Exploring American Histories, Volume

2: A Survey with Sources 3rd Edition

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About the Cover Image
Front of St. Paul’s Cathedral, Tremont St., c.1936 (oil on board), Crite, Allan Rohan (1910–2007)

Allan Rohan Crite was born in New Jersey in 1910, the son of an African-American physician and
engineer. He grew up and attended art school in Boston. In 1940, Crite was hired by the Federal
Arts Project, one of President Franklin Roosevelt’s New Deal agencies, to help the unemployed get
jobs. The oil painting featured on the cover, “Front of St. Paul’s Cathedral, Tremont St.,” created
around 1936, features two of Crite’s themes. First, it depicts middle-class African Americans in
ordinary activities and as “normal human beings,” rather than portraying blacks in what he
considered the stereotypical images of musicians and poor farmers. Second, he was devoted to
Christianity. This painting, rich in vibrant colors, combines the two as African Americans.
Guide to Analyzing Primary and Secondary Sources
In their search for an improved understanding of the past, historians look for a variety of evidence
—written sources, visual sources, and material artifacts. When they encounter any of these
primary sources, historians ask certain key questions. You should ask these questions too.
Sometimes historians cannot be certain about the answers, but they always ask the questions.
Indeed, asking questions is the first step in writing history. Moreover, facts do not speak for
themselves. It is the task of the historian to organize and interpret the facts in a reasoned and
verifiable manner. The books and articles that they publish are secondary sources, which are
created after the events or conditions they are studying. These secondary sources then become the
basis for teaching and for other historians to use in researching and writing their own studies.
Because they are interpretative and open for debate, secondary sources allow historians to move
forward by modifying explanations of the past. Thus, historical interpretations are constantly
being revised, and Exploring American Histories, 3e offers students opportunities to appreciate
this dynamic quality.
Analyzing a Written Primary Source
What kind of source is this? For example, is it a diary, letter, speech, sermon, court opinion,
newspaper article, witness testimony, poem, memoir, or advertisement?

Who wrote the source? How can you identify the author? Was the source translated by
someone other than the author or speaker (for example, American Indian speeches translated
by whites)?

When and where was it written?

Why was the source written? Is there a clear purpose?

Who was, or who might have been, its intended audience?

What point of view does it reflect?

What can the source tell us about the individual(s) who produced it and the society from
which he, she, or they came?

How might individuals’ race, ethnicity, class, gender, age, and region have affected the
viewpoints in the sources?

In what ways does the larger historical context help you evaluate individual sources?
Analyzing a Visual or Material Primary Source
What kind of visual or material source is this? For example, is it a map, drawing or engraving,
a physical object, painting, photograph, census record, or political cartoon?

Who made the image or artifact, and how was it made?

When and where was the image or artifact made?

Can you determine if someone paid for or commissioned it? If so, how can you tell that it was
paid for or commissioned?

Who might have been the intended audience or user? Where might it have originally been
displayed or used?

What message or messages is it trying to convey?

How might it be interpreted differently depending on who viewed or used it?

What can the visual or material source tell us about the individual who produced it and the
society from which he or she came?

In what ways does the larger historical context help you evaluate individual sources?
Comparing Multiple Primary Sources
In what ways are the sources similar in purpose and content? In what ways are they different?

How much weight should one give to who wrote or produced the source?

Were the sources written or produced at the same time or at different times? If they were
produced at different times, does this account for any of the differences between or among
the sources?

What difference does it make that some sources (such as diaries and letters) were intended to
be private and some sources (such as political cartoons and court opinions) were meant to be
public?

How do you account for different perspectives and conclusions? How might these be affected
by the author’s relative socioeconomic position or political power in the larger society?

Is it possible to separate fact from personal opinion in the sources?

Can the information in the sources under review be corroborated by other evidence? What
other sources would you want to consult to confirm your conclusions?
Cautionary Advice for Interpreting Primary Sources
A single source does not tell the whole story, and even multiple sources may not provide a
complete account. Historians realize that not all evidence is recoverable.

Sources have biases, whether they appear in personal or official accounts. Think of biases as
particular points of view, and try to figure out how they influence the historical event and the
accounts of that event.

Sources reflect the period in which they were written or produced and must be evaluated
within the historical time frame from which they came. Explain how people understood the
world in which they lived, and be careful to avoid imposing contemporary standards on the
past. Nevertheless, remember that even in a particular time period people disagreed over
significant principles and practices such as slavery, imperialism, and immigration.

Sources often conflict or contradict each other. Take into account all sides. Do not dismiss an
account that does not fit into your interpretation; rather, explain why you are giving it less
weight or how you are modifying your interpretation to conform to all the evidence.
Analyzing Secondary Sources
Secondary sources are written or produced by people who did not participate in or experience
first-hand the events that they are analyzing. Secondary sources in history usually appear as
scholarly books and articles. Secondary sources underscore that history is an ever-changing
enterprise.

