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Fernán Caballero was probably influenced by the Escenas andaluzas, the Escenas matritenses and Larra's essays on manners; and it is quite possible that from her German friends came to her some of the modern spirit of scientific investigation that led her to declare the novel to be "not the product of invention, but of observation."
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.
His works are pervaded by a genial, kindly humor; but his language is not seldom dull and insipid. His prose writings have a light and graceful humor that is peculiarly Andalusian. Of these the first is now usually classed as a writer of psychological novels and plays, and the others as naturalistic novelists.
It is true that several historical events which took place about that year are alluded to in the work in a way to indicate that they were fresh in the mind of the author, but they do not offer conclusive proof. It does not appear in the twenty-five Partes or collections of Lope's dramas, and it is doubtful if it was published in any regular edition during the poet's life.
But in 1610 they moved to Madrid, where Lope bought the little house in what is now the Calle de Cervantes, and in this house the great poet passed the last quarter of a century of his long and eventful life.
In his rôle of manager and playwright Lope de Rueda showed no remarkable genius, but he began a movement which was to reach its culmination and perfection under the leadership of no less a personage than the great Lope himself. Between the two Lopes there lived and wrote a number of dramatic authors of diverse merit.
Works: La gaviota , called in the English version The Lost Beauty, Lágrimas , La familia de Alvareda , Una en otra , Clemencia , Cuadros de costumbres , et al. Returned to live in Polanco. Carlist deputy to the Cortes in 1871, but found political life distasteful. Elected to the Spanish Academy in 1897. Died March 1, 1906.
Were the leading character what her name implies a humble servant and were the other characters of her rank, the play might well be classed as a comedia de costumbres; but that it belongs to the larger class is established by the fact that the intrigue is complicated, the question of love and rank is prominent, and the characters are of the nobility.
The stories by Bécquer and Pérez Galdós contain incidents that are supernatural, and those by Fernán Caballero and Alarcón have romantic settings that are highly improbable; but all the stories are, in the main, true to the every-day life of contemporary Spain.
But about 1560 there flourished in Spain probably the most important figure in the early history of the national drama. This was the Sevillian gold-beater, later actor and dramatic author, Lope de Rueda.
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