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The New Art of Writing Plays
The New Art of Writing Plays
New
Art
of
Writing
Plays
AT
PUBLIC
the
of
Dramatic
Museum
UNIVERSITY
COLUMBIA
OF
CITY
THE
IN
Seriei
Playmaking
on
de
Translated
THE
AUTOBIOGRAPHY
by
THE
OF
tion
Introduc-
Translated
Philip
by
Introduction
With
Ferdinand
by
an
M.
Henry
Jones.
Arthur
STEVENSON
Louis
ROBERT
By
By
DRAMA.
THE
Brunetiere.
IV
an
Thomas.
OF
Hayden.
By
PLAY.
With
Augustus
LAW
and
Matthews.
Howard.
Bronson
T.
an
Brander
by
William
by
Introduction
With
Notes
By
PLAYS.
WRITING
OF
Vega.
Brewster.
III
ART
NEW
THE
Lope
II
YORK
NEW
OF
First
Papers
IONS
Wing
Arthur
and
Clayton
Hamilton.
Pinero.
Bibliographical
AS
With
DRAMATIST.
an
Appendix
duction
Intro-
by
PLAY-MAKING
ON
PAPERS
I
The
Writing
of
Art
New
Plays
BY
LOPE
VEGA
DE
BY
TRANSLATED
WITH
MATTHEWS
Printed
for
of
Museum
in
BY
INTRODUCTION
AN
BRANDER
Dramatic
BREWSTER
T.
WILLIAM
the
City of
the
Columbia
New
University
York
MCMXIV
1914
COPYRIGHT
DRAMATIC
MUSEUM
OF
COLUMBIA
BY
UNIVERSITY
CONTENTS
Introduction
The
Brander
by
New
Art
Matthews
i
of
Writing
Plays
by
Lope
de
Vega.
23
.
Notes
by
B.
INTRODUCTION
BY
of
outflowering
in
to
the
compass
Lope
it
fatal
is
blue
on
which
about
of
use
be
England
the
to
of
pleasure
the
human
Spain
the
utmost,
Brunetiere's
our
in
of
energy
the
of
we
theory
in
the
will.
have
that
by
the
playhouse
an
this
drama
in
when
moment
peoples
two
his
and
In
the
the
at
ning
run-
biography
accurate.
development
and
his
saw
the
declared
scientifically
simultaneous
and
also
of
in
been
on
channel;
information,
no
has
sea-terms
to
expert
have
we
Iberian
soldier
year
those
fleet.
the
as
the
of
one
of
Shakspere
water;
is
fight
sea
nerve
dread
English
that
possible
dimly
service
the
to
voyage
the
sailed
mense
im-
invincible
every
foremost
the
and
her
the
out
of
actually
playwrights,
the
defeat
Vega,
de
literature
strained
England
and
Armada;
fitting
in
resources
multaneo
si-
is
drama
exhausted
almost
Spain
English.
the
Spanish
in
lous
marvel-
the
coincidence
significant
aroused
was
confirmation
of
foundation
is the
assertion
of
Shakspere
of
forward
came
drama
had
already
forms;
and
he
for
him
Greene.
At
however
advance
other
the
in
hand,
blazed
and
first
he
beyond
end.
Lope
the
trails
to
seems
and
the
for
Lope,
rather
abounded
in
who
all
the
rest
blooded
play
heroes
of
who
wore
and
by
again,
in
terpreti
in-
the
tivity
producIt
Dumas.
Calderon
It
of
of
vention,
in-
told
in
comedy
intrigue,
for
wonderfully
employ.
ceeding
suc-
trod.
hand
that
understanding
a
first
was
or
not
the
imagination
than
formula
the
who
was
anywhere
his
he
pattern
to
were
often
English
rather
the
out
comedia,
it
little
invention
Defoe
by
made
worked
the
prolific, unsurpassed
and
even
he
on
other
imagination;
fecund
Vega,
tales
the
on
to
gladly
plots
of
steps,
footwas
all
cared
and
he
which
reserving
broken
their
he
have
interpretation
others.
in
Spain
variety
Lyly
them
in
his
borrowing
everywhere,
by
of
playwrights
Shakspere
Kyd,
pioneer;
new
road
de
lish
Eng-
the
followed
far
was
the
developed
found
Marlowe
by
after
the
at
the
peopled
their
ana
he
was
was
who
Spanish
all
in
term,
with
hearts
our
but
hoton
sleeves
their
hilts
the
their
of
Where
who
and
alike
plays
for
is that
performance
be
be
in
took
pride, just
read
carefully
altho
liere, it
was
of
his
earlier
he
had
been
no
the
of
art
single
proofs
did
his
forced
was
abundant
and
by
playmaking.
recorded
expression
3
the
his
reticent
ratives
nar-
that
success
and
that
unprinted
lisher.
pirate-pub-
his
his
to
illusions
fact, there
of
to
Mo-
allusions
in
In
have
frankly
them
in
he
And
stage,
leave
to
matic
dra-
lyrical
with
the
nown
re-
choose
us
satisfied
on
his
to
plays.
tells
noted,
acting
of
his
dwells
poems
himself
not
of
one
is
of
seems
of
the
literary
printing
Shakspere
pieces
hand
the
non-dramatic
content
Shakspere
to
he
completely
his
art
the
be
may
he
the
as
single
his
of
note)
243,
any
tion.
publica-
study
for
the
by
won
poems;
publish
(p.
to
for
from
his
carelessness
view
nothing
in
their
apparently
with
derived
Espagnole'
to
until
theater,
caring
might
Lope's
on
on
are
all
wrote
pieces solely
Martinenche,
'Comedia
both
they
and
which
hands
Shakspere
and
popular
these
composing
praise
Vega
de
the
their
swords.
Lope
again
carried
is
opinion
in
regard
the
to
dramaturgy;
Ben
doctrine
well
of
the
in
as
his
In
Shakspere's;
he
but
discuss
adorned,
and
its methods.
he
on
This
the
upon
his
'New
is
Art
of
same
he
principles
as
duced
in-
was
of
the
art
opinions
occasion
a
attitude
the
occasion
deliver
to
as
Drummond
theory
single
forth
set
prologs,
Lope's
his
of
body
he
with
express
trast
con-
general
the
persuaded
was
in
one
to
marked
which
of
practice
had
conversations
dramaturgic
to
who
and
Hawthornden.
toward
is in
drama,
'Discoveries'
the
or
he
Jonson,
about
his
here
and
with
in
principles
when
was
poetic
Making
upon
address
in This
Plays
Age.'
This
'Arte
tiempo'
este
'Rimas'
of
facsimile
M.
critical
190.4
and
in
also
editor
probably
believes
the
accepts
the
in
the
and
in
of
4
the
The
pamphlet.
year
of
Academy
1903.
October-December,
separate
year
Archer
appeared
for
the
1609.
introduction
an
Morel-Fatio
Hispanique
in
Mr.
by
York
with
"
French
as
A.
New
en
published
issued
was
comedias
Madrid,
Vega,
in
edition
by
Bulletin
de
reprint
Huntington
notes
originally
was
Lope
hazer
de
neuvo
of
publication
delivery;
Madrid,
and
before
he
the
whom
of
one
from
the
at
Italy
in
flourishing
meetings
be
to
"no
of
house
doubt
imitated
assemblies,
literary
those
those
their
read,
was
poem
and
holding
cultivated
some
gentleman."
metrical
Lope's
is
address
of
imitation
Horace's
plainly
epistle
mote
re-
the
to
into
cast
model
the
Pisos,
'Art
were
not
form
for
on
the
as
the
condensed
Most
on
of
poem
the
of
half
borrow
those
which
tempts
at-
the
themes;
in
poems
of
the
poetry
War'
of
miliar
fa-
and
as
all
the
the
and
ing'
BookbindEven
nineteenth
so
tury
cen-
Comedie-Fran^aise)
the
'Art
Horatian
Cookery.'
histrionic
the
English
topic
'Art
of
and
poetry,
to
'Art
on
(of
his
couplets
the
'Art
first
Samson
these
dramatic
of
ample
ex-
'Art
chief
main
host
on
Painting,'
and
late
of
their
Spanish
example
non-literary
are
codes
Boileau's
the
lacking
tongues
of
chief
French
most
for
critical
as
especially
there
modern
the
Criticism'
on
have
more
result
is
chief
While
imitations
countless
type,
the
'Essay
example.
this
is
Poetique'
and
It
verse.
of
Pope's
of
of
advice
riming
Acting.'
imitations
deal
into
with
of
Horace's
poetry
and
dactic
dithe
drama
their
method
The
but
also
Aristotle;
had
elaborated
theater
the
desired
_who
Tim
Classicist
was
mainly
of
restrictions
him
do
to
total
of
dignity
avoid
all
to
which
strict
should
use
messengers
might
one
story
show
not
the
to
this
the
playwright
set
on
single
6
the
action
ad-
former
the
the
the
austere
dramatist
and
to
Three
the
from
violence;
be
dered
or-
it forbad
the
upon
all, it laid
of
observance
that
but
of
it
comedy,
serious
scenes
largely
prescribed
everything
told
drama.
but
into
It
the
up
and
severely
all
playwrights
humorous
Above
propriety.