Identify the author’s main interpretations.

Describe the evidence the author uses to make that interpretation.

Evaluate how well the evidence supports the author’s interpretation.

Describe whether the author considers alternative explanations and points of view.

Compare the author’s account with any other sources you have read.

Assess whether the author has the credentials for making reliable historical judgments.

Evaluate whether there is anything in the author’s background or experience that might have
influenced the author’s point of view and interpretation.

Identify the main audience that the author is addressing.

Comparing Secondary Sources
Explain how two sources differ in interpretation. To what extent, if any, do they agree?

Historians are products of their own times. Identify the date of publication for each of the
sources and explain how the particular time periods might have shaped the authors’
arguments.

Compare the approaches each author takes to reach an interpretation. Describe whether they
are looking at the events mainly from a political, social, cultural, or economic perspective.

Compare the secondary sources with other secondary sources on the same subject, such as
the historical narrative in this textbook.

Taking these considerations into account, explain which secondary source you find more
convincing or how the two interpretations might be combined.
Cautionary Advice for Analyzing Secondary Sources
The secondary sources in this book are excerpts from longer books or articles. The selections
are meant to provide a representative view of the authors’ main interpretations and
perspectives on the subject. Nevertheless, these excerpts do not show the broad sweep of
evidence from which the authors draw their conclusions.

No excerpt can provide a full appreciation of how historians gather evidence and present and
defend their interpretations in a reliable manner. Only a more extensive reading of the
secondary source can provide sufficient evidence for judging whether the author has
presented a convincing account.

As with primary sources, secondary sources have biases. Think of biases as particular points
of view, and try to figure out how they influence the historical interpretation and the accounts
of an event or development.

Secondary sources often conflict with or contradict each other. Do not dismiss an account that
does not fit with your perspective; rather, explain why you are giving it more or less weight or
how you are modifying your interpretation to conform to all the arguments made by the
authors of the secondary sources.

Secondary sources reflect the period in which they are written or produced and must be
evaluated within the historical time frame from which they originate. This doesn’t mean that a
newer book or article is more accurate than an older one. Interpretations may differ because
new facts have been uncovered, but they are just as likely to change according to the
contemporary concerns and perspectives of the authors. Moreover, even in the same time
period historians often disagree over controversial subjects due to different viewpoints on
politics, religion, race, ethnicity, region, class, and gender.
Volume 2 Since 1865
Exploring American Histories
A SURVEY WITH SOURCES

THIRD EDITION

Nancy A. Hewitt
Rutgers University

Steven F. Lawson
Rutgers University
To Mary and Charles Takacs, Florence and Hiram Hewitt, Sarah and Abraham Parker, Lena and
Ben Lawson, who made our American Histories possible.
For Bedford/St. Martin’s
Vice President, Editorial, Macmillan Learning Humanities: Edwin Hill Publisher for History:
Michael Rosenberg Senior Executive Editor for History: William J. Lombardo Executive
Development Managers: Laura Arcari, Maura Shea Senior Content Project Manager: Kerri A.
Cardone Editorial Assistant: Stephanie Sosa Media Editor: Tess Fletcher
Senior Workflow Content Manager: Lisa McDowell Senior Production Supervisor: Robert Cherry
Marketing Manager: Melissa Rodriguez Copy Editor: Harold Johnson
Cartography: Mapping Specialists, Ltd.
Photo Researchers: Naomi Kornhauser, Christine Buese Permissions Editor: Kalina Ingham Art
Director: Diana Blume
Text Design: Jerilyn Bockorick, Cenveo Publisher Services Cover Design: William Boardman
Cover Art/Cover Photo: Front of St. Paul’s Cathedral, Tremont St., c.1936 (oil on board), Crite,
Allan Rohan (1910–2007) Boston Athenaeum, USA Gift of the artist, 1971 / Bridgeman Images
Composition: Lumina Datamatics, Inc.

Copyright © 2019, 2017, 2013 by Bedford/St. Martin’s.

All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or
transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or
otherwise, except as may be expressly permitted by the applicable copyright statutes or in writing
by the Publisher.

1 2 3 4 5 6 23 22 21 20 19 18

For information, write: Bedford/St. Martin’s, 75 Arlington Street, Boston, MA 02116 (617-399-4000)

ISBN-13: 978-1-319-23912-1(mobi)

Acknowledgments

Text acknowledgments and copyrights appear at the back of the book on pages C-1–C-2, which
constitute an extension of the copyright page. Art acknowledgments and copyrights appear on the
same page as the art selections they cover.
PREFACE
Why This Book This Way?
We are delighted to publish the third edition of Exploring American Histories. Users of the first
two editions have told us our book gives them and their students opportunities to actively engage
with both the narrative of American history and primary sources from that history in a way
previously not possible. Our book offers a new kind of U.S. history survey text, one that makes a
broad and diverse American history accessible to a new generation of students and instructors
interested in a more engaged learning and teaching style. To accomplish this, we carefully weave
an unprecedented number of written and visual primary sources, representing a rich assortment
of American perspectives, into each chapter.

