¹ Among the best and most comprehensive earlier discussions of seventeenth-century academies are Emilio Cotarelo y Mori's “La fundacion de la Academia espaÛola y su primer director D. Juan Manuel F. Pacheco, Marqués de Villena,” BRAE, i (February 1914), 4–38, and Juan Perez de Guzmân y Gallo's three studies: “Las academias literarias del siglo de los Austrias,” Ilustraciôn Espaiiola y Americana, xxiv, Nos. 31–33 (Aug.-Sept. 1880), 106–107, 123, 126, 139, 142; “Bajo los Austrias. Academias literarias de ingenios y sefiores,” La Espana Moderna, vi (Nov. 1894), 68–107; Bajo los Austrias. La mujer espaÛola en la Minerva literaria castellana (Madrid, 1923); to all of these I am much indebted, though the material contained in them is now somewhat outdated and at times misleading.

² The only major work dealing with these interconnections—and it is quite brief—is John Brooks's analysis of academic reflections in Lope's drama in the introduction (pp. 7–35) to his edition of Lope de Vega's El mayor imposible, in Univ. of Arizona Bulletin, v, No. 7 (Tucson, 1934). For my discussion of the drama I have depended almost exclusively on this study, while my reading of poetry has necessarily been limited to a few outstanding anthologies. The paragraphs devoted to prose fiction, however, are based on a survey of nearly all the prose fiction published in the seventeenth century—over 200 novels and collections of short stories; the full results of this investigation are reported in my unpublished doctoral thesis, “Literary Academies and Prose Fiction in Seventeenth-Century Spain” (Brown, 1957) [University Microfilms, No. 58–4337, Ann Arbor, Michigan]. Of these 200-odd volumes of prose fiction, 48 contain academic material.

³ In his Seiscientos apotegmas (first published Madrid, 1596) Juan Rufo speaks briefly of the Academia Imitatoria, “cuyos principios parece que prometian que habia de durar como imitadora de las famosisimas de Italia.” Its members were of the highest social position and influence, and its prospects seemed bright; but the organization did not last even a full year, probably because its president was too young and ineffectual (see Los seiscientos apotegmas y otras obras en verso de Juan Rufo, ed. Agustin G. de Amezua [Madrid, 1923], p. 16). Cervantes seems also to have known of the academy, for he mentions casually in the Coloquio de los perros a “poeta tonto y académico de burla de la Academia de los Imitadores” (see El casamiento enganoso y El coloquio de los perros, ed. A. de Amezua y Mayo [Madrid, 1912], pp. 296–297). One manuscript (dated 21 Jan. 1592) produced by the Academia de los Humildes is preserved in Madrid, Biblioteca National, MS. 18724/35 bis, foil. 168^r-179^r (published by Lucas de Torre in BRAE, ii [April 1915], 198–218). Possibly (according to Otis H. Green, The Life and Works of Lupercio Leonardo de Argensola [Philadelphia, 1927], p. 46) it is to this academy that Lupercio Leonardo refers in a poem which his son explains was written for “una Academia de personas graves, que havia entonces en Madrid, en la Cual tomo por nombre el Bârbaro” (Lupercio y Bartolomé L. de Argensola, Rimas, ed. José Manuel Blecua [Zaragoza, 1950], i, 134–139).

⁴ Diego Duque de Estrada speaks of having attended the academy in 1605 or 1606 and again in 1608 (Comentarios del desenganado, o sea Vida de D. Diego Duque de Estrada, escrita por él mismo, ed. Juan Pérez de Guzman y Gallo, in Memorial Hislôrico Espanol, xn [Madrid, 1860], 23, 28). Whether or not Saldana's academy functioned continuously from 1608 to 1612 is difficult to determine, for Lope speaks in a letter to the Duque de Sessa of attending its “first session” on 19 Nov. 1611 (see Epistolario de Lope de Vega Carpio, ed. Agustin de Amezua [Madrid, 1941], in, 76). Lope and Duque de Estrada are also the sources of our information about the membership of the academy.

