[45] “El Infamador” is reprinted in Ochoa, Tom. I. p. 264.
[46] One of the plays, not represented in the Huerta de Doña Elvira, is represented “en el Corral de Don Juan,” and another in the Atarazanas,—Arsenal, or Ropewalks. None of them, I suppose, appeared on a public theatre.
[47] These two pieces are in “Obras de Joachim Romero de Zepeda, Vezino de Badajoz,” (Sevilla, 1582, 4to, ff. 130 and 118), and are reprinted by Ochoa. The opening of the second jornada of the Metamorfosea may be cited for its pleasant and graceful tone of poetry,—lyrical, however, rather than dramatic,—and its air of the olden time. Other authors living in Seville at about the same period are mentioned by La Cueva in his “Exemplar Poético” (Sedano, Parnaso Español, Tom. VIII. p. 60):—
Los Sevillanos comicos, Guevara,
Gutierre de Cetina, Cozar, Fuentes,
El ingenioso Ortiz;—
who adds that there were otros muchos, many more;—but they are all lost. Some of them, from his account, wrote in the manner of the ancients; and perhaps Malara and Megia are the persons he refers to.
[48] See L. F. Moratin, Catálogo, No. 84.
[49] L. F. Moratin, Catálogo, Nos. 140, 141, 146, 148, 149; with Martinez de la Rosa, Obras, Tom. II. pp. 153-167. The play of Andres Rey de Artieda, on the “Lovers of Teruel,” 1581, belongs to this period and place. Ximeno, Tom. I. p. 263; Fuster, Tom. I. p. 212.
[50] The translation of Boscan from Euripides was never published, though it is included in the permission to print that poet’s works, given by Charles V. to Boscan’s widow, 18 Feb., 1543, prefixed to the first edition of his Works, which appeared that year at Barcelona.