It
the
by
freedom
things
tragedy.
him
events
poet's
tragedy
insisted
It
of
made
things.
of
for
for
was
few
many
nothing
latter.
to
do
excluding
and
the
Horace
accepted
rules
it
upon
separation
mitting
of
code
to
of
enactments
purification
negative;
him
interpreting
were
readily
the
when
even
expounders
were
material.
of
Horace
on
legislative
which
their
only
not
theorists
they
these
and
lyrist
of
Italian
that
supposed
Latin
much
relying
were
they
'
the
supersubtle
theater
from
borrow
it
all
narrate
exhibited
stress
with
the
upon
Unities
manding
de-
should
in
have
that
stage;
one
vised
ad-
he
place
only
should
single place,
in
be
completed
and
begun
in
shown
single action,
this
that
and
single day.
familiar
is
playful
it
of
ease
of
series
from
in
blank
that
the
last
except
in
are
the
recall
both
Lope
in
tongue
composition
own
into
with
harmony
ingenious
line
Latin
with
device
a
couplet
half
half
the
in
line
in
they
or
overlooked
some
the
of
in
the
couplets
rest
of
be
be
learned
These
thus
ten
his
traced
brought
are
the
dress,
ad-
fied
unidenti-
yet
Spanish,
his
may
the
torical
rhe-
inserts
of
They
to
the
of
and
may
in
and
of
end
riming
vernacular.
in
serve
verses
poem.
the
graph
para-
common
lines
ten
"
These
origin.
every
rimes
Latin
into
sists
con-
each.
lines
conclusion
the
At
It
drama;
at
the
irregular
terminal
the
emphasis
drops
that
of
exit-speeches
apparently
period.
lines
lines
two
hendecasyllabics,
Elizabethan
the
of
forty
to
These
riming
cases
heighten
speech.
verse,
rime.
contemporary
to
four
is written
having
paragraphs
of
length, varying
It
afterdinner
an
not
Poetica';
'Ars
discourse
familiar
is
Plays'
Making
Horace's
like
epistle
rather
of
Art
'New
Lope's
work
last
by
the
Latin
making
language
two
and
hybrid
lines
terminal
lines
In
couplet,
translation
the
of
the
and
the
deeply
matter
what
on
did
probably
the
write
him
it took
media.
habitual
sense
is
that
this
treatise
Morel-Fatio
life-time,
at
only
reprinted
was
at
in
Hueva
itself
Madrid
ample
1623;
three
in
explanation
Lope
was
the
8
co-
enough,
it is
while
the
sign
composed."
'Arte
times
Nuevo'
during
and
1613
for
fluency;
the
he
and
of
additional
an
finds
Lope's
and
1621
in
the
its lack
superb
to
than
Plays'
and
that
notes
It
longer
lines
hastily
was
reflect
strangely
"
not
say.
halting,
clear,
always
not
did
to
many
sometimes
and
that
nor
Making
ease
ography
bi-
pervades
much
versification,
Lope's
careless
him
as
rime
bantering
humor
about
of
write
to
The
lacks
Art
'New
Latin
evidently
was
take
not
the
seriously,
he
Latin.
declares
in
good
very
of
English
179)
Lope
poem.
three
authoritative
written
of
vein
only
Perry.
his
(p.
"is
whole
take
in
Lope
address
spirit,
follows
Delavan
Rennert
usual
lines
into
Edward
Professor
are
ten
rendered
Professor
Lope's
the
the
by
there
which
been
has
by
that
so
after
Spanish
in
verse
followed
immediately
are
leader
of
poem
ularity.
pop-
of
an
astounding
and
drama;
delivered
this
of
paean
of
he
five
nearly
those
the
he
and
of
as
and
of
the
the
the
public
We
He
the
taste,
who
by
live
supports
all his
blame
on
the
ing
cavilbe
to
seems
the
ity
valid-
and
in
the
his
yers
law-
avoidance,
obeyed
the
if
he
only
He
hest
behad
edges
acknowl-
dramatic
the
has
cation
justifi-
own
and
not
he
what
public.
of
what
rules;
have
the
ardor
does
admits
theorists
faultiness
throws
and
would
was
Victor
to
only
no
ards
stand-
the
his
confession
learned
permitted
himself
to
of
proffers
he
he
attitude
code
of
plea
that
declaring
of
he
other
he
as
he
utters
of
answer
His
Classicist
stage
apologetic;
defence
call
point
sufficient
criticasters.
humble
been
the
on
written
animate
to
he
bugle-blast
no
'Cromwell';
and
when
lie
Yet
anticipate
were
to
guns
accomplished
that
blows
not
Spanish
already
which
which
his
to
had
defenders
does
preface
stand
he
under
fervor
Hugo's
he
the
us
plays.
the
to
fighting;
tells
address
triumph;
than
own
himself
hundred
defiance
and
of
development
works
depravity
of
since
to
please,
his
must
acceptance
9
please
of
to
the
live.
Classi-
cist
with
doctrine
mention
of
Julius
Pollux,
with
and
bortello,
Athenaeus,
Pietro
Fatio
from
entirely
the
commentator
the
critical
playwright
reveals
he
has
had
laid
Lope's
or
of
equal
the
have
We
Lope
of
with
endowed
indisputably
share
analysis
of
to
of
the
the
rules
the
10
curiosity
of
of
critical
of
any
those
as
faculty
also
faculty.
their
real
theories.
that
creative
critical
principles
disclose
not
even
expect
they
other
In
or
should
was,
ever
whatand
critical
any
right
pretation,
inter-
tors
commenta-
the
does
discussion
no
Spanish
of
the
for
acumen,
co-
commentaries
Nuevo'
critical
in
interest
richly
'Arte
the
question
reason
possession
any
of
authoritatively.
so
the
the
ace.
Hor-
on
great
whether
valid
down
words,
in
himself
any
the
without
found
asking
never
and
independence
no
accepting
Robortello,
echoing
theory
rived
de-
being
Donatus,
and
Aristotle
has
parade
writers,
second-hand
of
Morel-
and
scholarship,
Terence,
on
this
In
Maximus,
pedantic
two
on
commentator
difiers
Valerus
of
foundation
Ro-
Plutarch,
Manetti,
this
that
erudition
Donatus,
Vitruvius;
and
declares
solid
no
Cicero,
Xenophon,
Crinito
of
show
brave
own
have
as
an
The
special
the
by
art
who
into
venture
but
interesting
is
it is
trips lightly
Spanish
He
playwrights.
them
the
descends
his
of
for
far
so
principles
of
address
young
that
they
he'
and
of
details;
of
in
lessons
ling
tickHe
in
and,
veteran
playwriting
his
"the
like
the
erected"
"
to
practical
playwright;
characteristics
certain
pleased
the
of
of
himself
and
succeeded
his
public, beginners
1
plays
put
were
As
fashion.
he
these
would
has
sarcastic
Richter's
and
His
carpenter
building
borrow
had
tion
codifica-
the
practise.
speech
peak
critical
any
but
are
instinctive
own
on
down
lays
all, these
Lope
stow
be-
playgoer.
those
are
new
to
methods
practical
phrase.
in
the
it wants,
uncritical
Lope
as
at
is
standing
just
of
proceeds
best
supplying
discourse.
novices
what
the
technic
aspiring
these
it
correspondence-school.
In
he
tells
the
always
and
to
his
history
then
suggestions
craft
the
the
on
minute
to
short,
of
taste
of
advice
to
as
it is
most
public
the
give
counsels
And
and
drama;
is
arena
philosophic
rarely
down
practical
must
critical
the
devotes
Lope
He
the
playwrights
and
painters
technical.
generally
that
and
poets
as
had
tain
cer-
together
plays
do
had
well
consider
to
this
these
characteristics
fashion.
He
of
of
his
made
all his
intended
the
He
for
action
beginner
the
utmost
the
in
for
complications
the
solution
the
get
may
foresee
up
the
adroitness
upon
and
such
and
In
thus
of
the
action
Lope
altho
he
probably
when
is
was
12
all
as
echoing
not
tors
specta-
they
his
stress
ing;
plot-buildhe
makes
perfunctory.
primary
only
last
once
of
seem
the
his
dations
foun-
very
the
remarks
emphasizing
shall
concealing
the
lays
character-delineation
upon
"
until
ingenuity
casual
for
unexpected
and
He
end.
stage
the
laying
out,
go
the
together
put
otherwise
as
often
curiosity.
second
action
and
Calderon
which
contriving
the
possible,
moment
can
of
that
of
to
act,
is that
and
tale
care,
first
more
story-telling,
interest
the
with
is
serial
constant
bids
story
primarily
stand
ideal
footsteps
no
ity
genial-
is
including
It
in
presenting
with
ideal
Lope's
plots).
ommendations
rec-
precepts
his
his
in
his
excite
which
contemporaries,
borrowed
shrewd
friendly
modest
manifest.
followed
(who
is
his
in
plays
own
sharply
of
Behind
tone.
with
and
arrogance
his
utters
low
fol-
to
unpretentiously,
most
hint
and
aware
importance
Aristotle,
of
this.
the
And
the
under
that
lead
of
the
and
achieved
they
and
way
were
tellers
story-
were
all
of
depended
especially
only
"
again
and
his
they
playwrights
suspense
often
Poets
stage.
as
in
theirs,
in
and
Beaumont
Kyd
to
English
Kyd,
of
lead
Fletcher
the
on
the
of
lead
akin
closely
was
Lope,
and
but
them,
the
Like
on
playwrights
Spanish
contemporaries,
under
Beaumont
the
Lope
under
Fletcher.
plot,
of
their
playwrights
later
of
practise
on
surprize
on
of
contradiction
by
character.
The
is two-fold.
tiveness
of
It
of
the
as
methods
Age
aid
of
of
the
the
Gold.
his
the
penned
Spanish
before
this
playwright
the
self-abasement
code
of
altho
his
genuine
13
he
in
his
Classicists?
"
or
is
he
great
humility
Is
it
riously
cu-
proaching
ap-
when
the
the
Lope
was
Is
sincere
the
by
fame
poem.
the
the
of
in
taken
to
able
invalu-
are
partly
of
art
proffers
playwrights
attitude
didactic
the
appreciating
proper
pinnacle
sugges-
in
which
works,
own
Nuevo'
the
here
resides
deprecating
toward
and
Spanish
It
in
lessons
Lope
art
for
'Arte
partly
which
in
an
resides
the
elementary
playmaking,
apprentices
of
interest
abiding
his
ironic?
follows
Morel-Fatio
it
accepting
Huszar,
the
in
like
there
is
little
But
be
the
outraged,
his
all.
