Sobre Juan Del Enzina y El Auto Del Repelón

Juan del Encina and the Auto del repelón
Author(s): Oliver T. Myers

Source: Hispanic Review, Vol. 32, No. 3 (Jul., 1964), pp. 189-201
Published by: University of Pennsylvania Press
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JISPAT2IC REIElW)
A Quarterly Journal Devoted to Research in the
Hispanic Languages and Literatures
VOLUME XXXII July, 1964 NUMBER 3
JUAN DEL ENCINA AND THE AUTO DEL REPELON
Introduction: The first known appearance of the Auto del

repelon is in the Cancionero of Juan del Encina published in Sala-
manca in 1509; an edici6n suelta, published simultaneously, is the
only other known edition of this work during Encina's lifetime.1
Quite naturally, it has generally been accepted that the Auto is one
of Encina's plays, the best example of his use of sayagues. The
Auto is inevitably referred to in any discussion of Encina's dramatic
1 The following texts are referred to:
1496 Canc.: Cancionero de Juan del Encina (facsimile of the edition of Salamanca,
1496) (Madrid, 1928).
1505 Canc.: Cancionero de todas las obras de juan del enzina con otras anadidas
(Burgos, 1505). Microfilm of copy in Biblioteca Nacional, Madrid.
1509 Canc.: Cancionero de todas las obras de Juan / del enzina con las coplas de
zambardo: Z / con el auto del repelo enel qual se introduze / dos pastores piernicurto
Z Johapara. Z c. / Z con otras cosas nueuamente anadidas. The colophon reads:
Fue esta presente obra empri / mida por Hans gysser aleman / de Silgenstat en la
muy noble / Z leal cibdad de Salamanca: la / qual dicha obra se acabo a .vii. / del
mes d agosto del aio d mil / Z quinientos Z nueue aios. Microfilm of copy in
Biblioteca Nacional and of copy in British Museum.
1509 suelta: Aucto del repelon . . . Colophon identical to that in 1509 Cane.
Facsimile, no title page, c. 1870, library of University of California, copies at
Berkeley and at Davis.
Coplas de Zambardo de Juan del enzina. Colophon identical to that of 1509 Cane.
Facsimile, library of University of California, Berkeley.
1516 Canc.: Cancionero de todas las obras de Juan del enzina: con otras cosas
nueuamente anadidas (Zaragoza, 1516). Microfilm of copy in British Museu
and of copy at Hispanic Society, New York.
Teatro: Teatro completo de Juan del Encina (Madrid, 1893).
El aucto del repel6n, ed. A. Alvarez de la Villa (Paris, n. d. [1911]).
Representaciones de Juan del Encina, ed. E. Kohler (Strassburg, n. d. [1914]).
189
190 Oliver T. Myers HR, XXXII (1964)
art, and the features of its language are usually included without
special identification in any analysis of Encina's language.2 The
obvious discrepancies between the Auto and Encina's other plays
are disposed of in several ways.3 The possibility that the Auto is
not Encina's work has been raised in only one study, as far as the
present writer is aware, an unpublished dissertation by Elliott
Brown Scherr, and there the matter is left without resolution.4
Scherr's hints were evidently never followed up; the most recent
discussion of Encina as dramatist still tacitly assumes the Auto
to be part of Encina's production.5 The present paper seeks to
provide a clear answer to this problem by applying several tests to
Encina's authentic works and to the Auto.
Although it may seem that there are two early printings of the
Auto, examination of the 1509 Canc. and the suelta reveals that they
are identical; the type, the spelling and the errors are identical in
all respects, except as described in footnote 7.6 The only point of
2 E.g., R. Menendez Pidal, "El dialecto leones," Revista de Archivos, Bibliotecas

