The New Art of Writing Plays 1000022955

The
New
Art
of Writing Plays
PUBLIC
AT
IONS
of
the
Dramatic
Museum
OF
COLUMBIA
UNIVERSITY
IN
THE
CITY
OF
NEW
YORK
First
Seriei
Papers
I
on
Playmaking
NEW de ART
THE
OF
WRITING
PLAYS.
By
T. and
Lope
Brewster. Notes
Vega.
With
Translated
by
Introduction
William
an
by
Brander
Matthews.
II
THE Bronson
AUTOBIOGRAPHY Howard. With Thomas.
OF
PLAY. tion Introduc-
By
an
by
Augustus
III
THE
LAW
OF
THE
DRAMA.
By
Ferdinand
Brunetiere.
Translated With Introduction

an
by
Philip by
Henry
M.
Hayden.
Arthur
Jones.
IV
ROBERT
Louis
STEVENSON
AS
DRAMATIST. duction Intro-
By
Arthur and
Wing
Pinero.
With
an
Bibliographical
Appendix
by
Clayton
Hamilton.
PAPERS
ON
PLAY-MAKING
I
The
New Art
of
Writing
Plays
BY
LOPE
DE
VEGA
TRANSLATED
BY
WILLIAM
T.
BREWSTER
WITH
AN
INTRODUCTION
BY
BRANDER
MATTHEWS
Printed
for
the
Dramatic
Museum
in
of
the
Columbia
New York
University
City of
MCMXIV
COPYRIGHT
1914
BY
DRAMATIC
MUSEUM
OF
COLUMBIA
UNIVERSITY
CONTENTS
Introduction
by
Brander
Matthews
i
The
New
Art
of
Writing
Plays
by
Lope
de
Vega.
.
23
Notes
by
B.
INTRODUCTION
BY
in
significant
coincidence of the
the drama
lous marvel-
outflowering
in
is
multaneo si-
Spanish
literature
and
English.
resources
Spain
in
almost
exhausted
out
her invincible
nerve
mense im-
fitting
the
Armada;
to
and
England
the defeat
the
strained of the of
as a
every
compass
dread
fleet.
Lope
de
Vega,
foremost sailed the that
the
Iberian
on
playwrights,
the it is fatal
voyage
actually
to
soldier
English Shakspere
the
year
channel;
also
and
dimly
on
possible
blue
water;
saw
service
of his
the
ning run-
sea
fight
which
we
is
one
of
no
those
in
biography
and
about
have has
information,
been
his
an
use
of
sea-terms
declared
accurate.
by
In
expert
to
be
scientifically
development
this
in
simultaneous
of
at
the
moment
drama
England
the
to
and
in
Spain
two
the
when
aroused of
energy
of
utmost,
the
we
peoples
a
was
the
have that
confirmation
Brunetiere's
our
theory
in
the
foundation is the
assertion
of
pleasure
the human
the will.
playhouse
of
Shakspere
drama of for had and
came
forward
after
the
a
lish Engvariety
broken
already
he found and he
developed
the
road
forms;
him
by
At however
Marlowe first far the

was
Kyd,
by
in
Lyly
their he
was
and
Greene.
followed
steps, footto
beyond Lope pioneer;

in of have his
them de he
advance other blazed
in
end.
a
Vega,
it all
was
on
the who
ceeding suc-
hand,
the
new
trails
which
the
playwrights Shakspere
seems
Spain
cared
gladly
little
trod. for
to
vention, inand
borrowing everywhere,
for the and
plots
anywhere
his
reserving
of the
imagination
first hand told
interpretation Lope,
rather
on
tales other
by
others. abounded
again,
in the
in
invention he
was
than
terpreti in-
imagination;
fecund and
even
wonderfully
in
prolific, unsurpassed by
Defoe the
were or
tivity producIt
was
Dumas. that Calderon It of

was
he all
who the
made
rest
pattern
to
ana
employ.
formula
he
who
worked
out
the
not
the
at
Spanish
all
term,
comedia,
often
comedy
of the
in
our
English
rather blooded
a
understanding play
heroes of
but hoton
intrigue,
who
wore
peopled
their
with hearts
their the
sleeves hilts of
and their
who
carried
their
hands
on
swords. de
Where
Lope
alike for
Vega they
and both
Shakspere
wrote
are
again plays
is that the these and
all
their
popular
theater,
with
apparently
a
composing performance praise

which
pieces solely caring

be
view for
to
nothing
from
any
might
derived in his
243,
tion. publicaof the
Martinenche,
'Comedia
on
study note)
Espagnole'
carelessness be
won
(p.
dwells
nown re-
Lope's
to
for the
the
literary
of his
poems
by
in his
as
printing
matic drahe have