He
really
and
lightness
of
ihsist
thousand
that
he
For
and
for
he
of
remind
to
continuously
make
his
side
authorship
tive
plain-
to
all
other,
after
as
care
one
to
asserted.
geniality,
the
and
admits
have
plain.
the
his
on
humility
critics
on
penance
proud
takes
on
do
abased
port
sup-
est
hon-
he
as
favor
in
however
be, he
touch
plays
has
is rather
to
not
and
in
which
tolerant
citation
pedantic
to
may
his
his
position
attitude
he
as
own
fail
of
some
Modest
his
not
is
is
view;
evidence
willingness
have
he
that
latter
Yet
code
Lope
confess
this
opinion.
Classicist
as
and
when
plays
balance
Lope's
is
that
internal
the
Corneille
own
with
agree
former
may
to
to
it.
the
his
in
Guillaume
on
seriously.
some
of
value.
thinks
disparage
Pelayo
book
theater,
taken
should
of
useful
his
to
be
to
face
its
at
Spanish
pretends
Menendez
easy
all his
and
does
not
half
nearly
his
auditors
in
succeeded
his
pleas-
ing the
public,
tho
even
he
had
to
violate
the
rules
in
order
to
win
this
success.
Lope
tone
is
assumes
bantering,
detached
as
Professor
"4
attitude
and
Rennert
his
has
He
suggested.
intense
which
dramatic
from
has
of
none
plays
preface
in
he
going
was
to
careless
piece
of
the
speaker
termed
it
is it
nor
(in
the
Menendez
exactly
what
dictator,
triumphant
who,
while
for
scarcely
the
says,
the
knowledge
weaknesses."
its taste,
or
justly
fact
and
which
called
that
he
adroit
That
Pelayo
Ormsby
for
uary,
Janof
of
the
spect
re-
public,
for
contempt
foreign
his
or
to
manipulation
of
well
its
critics,
to
so
Napoleon
power
scholars
'5
mentable
"la-
profoundest
barbarous;
owed
the
not
Mr.
will
his
it
precatory
self-de-
manifesto
the
hide
to
idle
an
when
Review
the
sovereign
cared
in
dramatic
professing
intelligence
he
Quarterly
"virtually
1894)
is
the
pretty
that
palinode"
it;
is
off
it
mous
fa-
fact, it is
In
assume
But
Lope
of
occasion
to
Hugo's
poem
special
of
defence
tossed
all
French
law.
of
write.
work,
attitude.
called
fire
this
that
by
behooved
the
anticipatory
deny
evoked
of
letter
to
the
confession
prophetic
the
difficult
hour,
strict
the
of
spite
his
thru
burns
occasional
poet's
lapse
in
of
analysis
and
glows
the
display
in the
'Examens,'
Corneille's
here
not
interest
personal
work
own
does
guise
dishis
its
equipt
for
and
Morel-Fatio
nert,
views
take
can
tl.at
has
Lope
While
Lope
lip-service
his
followers
in the
of
dramatization
his
fifteen
1624,
bold
in
the
change
of
1605,
'Arte
of
his
four
There
the
and
for
sensible
is
of
the
revealed
the
at
rule
of
the
16
the
in
in
published
delivery
a
of
iting
lim-
'Unites
Cervantes
of
plentiful
disputing
Canon
is
forbidding
so-called
no
in
address,
any
or
the
appointment
person
of
Quixote,'
had
in
published
Breitinger's
before
years
est
earli-
legend)
Lope's
) But
seq.
'Don
sympathy
portrait
29
one
lina,
Mo-
the
Juan
time
(See
pp.
Nuevo,'
rules.
of
scene,
of
part
Don
validity
duration
d' Aristote'
first
the
denying
render
de
of
author
after
years
sary
neces-
to
Tirso
Toledo,'
de
'Cigarrales
pains
Classicists,
theater,
the
positive
least
at
the
the
as
severally
clear.
of
code
known
(best
the
willing
was
Pelayo
proof
is
position
the
to
those
as
taken
Ren-
"
not
his
make
to
Menendez
this
them,
by
expressed
and
Ormsby
conflicting
as
of
interpretation
as
and
literature
Spanish
the
character
Spanish
of
for
fitted
well
so
the
of
consideration
the
the
lack
Aristotelian
the
Toledo
who
"some
capital
irony
in
manded
de-
intelligent
to
examine
all
before
plays
those
whose
local
show
whole
Classicist
foot-note
calls
attenion
of
work
centuries
of
than
in
strenuous
of
Into
of
needful
believe
genius
of
this
not
is
to
Canon's
his
insistence
of
the
by
Sir
Poesy.'
In
than
more
'Nicholas
Nickelto
is
obviously
who
but
is
quite
"the
upon
Mr.
as
vation
preser-
unities."
of
question
that
each
other;
quite
the
of
and
here.
enter
have
written
knowledge
vext
the
for
chapter)
introduced
are
Cervantes
to
this
(in
expressed
the
the
the
the
in
the
with
identity
those
fiction
we
whose
vaguer
of
'Apology
later,
Dickens,
Murdle
to
the
of
Ormsby
substantial
with
in
Sidney
another
two
the
opinions
Philip
indeed,
to
ii, 387,
familiar
was
translation
to
play
remarks
he
code;
his
to
Canon's
by'
that
us
Spain;
any
translation,
Earlier
all
signature,
and
allow
should
xlviii).
in
acted
seal
approval,
(Ormsby's
chapter
Canon
be
only
not
itself, but
capital
to
magistracy
acted."
be
acted,
were
the
intended
were
without
not
in
produced
that
no
they
It
but
possible.
suspected
it
Lope,
would
really
tions
rela-
personal
be
is
pleasant
appreciated
however
the
pleasant
Cervantes
the
not
greatness
seems
of
his
own
had
had
not
masterpiece;
of
Spanish
attitude
five
his
(pp.
follows
recall
his
when
of
has
English
extent
of
the
itself
been
reading
in
of
Golden
the
swift
Europe,
when
fusion
difwe
development
superb
we
made
public.
fail
cannot
that
to
adequate
no
to
and
importance
supreme
a
18
the
productivity,
his
discover
ever
with
extraordinary
and
thruout
drama,
to
in
established
the
unparalleled
surprised
the
fame
modern
Espa-
invention
had
literature
representative
the
ing.
becom-
the
to
playwright
remember
we
as
Spanish
his
credit
Morel-Fatio
even
consider
Lope
of
his
he
stage.
we
of
that
'Comedia
the
which
play
Spanish
of
Age
himself
than
less
satisfaction
accomplished,
for
to
of
humble
longer
no
later
Lope's
of
When
as
113-4)
out
type
vogue
pieces
in
had
the
time
Martinenche
claiming
on
the
by
is
he
new
but
of
been
head
a
author
humility
pointing
of
the
the
at
he
which
have
assume
thousand
of
garment
what
might
was
plays
than
gnole'
he
when
he
that
plays,
must
position
plain
his
Lope
own
poets
more
the
his
hundred
had
for
succeeded.
conscious
all
fondness
special
it is
and
present
In
French
be
tempt
at-
him
to
there
dramatic
into
there
is little
1787
analized
the
turned
her
it
in
utilized
plot
of
the
the
'Romeo
issued
in
English
W.
Cosens
F.
on
in
distribution)
'Castelvines
'The
of
the
'Gardener's
Dog')
which
has
It
least
to
one
contain
is
volume
the
of
found
'Star
of
19
sixth
Alfred
by
is
lation
trans-
be
(the
Chambers.
into
desired
issued
Seville,'
parently
ap-
dramatic
Lope's
be
to
might
of
the
H.
its way
greatly
private
perversions
and
all
this
translation
there
H.
W.
versions
scattered
story
Hortelano,'
del
by
(for
edited
1903,
'Perro
represent
work
in
of
and
1770;
In
Drama,'
published
and
careful
Juliet'
Montreses'.
of
volume
1869
ted,'
Outwit-
perversion
and
to
'Padre
'Father
in
in
published
1805.
on
founded
Lope's
his
play
moved
These
had
lish;
Eng-
and
Seville'
in
been
Bates
of
'Star
and
into
Kemble
Mrs.
in
Seville'
summary
published
Lope's
English
Holland
of
this
that
Holcroft
Engafiado'
in
Lord
'Star
on
was
act
1837.
varied
striking episodes
fragments
five
had
the
his
also
But
nothing.
more
and
are
German.
or
from
selections
there
and
works;
renderings
these
of
translations
two
are
guage.
lan-
our
that
at
in
English
the
'Gard-
ener's
'Duchess
of
of
of
the
Dog,'
Malfi'
his
free
sician
'Phy-
'Alcalde
the
Calderon's
accessible
already
few
Nuevo'
scattered
rehand-
in
Fitzgerald's
Holland;
(without
in
credit)
of
study
in
Catholic
World
an
careful
Professor
attempt
of
Lope's
own
for
time
to
and
Lope
of
1914.)
Lewes's
H.
sued
is-
Drama,
and
plete
incom-
from
the
Lope
English
into
was
aspiring
in
published
the
There
1878.
Rennert's
(1904).
translation
the
rowed
bor-
were
Professor
in
is
But
the
first
whole
of
playwrights
of
the
country.
BRANDER
(June
G.
September,
Brewster's
advice
in
by
Dumas-Hinard,
on
essay
render
those
mainly
abstract
to
of
Spanish
derived
biography
standard
couplets
inadequate
translation
included
the
An
1846.
version,
French
some
'Arte
the
English
into
and
stimulating
from
passages
turned
were
Lord
his
and
which
the
also
the
and
rendering.
is
Juliet,'
and
Honor,'
of
are
and
plays,
own
Zalamea,'
lings
'Romeo
MATTHEWS.
