Abstract

Starting from the observation of the autograph of La nueva victoria de don Gonzalo de Córdoba, dated October 8, 1622 —a few days after the facts that constitute the historical background of the play—, this article analyzes the modalities and possible reasons for the changes made by Lope. In particular, the paper focuses on the deletions, additions and modifications of the text, made by the Fénix de los Ingenios and by the autor de comedias, as the study of the stratifi cation of different phases and hands in the compositional process of the play offers an interesting view on the gestation and life, sometimes difficult, of the dramatic manuscript.