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She practiced this theory, however, only in part, for her work partakes of both the romantic and the realistic.
That she does things unbecoming of her true rank only shows how well she carries out her assumed rôle; that she was not offensive or contrary to Spanish tastes of the times is proved by the fact that, although she was a Guzmán and consequently a relative of the ruling favorite, Olivares, the play did not fall under royal censure.
These are probably the only editions of the play with which Ticknor was familiar when he made his classification of it, for certainly he could not reconcile it with his definition of "comedies on common life," but he could easily accord it with his definition of "comedias de capa y espada."
The vast number of the works of Lope de Vega renders the task of selecting one of them as an appropriate text for publication very difficult, and it is only after having examined a large number of the works of the great poet that the editor has chosen La Moza de Cántaro, not only because it is one of the author's most interesting comedies, but also because it stands forth prominently in the field in which he is preëminent the interpretation of Spanish life and character.
Although modern realism triumphed in Spain only with the coming of Fernán Caballero's La gaviota in 1848, the ground was prepared in advance by several writers, the more important of whom are Larra, Estébanez de Calderón and Mesonero Romanos.
In El Burro Flautista the assonance is that of the last syllable only, e.g. mal casualidad. In El Pato y la Serpiente, p. 40, the assonance is a o, e.g. pato dado canso, etc. Un oso, con que la vida Ganaba un piamontés, La no muy bien aprendida Danza, ensayaba en dos pies. Queriendo hacer de persona, 185 Dijo a una mona: "¿Qué tal?" Era perita la mona, Y respondiole: "Muy mal."
However, the Spanish critics usually narrow the class to include only the dramas of Lope which deal with the lower strata of social life and make the error of classing the Moza de Cántaro among them.
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