ratives nar-
poems; took
non-dramatic
pride, just carefully

altho
Shakspere proofs
did
not
seems
to
read
the he
one
of
his
lyrical
choose And
himself
to
publish
liere, it
he of he
was
single
may
of
his
plays.
us
Mothat
be
noted,
tells
frankly
the
completely
earlier been his hand
satisfied
on
with
success
his had
pieces
content
the leave
stage,
them
and
that
to
unprinted lisher. pirate-pub-
until
was
forced
by
Shakspere
the
to art
is
abundant and
in reticent
his in In
allusions his
to
of
art
acting
of
illusions is
the
playmaking. expression
3
fact, there
of his
no
single
recorded
opinion
in
regard
to
the
and
principles
here he who
or
the
practice
of
trast con-
dramaturgy;
with doctrine
in well
is in had
marked
a
Ben about
Jonson,
the
body
set
of
drama,
and
which in his with
he
forth
as
his
as
'Discoveries'
in
prologs,
Drummond
his
conversations
In
of
Hawthornden.
general
Lope's
is the he of
attitude
same as
toward
dramaturgic
but
on
theory
one
Shakspere's;
to
occasion
was
duced inart
discuss
and
to
the
principles
his
the
he
adorned,
express
opinions
was
upon
its methods. he
upon
was
This
to
single
deliver of
occasion
a
when address in This
persuaded
the 'New Art
poetic Plays
Making
Age.'
This
este
'Arte
was
neuvo
de
hazer
comedias
in
en
tiempo'
of
originally
de
was
published
Madrid,
the
A
'Rimas'
Lope
reprint
Vega,
issued New
an
1609.
Mr.
Archer 1903.
facsimile
M.
by
Huntington
edition
in
York
in
A and in the
critical
notes
with Morel-Fatio
introduction
by
A.
appeared
Bulletin
Hispanique
and also in
a
for
October-December,
190.4
French
as
"
separate the of of
4
pamphlet.
of
The
editor
accepts the
year
year
publication
and
probably
the
delivery; Madrid,
he
believes
Academy
before
whom
one
the of
poem
was
read,
to
be
"no
doubt imitated
those
literary flourishing
at
assemblies,
in
from their
those
Italy
of
some
and
holding
cultivated
meetings
the
house
gentleman." Lope's
metrical of of It this is the
on
address Horace's countless is the

as
is
plainly epistle
critical
to
mote re-
imitation
the
.
Pisos,
cast
the
model
verse.
codes
ample ex-
into of
chief
Spanish
type, chief
Boileau's
'Art
and
Poetique' Pope's example.

imitations and
more
French the of
example
chief
'Essay
Criticism'
most
English
Horatian
While have for
these
their
main
topic
poetry, borrow
poetry
tempts at-
especially
were
dramatic
to
not
lacking
the and
in
miliar faas
form
a
for
are
non-literary
a
themes;
poems
result
there tongues
host the
of 'Art
all and
the the
modern 'Art of and late

as
on
of 'Art
War' of
Painting,'
on
on
the of of the
ing' BookbindEven
tury censo
the first
'Art half
Cookery.'
the
the
nineteenth
Samson condensed his

on
(of
Comedie-Franâise)
advice into
histrionic 'Art of
riming
couplets
Most
the those which
Acting.'
of Horace's and dactic dithe
of
poem
imitations deal
5
with
poetry
drama
borrow method
from but also
the
Latin of
lyrist
their
not
only
their The theater
much
material.
supersubtle
were
Italian
on
theorists Horace
were
even
of
the when
relying
that these
they
supposed
and
they
interpreting
of Horace for the
all
Aristotle;
had
expounders
enactments
elaborated which desired Classicist
legislative
were
theater
readily purification
of it the
a
accepted
of for made the
by
drama.
_who
Tim
was
the
code
rules
was
playwrights
up
mainly
restrictions him
negative;
upon
to
largely
;
of
poet's things
It
freedom but
it
dered or-
do
few
it forbad the adj
him
to
do
many
things.
of
prescribed comedy,
the
I
'
total
separation nothing
tragedy
and into serious

upon
mitting
and
humorous
former from the
excluding
It of
everything severely
It of
latter.
insisted
the the
austere
dignity
to
tragedy.
all
to
scenes
told
dramatist and
narrate
avoid
him
violence;
to
it
vised adall
use
messengers
not
events
which
might
Above
be
exhibited
stress
with the
manding de-
propriety.
strict
all, it laid
of the Three
upon
observance that the

to
Unities should stage;

