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The second gallant had resolutely opposed the irregular and hasty match, but on hearing that the supposed Isabel bore as true name the illustrious one of Doña María Guzmán y Portocarrero and was, although a water-maid, a relative of the Duke of Medina, his resistance had vanished.
Well may we say that he had no declining years, for he never knew rest or realized a decline of his mental faculties.
=Como no tenía otra cosa que hacer=, as I had nothing else to do. =Me acerqué cuanto pude=, I approached as near as I could. =No tardó en romperlo la primera=, it was not long before the first one broke it. =Algún día os habías de encontrar=, some day you were to meet. =Que debías decírselo todo=, that you ought to have told her everything. =Debes decírselo=, lit., you ought to tell it to her.
Before the death of his wife he had given evidence of religious fervor by numerous short poems and in his sacred work, los Pastores de Belén, a long pastoral in prose and in verse relating the early history of the Holy Family. Whether Lope was influenced to take orders by motives of pure devotion or by reasons of interest has been a question of speculation for scholars ever since his time.
These somewhat somber themes in time failed to satisfy the popular will and gradually subjects of a more secular nature were introduced. This innovation in England and France was the signal for the disappearance of the sacred plays; but not so in Spain, where they were continued several centuries, under the title of autos, after they had disappeared in other parts of Europe.
Since Lope de Vega had no classic rules to observe and was limited in his composition only by popular tastes, he could without offense take his characters from whatever class of society he wished so long as his choice was pleasing to the audience, which, it happens, was not easily offended.
The comparison of the three is interesting, for all three had suffered the same insult; but before we judge Don Bernardo too hastily, we should consider that both the other two are making their appeals to valiant men, while he is appealing to a woman, and not appealing for vengeance as they, but rather lamenting his hard lot.
In the light of the recent information cited above, we know also that Lope's career immediately after 1587 was quite different from what his contemporary Montalvan had led the world long to believe.
Fortuna also gives an interesting account of the adventures of a boy who is kidnapped and is finally rescued with the aid of the dog whom he had befriended and who thus undertook to pay his debt of gratitude. For a brief account of the life and works of Pérez Escrich, see Julio Cejador y Frauca, Historia de la Lengua y Literatura Castellana, Vol.
The dramatic representations before this time were doubtless limited in a large measure to select audiences in castles and courts of noble residences; but Lope de Rueda had as his theater the public squares and market-places, and as his audience the great masses of the Spanish people, who now for the first time had a chance to dictate the trend which the national drama should take.
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