1
D. W. Cruickshank noted that Calderón often changed his mind about act endings, in his edition of En la uida todo es verdad y todo mentira (London: Tamesis Books Ltd., 1971), pp. xviii-xix.
2
E. M. Wilson, «On the Tercera Parte of Calderón», in J. E. Varey and Don W. Cruickshank, The Textual Criticism of Calderón's Comedias, Vol. I of Pedro Calderón de la Barca, Comedias. A facsimile edition, Eds. D. W. Cruickshank and J. E. Varey (London: Gregg International Publishers Ltd., 1973), p. 109.
3
I am indebted to D. W. Cruickshank for this explanation of the compositor's error, as well as for his kindness in reading the draft of this paper.
4
The second edition printer planned ahead for these alterations, adding extra space beginning with folio 241, so that the end of the play came out on the same folio as in the first edition, and the page-for-page correspondence could resume with the following page.
5
N. D. Shergold, «Calderón and Vera Tassis», Hispanic Review, 23 (1955), pp. 215, 217.
6
Pedro Calderón de la Barca, Quarta Parte de Comedias (Madrid: Ioseph Fernández de Buendía, 1672), f. qq2 verso.
7
N. D. Shergold, A History of the Spanish Stage (London: Oxford University Press, 1967), p. 306.
8
This suelta, with drawings of stage designs by Baccio del Bianco, was recently discovered by the art historian Phyllis Dearborn Massar. Mariana de Austria ordered it made to be sent to Fernando III de Austria in Vienna. See N. D. Shergold and J. E. Varey, Representaciones Palaciegas: 1603-1699 (London: Tamesis Books Ltd., 1982), pp. 18, 35.
9
Biblioteca Nacional Ms. 21.264.
10
Calderón, Quarta Parte, ff. qq3v-qq4r.