y Museos, XIV (1910), 159, 295.
3 For example, Cotarelo suggests that this is an early work: "... por su
asunto y estructura nos parece una de las mis antiguas del autor, recuerdo de su
6poca de estudiante, y quizas anterior a las filtimas de su Cancionero. No tendria
entrada en el por la rudeza de su lenguaje, lo grosero del asunto y desarrollo de sus
episodios. Pero entr6 en la de 1509, hecha, cuando ya el autor se hallaba en
Italia, en Salamanca, donde habria manuscritos de la obra . . ." (Pr6logo to facs.
ed. of 1496 Canc., p. 22). John Lihani suggests that the more extreme dialect of
the Auto shows the influence of Lucas Fernandez (HR, XXV [1957], 262).
A. Alvarez de la Villa, despite the fact that he published an edici6n critica (un-
fortunately marred by errors in printing and misreadings of the text), does not
analyze or discuss the Auto in any way except to provide a glossary.
4 "A Study of the 1496 Cancionero of Juan del Encina" (State University of
Iowa, 1934). Scherr studies certain aspects of phonology, morphology and syntax
in Encina's language as found in the 1496 Canc., and in an appendix (pp. 66-81)
compares these findings with a similar study he makes of the Auto. His conclu-
sions: "In twelve constructions, Encina's style shows similarities, compared with
eighteen in which it differs, in the main, from the Repel6n. It may be said,
therefore, that Encina's pastoral style in the Cancionero approaches more closely
his literary style than does that of the Repel6n, and that there is a strong possi-
bility that the latter is the work of another author" (p. 81).
6 Bruce W. Wardropper, "Metamorphosis in the Theatre of Juan del Encina,"
SP, LIX (1962), 45.
6 Asoadas, for aosadas (Cane. cii ro, suelta ii ro); hurtasses, for hurtassen (Canc.
cii ro, suelta ii ro); tan ayna se se antojasse, for se le (Canc. ciii ro, suelta vi ro);
name of speaker (Johan) omitted for line "ahuys dun llamparon" (Canc. ciiii ro,
suelta X ro); ya todo que lo perdimos, for lo que (Canc. ciiii ro, suelta X vo).
Juan del Encina and the "Auto del Repelon" 191
difference lies in the positioning of the names of the speakers along

the columns of dialogue. The 1509 Canc. prints the Auto in double
columns, the names being placed on the outer side of each column;
thus the left hand column has the names on the left, the right hand
column on the right. In the suelta, which is printed in single
columns, the names are always on the left. It thus appears that
the type had been set up for the printing of one, then removed line
by line to set up the other, the appropriate changes being made in
the placing of the names of the speakers.7
To continue the description of the text of the Auto, it will be of
interest to examine the position it holds in the 1509 Canc. Be-
ginning with the first play, the order of works is as follows: The
first eight plays, the Coplas en loor del apostol sant pedro, the play
known as the Grandes lluvias, the one known as Del Amor, the
Coplas de Zambardo, followed by the words Deo gracias, and finally
the Auto del repelon. After the last line of the Auto stands the
single word Finis, then the colophon, and lastly the words Regi-
strum. / La suma de toda esta obra / desde la primera letra que es
.a. / fasta la postrera q es .n. todos / son quadernos Zc.8
7 Cotarelo (Pr6logo to 1496 Cane., pp. 22-23) describes the suelta and refers
to the 1870 facsimile. The facsimiles of the suelta that I have consulted differ
from the two copies of the 1509 Cane. examined in microfilm in the printing of
the one line "que por bien que alguno corra" (suelta ix ro, Cane. ciiii ro); in the
second que, the suelta inverts the u, printing qne, an error not found in the Canc.
In another feature the two copies of the Canc. differ, while the suelta coincides
with the Biblioteca Nacional copy. A colon follows the name of the speaker for
a limited sequence, in the Biblioteca Nacional copy on folio ciii vo throughout,
which corresponds to the passage in the suelta running from the middle of vii ro
to the middle of ix ro (Pierni: Johan: Studi:) The British Museum copy has
only the single dot, as is found in the rest of the other copy (Piemi. Johan. Studi.).
Although the comparison of the Bibl. Nac. copy and the suelta in this regard
suggests that the type was set first for the Cane. and then transferred for the
suelta, with the one line quoted (which appears at the top of the page in the Cane.)
becoming pied in the transfer, a complete solution of the problem of the priority
of texts cannot be made without a first hand examination of all the extant copies
of the 1509 Cane.
8 The 1496 Cane., which contains only the first eight plays, ends with the
words DEO GRACIAS and the colophon. The 1505 Cane., following the eighth
play, contains an aprobaci6n, the colophon, the Coplas de sant pedro, and the words
DEO GRATIAS. The 1516 Cane., after the eighth play, has as follows: Two
short poems headed Siguese vn romance de vn penado amador and Otro romance, the
colophon, the Coplas de sant pedro, the Grandes lluvias and the Del Amor; in the
British Museum and Hispanic Society copies there is nothing following the last
Encina's name does not appear in the suelta nor is it found in the
rubric to the Auto in either printing. In the 1496 Canc. and in the
later editions consulted, which repeat with only changes in spelling
the contents of the first edition, Encina's name is found in the title,
introduction or rubric of every major work and of every group of
works, and in addition is often found in the title of a shorter work
which is part of a titled group; the first eight plays do not have his
name in the headings to the individual plays. Among the works
found for the first time in later editions of the Cancionero or only in
sueltas, Encina's name is likewise found in the heading except the
following: the Auto del repelon, the Coplas en loor del apostol sant
pedro, and the two romances in the 1516 Canc.9 While it is natural
to find the name of the author in a separately printed work, it
becomes striking to find Encina's name on almost every page of his
Cancioneros, leading one to conclude that Encina's need for recogni-
tion as a creative artist, as described by J. R. Andrews,10 drove him
to include his name somewhere in everything he wrote so that it
would be almost impossible to omit his name in any subsequent
edition without omitting also a portion of the work itself. Thus the
omission of Encina's name in the rubric to the Auto assumes greater
importance than might ordinarily be the case.
The only positive evidence for Encina's authorship of the Auto
is its inclusion in the 1509 Canc.; if the suelta alone were in existence
with no other extant editions, there would be no thought of attribut-
ing it to Encina. The foregoing description of the texts does not
seem to offer any basis for even a tentative hypothesis regarding the
authorship of the Auto; positive proof must be sought elsewhere.
However, if internal evidence shows that the work is not Encina's,
then the existence of an anonymous suelta, identical in text with
the Canc. version, the final position of the Auto in the 1509 Canc.,
after the words Deo Gracias, the omission of Encina's name, and
the failure of the Auto to appear in any other edition of the Canc.
may be offered as supporting evidence for that thesis.
line of the play. The writer has not seen a copy of the 1501 or of the 1507
Cancioneros.
9 In the manuscript described by R. 0. Jones (BHS, XXXVIII [19611, 229-
237), the same pattern may be noted; Encina's name stands at the head of three
individual poems following the Viaje and Romance (MS 17.510 Biblioteca
Nacional).
10 J. Richard Andrews, Juan del Encina: Prometheus in Search of Prestige
(Berkeley & Los Angeles, 1959).
Analysis: The orthography of the Auto differs markedly from