We know that students in the introductory survey course often need help in developing the
ability to think critically about primary sources. Accordingly, in this third edition we have done
even more to ensure students can move easily and systematically from working with single and
paired sources (Guided Analysis and Comparative Analysis) to tackling a set of sources from
varied perspectives (Primary Source Project). Students will also have the chance to evaluate how
historians use primary sources to construct their own interpretations in our new Secondary Source
Analysis. We have also strengthened our digital tools and instructor resources so faculty have
more options for engaging students in active learning and assessing their progress, whether it be
with traditional lecture classes, smaller discussion-oriented classes, “flipped” classrooms, or
online courses.

In this edition, we add a Secondary Source Analysis that extends the building-block approach
to working with sources by offering differing perspectives on important historical issues or events.
For example, in chapter 13 historians debate “Why Union Soldiers Fought the Civil War” and in
chapter 22 they debate “New Deal or Raw Deal?” With a brief introduction that frames the issue
and prompts that ask students to think critically about the source and topic in context, students
are invited into the discussion.
A Unique Format That Places Primary Sources at the Heart of
the Story
Students learn history most effectively when they read a historical narrative in conjunction with
primary sources. Sources bring the past to life in ways that narrative alone cannot, while the
narrative offers the necessary framework, context, and chronology that sources by themselves do
not typically provide. We believe that the most appealing entry to the past starts with individuals
and how people in their daily lives connect to larger political, economic, cultural, and
international developments. This approach makes history relevant and memorable.

Throughout our teaching experience, the available textbooks left us unsatisfied, compelling us
to assign additional books, readers, and sources we found on the Web. However, these
supplementary texts raised costs for our students, and too often students had difficulty seeing how
the different readings related to one another. Simply remembering what materials to bring to class
became unwieldy. So we decided to write our own book that would provide everything we would
want to use in class, in one place. Many texts include some primary sources, but the balance
between narrative (too much) and primary sources (too few) was off-kilter, so we carefully crafted
the narrative to make room for us to include more primary sources and integrate them in creative
ways that help students make the necessary connections and that spur them to think critically.
Exploring American Histories is comprehensive in the essentials of American history, but with a
carefully selected amount of detail that is more in tune with what instructors can realistically
expect their students to comprehend. Thus, the most innovative aspect of Exploring American
Histories is its format, which provides just the right balance between narrative and primary
sources.

Abundant Primary Sources Woven Throughout the Narrative. In Exploring American

Histories, we have selected an extensive and varied array of written and visual primary source
material—more than 200 sources in all—and we have integrated them at key points as teaching
moments within the text. We underscore the importance of primary sources by opening each
chapter with a facsimile of some portion of a primary source that appears subsequently within the
chapter. These “Windows to the Past” are designed to pique students’ curiosity for working with
sources.
 To help students move seamlessly between narrative and sources, we embed Explore prompts
at key junctures in the narrative, which describe what the sources illuminate. Such integration is
designed to help students make a firm connection between the narrative of history and the
evidence upon which it is built. These primary sources connect directly with discussions in the
narrative and give a real sense of multiple viewpoints that make history come alive. By integrating
sources and narrative, we help students engage divergent experiences from the past and give them
the skills to think critically about sources and their interpretation. Because of our integrated
design, every source flows from the narrative, and each source is clearly cross-referenced within
the text so that students can easily incorporate them into their reading as well as reflect on our
interpretation.

Progression in Primary Source Work. We continue to offer, with a slight modification, our
unique building-blocks approach to the primary sources. Each chapter contains 7 to 8 substantial,
featured primary sources—both written and visual—with a distinctive pedagogy aimed at helping
students make connections between the sources and the text’s major themes. In every chapter we
offer a progression of primary sources that moves from a single source with guiding annotations,
to paired sources that lead students to understand each source better through comparison.
Although we have eliminated the “Solo Analysis” feature (see below “Helping Students Work with
Primary Sources”), each chapter still culminates with a “Primary Source Project” (previously called
“Document Project”)—a set of interrelated sources that addresses an important topic or theme
related to the chapter. Instructors across the country confirm that with Exploring American
Histories we have made teaching the breadth and diversity of American history and working with
primary sources easier and more rewarding than ever.

