The

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

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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

it, if possible, that

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

vpf hippogriffs, demi-gods

|
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.

their character, and

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

tKat until the

may

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

something quite far

may

he

his exit,he

at

events,

hence

and

Tactfully suitxyour verse

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

impossible things, for

importance

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

seriousness, along with

of

me

finished

know

have
for

purest
grave

call

if I have

have

had;

rent,
cur-

eighty-three comedies,

better

not

Comedy

How

vulgar

Yet, in fine, I defend

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