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Encouraged by the king's love of art and letters, the great painters like Velázquez and Ribera vied with each other in creating masterpieces for princely patrons, and great authors like Lope, Quevedo, and Calderón sharpened their wits to please a literary public.
Accompanied by his young wife, he doubtless went on directly to Lisbon, where he left her and enlisted in the Invincible Armada, which sailed from that port, May 29, 1588.
The immortal Cervantes wrote many plays in this period and claimed to favor the classic drama, but his dramatic works are not of sufficient importance to win for him a place in either party.
To his plays Lope de Vega has given the general name of comedias, which should not be confused with the word "comedies," for the two are not synonymous. They are divided into three acts or jornadas of somewhat variable length and admit of numerous classifications.
Yo lo descompondría de este modo: Gold, oro... to find, hallar.... Es, como si dijéramos, buscador de oro.... He aquí que mientras mi hermano lo busca en las entrañas de la tierra, yo lo busco en el interior maravilloso de ese universo en abreviatura que se llama el ojo humano.
It has not been considered necessary to supply notes, as the matter is simple and the vocabulary furnishes all necessary information. All verb forms occurring in the text, whether regular or irregular, are given in the vocabulary.
Since an early date, however, the term has been applied to Spaniards returning to the native land after having made a fortune in the Americas.
The introduction of the secondary plot, affording the excuse for the prominent place given to the gracioso, is a device which Lope, like his great English contemporary, often uses as in this case with good effect.
It is found in the early Spanish dramas, and the debt to Italy is unmistakable; for example, in La Celestina the name of one of the leading servant characters Parmeno is the same as appears in the three plays of Terence: Eunuchus, Adelphi, and Hecyra. And in the hands of Rojas and Naharro the type is not markedly different from the Latin and Italian originals.
D. Eugenio Fernández for aid in the interpretation of several passages and in the correction of accentuation, to Professor J. D. M. Ford for valuable suggestions, and to Sr. D. Manuel Saavedra Martínez, Professor in the Escuela Normal de Salamanca, for information not easily accessible.
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