that of the rest of the 1509 Canc.1l Scherr, using a facsimile of the
1509 suelta, noted the high frequency of the spelling s plus cons.
(stauan); he counted 24 such spellings for only 18 es plus cons.
(estauan). The 1496 Canc. has only three examples of s plus cons.;
in the 1509 Canc., apart from the Auto, the present writer has noted
only two.12 Since this feature is found in the rubric, the stage
directions and the headings of the speeches of the Student, it is
unlikely the spelling is to be an indication of rustic usage; there are
no instances in the Student's speech of words in (e)s plus cons. The
A uto has the forms Johan, Joan for Juan, a word with double p
(appeldar: cii vo), and several instances of single r for rr as in
berunto, modor6n, and the augmentative suffix -aron. Even more
striking is the practice of elision of unlike vowels, which is nowhere
a characteristic of Encina: dun (de un), adobar syan (adobarse hian),
mauian, di (de hi), dal al diabro (dale al); the rest of the 1509 Canc.
contains no comparable examples, even in the dialect plays.
Of the eighteen differences that Scherr found between the
language of the Auto and that of the 1496 Canc., a few refer to
spelling or to phenomena that are found in other later plays by
Encina. Those of significance here will be listed briefly. Found
only in the Auto and not elsewhere in Encina are: 1) the use of /o/
for /au/ in on, onque, 2) paragogic /e/ in Diose/vose (in rhyme with
repose/ose) and in cibdade/rundade, 3) the third plural preterites of
-ar verbs in -oren (repeloren) and the analogical formation of strong
preterites with -n (pudon, hizon). Of much greater frequency in
the Auto than in Encina are 1) the use of /r/ for /1/, initial /l/
for /1/ and /n/ for /n/,13 and 2) the enclitic position of the object
pronoun in affirmative commands and hortatory subjunctive.14
" The 1509 Canc. itself differs in certain respects from the princeps; for the
plays, the variants may be seen in Teatro (pp. 1-133). These differences involve
principally the use of the symbol Z (where the 1496 invariably has y), the 'normal-
izing' of dialect forms (pp. 5, 78, 112), and the preference for learned spellings
(e.g., nascer for nacer, redemptor for redentor).
12 The 1496 has scriviesse (xxxiii vo), spiritu (xxviii vo), Stimicon (xl ro); in
the 1509, in the corresponding passages, the first becomes escriuiesse (xxviii ro),
the others remain (xxiii vo, xxxiii vo); no additional ones were noted.
13 Scherr's figures for l/r and l/ll, although indicating higher frequency in the
Auto, do not seem conclusive since they do not include the later plays. But see
Table I.
14 Scherr counts 25 proclitic to 51 enclitic pronouns in the 1496 Canc. i
rustic usage. In the Auto he found only one proclitic for 24 enclitic pronouns.
In addition to Scherr's findings, other differences in language may