Variety of Primary Sources and Perspectives. Because the heart of Exploring American
Histories remains its primary sources, we carefully selected sources from which students can
evaluate the text’s interpretations and construct their own versions of history. These firsthand
accounts include maps, engravings, paintings, illustrations, sermons, speeches, translations,
letters, diaries, journals, memoirs, census reports, newspaper articles, political cartoons, laws,
wills, court cases, petitions, advertisements, photographs, and blogs. In selecting sources, we have
provided manifold perspectives on critical issues, including both well-known sources and those
that are less familiar. In all time periods, some groups of Americans are far better represented in
primary sources than others. Those who were wealthy, well educated, and politically powerful,
produced and preserved many primary sources about their lives, and their voices are well
represented in this textbook. But we have also provided sources by American Indians, enslaved
Africans, free blacks, colonial women, rural residents, immigrants, working people, and young
people. Moreover, the lives of those who left few primary sources of their own can often be
illuminated by reading sources written by elites to see what information they yield, intentionally
or unintentionally, about less well-documented groups. The questions that we ask about these
sources are intended to help students read between the lines or see beyond the main image to
uncover new meanings.

In weaving a wide variety of primary sources into the narrative, we challenge students to
consider diverse viewpoints. For example, in chapter 5, students read contradictory testimony and
examine an engraving to analyze the events that became known as the Boston Massacre. In
chapter 12, they compare the views on the Fugitive Slave Law of a black abolitionist and the
president of the United States. In chapter 18, students have to reconcile two very different views by
a Chinese immigrant and a Supreme Court justice concerning the status of Chinese Americans in
the late nineteenth century. In chapter 28, we ask readers to reconsider the depiction of the 1980s
as a conservative decade in light of widespread protests challenging President Reagan’s military
build-up against the Soviet Union.

Flexibility for Assignments. We recognize from the generous feedback reviewers have offered
us that instructors want flexibility in assigning primary sources. Our book easily allows faculty to
assign all the primary sources in a chapter or a subset depending on the activities they have
planned. With this range of choices, instructors are free to teach their courses just as they like and
to tailor them to their students. Even if not featured on specific course assignments, these sources
expose students to the multitude of voices from the past and hammer home the idea that history is
not just a story passed on from one person to another but a story rooted in historical evidence. For
instructors who value even more options, we again make available with the third edition a
companion primary source reader that provides an additional primary source project for each
chapter. This reader, Thinking through Sources: Exploring American Histories, can be packaged
with the book at no additional cost to students.
Narrative Approach: Diverse Stories
Recent historical scholarship has transformed our vision of the past, most notably by dramatically
increasing the range of people historians study, and thus deepening and complicating traditional
understandings of change over time. The new research has focused particularly on gender, race,
ethnicity, class, and region and historians have produced landmark work in women’s history,
African American history, American Indian history, Latino history, Asian American history, labor
history, and histories of the West and the South.

Throughout the narrative we acknowledge recent scholarship by highlighting the theme of

diversity and recognizing the American past as a series of interwoven stories made by a great
variety of historical actors. We do this within a strong national framework that allows our readers
to see how the numerous stories fit together and to understand why they matter. Our approach to
diversity also allows us to balance the role of individual agency with larger structural forces as we
push readers to consider the many forces that create historical change. Each chapter opens with
Comparing American Histories, a pair of biographies that showcase individuals who experienced
and influenced events in a particular period, and then returns to them throughout the chapter to
strengthen the connections and highlight their place in the larger picture. These biographies cover
both well-known Americans—such as Daniel Shays, Frederick Douglass, Andrew Carnegie, and
Eleanor Roosevelt—and those who never gained fame or fortune—such as the Cherokee chief John
Ross, activist Amy Post, labor organizer Luisa Moreno, and World War II internee Fred Korematsu.
Introducing such a broad range of biographical subjects illuminates the many ways that
individuals shaped and were shaped by historical events. This strategy also makes visible
throughout the text the intersections where history from the top down meets history from the
bottom up, and the relationships between social and political histories and economic, cultural,
and diplomatic developments.
Another random document with
no related content on Scribd:
de su casa, e asi de las cosas
que en ella vio en todos sus
criados e seruidores e aun en
todo el exercicio suyo tantas
cosas notó, que pudo claro juzgar
segun lo que veya lo que sin ver
en su pensamiento juzgaua. E
assi la letra recebida e de
Vasquiran despidido, con algunos
de sus criados se salio razonando
hasta vn patio donde ya vn criado
suyo la caualgadura aparejada le
tenia con las otras cosas que al
abito del camino se requerian.
E despues de hauer caualgado se
despidio de aquellos que le
acompañauan hablandoles assi:
Señores, plega á Dios que ponga
en el señor Vasquiran tanto
consuelo y en vosotros tanta
alegria quanto sus males e
vuestra tristeza han menester; e
quanto su dolor a mi me da pesar
e vuestro enojo me duele, porque
pueda gozar de la parte que dello
me cabrá quando aca tornare,
que será mucha segun lo que del
daño me cabe, porque de lo que
agora peno entonces descanse;
que en verdad os digo que con lo
que me ha afligido ver vuestra
fatiga y con la pena que los
muchos sospiros e tristeza de mi
señor Flamiano me han dado, yo
la haure bien menester. Porque
os certifico que no menos
atribulados él a nosotros con su
tormento nos tiene, que el señor
Vasquiran a vosotros con su
lastima. Acabadas las palabras
dió comienço a su camino, el qual
con varios pensamientos de las
cosas que auia visto prosiguio
hasta llegar donde su señor
estaua, el qual salio aparejandose
para justar en vnas justas que
despues que él de alli era partido
se eran concertadas.
Pues como Flamiano le vio,
despues de hauerle saludado con
mucho amor le dixo:
Felisel, tu seas bien llegado; ya
vees a que tiempo vienes e cómo
me hallas, por mi amor que por
agora no me cuentes ninguna
cosa hasta que esta jornada sea
passada, porque ni te podria bien
oyr ni entender; pero ven conmigo
e mostrarte he lo que para este
dia tengo aparejado e dezirme
has lo que dello te parecera,
aunque tu ausencia me ha hecho
falta.

