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However, at an early date there were many strolling players who are classed in the Viaje entretenido in no less than eight professional grades: The bululú, a solitary stroller who went from village to village reading simple pieces in public places and living from the scanty collections taken among the audience.
He was a prolific writer of popular stories. Both Fortuna and Tony, another dog story by the same author, are evidence that Pérez Escrich knew dogs and loved them. One can not read these stories without feeling greater admiration and respect for the dog, the best friend that man has among the animals.
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.
But among the younger writers there are some who show little French influence, or none at all. These may be divided into two classes: those who write only in pure classical Castilian, and who, if they use Americanisms at all, use them consciously and with due apologies; and those who write freely and naturally in the current language of the educated classes of their own particular Spanish-American country. To represent the first of these two types, Un alma, by Ricardo FERNÁNDEZ GUARDIA,[N] has been selected for this volume of Spanish Short Stories. Juan Neira, by Joaquín DÍAZ GARC
In enumerating the plays of Lope which were still well known and represented in Spain in the nineteenth century, Gil de Zárate names La Moza de Cántaro among the first, and doubtless on this authority Ticknor speaks of it as one of the plays of Lope which "have continued to be favorites down to our own times."
Her stories usually have a romantic framework of passion and intrigue that is always unreal and often dull; but within this framework, almost in the nature of digressions, there are pictures of home life among the lowly Andalusian peasants that are charming in their simple, refined realism.
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