be pointed out. The Auto uses la persona for yo, the verb endings
-as, -es for -dis, -eis, and contractions of the preposition en with the
article (nel, na or ia). The adverb y or hi (IBI) is very frequent
in the Auto, but found nowhere in Encina. In contrast, the prefix
per-, described as a characteristic of sayagues, does not occur in the
Auto, although it is common in Encina (though not in each of the
dialect works) and in Lucas FernAndez and other sayagues writers.15
TABLE I*
Play Publ. Lines per- /n/ // /r/ /h/

I 1496 180 2 0 0 4 2
II 1496 260 2 0 0 2 1
V 1496 264 2 0 1 13 2
VI 1496 231 2 0 4 8 6
VII 1496 253 2 0 0 3 2
VIII 1496 557 2 1 6 7 4
IX 1507 256 6 1 6 12 3
X 1507 450 3 0 3 9 3
XIV ? 631 0 0 0 4 3
XI 1509 704 0 0 0 0 3
XIII ? 2,565 1 1 2 6 1
Total Encina 22 3 22 68 60
XII 1509 441 0 89 22 30 8
* The plays are numbered ac

The Auto is XII. The plays en
VII, VIII, IX, X, XIV. Zambar
and to a limited extent in ph
Vitoriano (XIII) has relativel
and IV) are entirely free from
The date is that of the first
the number of appearances of
column gives the number of in
gives the number of instances
two give the figures for the u
hucia were not included, sinc
/h/ for /f/ is not specificall
Encina.
16 Cf. Frida Weber de Kurlat, "Latinismos arrusticados en el sayagues,"
NRFH, I (1947), 166-170. See also Table I.
The data presented in Table I show the number of appearances

