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Translator: Denis Florence Mac-Carthy

THE WONDER-WORKING MAGICIAN

CALDERON'S DRAMAS.

London: Henry S. King & Co., 65 Cornhill, And 12, Paternoster Row. 1873.

INTRODUCTION.

Two of the dramas contained in this volume are the most celebrated of all Calderon's writings. The first, "La Vida es Sueno", has been translated into many languages and performed with success on almost every stage in Europe but that of England. So late as the winter of 1866-7, in a Russian version, it drew crowded houses to the great theatre of Moscow; while a few years earlier, as if to give a signal proof of the reality of its title, and that Life was indeed a Dream, the Queen of Sweden expired in the theatre of Stockholm during the performance of "La Vida es Sueno". In England the play has been much studied for its literary value and the exceeding beauty and lyrical sweetness of some passages; but with the exception of a version by John Oxenford published in "The Monthly Magazine" for 1842, which being in blank verse does not represent the form of the original, no complete translation into English has been attempted. Some scenes translated with considerable elegance in the metre of the original were published by Archbishop Trench in 1856; but these comprised only a portion of the graver division of the drama. The present version of the entire play has been made with the advantages which the author's long experience in the study and interpretation of Calderon has enabled him to apply to this master-piece of the great Spanish poet. All the forms of verse have been preserved; while the closeness of the translation may be inferred from the fact, that not only the whole play but every speech and fragment of a speech are represented in English in the exact number of lines of the original, without the sacrifice, it is to be hoped, of one important idea.

"Philip called the good Duke of Burgundy, in the memory of our ancestors, being at Bruxelles with his Court, and walking one night after supper through the streets, accompanied by some of his favourites, he found lying upon the stones a certaine artisan that was very dronke, and that slept soundly. It pleased the prince in this artisan to make trial of the vanity of our life, whereof he had before discoursed with his familiar friends. He therefore caused this sleeper to be taken up, and carried into his palace; he commands him to be layed in one of the richest beds; a riche night cap to be given him; his foule shirt to be taken off, and to have another put on him of fine holland. When as this dronkard had digested his wine, and began to awake, behold there comes about his bed Pages and Groomes of the Duke's Chamber, who drawe the curteines, make many courtesies, and being bare-headed, aske him if it please him to rise, and what apparell it would please him to put on that day. They bring him rich apparell. This new Monsieur amazed at such courtesie, and doubting whether he dreamt or waked, suffered himselfe to be drest, and led out of the chamber. There came noblemen which saluted him with all honour, and conduct him to the Masse, where with great ceremonie they give him the booke of the Gospell, and the Pixe to kisse, as they did usually to the Duke. From the Masse they bring him back unto the pallace; he washes his hands, and sittes down at the table well furnished. After dinner, the Great Chamberlain commands cards to be brought with a great summe of money. This Duke in imagination playes with the chief of the Court. Then they carry him to walke in the gardein, and to hunt the hare, and to hawke. They bring him back into the pallace, where he sups in state. Candles being light the musitions begin to play; and the tables taken away, the gentlemen and gentlewomen fell to dancing. Then they played a pleasant comedie, after which followed a Banket, whereat they had presently store of Ipocras and pretious wine, with all sorts of confitures, to this prince of the new impression; so as he was dronke, and fell soundlie asleepe. Hereupon the Duke commanded that he should be disrobed of all his riche attire. He was put into his old ragges, and carried into the same place, where he had been found the night before; where he spent that night. Being awake in the morning, he began to remember what had happened before; he knewe not whether it were true indeede, or a dream that had troubled his braine. But in the end, after many discourses, he concludes that ALL WAS BUT A DREAME that had happened unto him; and so entertained his wife, his children, and his neighbours, without any other apprehension."

