Reviewed by:

• Romances de senectud by Lope de Vega
• Mark J. Mascia

THE LYRIC POETRY OF LOPE DE VEGA certainly has had no shortage of critical editions throughout the years. However, Antonio Sánchez Jiménez is the first scholar to offer a single, cohesive volume with all of Lope’s known late romances compiled from different collections and numerous unpublished manuscripts. The edition will be an asset for scholars and students of Lope as well as of Golden Age poetry more generally. Sánchez Jiménez offers readers not only a greater understanding of the author’s poetic production in his later years but also a more nuanced portrait of the older man and his emotional character. This, to my mind, is one of the volume’s more salient contributions: an appreciation of Lope as an artist and a person.

The edition begins with a lengthy, well-organized introduction. An opening section, entitled “El último Lope y el romancero,” briefly explains Lope’s contributions to the development of the romancero nuevo by drawing on events occurring in his life as well as his relationship to the literary world. In addition to elucidating reasons for writing, the section sheds light on Lope’s late romances in comparison to those he wrote in his youth or in middle age. The editor then provides a detailed introduction to the romances found in four landmark texts from Lope’s later years: the Novelas a Marcia Leonarda (La Filomena and La Circe, 1621 and 1624), La Dorotea (1632), Rimas de Tomé de Burguillos (1634), and autograph manuscripts (códices autógrafos, ca. 1626– 35). The latter category refers to unpublished romances from this late period. Following these sections is a brief explanation of how the editor organizes his edition, including his system of ordering poems (which start at 74, to follow the 73 romances combined from the Romances de juventud and madurez), the textual variants for each collection contained herein, orthographic changes, and a list of abbreviations. Sánchez Jiménez finishes the introduction with a list of sources and then an extensive bibliography integrating both primary and secondary sources. Following this introductory material is the critical edition itself of sixty romances in total, which are followed by the editor’s acknowledgments, an index of poems by their number in sequence, an [End Page 185] alphabetical index of poems by their first line, and a very brief list of notes, key words, and concepts from all romances herein. Following standard practices for scholarly editions in the field, the orthography is modernized. Annotations provide useful orientation for scholars working on the romances.

In contextualizing Lope’s later works in the years of senectud (ca. 1621 to 1635), the editor follows the coinage from Juan Manuel Rozas (14). It is also a period marked by disappointments in Lope’s life, notably his failure to attain the long-desired post of cronista real. The editor wisely notes that studies on Lope generally have not focused on these poems from his later years, heavily tinged with melancholy and often with certain moral or aesthetic statements. For the romances from the Novelas a Marcia Leonarda, the editor acknowledges the contributions of José Fernández Montesinos, but also goes beyond him in stating that there is some continuity with these romances and those of Lope’s juventud. As is the case with each collection here, the editor inclines to the editio princeps (housed in the Biblioteca Regional de Madrid, call number A-444) for each poem included, grounding his selection in sound editorial criteria and explaining his methodology as it pertains to each poem. For most of these romances, this includes a breakdown into five categories: the title, date of composition, textual variants, background, and style. Sometimes the diffusion of the poems is noted as well. Sánchez Jiménez leaves footnotes (which generally focus on individual details in a given poem) for the section containing the poems themselves.

In the romances appearing in La Filomena and La Circe, the reader notes the frequent appearance of a certain Filis as an...

审核人：

• 罗佩·德·维加（Rope de Vega）
• 马克·J·马西娅

多年以来，LOPE DE VEGA的抒情诗当然不缺关键版。但是，AntonioSánchezJiménez是第一位提供单一且具有凝聚力的著作的学者，其著作涵盖了Lope从不同收藏和大量未出版手稿中收集的所有已知晚期恋情。该版本将成为Lope和黄金时代诗歌的学者和学生的宝藏。桑切斯·吉门尼斯（SánchezJiménez）不仅使读者对作者晚年的诗歌创作有更深入的了解，而且使读者对这位老人及其情感特征的描写更加细微。在我看来，这是该书卷更为突出的贡献之一：对Lope作为艺术家和个人的赞赏。

该版本以冗长，井井有条的导言开头。开幕部分题为“ ElúltimoLope y el romancero”，通过借鉴生活中发生的事件及其与文学世界的关系，简要说明了洛佩对新浪漫主义发展的贡献。除了阐明写作原因外，本节还介绍了洛佩的恋爱经历，与他年轻或中年的恋爱经历相比。然后，编辑者详细介绍了洛佩（Lope）晚年在四个具有里程碑意义的文本中发现的浪漫史：中篇小说马西娅·伦纳达（La Filomena and La Circe，1621和1624年），拉多罗蒂亚（1632年），里马斯·德·托梅·德·布尔古略斯（Rimas deToméde Burguillos）（1634）和亲笔签名手稿（códicesautógrafos，约1626-35年）。后一类是指这段后期未出版的爱情小说。这些部分之后的内容简要说明了编辑的组织方式，包括其诗歌编排系统（始于74岁，以追随《浪漫史》和《马德雷兹》中的73部浪漫史）），此处包含的每个集合的文字变体，字形变化以及缩写列表。SánchezJiménez在引言的结尾列出了一系列资料，然后结合了主要和次要资料的大量书目进行了介绍。紧随此介绍性材料之后的是该批评本本身总共共60部浪漫史，其后是编者的致谢，依序按序编号的诗歌索引，按首行按[End Page 185]字母顺序排列的诗歌索引以及此处所有浪漫史中的注释，关键词和概念的非常简短的列表。遵循该领域学术版本的标准做法，对拼字法进行了现代化。注释为从事浪漫史的学者提供了有用的指导。

在将Lope在senectud年（约1621年至1635年）中的后期作品进行情境化时，编辑沿用了Juan Manuel Rozas（14）的造币。在这个时期，洛佩（Lope）的生活令人失望，尤其是他未能获得长期以来渴望的克朗斯塔（Cronista Real）职位。这位编辑明智地指出，对洛佩的研究通常不集中于他晚年的这些诗，其沉着于忧郁的色彩，常常带有某些道德或美学的表述。对于小说《马西娅·伦纳达》的浪漫史，编者承认何塞·费尔南德斯·蒙特西诺斯的贡献，但也超越了他，指出这些浪漫史和洛佩·尤文图斯的浪漫史具有一定的连续性。。就像这里的每一个收藏一样，编辑偏向于包括其中的每首诗的编辑王子（位于马德里图书馆区域，电话号码A-444），以合理的编辑标准为依据，对他的选择作了说明，并解释了其适用的方法。每首诗。对于大多数此类恋情，这包括五类细分：标题，撰写日期，文本变体，背景和样式。有时也注意到诗歌的传播。桑切斯·希门尼斯（SánchezJiménez）在包含诗歌本身的部分留下了脚注（通常侧重于给定诗歌中的个人细节）。

在出现在La Filomena和La Circe的浪漫史中，读者注意到某种菲利斯经常出现在...