of the four key phonological features of sayagues and the prefix per-
in the Auto and in all of Encina's plays except the two totally free
from dialectal forms (III and IV). In the rustic villancicos and the
Vergilian eclogues, the figures are: per- (17, in seven different
works), n for n (3), 11 for 1 (1), r for 1 (4), h for f (2).
The vocabulary of the Auto presents a certain number of
novelties in its dialectal terminology as compared with Encina's.
It should be borne in mind that several of Encina's authentic dialect
plays and villancicos and the Vergilian eclogues have a certain body
of words unique to that work; the third eclogue, the villancico
beginning "Ya soy desposado /nuestramo" (1496 Cane. c ro), and
the plays Grandes lluvias and Coplas de Zambardo may be cited as
having distinctive elements in their vocabulary. However, in these
works the unique features are found among the nouns and verbs,
whereas in the Auto the most notable difference lies in the gram-
matical parts of speech, the adverbs and conjunctions. Found in
the Auto but not in Encina are y (IBI), on, onque, yuso, son (for
sino). The list of nouns, adjectives and verbs in dialectal usage
found in the Auto but not elsewhere in Encina takes on more
significance when it is considered that forty such items can be
identified in a work that contains only 441 lines of verse, a much
longer list than can be prepared for the works cited above.18
Modifying a method of stylistic investigation proposed by
16 Acorrelado (for acorralado; cf. Port. acorrilhado), ahuyr, appeldar, bahar6n
(cf. Auto, ed. Alvarez, s. v.; Corominas, DCELC, s. v. mahar6n), barraganada,
berunto (cf. Lamano, Dialecto vulgar salmantino, s. v.; Corominas, s. v. barruntar),
bobar6n, (dar) calma (cf. Lamano, Corominas), carmenar, ciguiial (cf. Alvarez),
cuadril, derrengar, descadarrado (descarriado), destojar (cf. Lamano, s. v. estojar;
Alvarez), diobre (cf. Torres Naharro, Propalladia, ed. Gillet, III, 348), empicar
(cf. Alvarez), empraciar (emplazar), erguecho (cf. Corominas, s. v. erguir), esga-
mocho (cf. Lamano, s. v. escamoche; Corominas, s. v. escamocho), frisar, gingrar (cf.
Lamano; Corominas, s. v. jinglar), gingr6n (cf. Lamano, s. v. gingra), guedej6n,
llampar6n (lampar6n), manisalgado (meaning obscure; Alvarez suggests 'con sus
manos lavadas'), milanera (cf. Alvarez), modor6n (from modorro), morra (cf.
Corominas, s. v. morro), iovatina (nuevecita?), picaiio, puntic6n (cf. Lamano, s. v.
puntill6n; Corominas, s. v. punto), rabacil (cf. Corominas, s. v. rabo), (de) recosta
(cf. Alvarez), refunfuiiar, reiiaziar (cf. Corominas, s. v. aiiacea), rodi6n (cf. Al-
varez), setenas (in the phrase pagar con las setenas), tesonero, tiesta (n.), transir.
For words or meanings not listed in the Academy Dictionary a reference has been
given. Not all the words in this list are typical of sayagues, although many may
be found in Lucas Fernindez, Torres Naharro and others.
Criado de Val (Andlisis verbal del estilo [Madrid, 1953]), a count

was made of the verb forms amara, amase, amare, amaria, and also
of the appearance of these forms in conditional sentences (see Table
II). It will be observed that 1) the four critical forms are of far
greater frequency in the Auto than in any single play by Encina,
once for every 7.6 lines against a high of once in every 22 lines in
Encina (XI, being in arte mayor, also has this frequency if the ratio
of lines to verbs is multiplied by 12/8); 2) not only is the frequency
of appearance of the critical forms in Encina always lower than that
in the Auto, but in the majority of the plays the frequency falls
within a relatively narrow range (from once in 22 lines to once in 40
lines, in all but V, VII and IX); 3) in the Auto, amare is relatively
infrequent compared with those authentic plays in which this form
appears at all; 4) in the Auto, amara is more frequent than amase,
which reverses the frequency in Encina's dialect plays (in VI, three
of the four amara forms are separate instances of vieras in the same
speech); it is only in the plays largely or entirely free from dialect
that amara is found to dominate in Encina.
Regarding the conditional sentences with these critical verb
forms, it will be observed that Encina's early work and his dialect
plays use principally the Cond. A form, while his later, nondialect
plays make increasing use of Cond. B. However, the appearance
of Cond. C in X and XIV sets these plays apart from any consistent
pattern in Encina. The pattern of the Auto resembles that of
Encina's non-dialect plays more than it does that of his dialect
plays. Here again the most striking datum is the remarkably high
frequency of contrary-to-fact and hypothetical conditions in the
Auto compared with the total of such constructions in all of Encina's
plays (about six times as frequent in the Auto).
A study was made of the versification of the Auto and of En-
cina's octosyllable.17 Table III shows the instances of synalepha
and hiatus with /h/ and hiatus with a vowel. The proportion of
synalepha to hiatus in all cases of final vowel-initial /h/ does not
17 The figures given below and in Table III report only lines of verse in which
there is but one way to read the line. In comparing figures, it should be borne
in mind that in all probability only the 1496 Canc. represents a reliable text. It
is remarkably free from misprints, its versification is amazingly regular and free
from irregular lines, especially when considered beside contemporary printed
texts and later editions of the Cancionero. This and other evidence suggests
strongly that Encina was able to supervise personally, at least in part, the prepara-
tion of the 1496 Canc. See R. 0. Jones, "Encina y el Cancionero del British
Museum," Hispan6fila, V (1961), 1-21.
TABLE II*
L/V Cond. Cond. Cond.

