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We may say further that Lope, with no motive to deceive or shield himself, for he seems to have almost sought to give publicity to his licentiousness, was faithful in the discharge of his religious offices, evincing therein a fervor and devotion quite exemplary.
Broadly speaking, we may divide the comedias into four groups: Comedias de capa y espada, which Lope created and which include by far the greater number of his important works. In these plays the principal personages are nobles and the theme is usually questions of love and honor.
And Spain has to-day a group of vigorous young writers, who give promise of carrying the work forward to an even greater future. Spanish America has done little work of merit in prose fiction, but it has produced much lyric poetry. If we may believe the statements of Juan Valera in his Cartas americanas, the Spanish Americans have written more good verse than have the English Americans.
He wrote also many ballads, not a few of which have been preserved, and we know that, at the time of his banishment, he was perhaps the most popular poet of the day.
From his works we can easily believe that both of these motives entered into it; in fact he says as much in his correspondence with the Duque de Sessa. Speaking of this phase of the poet's life, Fitzmaurice-Kelly says: "It was an ill-advised move. Ticknor, indeed, speaks of a 'Lope, no longer at an age to be deluded by his passions'; but no such Lope is known to history.
Don Bernardo, of whom we see but little, recalls don Diègue of Corneille, to whom he is directly related, for Guillén de Castro is a worthy disciple of Lope de Vega and wrote many plays, including las Mocedades del Cid, in his manner, and Corneille's indebtedness to the former is too well known to need explanation.
Well may we say that he had no declining years, for he never knew rest or realized a decline of his mental faculties.
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