[276] The only unadulterated source from which all authors have hitherto derived their information relative to the earliest history of the Spanish drama, is Cervantes’s well known preface to his Ocho Comedias y Entremeses, an edition of which was published in two vols. quarto, by Blas Nasarre, at Madrid, in 1749. To this may be added the preface of the editor, Blas Nasarre, though it is but of secondary value, and has given occasion to singular mistakes. The article Comödie, in Blankenburg’s appendix to Sulzer’s dictionary, though rather obscure, communicates some useful facts.
[277] Velasquez, in his History of Spanish Poetry, alludes but very distantly to the heterogeneous nature of the Spanish dramas; and Dieze is not more satisfactory in his Remarks. What is contained in Flögel’s History of Comic Literature, vol. iv. respecting the origin of the Spanish drama, is copied from Velasquez and other modern writers. Signorelli has more novelty of information in his Storia Critica de Teatri, vol. iv. but he confounds the notices one with another, and reasons on the Spanish drama merely as a moral critic.
[278] This translation, which is only remarkable on account of the reputation of its author, may be found in the Obras del Maestro Perez de Oliva, Cordova, 1586, in 4to.
[279] Velasquez and Dieze, p. 315, give further notices of these translations.
[281] Tragedia Policiana, en que se tratan los amores—executadas por la industria de la diabolica Vieja Claudina, &c. The title is a sufficient specimen of the work. See Velasquez and Dieze, p. 312.
[282] Dieze in his Remarks on Velasquez, gives a further account of these works. He also notices a second Cœlestina, (Segunda Comedia de Celestina.)
[283] These writers are Nicolas Antonio, and Blas Nasarre, the editor of the comedies of Cervantes.
[284] This collection of the plays and other poems of Naharro is mentioned by Nicolas Antonio, and also by Dieze. I have never seen it: and in the numerous collections of Spanish dramas by various authors, with which I am acquainted, I have sought in vain for the productions of Naharro. Blankenburg speaks of them as if he had read them; and Signorelli expressly says, that he has perused them all. Among the passages quoted by the latter, in order to justify the contemptuous tone in which he criticises the writings of Naharro, is a line of corrupt Portuguese. May not this be Galician? The modern comic writers of Spain occasionally make their clowns converse in the Galician dialect.