Play Verbs Ratio amara amase amare amaria A B C
I 6 30 0 3 (50) 1 (17) 2 (33) 2

II 9 29 2 (22) 3 (33)0 4 (44)
V 2 132 0 0 1 (50) 1 (50)
VI 7 33 4 (57) 3 (43) 0 0
VII 4 63 0 1 (25) 1 (25) 2 (50) 1
VIII 25 22 4 (14) 3 (12) 14 (56) 4 (16) 1
IX 2 128 0 0 2 (100) 0
X 15 30 4 (27) 8 (53) 2 (13) 1 (7) 2
XIV 19 33 4 (21) 9 (47) 5 (26) 1 (5) 1 1 1
XI 48 11 (23) 20 (41) 7 (15) 10 (21) 4 1

XIII 67 38 16 (24) 15 (22) 23 (34) 13 (19) 3 3
III 13 28 10 (77) 3 (23) 0 0 1

IV 5 40 1 (20) 3 (60) 0 1 (20)
Total
dial 89 35 18 (20) 30 (33) 26 (29) 15 (18) 5 1 3
Total
1496 71 33 21 (30) 19 (27) 17 (24) 14 (20) 4 1
Total
Encina 222 31 56 (25) 71 (32) 56 (25) 39 (18) 12 6 3
XII 58 7.6 24 (41) 18 (31) 4 (7) 12 (21) 4 4
* The first column of data lists the total numb

amara, amase, amare, amaria. The L/V ratio
verse to number of critical verb forms; that
frequent the critical verbs. The figures in par
has 368 lines, IV has 198; they both appear in
than four of the critical verbs appear in diale
is in arte mayor, the others all in octosyllables.
are as follows: Cond. A 'si tuviese, daria', Cond
tuviese, diese'; there are no examples in Enci
diera'. No attempt was made to analyze the uses or meanings of these verb
forms; the number of examples is too small to permit the establishment of a
pattern, and furthermore, the critique of Criado de Val's methodology by J. W.
Martin (RPh, XII [1958-1959], 52-57) raises serious doubts as to its validity in
this area. 'This critique, however, does not apply to the utility of the statistical
description as tollowed here.
TABLE III*
Synalepha Hiatus Hiatus- Ratio S/L

Work Lines /h/ /h/ vowel (X 104)
1496 Canc. less

plays 14,938 18 173 89 12
I 180 0 8 1 0
II 260 O0 9 2 0
III 368 0 1 5 0
IV 198 0 3 6 0
V 264 0 2 1 0
VI 231 0 7 0 0
VII 253 1 6 0 39
VIII 557 2 13 5 36
Total 1496 17,249 21 222 109 12
IX 256 1 5 1 39
X 450 1 8 2 20
XIII 2,565 5 26 27 19
XIV 631 0 8 5 0
Apostol (1505?) 632 1 15 8 16

Romances
(1516) 134 0 5 0 0
Romance
(Viaje, 1521?) 464 2 2 5 43
Coplas (1521?) 280 1 1 0 36
Documento
(before 1530) 808 1 24 25 12
Total post-1496 6,220 12 94 73 19
Total Encina 23,469 33 316 182 14
Auto 441 6 29 7 134
* The five non-dramatic,

III are 1) Ap6stol: Coplas en l
Canc.; 2) Romances: two rom
3) Romance: Romance y sum
editions of the Viaje de Jer
cional (1521?); 4) Coplas: Copl
del Enzina, in MS 17.510,
231-237); 5) Documento: Doc
desposadas y rezien casadas. /
vna do / zella q mucho le p
Nacional (R-9713), has app
change markedly in Encina from 1496, if his works are taken as a

