41
Lope de Vega, Lírica, p. 88.
42
Ibíd., p. 86.
43
Morby, 1950, p. 124.
44
La Dorotea, ed. de J. M. Blecua, acto II, escena III, pp. 174-178.
45
Morby, 1950, pp.
201-202, pasa revista a las distintas caracterizaciones con que
dicha figura aparece en las varias pre-Doroteas: «First incarnated in the
Nemoroso of Belardo
el furioso, he was an important character in that play, but
a negative one and, apart from his wealth, one of undefined
contours. In La
hermosura de Angélica he scarcely existed: Lucindo
runs away from his unnamed lady-love because he has not the
necessary tolerance to remain [...] and returns after three months
to find her reportedly attentive to "un bello
Adonis" not necessarily identical with the cause of
his departure. In El
peregrino en su patria he is a mere name, Feliciano, an
uncharacterized wealthy rival better developed in his opposite
number of La prueba
de los amigos. Though in the latter his true identity is
obscured by elements acquired from his typical arch-rival. In
La Filomena he
becomes the "pájaro grande y
lustroso," the "Oropéndola" who has given
rise to much speculation about Don Bela's real-life identity, a
mysterious figure of wealth and power, but otherwise hardly
defined. Now in La
prudente venganza he is suddenly an indiano -the first time the
term has been associated with him-, and also the very image of Don
Bela himself, "de mediana edad, y no de
mala persona, aseo y
entendimiento"»
.
46
Belardo del furioso, p. 87. La conocida fórmula de origen clásico en la portada del Peregrino en su patria acompaña asimismo el escudo de Lope en la variante latina: «aut unicus aut peregrinus».
47
En Lope de Vega, Lírica, p. 14.
48
Lisardo será el nombre del galán, parcialmente máscara del poeta; Marcelo será el marido de la amada y Rosela designará a la tía del protagonista.