii.):— Que vemos en Orlando el hipogrifo, monstruo compuesto de caballo y grifo. Calderón himself gives it as a palabra llana in his _auto_ entitled _La lepra de Constantino_. For other examples, see Rufino José Cuervo, _Apuntaciones críticas sobre el lenguaje bogotano con frecuente referencia al de los países de Hispano-América_. Quinta edición (Paris, 1907), pp. 11-12. [104] Pedro Jozé Suppico de Moraes, _Collecção politica de apothegmas, ou ditos agudos, e sentenciosos_ (Coimbra, 1761), Parte 1., pp. 337-338. [105] Zamora’s arrangement of Calderón’s _auto_ entitled _El pleito matrimonial_ was played at the Príncipe theatre in Madrid on the Feast of Corpus Christi, 1762.