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Actualizado: 14 de julio de 2025
Gutiérrez has not kept the classic unities of time and place, but he has kept the one important unity, that of action; since, although our interest may at times be divided between the protagonists of the drama and a less important character, we never lose interest in the former. The characters, although well drawn, are not strong.
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.
Lope de Rueda's work was continued by the Valencian bookseller, Juan de Timoneda, and by his fellow actors, Alonso de la Vega and Alonso de Cisneros. In this interim there took place a struggle between the popular and classic schools. The former was defended by such authors as Juan de la Cueva and Cristóbal de Virués, while the latter was espoused by Gerónimo Bermúdez and others.
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