in
one
playwright
set
on
have that he
but should
one
story show
the action
this
single
6
place
only
and
that
this
single action,
be
shown
in
single place,
in
,
should
begun
and
completed
single day.
'New Art like of
Lope's
familiar rather is
ease
Making
Plays'
'Ars
is
not
epistle
it
a
Horace's discourse
Poetica';
familiar
an
having speech.
of It
the
sists con-
playful
of
of series
afterdinner of
paragraphs
four
verse,
two to
irregular
lines each.
length, varying
It is written that
are
from blank last
forty
in the in
hendecasyllabics,
of
every
except
lines
graph para-
rime.
These
terminal
common
couplets
in and
serve
recall
the
riming
exit-speeches
contemporary both
cases
Elizabethan
drama;
the rimes end of of
in
to
apparently
the
heighten
emphasis
At the into
"
at
the
the his
torical rhedress, adten
period. Lope
lines in that
conclusion Latin
ten
drops
tongue These
or
and of
inserts
lines
verses
fied unidentibe his
origin.
own
Latin
may
composition
some
they
poem.
may
yet
are
be
traced
to
overlooked with
device
a
They
of the the thus
brought by
the
into
harmony
the of
in
rest
work
last
ingenious
line with
riming Spanish,
learned These
7
Latin
a
line
in
making
and
couplet
half
in
half the
the
language
two
vernacular.
hybrid
lines
are
immediately couplet, Spanish

translation
so
followed that the there

ten
are
by
the
usual three Latin. Latin rime
terminal lines In
verse
only
of the
in
after
lines
the
which rendered
follows into
has Professor Professor
been
English Perry.
by
Edward Rennert of
Delavan
in
his
authoritative declares in humor

a
ography bithat
Lope
"is vein
(p.
179)
Lope's spirit,
the
take
address and
a
written
bantering pervades
did
not
of
good
whole the
on
poem.
matter
Lope
very
evidently
nor
seriously,
was
reflect
say.
deeply probably
write it took media. lacks careless
sense
what did 'New

to not
he
about him much
to
It
to
take Art of
as
longer Plays'
the him
Making
many
than
a co-
write
lines
of
The
versification,
habitual sometimes
ease
strangely
and
enough,
it is the
Lope's
and is this
not
fluency;
while
halting,
"
always
treatise
clear,
was
an
additional
sign
that
hastily
that the times
composed."
'Arte Nuevo'
Morel-Fatio
was
notes
reprinted
at
only
Madrid
three in and
during
and in
1621
Lope's
and
poem
life-time,
at
1613
he for
Hueva
in
1623;
finds
the of
itself
ample
explanation
was
its lack leader
ularity. pop-
Lope
the
8
superb
of
an
astounding
drama;
delivered and
development
he himself address he tells had
of
us
the that
Spanish
when he
this five of
already
Yet
no
written
utters
no
nearly
paean
hundred
plays.
he blows
lie
triumph;
to
bugle-blast
other himself the ards standwas
of
defiance than
the
defenders which
of he
those he fervor does
under
not
fighting;
and the
anticipate
were
ardor Victor
which
to
to
animate he
to
Hugo's
stand
to
preface
his
guns
on
'Cromwell';
and
does he
not
point
stage
as
what
own
has
accomplished
and
as
the
his
cation justifithe ing cavilto
sufficient His
answer
to
of humble of
own
criticasters.
and
attitude he of admits
seems
be
apologetic;
Classicist he code
the and the
ity validin his
the defence call

a
rules;
what and
proffers
of
only
yers law-
plea
that
confession would have
avoidance,
the he hest behad
declaring
of been
he
obeyed
if
the
learned
theorists the of
only
He
permitted
the
by
public.
all his
on
edges acknowlworks
faultiness the since
dramatic
and
throws taste,
who
blame
the
depravity
of
public
We
live
to
please,
must
please
to
live.
He
supports
his
acceptance
9
of
the
Classi-
cist
and
doctrine with
with mention
brave
show
of
erudition
Ro-
of
Cicero,
Donatus,
bortello, Athenaeus,
Pietro Fatio
no
Julius
Pollux,
Manetti,
Valerus
Plutarch, Maximus,
and
Morel-
Xenophon,
and
Crinito declares
Vitruvius;
this of
that
pedantic
parade being
has
rived de-
solid
foundation from
on
scholarship,
two
entirely
the the
commentator commentator
writers,
and
and
Donatus, Robortello,
on
Terence,
on
Aristotle
ace. Hor-
In
this
second-hand
echoing
the great
of
the
co-
difiers
of
critical reveals
theory
no
Spanish
of
pretation, inter-
playwright
independence
without
accepting
he
never
question
commentaries the for the
tors commenta-
ever whatand
has
found himself valid