It is curious to find that the same anecdote which formed the Induction to the original "Taming of a Shrew", and which, from a comic point of view, Shakespeare so wonderfully developed in his own comedy, Calderon invested with such solemn and sublime dignity in "La Vida es Sueno". He found it, as Senor Hartzenbusch points out in the edition of 1872 already quoted, in the very amusing "Viage Entretenido" of Augustin de Rojas, which was first published in 1603. Hartzenbusch refers to the modern edition of Rojas, Madrid, 1793, tomo I, pp. 261, 262, 263, but in a copy of the Lerida edition of 1615, in my own possession, I find the anecdote at folios 118, 119, 120. There are some slight differences between the version of Rojas and that of Goulart, but the incidents and the persons are the same. The conclusion to which the artizan arrived at, in the version of Goulart, that all had been a dream, is expressed more strongly by the Duke himself in the story as told by Rojas.

"Y dijo entonces el Duque: 'veis aqui, amigos, "Lo que es el Mundo: Todo es un Sueno", pues esto verdaderamente ha pasado por este, como habeis visto, y le parece que lo ha sonado.'"--

The story in all probability came originally from the East. Mr. Lane in his translation of the Thousand and One Nights gives a very interesting narrative which he believes to be founded on an historical fact in which Haroun Al Raschid plays the part of the good Duke of Burgundy, and Abu-l-Hasan the original of Christopher Sly. The gravity of the treatment and certain incidents in this Oriental story recall more strongly Calderon's drama than the Induction to the "Taming of the Shrew". "La Vida es Sueno" was first published either at the end of 1635 or beginning of 1636.

The "Aprobacion" for its publication along with eleven other dramas , was signed on the 6th of November in the former year by the official licenser, Juan Bautista de Sossa. The volume was edited by the poet's brother, Don Joseph Calderon. So scarce has this first authorised collection of any of Calderon's dramas become, that a Spanish writer Don Vicente Garcia de la Huerta, in his "Teatro Espanol" , denies the existence of this volume of 1635, and states that it did not appear until 1640. As if to corroborate this view, Barrera in his "Catalogo del Teatro antiguo Espanol" gives the date 1640 to the "Primera parte de comedias de Calderon" edited by his brother Joseph.

Senor Hartzenbusch, in the edition of Calderon's "La Vida es Sueno", already referred to , prints the passages from Lope de Vega's two dramas, but in neither of them, he justly remarks, can we find anything that at all corresponds to this "grandioso caracter de Segismundo."

The second drama in this volume, "The Wonderful Magician", is perhaps better known to poetical students in England than even the first, from the spirited fragment Shelley has left us in his "Scenes from Calderon." The preoccupation of a subject by a great master throws immense difficulties in the way of any one who ventures to follow in the same path: but as Shelley allowed himself great licence in his versification, and either from carelessness or an imperfect knowledge of Spanish is occasionally unfaithful to the meaning of his author, it may be hoped in my own version that strict fidelity both as to the form as well as substance of the original may be some compensation for the absence of those higher poetical harmonies to which many of my readers will have been accustomed.

"El Magico Prodigioso" appeared for the first time in the same volume as "La Vida es Sueno", prepared for publication in 1635 by Don Joseph Calderon. The translation is comprised in the same number of lines as the original, and all the preceding remarks on "Life is a Dream", whether in reference to the period of the first publication of the drama in Spain, or the principles I kept in view while attempting this version may be applied to it. As in the Case of "Life is a Dream", "The Wonderful Magician" has previously been translated entire by an English writer, ; but as Archbishop Trench truly observes, "the writer did not possess that command of the resources of the English language, which none more than Calderon requires."

The martyrdom of the Saints took place in the year 290, and their festival is celebrated by the Church on the 26th of September.

The third translation in this volume is that of "The Purgatory of St. Patrick". This, though perhaps not so famous as the two preceding dramas, is intended to be given by Don P. De la Escosura, in a selection of Calderon's finest "comedias", now being edited by him for the Spanish Academy, as the representative piece of its class--namely, the mystical drama founded on the lives of Saints. Mr. Ticknor prefers it to the more celebrated "Devotion of the Cross," and says that it "is commonly ranked among the best religious plays of the Spanish theatre in the seventeenth century."