LAS COSAS QUE FLAMIANO

MOSTRO A FELISEL QUE
PARA LA FIESTA TENIA
APAREJADAS
Tomando Flamiano a Felisel su
criado por la mano, le metio en
vna quadra donde todos sus
atauíos tenia aparejados, e antes
de nada mostralle le dixo: Sabras,
Felisel, que despues que de aquí
partiste nunca mis ojos más de
vna vez, para lastimarme muchas,
han podido ver a mi señora
Belisena, la qual salio a los
desposorios del conde de la
Marca, de que yo dos días antes
fuy auisado, e por no dexar el luto
de Violina como no era razon, no
quise aquel dia mas vestirme de
vna loba frisada forrada de
damasco negro acuchillada toda
por encima, de manera que por
ella mesma se mostrasse la
forradura con las cuchilladas
todas atadas con vnas madexas
de seda negra con vna letra que
dezia:

Claro descubre mi pena

mi tristeza y el agena.

E assi sali quando supe que

caualgaua, y llegado que fuy en
su presencia conoci en su rostro
que de mi vista le pesó, e para
mas lastimarme no quiso
consentir que la rienda le
llevasse, de que sentí lo que
puedes juzgar. Llegados a la
fiesta, el dançar duro gran parte
de la noche, donde concertamos
vna partida de justa quatro a
quatro a ocho carreras. Va de
precio de la vna partida a la otra,
vna gotera de plata de ocho
marcos la qual se dara a quien
mejor justare; al que más galan
saliere a la tela con dos cauallos
atauiados vno con paramentos e
cimera, otro con un paje e
guarnicion e a la noche con ropa
de estado de brocado forrada de
raso o damasco; se dan ocho
cannas de raso carmesí.
Somos de la vna parte el marques
de Persiana, el conde de la
Marca, Camilo de Leonis e yo. De
la otra son el señor marques
Carliano y el prior d'Albano y el
marques de Villatonda y el prior
de Mariana.
Esta fiesta concertada para la
noche en casa de la señora
duquesa de Meliano, en la qual
estamos concertados todos ocho
de salir en momería con las ropas
que te he dicho, e para esto tengo
hecho esto que agora verás. E
assi le mostró vnos paramentos e
vna guarnicion de raso encarnado
chapados todos de vnos braseros
de plata llenos de brasas, e la
cimera de lo mismo con vna letra
que dezia:

Es imposible saltar
de las brasas donde muero
pues que m'abrasa el brasero.
E mostróle para la noche vna
ropa de brocado blanco forrada
de raso encarnado con vnas
faxas de raso por de fuera llenas
de vnas villetas de oro de martillo
con vna letra que dezia:

Encontraronme en los ojos

e hizieron la herida
en el alma y en la vida.

Y despues le mostró doze

vestidos para doze moços e vn
paje de damasco blanco y raso
encarnado, con todo su
conplimiento.
Y despues que todo se lo houo
mostrado, Felisel le dixo que le
parecia que todo estaua muy
bueno. Pues llegado el día de la
fiesta despues de las damas ya
salidas, los caualleros salieron a
la tela todos a vn tiempo, por dos
partes como es costumbre
hazerse, e hecha su buelta y
mesuras y cerimonias como en tal
fiesta se acostumbra, el justar se
començo.
Salio Flamiano con los atauios
que hauemos dicho, al qual se dió
el precio de gentil hombre. Sacó
el marques de Persiana vnos
paramentos de terciopelo
leonados con vnas puentes de
plata rompidas, sembrados todos
los paramentos, con vna cimera
de lo mesmo. Dezia la letra:

No pueden pasar mis males

pues que en medio[285]
les ha faltado remedio.

Sacó a la noche vna ropa de

brocado blanco forrada de raso
leonado con vnas faxas del
mismo raso chapadas de vnas
plumas de escreuir de oro, con
vna letra que dezia:

No se puede mi passion
escreuir
pues no se puede suffrir.

