It is also worth adding the harmonic-modal identity between the romance or song and the villancico-desecha [Terni, 1974: 40]. The close relationship between theatre and the songbook produces features clearly taken from the sphere of poetic production.

«Está trobado hasta que queda solo Calisto, y allí acaba; y por no quedar mal, vanse cantando el villancico que está al cabo».

There is a facsimile edition, published by the Real Academia Española [1929; reprinted 1990]. I follow the edition by María Josefa Canellada [1976: 127-29], restoring the names of the speakers in brackets.

Nor is this the only case in Lucas Fernández, as something similar occurs in the Auto o farsa del Nascimiento de Nuestro Señor Iesu Christo, where the final villancico -according to the stage directions- is «in order to depart singing and dancing» and fulfils the function of accompanying the change of location, as the shepherds return to their lodgings from the adoration at the manger to the musical rhythm that it provides. In fact, the first villancico had played a similar role, contributing to the entertainment accompanying their journey to Bethlehem [Fernández, 1976: 208-10].

I have consulted the Spanish translation [1988: II, 678]. See also Salomon [1985: 375].

Juan del Encina, Égloga representada en la noche postrera de Carnal in Encina [1991: 148-49].

It is as though Encina wished to leave a record of what Pero Tafur had previously ascertained in his Andanças e viajes, when on his way to the Council of Basle he notes how among the Swiss of Aargau «fasta las personas comunes cantan por arte con todas tres voces como personas artistas» («even the common people sing three-part pieces like performing artists»). I here appropriate the honest words pronounced by Eugenio Asensio, whom I follow -at times literally- in his interesting gathering of texts: «In the matter of music my absolute incompetence constrains me to speak through somebody else's mouth, gleaning what is said by specialists». On this occasion, the reflections come from Lowinsky [1954], just as they are taken up by Asensio [1970].

According to Pérez Priego, 14 farces end in song as against only seven lacking a lyrical climax. Nonetheless, Pérez Priego does stress certain differences with respect to Encina: «In the religious and popular theatre of Diego Sánchez [as opposed to the courtly theatre of Encina and Vicente], these musical concessions are constrained by the ecclesiastical assumptions that govern it, the celebratory rite, and the dictates of doctrine. The musical finales thus come to be both the joyful and exultant singing that celebrates the festival and a condensation of the doctrine that the work in its entirety is seeking to inculcate. The popular song has at this stage lost the value it had in itself and is of interest only as a melody or tune used as a mould into which the ecclesiastical dramatist pours the doctrinal recapitulation or the eulogy to God. Popular music, perfectly familiar to the audience present at the performance, was used to generate the feeling of joy and elation for the religious celebration. The words, carefully put together by the dramatist, once more recalled the doctrine propounded in the work itself». [Pérez Priego, 1982: 157 and 162].

From the facsimile edition of the Recopilación en metro del Bachiller Diego Sánchez de Badajoz (Sánchez de Badajoz, 1554). Directions of this sort are not infrequent, as shown by other examples taken from the same work: «Temperance now enters, dressed in white with a goblet of wine in her left hand and a jug of water in her right, tuning them and singing to the melody of Cómo soys tan bonitinai» («Aquí entra Templança, vestida de blanco con una taça de vino en la mano yzquierda y otra jarra de agua en la derecha templándolas y cantando al tono de Cómo soys tan bonitinai») (Farça moral, f. 48v); «to the melody of Quién os puso en tal estado / la de lo verdugado» («al tono de quién os pueso en tal estado / la de lo verdugado») (Farsa en que se representa un juego de cañas espiritual de virtudes contra vicios). Compare with the following heading: Égloga de unos pastores, hecha por el dicho Martín de Herrera, con dos villancetes que se cantan a canto de órgano o a los tonos que abaxo se dirán; y un romançe de labradores con su mudança y otro villancete en latín de cortesanos con su mudança para tañer, cantar, dançar («Shepherd play, by Martín de Herrera, with two villancetes sung in polyphony or to the melodies indicated below; and a labourers' romance with its mudanza and another courtly villancete in Latin with its mudanza to play, sing and dance») [García-Bermejo Giner, 1996: Catálogo 1510-1519, no. 10].

In addition to the work of Higinio Anglés [1947; 1951] and José Romeu Figueras [1965], for a study of Encina, see: Royston Oscar Jones and Carolyn L. Lee, Poesía y cancionero musical de Juan del Encina [1975]. With reference to the same author, Clemente Terni [1974: 27] stressed «the incongruity of continuing to consider this opus without its musical part». In this context it is worth recalling that, as Maria José Vega [1999: 223] points out in her well documented work on «La teoría musical humanista y la poética del Renacimiento», this was already one of the concerns of Humanism: «It thus comes as no surprise that the writers on poetics regard the separation of music and text as a «degeneration», or that they include music within the definitio essentialis of poetry in general and also, more particularly, in the definitions of certain types. The earliest writers on lyrics, from Minturno to Torelli, describe poetry that is not sung as the historical consequence of a loss or neglect and express their desire to restore it to its earlier natural state».