NEW
ART
THE
AGE
IN
THIS
OF
MAKING
PLAYS
NEW
THE
ART
IN
Addressed
You
1.
of
his
Avernus,
which
the
was
is
today
Italy
made
hard
the
by
mous
faLake
where
an
you
acceptable
in
the
of
conclave
high
seen
write
to
of
Greece,
Athens
time
to
art
of
the
the
taste
of
crowd.
2.
would
very
out
Easy
few
.Jis that
3.
the
of
art
for
I
what
have
Not
condemns
God,
even
went
without
while
through
23
in
the
all
these
this
task
art.
of
ignorant
was
more
of
me
them
written
written
knows
and
it
easy
had
who
them
writing
and
who
you
and
because
subject,
of
anyone
comedies,
thank
grammar,
this
seems
for
be
things;
*
name,
nowned
re-
of
space
assemblies
also
Plato
and
congress
of
own
philosophers,"
play
the
er
flow-
spirits,
short
in
will
but
of
Lyceum
this
envious
Cicero,
with
of
in
only
not
which
noble
me,
who
Madrid.
at
"
academy
surpass
Academy
command
Spain,
PLAYS
AGE
THIS
the
to
MAKING
OF
was
books
the
a
cepts;
pre-
tyro
which
in
the
subject,
course
ten
treated
its
run
I had
before
from
the
fine,!
found
times
the
seen
Ram
sun
the
to
Fishe^;
But
4.
its
in
crowd
in
introduced
them
writes
and
for
guerdon;
Tn
in
but,
painted
where
women
who
I
than
habit
J and
lock
in
dumb
write
than
rea-
and
not
cry
books,
in
have
Plautus
from
is
accordance
crowd
to
with
at
from
coming
see
full
to
wont
with
write
keys,
my
study
that
banish
that
truth,
aloud;
art
comedy
six
call
ness,
busi-
sad
barbarous
same
for
me;
of
congregates
this
that
precepts
out
few
which
art
canonize
to
ten
writ-
monstrosities
the
return
when
the
Terence
the
source
scenes
the
do
sooner
no
other
the
with
accordance
know;
may
more
sometimes
I have
it is that
True
5.
and
do
art
fame
force.
and
some
now
without
of
light
were
who
can
the
they
he
dies
custom
lack
who
those
among
that
artistically
ru
many
so
they!
confirmed
I and
wise
such
their
that
as
who
crudeness
edies
com-
as
thought
them,
own
that
Spain,
rather
but
managed
in
time,
world
written;
be
fellows
the
in
devisers
should
that
at
not
were
first
in
because,
whicn
they
in
even
and
they
devised
who
aspired
crowd;
for,
since
satisfy
its
has
and
men
Furthermore,
is
is
to
also
in that
to
actions,
and
tragedy
of
there
be
whether
their
soever
whatwhich
that
common
was
different
lowly
and
and
royal
in
ac-
harmony,
far
of
of
things,
being
treats
art,
the
imitation
verse,
so
poetic
customs
three
comedy
it
the
of
which
tragedy;
tragedy
LooTc
it
lished
estab-
imitate
poetic
agreeable
music,
say
to
all
composed
discourse,
are
the
to
end
or
to
paint
to
its
poem
been
always
/tions
age.
foolishly
has
of
kind
every
that
of
the
for
pays
talk
comedy
true
like
and
crowd
to
of
applause
taste.
Yet
6.
the
fitting
it is
comedies,
the
to
from
plebeian
great
ones.
few
comedies
our
failings,..7.
imitate
they
the
in
Spain
to
be
of
in
seen
that
of
mechanics
of
custom
meses,
smith;
the
the
crowd.
lowly
/^tt/ojwas
he
given
name
actions
Rueda
de
these
principles,
of
calling
where
the
into
the
whence
was
love
there
the
art
today
of
them
old
persists
the
the
has
comedies
all
are
his
so
doings
daughter
remained
in
of
example
an
and
of
for
doings
comedies
prose
introduces
and
the
and
Lope
them,
to
the
entre-
its
force,
there
being
people
been
never
the
held
in
be
tho
the
strife
which
Megara
while
would
the
it had
its
names
Thespis
following
of
origin
in the
and
the
term
his
9.
of
it
'Odyssey'
was
it
epic,
same
of
the
comedy,
the
of
called
the
celebrated
posed
com-
comedy,
term
poet
edy,
trag-
usalem'
'Jer-
my
people
as
"
of
tragic;
commonly
'Purgatorio,'
this
He
same,
example
all
and
says
Homer
added
the
Mag-
tragedy,"
imitation
manner
they
that
of
to
as
sacrifices.
which
and
comedy;
Donatus
famous
of
al-
Epicarmus,
was
affirms
in
the
"
inventor;
author
who
in
Megara
first
be
to
came
'Poetics',
and
ancient
the
'Inferno,'
'Paradise'
ghieri
in
imitation
an
his
Aristophanes.
'Iliad'
in
ignorant.
Elias
as
comedies,
the
the
have
man.
Horace,
the
king
in
that
say
was
the
the
was
Athens
netes
and
Athens
them
how
style,
beginning
"
between
of
of
in
the
obscurely,
has
king
it is shown
for
depicts
beian
ple-
of
introduced
Aristotle
8.
thus
disrepute,
between
with
ernes
lowness
very
to
entr
an
that
and
And
great
comedy
but
for
seen.
for
art,
action
one
and
Dante
Manetti
the
Ali-
recognizes
prolog.
Now
everybody
knows
26
that
comedy,
if under
as
suspicion,
born,
which,
came
to
being
The
introduced;
but
offensive.
to
the
Terence
of
which
comedy
for
Plautus;
more
he
the
to
as
circumspect
of
tragedy,
vicious
as
in
Terence
respect
as
the
elevated
greatness
this
was
despite,
never
Terence
in
condemned
in
things
was
wary.
i
Tragedy
o/"
and
the
There
comedies
lanae,
and
as
Attic
chided
vice
and
they
gave
and
of
For
verse
this
buskin
the
toga,
of
the
tavern,
various
sorts.
and
Tully
27
their
to
called
stage.
pallium,
atel-
fabulae
the
elegance
evil
was
since
or
the
of
now,
it
reason
with
with
history,
argument,
without
With
writers
action.
humble
comedies
also,
comedies,
this
comedies
mimes,
Athens
for
performed
were
11.
its argument
as
of
flat-footed,
actor
were
has
fiction;
comedy
called
the
since
have
many
whom
more
was
first
New
characters
choruses
the
principles;
style
the
Menander,
held
followed,
of
number
the
to
the
were
was
quickly
more
place
gave
choruses
fixt
the
cruel,
more
tain
cer-
satire
also
hence
and
end,
an
Comedy.
then
that
and
time,
for
silenced
was
prizes
their
both
devisers
comedies
of
men
in
custom
the
which
to
of
"the
"\"
mirror
of
truth,"
ran
"
of
worthy
But
12.
this
wearying
affair.
up
why
these
tell
to
the
to
contrary
on
truth
Robortello
he
in
says
what
of
writes
is scattered
the
and
today
you
comedies
to
and
know
you
about
is in
wish
which
why
to
now
it
s8
draw
is
on
speaks
of
my
have
the
necessary
beseech
learned
very
in
see
and
have
is
of
what
art
will
books;
state
Spain,
written
art,
comedy,
many
me
gainsays.
Aristotle
among
If
14.
Udine
in
to
for
the
read
to
concerning
he
of
genius,
ask
to
crowd
desire
you
of
some
now
me
art,
on
son
rea-
defiance
and
ask
to
ignorant
then,
of
men
you,
not
the
If
13.
are
is
you
how
rule
mixed-
of
is in
they
books
been
is written
reason,
which
has
writing plays
ancient
experience,
my
this
that
see
of
are
you
translating
reminded
you
art
that
there
be
it be
painting
me
for
the
and
founded
with
should
you
whatever
art;
merely
you
things;
where
is
glory
the
comedy
whether
perceive
Believe
describe
to
now
that
saying
and
crown
in that
Look
history.
this
of
living image
high tribute,
very
with
even
and
and
custom
what
especially
much
as
for
as
thing
every-
confusion.
opinion
upper
that
of
hand
the
with
crowd
of
chimera
I
must
obey
them;
for
there
"Let
15.
if
it
that
the
Prudent,
was
offended
the
is
Comedy,
God
in
this
Plutarch,
so
giving
speaking
Old
esteem
far
away
them
the
and
be
to
vulgar.
back
the
to
troduced
in-
Plautus
he
I have
resents
rep-
ficulty
difsince
does
But
and
cause
be-
or
not
Menander,
art
29
either
art
to
that
Comedy.
from
lord,
approbation,
my
of
Philip
'Amphitryon'
knows
in
tho,
our
that
see
we
Jupiter.
in
turning
in his
as
and
ought
lowly
merely
where
gods,
are
the
not
kings;
hostile
authority
tremes.
ex-
do
that
king
was
among
This
with
Spain
seeing
royal
represented
6.
of
King
two
precepts
understand
follow
and
these
deal
matter
the
chosen
be
have
to
the
excuse
to
at
but
between
crowd,
I would
sort
since
the
recourse
no
you
matter,
because
what
subject
happens
of
you
command
to
error
tell
me,
power
mean
may
"
for
highly
of
the
amused,
"
Old
the
is
observing
art
has
whoever
tell you
to
pardon
you
the^vile_
I will
monster,
do
that, gilding
"
desire
be
comic
and
hold,
what
me,
this
maintain
should
its laws
not
since
Spain
we
do
it
thousand
their
close
the
let
wrongs,
learned
this
once
lips.