group; individual works differ, but in these cases the total of the
items is too small to be significant. In general, it might be said that
the ratio of synalepha to hiatus with /h/ in the Auto does not differ
significantly from that in Encina. Considering the ratio of hiatus
between vowels to hiatus with /h/, it is clear that in Encina's
works hiatus between vowels is about twice as frequent as in the
Auto (about I in the Auto, about 1 in Encina, considered as a whole).
The frequency of synalepha with /h/ is considerably greater in the
Auto with reference to its length than is the case in any single play
of Encina; there is actually one more instance in the Auto than
appears in Table III, the line 'pues fio me hizon licenciado' occurring
twice in the villancico, but being counted only once. Synalepha
with /h/ occurs 11 times more frequently in the Auto than in the
1496 Canc., 9? times more than in all of Encina, 7 times more than
in the post-1496 works, and 3 times more than in the Romance of
the Viaje.
In the area of dieresis/syneresis there is on the whole little
to compare. One reason for this is that there is so little corre-
spondence in vocabulary, in words containing the appropriate vowel
sequence.18 However, in two classes of vowel combinations there
are some significant data. In the Auto there are three examples of
sea (n) as a monosyllable, against two as dissyllable. 9 There are no
instances of sea as a monosyllable anywhere in Encina.20 In the
18 For an examination of Encina's versification in the light of his own precepts,
see Dorothy Clarke's study in RPh, VI (1952-53), 254-259. This deals exclu-
sively with the 1496 Cane.
19 Cited in the 1509 suelta: "ruyn sea yo si alla tornar" (iii ro), "y ruyn sea yo
si huyesse" (v vo; assuming hiatus), "que avn que sean bien rebessados" (vi ro),
monosyllabic; dissyllabic, "avn que sea hidalgote" (ix ro), "porque sea de corona"
(ix vo).
20 Note this dissyllabic use in the 1496 Cane. in the same phrase, ruin sea:
"ruyn sea por quien quedare / y aun yo si no os ayudare" (cxiiii ro; the second
verse, in rhyme, shows that the stress is queddre).
metrical pattern, despite the high frequency of hiatus with vowel, falls generally
within Encina's range, it is considered here as tentatively authentic. The Ratio
S/L gives the relative frequency (multiplied by 10,000 to facilitate comparisons)
of instances of synalepha with /h/ with respect to the number of lines of verse;
the higher the ratio, the more frequent the appearances of synalepha in the
sequence final vowel-initial /h/. For a somewhat similar approach to that
followed here, see J. H. Arjona, "Ten Plays Attributed to Lope de Vega," HR,
XXVIII (1960), 319-340.
Auto the -ia ending of imperfects and conditionals is counted as one

