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El hecho de que Lope de Vega aparezca en el Diccionario de Autoridades como un clásico, apreciado por su obra total —especialmente la posterior a 1621— y no solamente por las comedias que le hicieron famoso en vida, supone un gran contraste con la irregular fortuna del Fénix con sus contemporáneos. Mediante el estudio de su apreciación en las Oraciones funerales (1635) y la Fama póstuma (1636) descubrimos que Lope alcanzó el estatus de clásico porque tras su muerte se enfatizó su papel para salvar la poesía castellana de los excesos de los cultos. Estableciendo una analogía con el Diccionario de Autoridades, proponemos que también fue esta la razón por la que los autores del primer diccionario académico apreciaron tanto a Lope.In the eighteenth-century Diccionario de Autoridades Lope de Vega appears already a classic, appreciated for his total oeuvre —in particular for those works from 1621 onwards—, and not only for the comedias that made him famous during his lifetime. We analyze Lope’s appreciation in the Oraciones funerales (1635) and the Fama póstuma (1636), to find out that Lope reached the status of classic because after his death his followers emphasized his role in saving Spanish poetry from the excesses of Góngora and the cultos. Taking this into account, we establish an analogy between Lope in 1635 and 1636 and Lope in the Diccionario de Autoridades, and we propose that the reason why Lope achieved a classic status in the Diccionario de Autoridades was also his perceived role in the controversy about Góngora’s poesía nueva as a defender of the Spanish language

The Appreciation of Lope de Vega's work between the Fama Póstuma (1636) and the Diccionario de Autoridades (1726-1737)