r
Tragedy
17.^
Terence
Seneca,
of
Pasiphae,
the
other
much
causes
contain
no
which
should
style
the
with
it take
when
except
which
some
on
in
place
the
to
some
is
poet
the
journey;
of
have
30
time
as
thing
that
sun,
lose
we
tragic
possible,
history
the
a
in
he
these
between
have
it
comedy.
mean
pass;
can
one
but
writing
to
space
he
the
that
mingle
of
be
of
advising
we
little
as
beside
member
Aristotle
when
the
are
period
humbleness
if necessary,
wherein,
the
him
years
relegate
can
go
for
respect
in
the
mean
whole
the
use
of
view
is the
this
no
in
place
take
our
is
any
ruin
might
There
context.
that
should
it that
to
which
things
good
us
subject
episodic;
nor
purpose;
omitted
Let
other
variety
it is beautiful.
variety
this
part
one
gives
seeing
only,
be
of
main
tho
that
manner
introduction
the
in mind
action
one
in
story
such
another
this
f^r
Nature
through
Bear
8.
like
render
ridiculous;
and
comedy
it be
will
delight.
for
example,
with
tho
with
minotaur
grave,
mixed
acts,
character
greatly
of-
fends
whoever
is offended
who
Oh
19.
this
at
! how
in
sets
limit;
an
the
for
tho
for
of
time,
one
the
Virues,
into
three
fours,
then
acts,
as
infants.
eleven
four
for
the
little
then
not
to
fitting,if
for
it
adjust
to
us
be
three
before
of
of
then
intermissions
entremeses,
but
dance,
for
3"
was
today
the
all
on
gone
of
for
it
comedy
were
when
myself,
age,
paper,
each
tain
Cap-
comedies
them
years
and
had
feet, for
wrote
in
divided
wit,
acts
broken.
not
in
write
into
three
is
Genesis
chosen,
day
which
act;
there
most
matter
worthy
sheets
each
is
Spaniard
the
twelve
or
of
the
ing
consider-
But,
him,
once
baby's
on
not
it succeeds.
to
of
space
would
from
it
please
divide
seeing
day
hours
two
are
artificial
seated
I deem
subject
and
many
years
they
everything
that
so
an
day
in
him
not
are
that
this
of
to
vThe
prose,
and
which
here
us
20.
three
to
Judgment,
everything
that
affair
him
to
Last
and
seeing
when
presented
be
at
wrath
the
immoderate,
the
in admiration
mathematical
that
let
But
them.
see
lost
time
passed
allow
to
go
very
it.
perceives
four
acts
sheet
tained
con-
the
fashion
were
made
scarce
dancing
one,,
is
so*
\\
important
in
comedy
it,
and
of
Xenophon
of
pretends
to
divided
matter
into
from
the
the
to
what
restless
becomes
spins
story
besides
of
its
itself
being
it increases
vO
the
the
for,
avoidance
X''
artifice.
and
crowd
length;
great
in
and
defect, the
great
for
remain
intervals
at
it
known.
stage
because
these
out
grace
Begin
ilo
that
the
its
what
be
to
the
IB
22.
witty
is
for
turn
face;
should
in
is, will
face
speaking,
someone
to
more
of
untying
scene
to
nection
con-
action
its shoulder
nothing
seldom
the
the
the
end
hours
he
The
to
until
last
the
and
three
Very
without
is
what
appears
2i.-\
the
this
wherein
see
permit
reaching
for
and
parts,
not
proves
disap-
chorus.
beginning
door
awaited
ancient
two
do
knowing
face
has
but
until
plot
crowd,
is
the
down;
runs
the
and
last
Callipides,
at
ape
this
dancing;
is vexed
proves
ap-
Plato,
it, though
indecorous
he
reason
Aristotle
Athenaeus,
of
treat
that
then,
sayings
the
family
on
familiar
representing.
introduced
then
talk
of
But
when
trifles, which
two
there
should
32
or
the
be
all
people
character
gravity
and
is
three
counsels
persuades,
guage,
lan-
simple
thoughts
sententious
spend
not
with
and,
who
or
and
suades,
dis-
wit;
for
a
or
he
the
and
should
be
this
society;
be
for
in
in
be
quotations,
tai irs.
of
it
ple,
peo-
polite
will
Do
not
fend
of-
language
for, if
one
it should
Panchaia,
not
of
|
as
sage
If
the
which
the
possible
speak,
greatly
recitant
is
the
and
cen-
lovers
with
in
such
questions
make
the
changes
and
reply
plaints,
to
themjj
that
in
the
ing
chang-
him
listenef^tLet
to
let him
33
passions
manner
and
if
esty;
mod-
listens
a
as
king;
those
whoever
move
of
imitate
sententious
quite transformed,
himself,
shall
speak,
gravity
observe
soliloquies
manage
should
king
describe
he
of
adorned.
speak,
language
the
diction
exquisite words;
who
that
"
much
mi
ask
the
pure,
23.
the
of
let your
nor
those
the
Metaurus,
''
of
imitate
by
and
be
also
that
case
suades,
per-
this ; for
to
usage
from
latter
sonorous,
because
to
the
for
adds
the
different
being
elegant,
drag
from
taken
or
Aristides,
comedy
he
flexible, and
what
counsel,
anything.
of
language
from
style
warrant
us
gave
since
observed,
gives
against
rhetorician,
clear,
is
he
argues
wishes
truth
different
when
common
the
is
in
speaks
man
is
doubtless
then
himself,
and
observe
the
if
re-
due
spect
to
T,et
women.
for
excused;
male
Let
pleasing.
him
that
should
be
conceits
which
in
and
plays;
be
against
to
killed
for
let the
who
*
y
o"
In
the
second
one
together
weave
hardly
that
promised
the
the
of
be
left
treated.
"
Dccimas
to
to
are
34
the
with
disgusted.
the
In
in
the
such
third
act
Always
outcome.
the
has
Let
case.
it may
he
his exit,he
at
events,
hence
and
the
middle
guess
trick expectancy;
pass
forth
set
act
.,.
audience
the
not
mean
wit, and
that,
tradict
con-
blames
one
that
with
wise
the
foreign
said^I
h;iml.
epigram,
should
charter
has
own
truth
express
Sophocles
his
of
lackey
remembering
in such
first
he
in
as
leave
spouts
wise
in what
chiefest
in certain
wise
with
elegant verse,
\
The
no
with
end
the
likeness
seen
not
Laius
scenes
the
have
"
Oedipus
guard
it is of
we
forget,
say,
his
on
lofty affairs,nor
himself
be
it may
is very
only
of
that
tumes,
cos-
disguise usually
represented.
discourse
not
gard
disre-
they change
wise
if
in such
let it be
ladies
not
from
to
come
what
is
understanding.
the
ing
subjectsbe-
good
for
com-
the
plainings;
in
waiting
are
for
ask
expectation;
in
affairs
and
figures
of
these
truth
To
is
Miguel
the
deceive
the
that
thing
Sanchez,
invention,
among
alone
understands
Better
a
along
virtue
is
hateful
buy
it
to
have
is
meets
him
not
with
them
of
love.
as
tition
repe-
forms
of
trophes,
apos-
to
him,
but
for
invite
in
held
he
him,
35
edies.
com-
arising
large
it thinks
that
is
one
in
'hence
a
which
stir everybody;
is
and
we
for
see,
traitor, he
what
he
crowd
is
wishes
flees
loyal, they
even
it
ing.
say-
^ifitwous deeds,
the
and
for
all his
subjects
go
as
memorial
they deeply
that
the
well,
other
represent
if
with
uncertainty
loved;
everyone
and
do
the
since
him;
to
the
are
part,
sold
this
always
what
everywhere
to
of
crowd,
still
chance
actor
an
grave
beginning
seemed
the
and
the
place
has
bril-
questions,
has
wont
was
ambiguity
honor
the
audience
worthy
Equivoke
from
in,
various
irony,
events
exclamations.
and
24.
the
also
and
affairs
in
who
for
are
and
verses
same
anaphora;
shine
brought
be
anadiplosis,
or
they
for
redondillas
rhetorical
jlJLet
of
Tercets
octavas.
those
recitals
though
romances,
liantly
for
good
is
sonnet
the
if
so
to
when
lend
chief
'
him,
honor
men
him,
each
for
twelve
the
patience
have
well
are
of
parts,
be
is known
that
for
forbidden
is
clear
not
the
to
who
tertain
en-
sheets,
and
time
In
listening.
or
very
reason
law
in
Greece
it
since
open,
this
by
out,
four
but
suited
him
him
seek
him.
act
satirical
were
him,
acclaim
and
Let
25.
love
comedies
and
Italy
,.
1
be
done,
aspire
nor
fame.
to
which
aphorisms
which
art,
things
These
26.
the
with
do
which
present
speaks
just
trees,
cabins,
Of
us
case
if it
that
the
things:
barbarous
gear
of
Christian
and
breeches.