In all that relates to the famous cave known through the middle ages as the "Purgatory of Saint Patrick", as well as the Story of Luis Enius--the Owain Miles of Ancient English poetry--Calderon was entirely indebted to the little volume published at Madrid, in 1627, by Juan Perez de Montalvan, entitled "Vida y Purgatorio de San Patricio". This singular work met with immense success. It went through innumerable editions, and continues to be reprinted in Spain as a chap-book, down to the present day. I have the fifth impression "improved and enlarged by the author himself," Madrid, 1628, the year after its first appearance: also a later edition, Madrid, 1664. As early as 1637 a French translation appeared at Brussels by "F. A. S. Chartreux, a Bruxelles." In 1642 a second French translation was published at Troyes, by "R. P. Francois Bouillon, de l'Ordre de S. Francois, et Bachelier de Theologie." Mr. Thomas Wright in his "Essay on St. Patrick's Purgatory," London, 1844, makes the singular mistake of supposing that Bouillon's "Histoire de la Vie et Purgatoire de S. Patrice" was founded on the drama of Calderon, it being simply a translation of Montalvan's "Vida y Purgatorio," from which, like itself, Calderon's play was derived. Among other translations of Montalvan's work may be mentioned one in Dutch and one in Portuguese . It was also translated into German and Italian, but I find no mention of an English version. For this reason I have thought that a few extracts might be interesting, as showing how closely Calderon adhered even to the language of his predecessor.

The present version of "The Purgatory of Saint Patrick" is, with the exception of a few unimportant lines, an entirely new translation. It is made with the utmost care, imitating all the measures and contained, like the two preceding dramas, in the exact number of lines of the original. One passage of the translation which I published in 1853 is retained in the notes, as a tribute of respect to the memory of the late John Rutter Chorley, it having been mentioned with praise by that eminent Spanish scholar in an elaborate review of my earlier translations from Calderon, which appeared in the "Athenaeum", Nov. 19 and Nov. 26, 1853.

It only remains to add that the text I have followed is that of Hartzenbusch in his edition of Calderon's Comedias, Madrid, 1856 . His arrangement of the scenes has been followed throughout, thus enabling the reader in a moment to verify for himself the exactness of the translation by a reference to the original, a crucial test which I rather invite than decline.

CLAPHAM PARK, Easter, 1873.

THE WONDER-WORKING MAGICIAN.

TO THE MEMORY OF SHELLEY, WHOSE ADMIRATION FOR "THE LIGHT AND ODOUR OF THE FLOWERY AND STARRY AUTOS" IS THE HIGHEST TRIBUTE TO THE BEAUTY OF CALDERON'S POETRY,

THIS DRAMA IS INSCRIBED.

PERSONS.

CYPRIAN. THE DEMON. LELIUS, The Governor of Antioch's Son. FLORUS, friend of Lelius. MOSCON, Servant of Cyprian. CLARIN, Servant of Cyprian. THE GOVERNOR OF ANTIOCH. FABIUS, his Servant. LYSANDER, the reputed Father of Justina. JUSTINA. LIVIA, her Maid. A Servant. A Soldier. ATTENDANTS, Soldiers, People.

SCENE--Antioch and its environs.

THE WONDER-WORKING MAGICIAN.

ACT THE FIRST.

A WOOD NEAR ANTIOCH.

Enter CYPPRIAN in a Student's gown, followed by CLARIN and MOSCON, as poor Scholars, carrying books.

