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Notes
Cotarelo's admirable contributions to Encina scholarship began in 1894 with an article entitled "Juan del Encina y los orígenes del teatro español," later reprinted in his Estudios literarios de España (Madrid, 1901), 103-181. He expanded much of this material in the Prologue (hereafter Prólogo) to his Cancionero de Juan del Encina. Primera edición 1496. Publicado en facsímile por la Real Academia Española (Madrid, 1928). All references to the non-dramatic works of Encina are hereafter designated by the folio numbers of this Cancionero.
The edition of Manuel Cañete and F. A. Asenjo y Barbieri, Teatro completo de Juan del Encina (Madrid: Real Academia Española, 1893) exists in a modern reprint (New York: Greenwood, 1969). The edition of Humberto López-Morales, Eglogas de Juan del Enzina (New York: Las Américas, 1963) was reprinted with extensive prologues added as Eglogas completas de Juan del Enzina (New York: Las Américas, 1968). All references to the dramatic works of Encina are hereafter designated Eglogas completas and denote the latter edition.
Neither the collection of Angel J. Battistessa, Canciones de Juan del Encina (Buenos Aires: Colección Fábula y Canto, 1941) nor that of J. Givanel Mas, Juan del Encina: Poemas (Barcelona, 1940) is complete. A new edition of the Poesías completas, ed. R. O. Jones and H. López-Morales (London: Tamesis Books) is in press at the time of writing.
See Gustave Reese, Music in the Renaissance (New York: Norton, 1954), esp. chapter XI, 575-586, and Robert M. Stevenson, Spanish Music in the Age of Columbus (The Hague: Nijhoff, 1960), 253-272. The Collegium Musicum performed some of Encina's music live at Lexington, Kentucky, on the occasion of the Foreign Language Conference, 4.26.1974, and the Ars Antiqua of Paris performed some Encina at the University of Michigan, Ann Arbor, 3.29.1975. His music is also represented in "Agrupación coral de Pamplona de España," Columbia Records; "Canciones españolas," Deutsche Grammaphon Gesellschaft; "Music of the Spanish Renaissance," Turnabout Records; "Secular Vocal Music of the Renaissance from Spain, Italy and France," Dover Records; "Seraphim Guide to Renaissance Music," Seraphim Records; "Spanish Music of the Court of Ferdinand and Isabella," EMS Records; "Spanish Song of the Renaissance," Angel Records; and "Spanish Vocal Music from the Time of Charles V," Musical Heritage Society.
Expressive of a renewed interest in Encina in the United States are full-length studies such as Richard J. Andrews, Juan del Encina: Prometheus in Search of Prestige (Berkeley: University of California Press, 1959); Oliver T. Myers, "Phonology, Morphology and Vocabulary in the Language of Juan del Encina," Diss., Columbia University, 1961; James A. Anderson, Encina and Virgil, Romance Monographs Series (Lexington: University of Kentucky, 1974). See also my forthcoming Juan del Encina (New York: Twayne).
See Anthony van Beysterveldt, La poesía amatoria del siglo XV y el teatro profano de Juan del Encina (Madrid: Insula, 1972), p. 23.
Van Beysterveldt continues (p. 23): "Parece legítima la suposición de que Encina, al dejar reposar su pluma a lo largo de estos veinte años, ha bebido, sin hastiarse, en la copa de la vida cuyas delicias, quizás, en aquel tiempo no eran para ser descritas." This supposition is, in fact, a sheer guess and really quite unfair.
See J. Caso González, "Cronología de las primeras obras de Juan del Encina," Archivum (Oviedo), 3 (1953), 362-372. The Roman numerals refer to the numbers assigned to Encina's eclogues by H. López-Morales. Yet another new view of these first eight eclogues is offered in an interesting and sensibly argued article, Juan Carlos Temprano, "Cronología de las ocho primeras églogas de Juan del Encina," Hispanic Review, 43, no. 2 (1975), 141-151. Temprano's argument hinges on an ad quem of 1493 for Eclogue VIII. This he establishes by adding the twenty-five years mentioned by Encina above his table of contents in 1496 to the widely accepted birthdate of 1468. The article does not really deal with Caso's major points, however, and the author admits: "El problema que naturalmente surge de esta afirmación es el explicar cómo as posible que pasasen cerca de dos años y medio entre la composición de la última obra y la aparición del Cancionero" (p. 145).