⁵ See the Epistolario de Lope de Vega, in, 102, for the opening date. Pedro Soto de Rojas' discourse on poetry may be found in his Desengaiio de amor en rimas (Madrid, 1623), foil. 4 ff. 6 Francisco de Medrano, Favores de la musas … (Milan, 1631), introductory letter. In 1621, it may be noted, Medrano drew up an elaborate constitution for an “Academia Peregrina” functioning under three official patrons, the Duque de Hijar, the Conde de Ofiate, and the Conde de Sàstago, which was to deal in systematic fashion with all the liberal arts, to maintain a library, and to reward especially distinguished members with a ceremonial crowning “como se acostumbra en las Academias famosas de Italia” (Madrid, Biblioteca Nacional, MS. 3–3889, foil. S0v-58“, particularly fol. 54^r). This academy does not, however, seem to have gone beyond the stage of planning.

⁷ For information about the early days of this group, see Alonso de Castillo Solorzano, “A don Juan de Espina,” Donaires del Parnaso, n (Madrid, 1625), fol. 65v. That this same academy was still meeting in 1637 may be deduced from a reference to it in the proceedings of the great certamen poético held in the Buen Retiro in Feb. 1637 (see “Académie burlesque célébrée par les poètes de Madrid au Buen Retiro en 1637,” ed. Alfred Morel-Fatio in L'Espagne au XVIe et XVIIs siècle [Heilbronn, 1878], p. 619).

⁸ Luis Fernândez-Guerra y Orbe, “Discurso preliminar” to Comedias escogidas de Agustin Moreto y Cabana, Biblioteca de Autores Espanoles, xxxix (Madrid, 1856), xiii, note.

⁹ For the membership of Mendoza's academy in the 1620's, see the two vejâmenes in prose written for this assemblage by Anastasio Pantaleon de Ribera and included in his Obras, ed. Rafael de Balbin Lucas, n, Biblioteca de Antiguos Libros Hispânicos (Madrid, 1944), 11–53. Following the general custom, Pantaleon refers to his fellow members only by their academic pseudonyms (e.g., Gelcambo or Ansolo, who represent, respectively, Gabriel Bocângel de Unzueta and Castillo Solorzano), but these assumed names seem to have all been accurately deciphered by Adolfo Bonilla y San Martin (in his turn writing under the pseudonym of “El Bachiller Mantuano”) in his edition of Jeronimo de Cancer y Velasco and Anastasio Pantaleon de Ribera, Vejâmenes liter arios (Madrid, 1909), p. 40. In this same volume (pp. 23–26) may be found the vejamen by Cancer y Velasco which reveals the membership of the Academia Castellana.

¹⁰ Lupercio and Bartolomé Leonardo de Argensola, Obras sueltas, ed. el Conde de la Vifiaza, i (Madrid, 1889), 309–326.

¹¹ The statutes, minutes, and many of the compositions of the Pitima are preserved in MS. 9396 of the Biblioteca Nacional in Madrid; Adolphe Coster has published all of the group's statutes, accompanied by a brief discussion of the academy's activities, in a pamphlet entitled Una academia literaria aragonesa. La “Pitima contra la ociosidad” (1608) (Huesca, 1912).

¹² Minutes of meetings and a large number of academic compositions may be consulted in Madrid, Biblioteca Nacional, MS. 3672, foil. 4r-330v, 341r-368'.

¹³ Once again it is a vejamen by one of the academy's members which furnishes the only extant information about it: Vicente Sanchez, Lira poética (Zaragoza, 1688), pp. 21–46.

¹⁴ See the two vejâmenes, one composed for the academy of the Conde de Lemos, the other for that of his son, by José Navarro, included in Poeslas varias de Josef Navarro (Zaragoza, 1654), pp. 53–68, 141–157.

¹⁵ Ricardo Arco y Garay, La erudUiôn aragonesa en el siglo XVII en torno a Lastanosa (Madrid, 1934), p. 174.