36
has
the
their
would
Spain
is
Roman
drops,
marbles.
tell
it is the
replete
wearing
a
others
and
Pollux
today
presario
im-
Petrus
simulated
in
ther
fur-
properties
stage
concerns
for
Turk
no
whatever
with
as
ancient
allows
epistles,
and
of
comedy
the
Maximus,
his
necessary,
were
of
Julius
costume
from
of
properties,
houses,
regard
since
Valerius
in
Horace
these
27.
as
may
occasion
kinds
three
Vitruvius
describe
not
treating;
the
Crinitus,
you
get
you
for
space
to
applause,
not
expect
der
slan-
if, perchance,
for
hate,
without
wound
the
in
with
neck-
tight
I dare
myself
all,
nojjpdy
myselfjsince
than
barbarous
art
of
But
28.
borne
be
to
down
lay
to
wherefore
four
with
along
week?
sin
have
they
would
they
have
to
contrary
the
pleases
How
How
true
subtle
And
What
what
is
What
Deceit
How
How
six, gravely
what
another
in
had
the
sometimes
they
which
vogue
that
reflects
her
this
life of
of
portraiture
which
reason,
very
wit, polished
speech,
in
and
slaves; how
full of
success,
span,
too
mixed
smiles,
pleasant
jest;
beguiles
treacherous
swains
to
though
all
37
behold;
you
with
oft
slyness is her
old;
and
narrow
more
woman
man,
young
sadness
seems
manner,
that
just, for
consideration
rare
this
taste.
silly, awkward
How
ten
writ-
that, tho
me
finished
know
have
for
purest
grave
call
if I have
have
had;
rent,
cur-
eighty-three comedies,
better
not
Comedy
How
vulgar
been
of
I allow
and
these, except
and
more
defiance
the
I do
which
art.
written,
might
call
France
and
can
and
all of
For
against
have
what
one
in
along
hundred
in
precepts,
Italy
But
ignorant.
can
breast;
run,
well
begun,
is
Let
hear
one
not
of
be
found
the
for
art;
of
everything
(Translated
with
such
in
and
attention,
everything
comedy
sort
that
in
listening
evident.
becomes
by
William
T.
Brewster.)
dispute
will
to
it
NOTES
NOTES
The
i.
is
thus
opening
Lope's
English
into
rendered
of
passage
poem
Lord
by
verse
Holland:"
flow'rs
Bright
shall
long
Ere
And
of
that
match'd
whose
Spain,
nam'd
Tully
by
Athenian
the
academy
young
outvie;
where
porch
Plato
taught,
Whose
bid
You
Such
tell
me
the
as
such
shades
sacred
the
of
art
crowd
of
throngs
"
plays
writing
and
please,
might
sought,
sages
might
you
praise,
The
work
To
who
you
For
seems
I, whom
Yes,
God
Scarce
ten
was
So
wide
had
Which
the
found
The
critics
Nay
more
So
Who
Be
blended
writes
daimn'd
from
fathers
censur'd
;
these
sad
and
taste,
by
rule
without
the
of
with
stage
latter
days,
the
the
drama
so
trod,
of
the
the
please
himself
remorse,
41
and
"
ador'd.
debauch'd
must
stor'd:
pieces
crowd
corrupters
road
narrow
barbarous
but
plays
Spanish
our
wander'd
strict
the
of
due,
through:
"
authors
truant
patience
waded
these
schools,
grammar
the
I
treat
in
simple,
rules:
in
all
me.
restrain?
e'er
since
with
to
explain,
art
antient
long
subject
not
should
the
old,
that
case
The
all
praised,
but
of
rule
nor
years
books
My
be
rules
be
might
much,
the
studied
it
easy
"
not
I
art
nor
but
The
write
should
how
Not
easy
die
stage
age,
alone,
unknown.
Such
force
has
habit
for
"
Trusting
their
Yet,
true
The
wiser
few,
But
when
The
crowd's,
Who
still
To
lock
Lest
up
shew
should
rage
their
drive
teach
dumb
rage
hit,
to
vain
quit;
to
write,
from
these
books
taste
applause,
stage.
'twas
before
Terence
the
public
dress
rule
every
fair's
indulgent
of
praise
draws
nonsense,
all, the
with
barbarous
skill, might
and
than
the
rules,
plays,
with
monster
write,
and
And
how
forward
to
Plautus
judge
more
antient
written
who
every
the
have
too
and,
are
I, doom'd
see
sanction
Resume
fools,
untaught
the
despise
own,
is,
it
the
out
injur'd
wits
shame
cry
sight,
my
join,
to
works
on
like
mine.
To
vulgar
Writing
'Tis
standards
at
just,
And
The
he
quoted
were
of
fixt
Souriau
face
his
his
to
de
Victor
of
over
to
that
in his
'Drame
in
put
4*
mation
proclaart
of
it
pre-
But
the
'Pre
possible
that
the
quotation
by Scudery,
forth
Faguet,
Ancien,
the
keys
(1827).
'Cid.'
Emile
that
six
dramatic
pamphlet
Corneille's
M.
with
edition
Passages'
hear.
to
declares
'Cromwell'
borrowed
des
steer,
love
Hugo
annotated
from
pay,
compass
Terence
have
quarrel
lines
and
theories
his
public
Lope
thinks
second-hand
note
which
play,
my
they
Cromwell'
may
Preuve
in
unactable
in
Hugo
by
the
that
Plautus
up
square
their
by
nonsense
lines
two
locks
methinks,
the
for, since
ease;
write
then
Drame
'La
the
during
It is
amusing
quoting
these
Moderne'
(p. 122)
Fitzgerald,
from
defects
not
represent
often
so
crisis
plea
is
the
unwarrantable
private
be
public
of
behalf
he
in
urged
behalf
the
it; and
be
even
of
since
spoken
well
if I had
worst
Robortello's
the
so
of
of
more
public
this
sort,
ion
opin-
ance,
perform-
it has
together
some
have
it."
practically
points
a
literal
'Paraphrases
43
that
out
this
translation
in
to
contradict
to
the
persons
many
that
having
the
as
that
in
as
ly
needless-
it of
before
can
preface
possible
believe
to
now
is
should
me
of
it
plea
the
works
in
Morel-Fatio
is
of
impertinent
ought
value,
6.
judge
but
wants
accused
on
that
potently
stupidity;
'Precieuses'
my
of
"I
that
ron's
Calde-
from
own
in
;
if
Paris,
absolute
it would
that
it
Moliere,
very
objected
as
what
public
not
it is based
Lope's
piece
be
Lope
ing
strik-
appealed;
Ridicules'
all
applauded
is the
of
by
put
'Precieuses
offend
he
Calderon.
effectively
the
which
give
must
with
different
was
taste
some
assumption
taste
to
upon
that
in
dangerous
public
or
It may
do
self,
better
haste
success
audience."
this
the
for
of
pieces
own
relied
tions
transla-
certain
these
in
private
to
dramatic
accurate
that
vantes.
Cer-
to
his
to
asserts
"Calderon's
who
one
preface
discoverable
concession
by
the
Calderon,
the
but
in
them
credits
inadvertently
libram
graph
para-
from
Horatii
De
that
this
In
8.
also
and
the
of
of
Lope's
French
of
knowledge
he
certain
is
poet
had
of
comedies
the
Plautus
of
Spanish
since
rence
Te-
to
Damas-Hinard
translation
the
plays,
Lope,
which
to
As
against light,
sinning
Robortello
on
attributes
style
attained.
his
in
forms
in-
paragraph
this
blindly,
loftiness
occasionally
noted
relying
of
end
Donatus
following
the
erudition.
Morel-Fatio
as
again
of
Donatus.
on
At
9.
is
Robortello
parade
paragraph,
Lope
us,
his
all
derives
Lope
from
mainly
It is
Comedia.'
here
first-hand
the
both
.Latin
dramatists.
Professor
15.
this
that
out
is
it
"the
and
Robortello
that
this
a
Sir
of
it
Once
Philip
the
to
the
of
the
the
period
of
doctrine
theorists
characters,
the
in
and
from
tragedy
distinction
maintains
Sidney
the
Italian
later
is
of
the
distinguished
This
altho
thruout
end
was
rank
which
comedy."
which
'Defence
his
Poesy.'
the
is
Lord
Holland's
lines
concluding
to
England,
Or
"the
was
only,
Here
of
of
and
and
tragedy
obtained
It
points
180)
un-Aristotelian,
and
down
Classicism."
(p.
between
that
one
Renascence
of
distinction
arbitrary
comedy
was
Rennert
that
behold
'tis said,
he
deem'd
monarch
our
such
metrical
of
this
on
the
prudent
44
passage
stage,
Philip's
characters
version
unfit
rage;
lively sallies
For
debas'd,
Or
crowns
To
bring
of
the
his
In
the
the
that
nature
and
the
of
if this
the
is true,
faults
of
these
are
fault
that
is
Mezieres
in
French
imitation
much
advance
of
a
in
it
the
of
so
so
strict
had
classicist
45
here
as
two
rier."
bar-
derived
Sir
so
in
as
than
amusing
as
bad
himself
hailed
is
on
burlesque
ground
It is
Romanticists,
dramatic
natural
reveals
often
the
to
confounded
by
But
than
more
are
firmer
on
be
Diderot
and
who
Diderot,
that
can
prefixt
from
be
never
Lessing,
Diderot,
the
over
Lessing's
contemporary.
of
he
passage
he
nature."
uniting tragedy
and
French
of
species, separated
from
than
more
glossed
introduction
is
Here
But
so.
nothing
because
disparate
serious,
for
the
of
the
faults,
an
"Tragicomedy
species,
only
true
common
seems
done
it
really proved
quotes
danger
the
and
It
"Is
has
translation
criticism
of
set
ludicrous
he
stage,
no
example
not
has
the
asks
has
ing
lines, end-
nature
he
sad?
has
his
that
394-5
series)
these
farcical
Lope
he
intended;
an
the
sublime,
Bohn's
of
then
crowd.
(p.
commingling
us
and
in
score
and
serious;
merry
that
sets
low-born
Dramaturgy,'
assertion
example
allow'd
were
version
Lope's
the
wit;
before
kings
translates
with
the
of
state
comic
actors
'Hamburg
with
the
if
English
Lessing
us
for
and
to
his
note
forerunner
belated
Philip
echo
Sidney
who
English
stage
right
nor
Clowns,
neither
the
the
Clowns
decency
admiration
so
head
and
is
shoulders,
So
their
by
it,
carrieth
with
neither
as
commiseration,
and
and
matters,
discretion:
sportfulness
right
Kings
magestical
nor
the
on
right tragedies,
matter
by
in
part
saw
mingling
because
in
play
to
"neither
were
not
he
plays
comedies,
thrust
but
the
that
asserted
the
nor
gicomedy
Tra-
mongrel
attained."