See J. P. Wickersham Crawford, The Spanish Pastoral Drama (Philadelphia: University of Pennsylvania Press, 1915); "The Source of Juan del Encina's 'Egloga de Fileno y Zambardo'," Revue Hispanique, 38 (1916), 217-231; "Encina's 'Egloga de Fileno, Zambardo y Cardonio' and Antonio Tebaldeo's Second Eclogue," Hispanic Review, 2 (1934), 327-333; and The Spanish Drama Before Lope de Vega (Philadelphia: University of Pennsylvania Press, 1937). See also Eugen Kohler, Sieben Spanische Dramatische Eklogen (Dresden: Niemeyer, 1911), hereafter referred to as Sieben Eklogen.
See Agustín de Rojas Villandrando, El viaje entretenido, ed. Jean Pierre Ressot (Madrid: Castalia, 1972), pp. 148-149.
See M. Menéndez y Pelayo, Antología de poetas líricos castellanos (Madrid: Hernando, 1898), vol. VII, pp. iv-v.
See C. R. Cheney, ed., Handbook of Dates for Students of English History (London: Royal Historical Society, 1945), Table XIII at p. 108.
See William H. Prescott, History of the Reign of Ferdinand and Isabella (London, 1842), vol. II, p. 306.
In the Cancionero, folio lii, there is a poem in twenty stanzas of arte mayor entitled: Juan del enzina despues que el duque y duquesa sus señores le recibieron por suyo. The poem expresses abject gratitude for Encina's new employment and stresses strongly that he feels rescued from a spell of ill fortune. Might he have lost his position at the royal court after events arising out of the bribery scandals in Aguayo in the spring of 1495? This poem might be from the same period as Eclogue VII.
See José Luis Varela, "Juan del Encina, juez," in Festschrift für Fritz Schalk, ed. H. Baader and E. Loor (Frankfurt: Vittorio Klostermann, 1973), 519-523.
Quoted by R. Espinosa Maeso, "Nuevos dates biográficos de Juan del Encina," Boletín de la Real Academia Española, 8 (1921), 640-656, at p. 641, n. My emphasis.
See H. Anglès and J. Romeu Figueras, La música en la corte de los Reyes Católicos: Cancionero musical de Palacio (Monumentos de la música española, I) (Barcelona: CSIC, 1947), p. 69.
The Cancionero musical de Palacio was first discovered in 1880 and first published in 1890 by F. A. Barbieri y Asenjo (Madrid: Real Academia de las Bellas Artes de San Fernando).
In his edition of the Cancionero musical de Palacio, Barbieri supposed that the long poem he assigned the number 382 (pp. 196-197) expressed Encina's prior intention of going to Estremoz in nearby Portugal. The angry, disillusioned "shepherd" there is also called Juan.
See Ralph E. House, "A Study of Encina and the 'Egloga interlocutoria'," Romanic Review Quarterly, 7 (1916), 458-469.
See S. Griswold Morley, "Strophes in the Spanish Drama before Lope de Vega," in Homenaje ofrecido a Menéndez Pidal (Madrid: Hernando, 1925), vol. I, p. 508.
Cited by Cirot in "A propos d'Encina. Coup d'oeil sur notre vieux drame religieux," Bulletin Hispanique, 43, no. 2 (1941), 123-153, at p. 132, n. 4.
Cotarelo's essay, published in 1894 and 1901, was rewritten on this point to accommodate the new findings of Crawford published in 1915 and 1916. Crawford's article of 1934 is a reply to Cotarelo's Prologue. See notes 1 and 9 above.
See Alfredo Hermenegildo, ed., Teatro selecto clásico de Lucas Fernández (Madrid: Escelicer, 1972), p. 160, ll. 171-174.
"Encina's 'Egloga de Fileno, Zambardo y Cardonio' and Antonio Tebaldeo's Second Eclogue," Hispanic Review, 2 (1934), 327-333, pp. 331-332. Crawford erroneously gives the date of the first printing of the Egloga de los tres pastores as 1507 in his text. I have taken the liberty of correcting this to 1509 to avoid further confusion.
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