¹⁶ The first six members here listed make use of their own names in the Mausoleo …; for the identification of the last four, see José Maria Castro y Calvo, Justus poéticas aragonesas del siglo XVII, Separata de la Revista Universidad (Zaragoza, 1937), pp. 64, 71–73, citing Ustarroz's own Aganipe de los cisnes aragoneses … and Latassa's Biblioteca.

¹⁷ Segunda parte del Romancero general y Flor de diversa poesia, ed. Joaquin de Entrambasaguas, Biblioteca de Antiguos Libros Hispânicos, Ser. B, iv (Madrid, 1948), 330–348; one other poem in this collection also refers to the same organization (ed. cit., iv, 236–239). Neither Angel Gonzalez Palencia in his edition of the whole Romancero general (Madrid, 1947) nor Entrambasaguas has noticed either of these two poems; Narciso Alonso Cortés, whose Noticias de una corte Uteraria (Madrid, 1906) represents our chief source of information about cultural life in Valladolid during the period when it served as Spain's capital, is apparently unaware of the academy.

¹⁸ Briefly described by Duque de Estrada, p. 20.

¹⁹ The constitution and minutes of the meetings of this group, along with the majority of its compositions, are preserved in MS. R32–34 (3 vols.) of the Biblioteca Nacional in Madrid; generous selections from the manuscript are available in the Cancioncro de la Academia de los Nocturnes de Valencia, ed. Francisco Marti Grajales, 4 vols. (Valencia, 1905–12).

²⁰ Bartolomé José Gallardo, Ensayo de una biblioteca espanola de libros raros y curiosos, iv (Madrid, 1889), col. 1088, item 4348, quotes the following passage from the 1616 Valencia edition of Juan Yagiie de Salas' Los amantes de Teruel: “Después de impreso este poema me mando la Academia, nuevamente resucitada en la insigne ciudad de Valencia por el conocido por de superior ingenio D. Guillên de Castro, debajo el nombre de los Montaneses del Parnaso, lo remitiese desnudo de episodios en las octavas abajo escritas; y se leyeronen la segunda junta, habiéndome favorecido con admitirme por académico délia con nombre de Pindauro.”

²¹ This work is described ibid., n (Madrid, 1866), col. 276, item 1664; for the best discussion of the Alcazar and other late seventeenth-century Valencia academies, see J. E. Serrano y Morales, “Noticiade algunas academiasqueexistieron en Valencia durante el siglo xvn,” Revista de Valencia, i (Aug. 1881), 441–452.

²² See Juan Ignacio de Soto y Aviles, Camestolendas de la ciudad de Cadiz, Pruebas de ingenio de don Alonso Chirino Bermudez (Cadiz, 1639).

²³ Luis Vêlez de Guevara, El diablo cojuelo, ed. Francisco Rodriguez Marin, Clâsicos Castellanos, No. 38 (Madrid, 1941), pp. 184–191, 206–220.

²⁴ Gallardo, m (Madrid, 1888), col. 769, s.v. “Mendoza.”

²⁵ The academy's foundation is described and its activities and literary productions lauded extravagantly in the dedication, signed by Jaime Surià, Jaime Batlle, and Juan Piferrer, to the Obras de D. Francisco de Quevedo Villegas. Dedicadas a la muy ilustre Academia de los Desconfiados de la excelentisima ciudad de Barcelona (Barcelona, 1702).

²⁶ Perhaps the most comprehensive work on Italian academies is Michèle Maylender's five-volume Storia dette Accademie d'ltalia (Bologna, 1926–29); for the Intronati, see Vol. iii, pp. 350–358. Willard F. King

²⁷ See the Cancionero de la Academia de los Nocturnes de Valencia, ed. cit.

²⁸ See, for example, Pantaleon de Ribera, Obras, ed. cit., i, 39–68, ii, 129; Castillo Solorzano, Donaires del Parnaso, I, foil. 87r-97v\ ii, foil. 59v-61'.

²⁹ Medrano's Favores de las musas, for example, contains three plays which are alleged to have been written for the academy sponsored by the author.

