[51] L. F. Moratin, Catálogo, Nos. 86 and 87.
[52] Pellicer, Biblioteca de Traductores Españoles, Tom. II. pp. 145, etc.
[53] Sedano’s “Parnaso Español” (Tom. VI., 1772) contains both the dramas of Bermudez, with notices of his life.
[54] The “Castro” of Ferreira, one of the most pure and beautiful compositions in the Portuguese language, is found in his “Poemas” (Lisboa, 1771, 12mo, Tom. I. pp. 123, etc.). Its author died of the plague at Lisbon, in 1569, only forty-one years old.
[55] Don Quixote, Parte I. c. 48.
[56] They first appeared in Sedano’s “Parnaso Español,” Tom. VI., 1772. All the needful explanations about them are in Sedano, Moratin, and Martinez de la Rosa. The “Philis” has not been found.
[57] It seems probable that a considerable number of dramas belonging to the period between Lope de Rueda and Lope de Vega, or between 1560 and 1590, could even now be collected, whose names have not yet been given to the public; but it is not likely that they would add any thing important to our knowledge of the real character or progress of the drama at that time. Aribau, Biblioteca, Tom. II. pp. 163, 225, notes.
[58] The two brotherhoods were the Cofradía de la Sagrada Pasion, established 1565, and the Cofradía de la Soledad, established 1567. The accounts of the early beginnings of the theatre at Madrid are awkwardly enough given by C. Pellicer in his “Orígen de la Comedia en España.” But they can be found so well nowhere else. See Tom. I. pp. 43-77.
[59] C. Pellicer, Orígen, Tom. I. p. 83.
[60] Ibid., p. 56.