[107] At the end of the sixth book.
[108] Prólogo al Lector, prefixed to his eight plays and eight Entremeses, Madrid, 1615, 4to.
[109] Adjunta al Parnaso, first printed in 1614; and the Prólogo last cited.
[110] They are in the same volume with the “Viage al Parnaso,” Madrid, 1784, 8vo.
[111] Adjunta al Parnaso, p. 139, ed. 1784.
[112] In the “Baños de Argel,” and the “Amante Liberal.”
[113] The “Esclavos en Argel” of Lope is found in his Comedias, Tom. XXV., (Çaragoça, 1647, 4to, pp. 231-260), and shows that he borrowed very freely from the play of Cervantes, which, it should be remembered, had not then been printed, so that he must have used a manuscript. The scenes of the sale of the Christian children, (pp. 249, 250), and the scenes between the same children after one of them had become a Mohammedan, (pp. 259, 260), as they stand in Lope, are taken from the corresponding scenes in Cervantes (pp. 316-323, and 364-366, ed. 1784). Much of the story, and passages in other parts of the play, are also borrowed. The martyrdom of the Valencian priest, which is merely described by Cervantes, (pp. 298-305), is made a principal dramatic point in the third jornada of Lope’s play, where the execution occurs, in the most revolting form, on the stage (p. 263).
[114] Cervantes, no doubt, valued himself upon these immaterial agencies; and after his time, they became common on the Spanish stage. Calderon, in his “Gran Príncipe de Fez,” (Comedias, Madrid, 1760, 4to, Tom. III. p. 389), thus explains two, whom he introduces, in words that may be applied to those of Cervantes:—
Representando los dos
De su buen Genio y mal Genio