[431] “Arauco Domado,” Comedias, Tom. XX., Madrid, 1629. After reading such absurdities, we wonder less that Cervantes, even though he committed not a few like them himself, should make the puppet-show man exclaim, “Are not a thousand plays represented now-a-days, full of a thousand improprieties and absurdities, which yet run their course successfully, and are heard, not only with applause, but with admiration?” D. Quixote, Parte II. c. 26.
[432] “Tienen las novelas los mismos preceptos que las comedias, cuyo fin es haber dado su autor contento y gusto al pueblo, aunque se ahorque el arte.” Obras Sueltas, Tom. VIII. p. 70.
[433] Arte Nuevo, Obras, Tom. IV. p. 412. From an autograph MS. of Lope, still extant, it appears that he sometimes wrote out his plays first in the form of pequeñas novelas. Semanario Pintoresco, 1839, p. 19.
[434] See the Dedication of the “Francesilla” to Juan Perez de Montalvan, in Comedias, Tom. XIII., Madrid, 1620, where we have the following words: “And note in passing that this is the first play in which was introduced the character of the jester, which has been so often repeated since. Rios, unique in all parts, played it, and is worthy of this record. I pray you to read it as a new thing; for when I wrote it, you were not born.” The gracioso was generally distinguished by his name on the Spanish stage, as he was afterwards on the French stage. Thus, Calderon often calls his gracioso Clarin, or Trumpet; as Molière called his Sganarelle. The simplé, who, as I have said, can be traced back to Enzina, and who was, no doubt, the same with the bobo, is mentioned as very successful, in 1596, by Lopez Pinciano, who, in his “Philosofía Antigua Poética,” (1596, p. 402), says, “They are characters that commonly amuse more than any other that appear in the plays.” The gracioso of Lope was, like the rest of his theatre, founded on what existed before his time; only the character itself was further developed, and received a new name. D. Quixote, Clemencin, Parte II. cap. 3, note.
[435] The specimens of his bad taste in this particular occur but too frequently; e. g. in “El Cuerdo en su Casa” (Comedias, Tom. VI., Madrid, 1615, ff. 105, etc.); in the “Niña de Plata” (Comedias, Tom. IX., Barcelona, 1618, ff. 125, etc.); in the “Cautivos de Argel” (Comedias, Tom. XXV., Zaragoza, 1647, p. 241); and in other places. But in opposition to all this, see his deliberate condemnation of such euphuistical follies in his Obras Sueltas, Tom. IV. pp. 459-482; and the jests at their expense in his “Amistad y Obligacion,” and his “Melindres de Belisa” (Comedias, Tom. IX., Barcelona, 1618).
[436] Sonnets seem to have been a sort of choice morsels thrown in to please the over-refined portion of the audience. In general, only one or two occur in a play; but in the “Discreta Venganza” (Comedias, Tom. XX., Madrid, 1629) there are five. In the “Palacios de Galiana” (Comedias, Tom. XXIII., Madrid, 1638, f. 256) there is a foolish sonnet with echoes, and another in the “Historia de Tobias” (Comedias, Tom. XV., Madrid, 1621, f. 244). The sonnet in ridicule of sonnets, in the “Niña de Plata,” (Comedias, Tom. IX., Barcelona, 1618, f. 124), is witty, and has been imitated in French and in English.
[437] “El Sol Parado,” Comedias, Tom. XVII., Madrid, 1621, pp. 218, 219. It reminds one of the much more beautiful serrana of the Marquis of Santillana, beginning “Moza tan formosa,” ante, Vol. I. p. 372.
[438] “Pobreza no es Vileza,” Comedias, Tom. XX., Madrid, 1629, f. 61.
[439] He has even ventured to take the beautiful and familiar ballad, “Sale la Estrella de Venus,”—which is in the Romancero General, the “Guerras de Granada,” and many other places,—and work it up into a dialogue. “El Sol Parado,” Comedias, Tom. XVII., Madrid, 1621, ff. 223-224.
[440] In the same way, he seizes upon the old ballad, “Reduan bien se te acuerda,” and uses it in the “Embidia de la Nobleza,” Comedias, Tom. XXIII., Madrid, 1638, f. 192.