21
Calderón, Primera parte de autos sacramentales (Madrid, 1677) II7v.
22
See A. Castro and H. A. Rennert, Vida de Lope de Vega (1562-1635) (Salamanca, 1969), pp. 156-7. Castro and Rennert suggest that the producers of this volume did not set out deliberately to deceive; but if they did not, others certainly did.
23
E. M. Wilson, «The Two Editions of Calderón's Primera parte of 1640», The Library,V, 14 (1959), 175-91; D. W. Cruickshank, «Calderón's Primera and Tercera partes: The Reprints of "1640" and "1664"», The Library, V, 25 (1970), 105-19.
24
J. Moll, «La "Tercera parte de las comedias de Lope de Vega y otros auctores", falsificación sevillana», RABM, 11 (1974), 619-26.
25
See D. W. Cruickshank and E. M. Wilson, «A Calderón Collection in Dr. Steevens' Hospital, Dublin», Long Room, 9 (1974), 17-27. Something similar happened in the case of Moreto's Primera and Segunda partes of Valencia, 1676, and perhaps of his Tercera parte of Valencia, 1703; further investigation is required, but editions composed of sueltas certainly exist, of all three of these partes.
26
See D. W. Cruickshank, «The First Edition of El burlador de Sevilla», 443-67; and «The Second Part of La hija del aire», in Golden-Age Studies in Honour of A. A. Parker, BHS, 61 (1984), 286-94. In fact Diferentes XLII may be «legal», although not all of it was printed by Ybar; two of the sueltas were printed by Diego Dormer of Zaragoza.
27
Cruickshank, «The First Edition of El burlador de Sevilla», pp. 444-6.
28
For the first, see V. G. Williamsen, «Lope de Vega: A "Missing" parte and Two "Lost" comedias». BCom, 25 (1973), 42-51; for the second, M. G. Profeti, «Appunti bibliografici sulla collezione "Diferentes autores"», in Miscellanea di studi ispanici (Pisa, 1969-70), pp. 153-5; for both, see Cruickshank, «The First Edition of El burlador de Sevilla», 458-64.
29
Profeti, «Appunti bibliografici», pp. 162-7; but see in particular V. F. Dixon, «A Note on Diferentes 30», BHS, 39 (1962), 92-6. The technical illegality arises from the government's decree (1627) that all printed matter should carry the correct date and imprint.
30
There is also evidence of an overlay of compositorial spelling which is consistent throughout the volume, and which can be found in other items produced by Maria de Quiñones about this time.