Sacó los moços e pajes vestidos

de los mismos colores de blanco
y leonado.
Sacó el conde de la Marca vnos
paramentos e guarnicion de
terciopelo negro con vnas puertas
de jubileo cerradas, sembrados
todos los paramentos dellas
hechas de plata con vna letra que
dezia:

Aunque haya en todos los

males
redempcion,
no se espera en mi passion.
Sacó a la noche vna ropa de
brocado morado, forrada de raso
blanco con faxas del mismo raso
sembradas de vnas faxas de oro,
con vna letra que dezia:

Yo solte tras mi esperança

mi plazer,
y jamas le vi boluer.

Sacó los moços e pajes vestidos

de raso morado y terciopelo negro
con guarniciones de damasco
blanco.
Sacó el señor Camilo de Leonis
vnos paramentos de raso morado
con vnos castillos de cartas
sembradas por encima de plata e
la cimera de lo mismo, con vna
letra que dezia:

Tiene puesta mi esperança

el pensamiento
donde la derriba el viento.

Sacó a la noche vna ropa de

brocado morado forrada de raso
leonado con las faxas del mismo,
con vnos clauos de oro
sembrados por ellas con vna letra
que dezia:

La poca firmeza haze

á mi cuydado
que esté en el alma clauado.
Sacó los moços e pajes vestidos
de terciopelo leonado e damasco
morado.
Sacó el señor marques Carliano
vnos paramentos quarteados de
pardillo y morado, chapados de
vnas serpientes, llamadas ydrias,
de plata, con vna por cimera, con
vna letra que dezia:

Si vn inconueniente quito
á mi pesar
me nacen siete a la par.

Sacó a la noche vna ropa de

brocado pardillo forrada de raso
morado con las faxas del mismo
raso sembradas de vnos
improperios bordados de oro con
vna letra que dezia:

Muy mayor fuera no veros

que sofrillos por quereros.

Sacó los moços vestidos de

terciopelo pardillo e damasco
leonado.
Sacó el señor prior de Mariana
vnos paramentos e guarnicion de
raso encarnado chapados de
vnos manojos de plata con vna
letra que dezia:

De quantas muertes
padezco
 mis querellas
ponen las señales dellas.

Sacó a la noche vna ropa de

brocado morado forrada de raso
encarnado con las faxas del
mismo raso sembradas de
medallas de oro con vna letra que
dezia:

No hay treslado vuestro

sino en mi cuydado.

Sacó los moços e paje vestidos

de raso encarnado e terciopelo
morado.
El marques de Villatonda sacó
vnos paramentos y guarnicion de
raso carmesi con vnos mallos de
plata, e la cimera con los mismos
mallos y las palas, con vna letra
que dezia:

Quando mas vn
pensamiento
llega cerca de mi quexa
tanto vn otro mas lo alexa.

Sacó a la noche vna ropa de

brocado carmesi forrada de raso
amarillo e las guarniciones con
vnos manojos de maluas
bordadas por ellas con vna letra
que dezia:
 Si quiés ver de tu porfia
la esperança que hay en ella
mira al mismo nombre della.

Sacó los moços e paje vestidos

de brocado carmesi.
Sacó el prior Dalbano vnos
paramentos de terciopelo
encarnado e vnos ramos de laurel
e vna corona de lo mismo por
cimera con vna guarnicion desta
manera, e vna letra que dezia:

Corónese mi desseo
pues que ha sabido emplearse
do no sabe remediarse.

A la noche sacó vna ropa de

brocado azul forrada de raso
encarnado con las faxas llenas de
vnas lanternas de oro, con vna
letra que dezia:

El fuego que el alma abrasa

aunque se encubre
con la pena se descubre.

Sacó vestidos los moços de raso

azul e damasco encarnado. E
desta suerte salieron los
caualleros.
La fiesta duró quasi toda la
noche. Y despues de todos
tornados a sus posadas e
Flamiano a la suya, hauiendo
reposado de la passada fatiga,
tornando al trabajo de la congoxa
presente mandó llamar a Felisel,
el qual en su presencia venido le
dixo: Agora di lo que con
Basquiran pasaste y lo que á mi
embaxada te respondio y qué tal
le has dexado.
Al qual Felisel respondio:
Pluguiera a Dios, señor, que de
tal trabajo me houieras escusado
porque lo que tus enojos de
contino me tienen atormentado
me bastaua para que de otros
nueuos me escusaras. Lo que
con el señor Vasquiran he pasado
e lo que en él he visto e juzgado
es tanto que dudo que della te
pueda hazer tan conplida relacion
como seria menester. Empero lo
mejor que podré te dare dello en
suma alguna cuenta. E assi
comenzó a dezir:

RESPUESTA DE FELISEL A
FLAMIANO
Despues, señor, que de aqui parti,
en poco tiempo aunque con
mucha fatiga por la dificultad del
largo camino e fatigoso tienpo, yo
llegué a Felernisa donde como
yua informado, pense hallar a
Vasquiran, pero como en su
posada fuy apeado, supe de vn
mayordomo suyo que en ella hallé
como pocos dias despues de la
muerte de Violina se era partido a
vna heredad suya que cuatro
millas de la ciudad estaua, lo qual
segun aquel me informó hauia
hecho por dos respectos. El vno
por desviarse dela importunidad
de las muchas vistas; el otro por
mejor poder en medio de su dolor
dar lugar a que sus lagrimas más
honestamente compañia le
hiziessen. Pues esto sabido, la
hora era ya tal que me fue
forçado apearme y reposar alli
aquella noche. E assi aquel su
mayordomo con mucho amor e
cortesia sabiendo que era tuyo,
despues de hauer mandado que a
mi moço e caualgadura complido
recaudo diessen, por la mano me
tomó e razonando en muchas e
diuersas cosas assi de ti como del
desastre de su señor, todos o los
mas principales aposentos de
aquella casa me mostró, en los
quales vi muchas estrañezas que
sobre la muerte de Violina
Vasquiran hauia hecho hazer, y el
primero que vi fue en vna puerta
principal vna muerte pintada en
ella con vna letra que dezia:

Esté en la puerta primera

do se vea
que mi vida la dessea.
Entrando en la sala vi que toda
estaua cubierta de vnas sargas
negras con vnos escudos
bordados en medio de cada vna
en que estauan las armas de
Vasquiran quarteadas con las de
Violina, con vnas flechas
sembradas que la muerte las
tiraua de la puerta con vna letra
que dezia:

Con mis tiros he apartado

las vidas, por ser mortales,
mas no dellas las señales.

Vi andando por todas las otras

partes de la casa que todas las
puertas estauan teñidas de negro
de dentro y de fuera, y la letra
dezia:

La muerte dexó el dolor

e tristeça de manera
que se muestre dentro y fuera.

Vi mas en cada vna de las

camaras e retraymientos vna
cama sin cortinaje con vnas
sargas pardillas que las cubrian
con vnas faxas amarillas en torno,
con vna letra en cada vna por las
faxas que dezia:

La vida desesperada
trabajosa
con el trabajo reposa.
Vi mas, que todos los suelos
estauan cubiertos de reposteros
de grana, con vnas almaras
bordadas en ellos, con vna letra
en cada repostero que dezia:

Todas van mis alegrias

por el suelo,
pues no hay en mi mal
consuelo.

E assi discurriendo por las otras

partes del aposento llegamos a vn
hermoso jardin, del qual estaua la
principal puerta cerrada de cal y
canto con vna letra encima que
dezia:

La puerta de mi esperança
no se puede más abrir
hasta que torne el morir.

Entramos por vna puerta pequeña

que de vn estudio baxaua en la
huerta, en la qual entre muchas e
grandes gentileças que vi hauia
vna muy rica fuente la qual estaua
seca que no corria, con vna letra
en torno que dezia:

Secaronla mis enojos

para passarla en mis ojos.
De esta manera, señor,
andouimos mirando toda la casa,
donde vi tantas cosas lastimeras
de notar que casi atonito me
tenian. Pues hauiendo ya la
mayor parte visto nos tornamos a
cenar e gran parte de la noche
passamos razonando de diuersas
cosas, hasta que el camarero me
traxo a vna camara donde
Vasquiran e Violina solian dormir,
en la qual hauia vna rica cama de
campo parada e alli me aposentó,
e despues de quedar a solas miré
muchas cosas que en la camara
hauia, en que vi vn mote escripto
de la mano de Vasquiran que
dezia:

Sin ventura ni remedio.

Vi mas en vn aparador donde

hauia muchas cosas assi de
ropas de vestir menudas de
Vasquiran como de Violina, entre
las quales vi un rico espejo e
segun yo noté creo, segun deuia
ser, con que Violina se tocaua,
segun juzgué de vna letra que en
él hauia que dezia desta manera:

Yo te miro por mirar

si veré en ti el bien que viste
y tú muestrasteme triste.

Pues al fin, señor, ya del sueño

vencido y del trabajo fatigado yo
me dormi. La mañana venida,
despues de leuantado, sin oyr
missa, con vna guia que el
mayordomo me dio yo me parti
para donde Vasquiran estaua, y
en poco espacio llegué a vna muy
hermosa heredad con vna gentil
morada, donde hallé todos los
criados de Vasquiran
passeandose por vna plaça que
delante la puerta de la casa
estaua, al costado de la qual
hauia vn gentil passeador cubierto
de cipres, e al cabo vna gentil
yglesia aunque pequeña. Pues
como me conocieron, ante que
me apeasse todos me rodearon
con mucho amor, aunque con
poco plazer, e como en medio
dellos me vi, vilos vestidos todos
de amarillo con unos retulos en
las mangas izquierdas que
dezian:

Vistenos el esperança
del que espera
el remedio quando muera.