syllable in nine clear cases, as two syllables in four.21 Encina counts
that combination as two syllables without exception in the 1496
Canc. In all his other works containing octosyllables, there are only
three instances of -ia being counted as one syllable, all in works of
which the available texts contain several irregular lines, of seven or
of nine syllables.22
Conclusions: The writer believes that the foregoing shows con-
clusively that Juan del Encina did not write the Auto del repelon.
The most important facts leading to this conclusion are 1) the
absence of Encina's name in the heading to the Auto; 2) the spelling
s plus cons.; 3) the phonological features /o/ for /au/, paragogic
/e/, /n/ for /n/; 4) the verb forms in -das and -es and the preterites
in -oren and -n; 5) the other morphological features: the contraction
of the preposition en and the article, the use of la persona for yo,
and the absence of per-; 6) the list of words found in the Auto but
not in Encina, especially the adverbs and conjunctions; 7) the
greater frequency of the enclitic in commands; 8) the greater fre-
quency of the verb forms -ra, -se, -re, -ria, their relative frequency
among themselves, and the greater frequency of hypothetical condi-
21 In the 1509 suelta: "que nio marrarian ladrones" (ii ro), "mas preciaria ya
ser ydo" (ii vo), "pues mas nios valdria pagar" (iii ro), "adobar syan las melenas"
(iii ro), "y que no podia salir" (iii vo), "que nio podia mandar" (iii vo), "pues
porque venias corriendo" (iiii ro), "y venias te recatando" (iiii ro), "pues no
aurian en ti esgamocho" (v vo); since (a)huyr in other instances in the Auto
counts /u/ and /i/ as separate syllables: "huya (hula) por lo escampado" (iiii vo),
"ahuys dun llamparon" (x ro), there probably should be one more example: "de
que nio podia ahuyr" (iii vo).
22 In Placida y Vitoriano: "Que el burlar seria de mi" (Teatro, p. 283). In the
Coplas en loor de sant pedro: "que le negarias tres vezes" (1505 Canc. c ro; 1509
Canc. xcii vo; 1516 Canc. xciii ro). "Habiala tomado el Turco" (Viaje y pere-
grinaci6n, Madrid, 1786, p. 118; the earlier editions and the MS have this line so,
with only spelling changes). Irregularities in the text of Placida y Vitoriano are
noted in Teatro (in the footnotes on pp. 264, 266, 269, 272, 273, 275, 299, 316, 318);
Cafiete emended all these lines. Kohler follows the version as emended by Cafiete
without noting the original reading. The Sant pedro has one clearly long line,
"alos sus discipulos santos" (1505 Canc. xcix vo, 1509 Canc. xcii ro, 1516 Canc.
xcii vo). There are short verses and discrepancies among the three editions.
The Romance with the Viaje has two long lines: "Y el pozo de Jacob, que dizen"
(1786 ed., p. 111), "Al entrar del Valle y salir" (p. 113), which are found so in the
earlier editions and the MS; the line in the 1786 ed. "Misterio primero, y postrero"
(p. 109) reads primo in the earlier editions and the MS. The Auto has one nine-
syllable line: "Ala va todo paral diabro" (ii vo).
tions; 9) the greater frequency of synalepha with /h/; 10) the mono-
syllabic counting of sea and -ia.
With the exception of the data referred to in item 10, which in
itself reveals a stylistic difference too profound to be explained
through imitation, none of these facts taken individually could prove
the false attribution of the Auto to Encina. In one or another of
these areas, single authentic works can be found to differ impre
sively from Encina's norm, as has been pointed out several times
Encina's very utilization of a rustic dialect as a literary device show
his great skill in manipulating more than one style. Even amon
his non-dialect works one can note variations in style and his late
works show if not growth and maturity, which can hardly be claimed
for the author of the Viaje, an increasing carelessness and loss of
inspiration.
But if one is to continue to include the Auto del repelon among
Encina's works, one must now imagine a superhuman effort on the
part of the author to compose in a truly distinct style. One must
suppose further that Encina failed to insert his name anywhere in
the work (almost inconceivable!), and that he showed remarkable
selectivity among the linguistic features that mark the speech of his
rustics, adding some, omitting some, changing drastically the fre-
quency of others, and that he also changed the unconscious elements
of his style, the choice among competing verbal expressions23 and the
syllabic bases of versification. He must write in two contrasting
'rustic' styles, which share certain phenomena but differ in many,
and while he does this he must deliberately set out to prefer a
different form of a past subjunctive, all the time remembering that
this and that combination of vowels counts as one, not as two
syllables, as he had counted them all his early life, when he still
prided himself on his metrical perfection. This is clearly too much
to expect. The table of differences is too long, the statistical likeli-
hood of their occurring in only one work of an author is too remote.
It is with considerable reluctance that the writer proposes that this
delightful farce be removed from the list of the works of Juan del
Encina.
OLIVER T. MYERS
University of California (Davis)
23For a discussion of the verbal system of an author, see Criado de Val,
pp. 11-16.

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Juan del Encina and the Auto del repelón

Author(s): Oliver T. Myers

University of Pennsylvania Press is collaborating with JSTOR to digitize, preserve and

VOLUME XXXII July, 1964 NUMBER 3

JUAN DEL ENCINA AND THE AUTO DEL REPELON

Introduction: The first known appearance of the Auto del

2 E.g., R. Menendez Pidal, "El dialecto leones," Revista de Archivos, Bibliotecas

difference lies in the positioning of the names of the speakers along

Analysis: The orthography of the Auto differs markedly from

In addition to Scherr's findings, other differences in language may

Play Publ. Lines per- /n/ // /r/ /h/

* The plays are numbered ac

The data presented in Table I show the number of appearances

Criado de Val (Andlisis verbal del estilo [Madrid, 1953]), a count

L/V Cond. Cond. Cond.

I 6 30 0 3 (50) 1 (17) 2 (33) 2

XI 48 11 (23) 20 (41) 7 (15) 10 (21) 4 1

III 13 28 10 (77) 3 (23) 0 0 1

XII 58 7.6 24 (41) 18 (31) 4 (7) 12 (21) 4 4

* The first column of data lists the total numb

Synalepha Hiatus Hiatus- Ratio S/L

1496 Canc. less

Apostol (1505?) 632 1 15 8 16

Total post-1496 6,220 12 94 73 19

Total Encina 23,469 33 316 182 14

Auto 441 6 29 7 134

* The five non-dramatic,

change markedly in Encina from 1496, if his works are taken as a

Auto the -ia ending of imperfects and conditionals is counted as one

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