1. Clavijo y Fajardo, The Thinker , 1:314.

2. Ibid., 99.

3. Ibid., 55 and 309.

1. Clavijo y Fajardo, The Thinker , 1:314.

2. Ibid., 99.

3. Ibid., 55 and 309.

1. Clavijo y Fajardo, The Thinker , 1:314.

2. Ibid., 99.

3. Ibid., 55 and 309.

4. Nipho, A friend to Women , 128.

5. Herr, The Eighteenth-Century Revolution in Spain (Princeton: Princeton University Press, 1958), 74.

6. The Thinker , Thought 19, quoted in A. Morel-Fatio, Jovellanos' Satire on the Deficient Education of the Nobility (Paris, 1899).

7. Tomás de Iriarte, The Ill-bred Young Lady (Barcelona: n.d.), act 1.

8. J. Clavijo y Fajardo, Decree on Jealousy and the Vindication of Women (Madrid, 1755), 47 and 55.

9. Clavijo y Fajardo, The Thinker 4: 55 and 319.

10. Nipho, Answer to the Insults  . . . , 55.

11. Clavijo y Fajardo, The Thinker 4:318.

12. Cruz, "The Dandy," Farces in Nueva Biblioteca de Autores Españoles (Madrid: Real Academia Española, 1915).

13. Kany, 55 and 172.

14. Gigas, 464.

15. Bourgoing, 296.

16. Clavijo y Fajardo, The Thinker 4:54, 317.

17. Salazar y Ontivero, 3-4.

18. Zamácola, 18.

19. Sempere y Guarinos, Essay on Luxury , 179.

20. Eijoecente, 61ff.

21. Juan Antonio Mercadal, The 'Goblin" Speculating on Society (Madrid, 1761), 359, 374-375.

22. Ramírez y Góngora, 7.

23. Clavijo y Fajardo, Decree on Jealousy and Apology to Ladies , 7.

24. Eijoecente, 44.

25. Ibid., 49-51.

26. Ibid., 59-60.

24. Eijoecente, 44.

25. Ibid., 49-51.

26. Ibid., 59-60.

24. Eijoecente, 44.

25. Ibid., 49-51.

26. Ibid., 59-60.

27. Coloma 2:22.

28. Moreto's fashionable Love was one of the most polished and intelligent plays of the seventeenth century. Moreto took a skeptical view of continue

many customs and institutions of his day; thus the play was bound to be considered subversive in a period in which the theater rarely adopted a critical stance.

29. Quijano, 53-54.

30. Zamácola, 25.

31. Clavijo y Fajardo, The Thinker 1:87ff.

32. The Ill-bred Young Lady , quoted in E. Cotarelo y Mori, Iriarte and His Time (Madrid, 1897), 357.

33. Velázquez, 11.

34. Clavijo y Fajardo, The Thinker 1:293.

35. Gálvez De Cabrera, 327.

36. Torres Villarroel, Dreams  . . ., 152.

37. Cruz, Collection of One-Act Plays 1:344.

38. See Introduction, note 15.

39. Corral, 11.

40. Velázquez, 14.

41. See ch. 1, note 12.

42. Kany, 189.

43. Ossorio, 9.

44. Quijano, 21.

45. It would be worthwhile to study the popular verses and pamphlets satirizing the aristocracy. Though I have encountered quite a few, I have not been able to delve into them.

46. Clavijo y Fajardo, The Thinker 1:131.

47. Quijano, 36-37.

48. Ibid., 13-14.

49. Ibid., 39-40.

47. Quijano, 36-37.

48. Ibid., 13-14.

49. Ibid., 39-40.

47. Quijano, 36-37.

48. Ibid., 13-14.

49. Ibid., 39-40.

50. Cruz, Collection of One-Act Plays 2:4.

51. Ibid., 1:98.

50. Cruz, Collection of One-Act Plays 2:4.

51. Ibid., 1:98.

52. Quijano, 34.

53. The Sham Escort , MS no. 14.603/10, National Library, Madrid.

54. There are two possible etymologies for the eighteenth-century neologism majo/maja . It may be related to the argot majar/machacar (standard Spanish), meaning to pound, to crush, figuratively to bother, to pester somebody. The adjective "majo"—deriving from "majar," meaning impertinent, bothersome, was probably extended to characterize the arrogant, sharp-tongued artisans of Madrid and other large towns. On the other hand, it may be linked with the ancient May festivities, the highlight of which was the May queen, chosen from among the prettiest young girls in the popular sectors of Madrid. She would be accompanied by her young friends, singing and playing tambourines, castanets and guitars, to a portal adorned with mirrors, or to a window bedecked with flowers. May = mayo/majo. The passage of mayo to majo would have entailed a phonetic change: from a yod ( y ) to a velar fricative, unvoiced x . break

55. Coloma 2:270.

56. Bourgoing, 297.

57. The Censor 4:216.

58. Morel-Fatio, Jovellanos's Satire , 8.

59. Laborde, 5:340ff.

60. Kany, 313.

61. Cotarelo y Mori, History of Stagecraft in Spain (Madrid, 1896), 1:17.

62. Cueto, 311.

63. Morel-Fario, Jovellanos's Satire , 30.

64. Cotarelo y Mori, History of Stagecraft 2:62.

65. Ibid., 59.

64. Cotarelo y Mori, History of Stagecraft 2:62.

65. Ibid., 59.

66. "A famous actress called María Ignacia Ibáñez, the most talented woman I ever met, was extravagant enough to fall in love with me when my spirits and my finances were at the lowest ebb. Her company alleviated me greatly in my misfortune." "Autobiographical Notes," Boletín de la Real Academia de Historia 161, no. 2 (October-December 1967): 132-133.

67. Morel-Fatio, Jovellanos's Satire, 35.

68. Gigas, 514.

69. Clavijo y Fajardo, The Thinker 1:320.

70. The Fair of Valdemoro , quoted in Morel-Fatio, Jovellanos's Satire , 12.

71. Clavijo y Fajardo, The Thinker 1:166ff. 72. Langle, Travel in Spain (Paris, 1796), 161. See also: C. Blanco Soler, The Duchess of Alba and Her Time (Madrid, 1949).

72. Langle, Travel in Spain (Paris, 1796), 161. See also: C. Blanco Soler, The Duchess of Alba and Her Time (Madrid, 1949).

73. Gigas, 363-364.

74. Yebes, The Countess-Duchess of Benavente (Madrid, 1954), 72ff.