1
Morel-Fatio
6.
is
also
derived
English
The
Where
spite of
And
all
this
19.
shown,
Three
the
in
half
once,
right,
gives,
Lope's
forth
set
be
may
by
Victor
'Cromwell.'
to
as
to
46
Robortello.
this
freely
go
has
Morel-Fatio
upon
of
lines
disdain
we're
derives.
leaning
translates
seated
example
more,
is
Lope
Holland
Who
theory
once
says
of
preface
Here
and
this
statement
the
compared
mirth.
our
one
delight,
charms
her
birth,
monstrous
Nature
she
works
variety
With
still
dame
join'd,
sorrow,
our
must
rules,
her
from
Hugo
moves
variety
sweet
Terence
Pasiphae's
grant,
half
one
Thru'
into
turns
combin'd,
muse
sprightly
with
I
seem,
And,
Robortello.
Holland
Lord
comic
the
with
Seneca
May
But
lines
passage
couplets:
tragic
Grave
from
directly
These
17.
this
that
notes
in
passage
this
away,
Lord
triplet:
in
Unless
two
This
the
offensive.
Lord
four
the
English
the
one
In
those
Child
And
fair
boy;
and
Art
nice
lapse
of
fives
is got
fast,
the
in
with
hath
ready
two
to
hours'
this
With
opinions
in
47
liberal
After
up
get
his
all
may
lowance
altwo
verses,
tra-
many
of
child;
which
ancient
'Discourse
how
imagine,
may
be
falls
man,
another
space:
sense
and
taught,
blaming
child, delivered
even
sense
pressed
ex-
it is that
ordinary
in love.
last.
earlier
their
is lost, groweth
in
nounces
de-
years.
so
greybeard
"for
fall
is
into
fears,
censure
for
justified."
Corneille's
Boileau
which
playwrights
it is in
absurd
in
license,
time,
this
all
always
was
this
and
love,
the
Classicists
for
disgust
he
the
had
his
she
of
casting
Sidney
Princes
with
not
turned
hero
first, he's
Philip
of
the
action
no
the
Sir
English
young
who
acts
the
in
if
Holland
includes
day
rude
play
bard,
short
In
and
custom
Spanish
The
lines
survival
ended,
the
of
story
mystery
To
prolongation
most
is
the
with
least
at
day.
whole
the
Hell-Mouth.
into
wicked
for
and
play
judgment
to
when
ages
day,
the
see
omission
or
Genesis
with
they
liking
middle
judgment
in
Genesis
selection
began
the
from
popular
without
this
hours
down
Brought
from
short
ples
exam-
compared
on
the
Unities'
Three
in
his
discussion
of
the
duration
and
of
his
'Melite.'
own
limitation
Lope's
is
exactly equivalent
after
and
him
the
that
the
of
traffic
hours
"two
the
theaters
Spanish
But
the
in
spectators
hours
two
was
Shack,
evidence
adduce
of
stay
customary
formance
per-
Shakspere's
to
stage."
Morel-Fatio,
of
and
/half.
first be
Menendez
in
the
poetic
art,
And
mold
full
and
And
draw
By
stated
To
join
the
enough,
not
the
state
to
altho
of
that
show
on
scenario
method
actually
your
and
parts
the
he
occasion
in
here
prose.
poem
rendered
maintain
to
in
the
his
composed
drew
It may
by
work.
here
since
Oddly
down
lays
since
practise,
own
manuscripts
originally
up
be
Moliere,
seems
in
verse,
preliminary
noted
by Lope
48
whole.
likely,
very
Lope
chain.
control,
regulate
existing
he
to
Vida's
with
prose,
progress
with
recommended
adopted
rowed
bor-
compose
with
this
principle
in accord
was
restraint
poem
thinks
the
be
to
thus
connection
just
familiar
was
into
Latin
Vida's
series
bounds
Morel-Fatio
Lope
least
proper
the
believes
later
translation:
future
the
turned
passage
the
first without
At
"
Pitt's
in
English
in
passage
should
play
be
to
Pelayo
from
on
in prose
written
verse,
that
advice,
Lope's
20.
who
that
the
that
was
(in
his
haste
to
to
call
of
the
Corneille
on
wholly
of
limits
Holland
Lord
of
this
ne'er
Which
An
three
action
The
of
Such
plays
not
Four
sheets
to
that
wit,
the
twelve
his
Cast
dramas
For,
till his
Like
helpless
Such
plays
Four
acts
in
time,
babes
Filled
out
Three
entremeses
four
short
to
while
the
up
of
their
study
theater
Verues.
Dramaturgy'
And
(Dec.
p.
44,
had
half
Lessing
4th,
49
had
stept.
old;
years
just
fold
"
still, between,
preface
Spanish
crept,
sheet's
the
the
passage
twelve
and
and
form
let
coup-
hit;
yet
never
Senne
three-act
rimed
they
de
the
sheet.
every
happy
fours
filled
1913,
complete,
the
Camille
(Paris,
stage.
wit,
by
measured
sheets;
on
But
Seville'
to
famous
eleven
wrote,
each
"
that
longer
till then;
the
did
employs
all
upon
fours
of
act
an
lines
age,
old
acts,
the
pen,
all
childhood
three
Virues'
on
of
Verues,
within
couplets:
helpless
also
been
not
English
but
play,
had
verse
to
translation
Captain
he
structed
con-
certain
years
every
Ticknor
The
in
to
completely
renders
owe
crawled
suited
And
we
had
infancy
for
into
acts
half
than
king.
thus
paragraph
of
Plays
the
had
XIV)
more
had
into
by
set
Louis
which
turn
to
time
he
and
prose
of
versify
to
which
'Psyche'
in
able
wishes
the
meet
scene.
Guillot
of
de
the
note)
1767)
his
of
that
itself
in
anterior
century
in
'Star
assert
established
Saxe
'Hamburg
had
pointed
out
the
the
credit
discrepancy
deron's
of
If
he
simply
the
that
Attic
three
Yet
acts.
of
the
is
indirectly
and
derived
wherein
five
separating
the
forth
lyric
five
as
to
interludes
acts.
separate
the
The
le
sur
of
MSS.
into
acts
Terence's
noted
as
disestablished
modern
logical
soon
pp.
ably
prob-
the
drian
Alexan-
has
form.
been
Most
5"
Weil's
(see
of
325).
p.
show
five-act
tendency
dramatists
three-act
Horace,
lii, liii,).
the
as
the
stood
Fairclough's
(see
which
omitted,
acts
comedy
four,
to
Antique,'
Latin
'Andria,'
that
five
sages
pas-
dialog,
of
precepts
Drame
choral
limited
in
form
Athenian
of
be
in
centuries
the
were
critics, prescribes
'Etudes
eighteenth
passages
following
five-act
number
time
any
shown
story
from
the
in
came
without
traditional
seventeenth
drama,
when
the
end.
an
single prolonged
was
action
an
acted
only
as
critic's
have
were
had
form
Greek
and
duction.
re-
Aristotle
three-act
middle
dies),
come-
this
with
must
Cal-
his
make
to
the
out
trilogy
the
and
to
familiar
play
they
altho
"
first
tragedies
intermission
act,
the
carrying
beginning,
preface
justified
assigning
Verues
to
the
been
have
principle
As
was
had
Lope's
change
(in
he
Lope
might
with
this
claim,
that
between
no
sion
divi-
edition
of
It may
be
form
the
was
leading
to
adopt
the
of
Ibsen's
so-
cial
dramas
three
in
are
just
acts,
Lope's
as
are.
Commenting
of
the
rule,
comedia,
which
carefully
followed
of
the
Four
rare.
the
to
as
here
sheets
other
was
ists
dramat-
from
sixteen
the
down,
deviations
and
of
length
the
tells
note)
lays
all
by
should
comedy
(p. 163,
Lope
time,
tion
prescrip-
strange
pages
Rennert
"this
that
us
of
number
Professor
have,
Lope's
on
it
for
leaves
are
each
"
that
act,
An
is
of
examination
shows
how
Where
due
the
the
he
difference
comedia
in
the
of
predecessor
thousand
like
his
Corneille,
had
doni,
been
doubtless
was
of
rule.
they
are
of
the
leaves
consisting
of
about
the
other
On
.
of
Sanchez,
Miguel
Lope,
contain
fellow
dramatists
Moliere,
a
Jesuit
acquainted
the
pupil
when
the
became
of
plays
four
about
lines."
Lope,
and
size
lines.
comedies
comedia.
this
to
found
the
hand,
autograph
are
always
thousand
to
adhered
variations
"
three
Lope's
strictly
slight
to
leaves
forty-eight
Italian
he
school
with
Calderon
Voltaire
of
the
was
Jesuits;
the
Madrid
dent
stu-
that
critical
of
commentators
it
and
youthful
in
Gol-
and
he
theories
Horace
and
Aristotle.
The
21.
ever
traces
rule
leave
to
to
the
passage
forbidding
stage
in
empty
Donatus
the
dramatist
Morel-Fatio
dealing
with
the
of
omission
of
Comedy
does
the
it; and
it
French
of
Theatre
left
the
who
speaking
achieved
again
the
leaving
who
wonder
A
23.
into
In
line
The
sonnet
Let
plain
Though
Grand
But
the
Calderon'
in
the
introduction
mentions
the
various
"
52
shown;
shines;
should
contain
strain.
