[38] Bouterwek, Literatura Española, notas de traductores, p. 234.— Andres, Letteratura, tom. v. pp. 170, 171.—Lampillas, Letteratura Spagnuola, tom. vi. pp. 57-59.
[39] Rojas, Viage Entretenido, (1614,) fol. 46.—Nic. Antonio, Bibliotheca Nova, tom. i. p. 684.—Moratin, Obras, tom. i. pp. 126, 127.—Pellicer, Orígen de la Comedia, tom. i. pp. 11, 12.
[40] They were published under the title "Cancionero de todas las Obras de Juan de la Encina con otras añadidas." (Mendez, Typographia Española, p. 247.) Subsequent impressions of his works, more or less complete, appeared at Salamanca in 1509, and at Saragossa in 1512 and 1516.—Moratin, Obras, tom. i. p. 127, nota.
[41] The comedian Rojas, who flourished in the beginning of the following century, and whose "Viage Entretenido" is so essential to the knowledge of the early histrionic art in Spain, identifies the appearance of Encina's Eclogues with the dawn of the Castilian drama. His verses may be worth quoting.
"Que es en nuestra madre España, porque en la dichosa era, que aquellos gloriosos Reyes dignos de memoria eterna Don Fernando e Ysabel (que ya con los santos reynan) de echar de España acabavan todos los Moriscos, que eran De aquel Reyno de Granada, y entonces se dava en ella princípio a la Inquisicion, se le dio a nuestra comedia. Juan de la Encina el primero, aquel insigne poeta, que tanto bien empezo de quien tenemos tres eglogas Que el mismo represento al Almirante y Duquessa de Castilla, y de Infantado que estas fueron las primeras Y para mas honra suya, y de la comedia nuestra, en los dias que Colon descubrio la gran riqueza De Indias y nuevo mundo, y el gran Capitan empieza, a sugetar aquel Reyno de Napoles, y su tierra. A descubrirse empezo el uso de la comedia porque todos se animassen a emprender cosas tan buenas."
Fol. 46, 47.
[42] Signorelli, correcting what he denominates the "romance" of Lampillas, considers Encina to have composed only one pastoral drama, and that, on occasion of Ferdinand's entrance into Castile. The critic should have been more charitable, as he has made two blunders himself in correcting one. Storia Critica de' Teatri, tom. iv. pp. 192, 193.
[43] Andres, confounding Torres de Naharro, the poet, with Naharro the comedian, who flourished about half a century later, is led into a ludicrous train of errors in controverting Cervantes, whose criticism of the actor is perpetually misapplied by Andres to the poet. Velasquez seems to have confounded them in like manner. Another evidence of the extremely superficial acquaintance of the Spanish critics with their early drama. Comp. Cervantes, Comedias y Entremeses, tom. i. prólogo.—Andres, Letteratura, tom. v. p. 179.—Velazquez, Poesía Castellana, p. 88.
[44] Nic. Antonio, Bibliotheca Nova, tom. i. p. 202.—Cervantes, Comedias, tom. i. pról. de Nasarre.—Pellicer, Orígen de la Comedia, tom. ii. p. 17.—Moratin, Obras, tom. i. p. 48.
[45] Bartolomé Torres de Naharro, Propaladia, (Madrid, 1573.)—The deficiency of the earlier Spanish books, of which Bouterwek repeatedly complains, has led him into an error respecting the "Propaladia," which he had never seen. He states that Naharro was the first to distribute the play into three jornadas or acts, and takes Cervantes roundly to task for assuming the original merit of this distribution to himself. In fact, Naharro did introduce the division into five jornadas, and Cervantes assumes only the credit of having been the first to reduce them to three. Comp. Bouterwek, Geschichte der Poesie und Beredsamkeit, band iii. p. 285,—and Cervantes, Comedias, tom. i. pról.