³⁰ As a sample of such emblems, hieroglyphs, and extemporaneous verse, see the manuscript record of the Huesca academy (cited above, ii. 12), foil. 70r-75r, 348\ Duque de Estrada, pp. 124–127, describes in lively fashion a comedia de repente concocted by the Neapolitan Accademia degli Oziosi (whose patron was the Viceroy of Naples, the Conde de Lemos, and which included many Spaniards among its members). See Otis H. Green, “The Literary Court of the Conde de Lemos at Naples, 1610–1616,” HR, i (Oct. 1933), 290–308, for a discussion of this academy.

³¹ For the record of an especially brilliant and lengthy certamen held in the Euen Retiro in 1637, see Alfred Morel-Fatio, L'Espagne au XVI' et XVIIe siècle (Heilbronn, 1878), pp. 603–676. Morel-Fatio notes that, according to rumor, Rojas Zorrilla's vejamen on this occasion so inflamed the tempers of his fellow poets that some of them attempted to have him assassinated (p. 670).

³² See Montesinos' edition, last page, unnumbered, and the list of members of Medrano's academy given on p. 368 above. By oversight, apparently, Montesinos fails to list Lope, who contributed more poems to the collection than anyone else. The names common to both the academy and the Arias Perez anthology are Gabriel Bocângel, Gongora, Lopez de Zârate, Antonio de Mendoza, Quevedo, Tirso de Molina, Vêlez de Guevara, and Lope de Vega.

³³ Ed. José Manuel Blecua (Madrid, 1945). Willard F. King

³⁴ See above, n. 2.

³⁵ Favores de las musas, pp. 118–189.

³⁶ Brooks says, probably correctly though without offering proof, that from the academies “came the dramatic and literary criticisms with which Lope had to reckon, and to them we may attribute his constant defense of his drama and his attacks upon Gongorism” (“Introduction,” p. 9).

³⁷ It may be objected that such scenes owe nothing to the Spanish academies but are derived from the accounts of cultivated salon activities to be found in such works as the Decameron or the Cortegiano. Certainly the Italian salon entertainments provided a model for much of the activity of the Spanish academies; but Lope undoubtedly drew on his personal and immediate experience of the Spanish literary academy rather than on the remoter literary sources.

³⁸ The Dramatic Art of Lope de Vega together with La Dama Boba, ed. Rudolph Schevill, Univ. of Calif. Pubs, in Modern Philology, vii (Berkeley, Calif., 1918), 215.

³⁹ See José Maria de Cossio, ed., “Introduction” to Obras escogidas de Salvador Jacinto Polo de Medina, Los Clâsicos Olvidados, x (Madrid, 1931), 40. The Academias del jardin appears on pp. 105–270 of this edition.

⁴⁰ See Henri Mérimée, éd., “Introduction” to El prado de Valencia, by Gaspar Mercader, Bibliothèque Méridionale, 1st Ser., xi (Toulouse, 1907) for an analysis of the connections between the Academia de los Nocturnos and the Prado. Though he fails to identify one of the poems repeated in the Prado from the Nocturnos' Cancionero, his discussion is in general detailed and fully trustworthy.

⁴¹ La Cintia de Aranjuez, ed. Joaquin de Entrambasaguas, Biblioteca de Antiguos Libros Hispânicos, Ser. A, iv (Madrid, 1945), 21.

⁴² Alonso de Castillo Solorzano, Tiempo de regocijo y carnestolendas de Madrid, ed. Emilio Cotarelo y Mori, Coleccion Selecta de Antiguas Novelas EspaSolas, vii (Madrid, 1907), 189.

⁴³ 2 vols. (Madrid 1614, 1619).

⁴⁴ See the obvious references to the rise to power of the Conde-Duque de Olivares, which took place in 1621 (La peregrination sabia y El sagaz Estacio, marido examinado, ed. Francisco A. de Icaza, Clâsicos Castellanos. No. 57 [Madrid, 1924], pp. 69–72).

⁴⁵ Ed. José Mallorqui Figuerola (Buenos Aires, 1941), pp. 152–154.

⁴⁶ El crilicôn, ed. M. Romera-Navarro, in (Philadelphia, 1940), 285, 293.