'Select
gives
sorts
Romances
here:
be
octaves
Maccoll
Norman
turned
lines;
his
to
tators
spec-
alone;
triplet
lover's
the
is
grief
ballad
copious
thoughts
suit
of
Lope
tale
the
Holland:
speaks
in
by
appear.
Lord
who
and
now
expectancy
wailing
flow
established
have
to
by
man
narration
redondillas
In
English-
the
paragraph
should
suits
weighty
this
enter
letting
next
couplets
staves
much
and
is
of
part
English
ten
bare
stage
and
hammer
On
of
the
moment
never
effect
an
ways
al-
act;
an
characters
poets
the
at
not
wooden
has
dramatic
our
of
nal
sig-
does
act.
rule
the
cist
Classi-
today
of
the
next
all
leaving
Even
the
the
obeyed
conventional
for
of
this
stage
the
termination
raps
begin
itself; and
the
curtain
whereupon
to
are
accepted
unoccupied
three
heard,
by
act.
the
the
on
is
stage
are
the
Frangais,
fall
then
of
end
obeyed
the
New
Corneille
rule, he
because
became
empty
the
this
who
possibly
the
Altho
discuss
dramatists
stage
from
generally
was
theory,
chorus
Greeks.
expressly
not
the
the
of
Plays
a
clear
verse
are
of
planation
ex-
that
"octo-
sometimes
first
the
do
so
fourth
the
in
five
the
in
occur
two
quintillas
The
arrangement
first five
This
in
of
rimes
the
five
second
Three
other
lines.
lines.
ten
c,
of
b, b,
a,
forms
of
follows
as
arranged
are
not
must
of
is
and
observed
combination
disposed
are
strophes
in
strophe
one
use.
successive
is
plest
sim-
common
rime
two
and
is the
rule
same
Decima
Strong
together,
only
the
ranged
ar-
employed.
arranged
than
more
The
rime
The
is that
each.
in
are
and
are
both
are
measures
each.
riming
ballads,
rimed
third.
and
riming
lines
the
lines
lines
Quintillas
of
four
endings
second
of
of
weak
and
in
Redondillas
strophes
and
endings
of
measure
sometimes
are
assonant.
in
The
As
ballads.
trochaics
these
customary
"
Spanish
the
the
trochaics
syllabic
the
a,
a,
d, d, jel
c,
iambic
verse
borrowed
are
(the
his
into
English
In
Yet
While
And
The
finds
sonnet's
Romances
the
the
Italians),
the
Sonnet."
several
of
Terceto
Octava
Maccoll
lines
Lope's
rimes:
decimas
The
the
renders
turn
Italians,
and
rima}
ottava
the
of
rima
terza
(or
in
from
fitted
serve
octaves
deed
well
of
redondillas
incessant
the
voice
to
can
high
are
for
tell
mourner's
the
the
action's
the
lover's
employment
53
in
news
stay;
player's
stirring
import
wail
tale.
convey;
shines,
terzas
lines.
of
these
var-
ious
lyric
of
needed,
the
is
measures
the
of
dialog
prevailing
the
Calderon
and
noted
that
Acts,'
by
Lawrence
Barker,
the
element
in
riming
the
their
the
Three
Granville
the
by
story
irregular
with
sonnet
of
be
intercalated
lyrical
scattering
intervals
thruout
Yet
verse
stanzaic
a
rigidity
French
and
of
passages
swift
give
and
of
moments
the
modern
French
'Melite'
of
the
pieces
the
was
in
the
was
secular
in
"
and
aid
This
54
only
over
in
most
in
the
of
by
the
of
the
well
as
especially
composed
not
dramatic
Corneille's
Spanish.
wright
play-
tradition
taken
English
the
the
also
but
drama
deviser
tained
long-sus-
intenser
action.
languages,
and
of
take
religious
founders
the
their
emotion
lyrical
forms
utilizing
even
of
dieval
me-
Their
the
from
and
himself
fixt
prevent
stately chant-royal;
availed
the
employed.
not
ballade,
mending
recom-
from
various
passion-play
the
triolet,
did
gestion.
sug-
only
inherited
frequently
were
dialog
strange
here
was
wherein
mysteries
rimes
dramatic
readers
Lope
trary
arbi-
and
interlaced
into
practise
its artificial
intricately
modern
to
seem
may
in
and
be
may
in
Fantasy
Lope
It
emphasize
scheme
should
of
of
dialog.
That
of
chiefs.
rococo
at
any
when
Hausman
authors
stanzas
drama
its
'Prunella,
were
lyrical quality
Spanish
were
in
evidence,
first
to
as
in
play
bring
in
neille
his
(in
annotated
of
for
the
obvious
outside
the
address
in 'Love's
in
also
Labor's
'All's
he
4)
scene
with
three
where
And
hero
first
the
quatrain,
quatrain
Juliet
and
them,
the
each
before
tate
hesi-
the
play;
lines,
terminal
Juliet'
fall
lyrical significance
Romeo
the
the
final
couplet
taking
55
in
in
love
of
this
of
employment
the
speaking
second,
while
the
are
shared
turn
iii,
(act
and
and
and
2)
fourteen
and
the
not
Well'
'Romeo
by
kept
it is utilized
inside
meet
form
is thus
did
into
in
suggested
fourteener,
'Staple
fixt
the
when
quatrains
heroine
and
is
of
ends
letter
the
employs
(act iii,scene
that
again
sight,
meeting
the
Well
to
Juliet'
his
audience
Lost'
casts
of
fixt form
riming
couplet.
at
this
employ
to
the
net
son-
Jonson
Shakspere
But
begins.
to
(p. 69).
and
sonnet
and
the
to
heart
Court
the
itself
down
'Romeo
the
art
Elizabethan
Ben
when
first
his
incongruity
play
the
action
for
more
lyrical soliloquy
looser
to
Abbe
Corneille's
the
on
and
The
is least
in
the
Prolog
the
hand
his
stanzas,
Brunetiere
and
coming
tenor,
Chorus;
by
of
end
prolog
News.'
only
the
used
Shakspere
of
of
with
footlights
it for
likens
the
at
solo
spoken
of
plays)
Rodrigue
bravura
edition
Cor-
the
by
by Voltaire;
and
important
into
censured
was
'Cid'
the
as
lyrical monologs
he
Aubignac
late
as
even
his
cast
which
for
d'
and
sonnet;
first
third
line
tween
beor
M.
two.
of
act
Rostand
his
poetical
which
'Chantecler,'
the
action
take
The
is
de
Bergerac'
pieces
the
frankly
please
audience";
not
usually
tos'
the
more
and
he
that
she
and
Lord
English
Who
hurried
Dare
give
When
But
my
am
their
sonnets
that
y
diate
imme-
"by
She
elects
the
in
saying
soliloquy
vulgar
precepts
and
I
to
in
despite
Italy
do?
taste
former,
these
or
56
now
rule.
me
pronounce
who
more
along,
of
of
or
redondillas."
turned
barbarous
in
Disgus-
her
to
speech
"
were
notes
in
more
the
by
France
what
the
lines
couplets:
myself
than
"from
as
has
of
sparingly
indulge
Holland
sonnets
part
'Gustos
soliloquize
to
hero
playwright
He
her
the
that
three
doubt
it is,
by
employed
is in
these
"
that
pieces,
'Cyrano
both
Spanish
play."
'Gringoire'
fixt form
or
sonnet.
proceeds
into
None
be
teenth
nine-
what
as
remarks
either
a
28.
in
posed
sup-
two
in
but
the
begins
must
pronounce
is
the
suggests
two
who
duty,
and
cultivated
could
duenna
the
presented
oif Calderon's
one
sets
in
plays,
by
into
put
found
in the
than
more
be
Maccoll
[they]
nature
for
lyrical play
Rostand;
introduced
"to
every
them
successive
Banville,
of
play.
were
his
to
composed
poem
of
de
it is
the
French
century
Theodore
to
place.
ballade
of
of
sonnet
utilizing
of
description
to
prefixes
fool.
plays,
wrong,
With
hundred
Four
all,
And
It
within
complete
one
eighty-three
be
to
the
he
here
theories
of
has
been
Attention
taken
of
attitude
by
Webster
Devil,'
after
the
"If
Spanish
it be
poles
in
quam
dixl;
this
nugas
kind
shall
easily
dicere
plura
such
to
faulted;
the
and
gravity
of
that
in
the
passionate
after
all
orum
ilia, the
incapable
ere
to
it be
every
Haec
this
divine
scene
Porcis
non
ego
should
the
comes
this
of
Horace,
comedenda
serving
ob-
style
the
life
tentious
sen-
Death
'n
Nuntius,
O
author
tentious
con-
of
it with
the
man
most
height
as
to
in
written,
was
let
hodie
it;
Ipse
it were,
able
matic
Dra-
true
for
that
is
years
ignorantly,
rapture,
breath
'White
delivered:
no
weighty
and
multitude
acted,
as
that
not
enrich
and,
and
three
meas
laws,
person,
larity
simi-
confess
ever
critical
chorus,
is
Auditory
an
Tragedy
all
and
the
his
to
been
this
that
willingly,
have
present
had
poem
Poem,
accord
here
only
1612,
objected
"
in
to
preface
the
in
also
Lope
between
published
Lope's
Classicists.
called
in
their
of
be
to
mentators
com-
it in
to
dozen
claims
the
wit.
Lope's
put
half
the
writ,
of
that
sadly
identify
to
which
with
been
have
rules
recorded
have
endeavor
the
days,
seven
all
in
six, against
save
needs
plays
these
dura
yet
mess*
from
poison
resolve
the
it; and
to
fix
relinques."
B.
M.
or
THIS
BOOK
THIRTY-THREE
FROM
COMPANY
HUNDRED
THREE
COPIES
TYPE
IN
WERE
CORU1S,
.BY
NOVEMBER
AND
PRINTED
MACY
AND
MCMXIV