Acordandome lo que el dia e la

noche antes hauia visto e lo que
en ellos començaua a ver,
marauilleme e supe despues de
apeado, cómo no estaua alli su
señor, pero tomóme su camarero
por la mano y lleuóme por debaxo
de vnos arboles hasta la marina
cerca de alli á vnas grutas que la
mar la batia, donde hallamos a
Vasquiran a solas sobre vna
pequeña roca assentado, con vn
laud en la mano, cantando este
villancico:

No dexeys, lagrimas mias,

de dar descanso a mis ojos
pues lo days a mis enojos.
Pues salis del coraçon
donde está mi pensamiento,
con vosotras solas siento
gran descanso en mi passion,
sientolo porque es razon
que repose en mis enojos
con vosotras en mis ojos.

Estaua vestido todo de pardillo y

con vnos torçales de seda
leonada torcida por toda la ropa,
con vna letra que dezia ansi:

Mi trabajosa congoxa
nunca en mis males afloxa.

Algo estuve escuchandole sin que

me viesse, pero como me vido,
dexado el laud, con los brazos
abiertos a mi se vino. E despues
de muchas vezes con mucho
amor hauerme abraçado,
començo a dar los mayores y mas
doloridos gemidos e solloços que
nunca vi, e despues de algo
hauer dado espacio con su llanto
a su dolor me començo a dezir.
¡O mi buen amigo Felisel! ¿quién
te ha traydo a verme pues que a
ninguna cosa mi triste suerte da
lugar que me vea sino a pesares
y desuenturas que me lastimen?
¿Como consintio mi ventura que
me viesses? No creo que lo haya
por otra cosa hecho sino por
lastimar con el plazer de tu vista
la memoria de mis males. ¿Qué
te parece de tu amigo Vasquiran
quán sin alegria la muerte le ha
dexado? ¿Cómo en medio de sus
plazeres son nacidas tan crudas
tristezas? ¿Cómo te dexo mi
soledad llegar aqui para que me
viesses, pues que las puertas
tiene cerradas a todas las cosas
que consolarme puedan? Qué te
parece quan solo de plazer tu
buena amiga Violina me ha
dexado e quan aconpañado de
tristezas? Las quales palabras me
dezia con tan graue dolor que
pense que con cada palabra se le
arrancauan las entrañas. Assi
estouimos vna pieça hasta que
algo reposado me tomó por la
mano e demandandome de ti e
dandome razon de sus males me
truxo hasta la posada suya que te
dixe, e ante de entrar en ella me
llevó a la yglesia que delante della
estaua, en medio de la qual
estaua la sepultura de Violina con
vna tumba grande cubierta de vn
paño de brocado rico, con vna
cortapisa de raso negro ancha en
torno, con vnas letras bordadas
en ella que dezian:

Dentro en esta sepultura

está el bien de mi ventura.

Llegados cerca de la sepultura

me dexó de la mano e echóse de
pechos encima, donde más
doloridos gemidos y más tristes
palabras que a mi me hauia
dicho, tornó de nueuo a dar. En
tanta manera, señor, le vi
atribulado, que nunca me acuerdo
en parte verme que tanta tristeza
sintiera como mi alma alli sentio
de verle tal. E despues que algun
espacio assi estuvo me tornó a
tomar por la mano e dixome:
Perdoname, Felisel, que no tengo
en mi mas alegre recibimiento con
que alegrarte pueda, que este
que vees. E assi nos venimos
hasta la casa, la qual toda vi con
los mismos misterios que la otra
hauia visto, e despues de hauer
comido e gran parte del dia
pasada en diuersas cosas que de
su mal me contó y de tu congoxa
le dixe, lo qual oyó con tanto amor
como si tristeza en el no houiera.
E tanto de tus pesares sintio
pesar que con los suyos los
juzgué yguales. Al fin tu
embaxada le hize notoria de la
manera que me mandaste. A la
qual con assaz enojo me
respondio, aunque con muy
corteses razones, pero pareciole
que en las cosas que le embiauas
a dezir haziendole entender que
tu mal juzgauas mayor que el
suyo, e le hazias no solo gran
enojo mas aun casi por injuria lo
recibia. E despues de hauerme a
muchas cosas satisfecho con
razonables palabras y muchas
razones, passado aquel dia e
otros quatro que alli me tuvo,
siempre de tus cosas
demandandome e de las suyas
contandome, le pedi licencia, la
qual con mucha dificultad del
alcancé, porque quisiera
detenerme alli algun dia más si
pudiera.
Al fin viendo que mi porfia forçaua
su voluntad, al tiempo que dél me
despedi, con muchos sospiros me
dió esta carta que te traygo.

CARTA DE VASQUIRAN Á
FLAMIANO
Si como has pensado, Flamiano,
consolarme, pudiesses darme
remedio, bien conozco de ti que lo
desseas lo harias, mas como mis
males remedio no tienen, ni tú me
le puedes dar, ni yo de nadie le