CYPRIAN. In the pleasant solitude Of this tranquil spot, this thicket Formed of interlacing boughs, Buds, and flowers, and shrubs commingled, You may leave me, leaving also, As my best companions, with me, those books Which I bad you to bring hither From the house; for while, to-day, Antioch, the mighty city, Celebrates with such rejoicing The great temple newly finished Unto Jupiter, the bearing Thither, also, of his image Publicly, in grant procession, To its shrine to be uplifted;-- I, escaping the confusion Of the streets and squares, have flitted Hitherward, to spend in study What of daylight yet may glimmer. Go, enjoy the festival, Go to Antioch and mingle In its various sports, returning When the sun descending sinketh To be buried in the waves, Which, beneath the dark clouds' fringes, Round the royal corse of gold, Shine like sepulchres of silver. Here you'll find me.

MOSCON. Sir, although Most decidedly my wish is To behold the sports, yet I Cannot go without a whisper Of some few five thousand words, Which I'll give you in a jiffy. Can it be that on a day Of such free, such unrestricted Revelry, and mirth, and fun, You with your old books come hither To this country place, rejecting All the frolic of the city?

CLARIN. Well, I think my master's right; For there's nothing more insipid Than a grand procession day, Half fandangos, priests, and fiddles.

MOSCON. Clarin, from the first to last, All your life you've been a trickster, A smart temporizing toady, A bold flatterer, a trimmer, Since you praise the thoughts of others, And ne'er speak your own.

CLARIN. The civil Way to tell a man he lies Is to say he's wrong:--you twig me, Now I think I speak my mind.

CYPRIAN. Moscon, Clarin, both I bid ye Cease this silly altercation. It is ever thus betwixt ye, Puffed up with your little knowledge Each maintains his own opinion. Go, and here seek me When night falls, and with the thickness Of its shadows veils from view This most fair and wondrous system Of the universe.

MOSCON. How comes it, That although you have admitted 'Tis not right to see the feast, Yet you go to see it?

CLARIN. Simple Is the answer: no one follows The advice which he has given To another.

CYPRIAN. Now I am alone, and may, If my mind can be so lifted, Study the great problem which Keeps my soul disturbed, bewilder'd, Since I read in Pliny's page The mysterious words there written. Which define a god; because It doth seem beyond the limits Of my intellect to find One who all these signs exhibits. This mysterious hidden truth Must I seek for. . Though thou givest All thy thoughts to the research, Cyprian, thou must ever miss it, Since I'll hide it from thy mind.

CYPRIAN. There's a rustling in this thicket. Who is there? who art thou?

DEMON. Sir, A mere stranger, who has ridden All this morning up and down These dark groves, not knowing whither, Having lost my way, my horse, To the emerald that encircles, With a tapestry of green, These lone hills, I've loosed, it gives him At the same time food and rest. I'm to Antioch bound, on business Of importance, my companions I have parted from; through listless Lapse of thought , I have lost my way, and lost Comrades, servants, and assistants.

CYPRIAN. Have you studied much?

DEMON. Well, no; But I've knowledge quite sufficient Not to be deemed ignorant.

CYPRIAN. Then, what sciences know you?

DEMON. Many.

CYPRIAN. Why, we cannot reach even one After years of studious vigil, And can you Without study know so many?

DEMON. Yes; for I am of a country Where the most exalted science Needs no study to be known.

CYPRIAN. Would I were a happy inmate Of that country! Here our studies Prove our ignorance more.

DEMON. No figment Is the fact that without study, I had the superb ambition For the first Professor's chair To compete, and thought to win it, Having very numerous votes. And although I failed, sufficient Glory is it to have tried. For not always to the winner Is the fame. If this you doubt, Name the subject of your study, And then let us argue on it; I not knowing your opinion, Even although it be the right, Shall the opposite view insist on.

CYPRIAN. I am greatly gratified That you make this proposition. Here in Plinius is a passage Which much anxious thought doth give me How to understand, to know Who's the God of whom he has written.

DEMON. 'Tis that passage which declares this dictum: "God is one supremest good, One pure essence, one existence, Self-sustained, all sight, all hands."

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