so
in
the whether
asking
had
any
reason
rules
In
they
other
laid
down the
authoritatively.
Nuevo' of
acumen,
words,
'Arte
does
any
or
not
disclose
Lope's
or
possession
any
critical
even
curiosity
of
any
of
critical
in
real
interest We
the
no
discussion
of
critical that
theories. those
as
have
endowed
right
with
was,
to
expect
creative
richly
Lope
the
faculty
also
as
indisputably
share of the of the
should
have
an
equal
critical of
faculty.
their
own
The
analysis
principles
10
special
art
by
the
poets into but
and the
painters
critical
and
arena
playwrights
is
who
venture
always
and technic it
interesting
is
that
it is
rarely
And
most
philosophic
it is of his
to
generally Lope
technical. devotes the down and advice tells
discourse. of the
to
new
He
trips lightly
drama;
the then
on
history
he
Spanish
proceeds aspiring
novices it wants, methods that
stow be-
practical playwrights.
must
young
He the
these what
best
they
he' ling tickHe
in
give
public
as
and of
counsels the descends
them
taste
to
the
of minute
the
uncritical
playgoer.
details;
of in
a
to
practical
are
and,
veteran
short,
of for In the
a
his
suggestions supplying
those
craft
lessons
playwriting
correspondence-school.
so
far
at
as
Lope
lays
are
down but
any
critical tion codificaHis
principles
of address his is
on
all, these
own
the
instinctive "the
practise.
of
a
like the
"
speech
of
a
carpenter he has
standing just
peak
to
building
erected"
borrow himself and and As
Richter's succeeded his

were
sarcastic
as a
phrase. practical
Lope
had
playwright;
plays
put
had
tain cer-
characteristics in
a
together plays
do had well
certain the
fashion.
these would
pleased
public, beginners
1 1
to
consider this
these fashion.
most
characteristics He
utters
and
to
low folommendations rec-
his
shrewd with
unpretentiously,
and
no
hint of his
of
arrogance
with modest
friendly
precepts
ideal ideal is
ity genialstand
more
tone.
Behind
his which
own
plays
made
in
his
sharply
of
manifest.
Lope's
is that
all his
contemporaries,
in
including footsteps
It for is that
Calderon and the often stage for
(who
borrowed is
followed his
his
plots).
intended in
primarily
action
a
story-telling,
tale of which
presenting
excite He story the bids with
in
serial
shall
constant
interest
curiosity. together
the his dations foun-
the the the
beginner
utmost
to
put
care,
laying
first for of the
act,
contriving
second until and
unexpected concealing
very
complications
the
moment
the
solution
action
as
the the
last
possible,
may
otherwise
go out,
tors specta-
get
up
and
end. and
when
once
they
stress
can
foresee
the
He
lays
all of
as
his
upon
adroitness
and
ingenuity
remarks
seem
ing; plot-buildhe
makes
such
casual
upon
character-delineation thus the altho
perfunctory. importance
Aristotle,
of this.
In of
"
emphasizing
action he
the is
primary echoing
not
aware
Lope probably
only
was
12
And under that
the the of
practise lead their of
of
the
Spanish
was
playwrights
akin
to
Lope
closely
the
contemporaries,
the lead lead of of
English
and
playwrights
later Fletcher. Beaumont
on
under the Like and the

as
Kyd,
Beaumont in his
again
and
under
Lope,
Fletcher
Kyd
in Poets
way
and
theirs,
were
tellers storyall of
on
stage.
they they
were
them,
but
on
playwrights
and
depended
on
plot,
"
suspense
especially by
surprize
of
often character. The
achieved
only
contradiction
abiding
It the
interest resides
of
the
'Arte in the in
Nuevo'
sugges-
is two-fold. tiveness of of
partly
elementary
which the for
art
lessons here which
the
art to
playmaking,
in aid of of Gold. the
Lope
and
proffers
are
apprentices
as
an
able invaluthe the

riously cu-
proper
appreciating playwrights partly

taken
methods
Spanish
It resides
of the
Age
in
deprecating
toward his
own
attitude
by
he
was
Lope
proaching ap-
works,
altho of his
the
pinnacle
didactic
fame Is in his
when the
he great
penned
this
poem.
Spanish
before
playwright
the
code
sincere the
"
humility
Is his
of
Classicists?
or
self-abasement
genuine
13
is
it
ironic?
Morel-Fatio
follows it in
at
Menendez face
book
Pelayo
Guillaume
in
accepting
Huszar,
the
its useful
value.
on
his
Corneille when he
and
Spanish
to
theater,
thinks his
own
that
Lope
is that
not
pretends
to
disparage
plays
confess latter evidence is rather
be
taken
seriously.
to
I this
I and
should there
like is of
some
agree
with
view;
in
in
little But the
internal balance
port sup-
it. former be
favor est hon-
of
the
may
opinion.
Yet
however
to
Lope's
willingness
code which
a
do
penance
to
to
the
Classicist
he
admits
have all.
outraged,
He
as
his
is
proud
abased
humility
and have
care as
after
is
some
not
really
of his
as
tive plain-
critics
takes
asserted.
to
Modest his
own
as
he
may
be, he
make easy
position
and of his
plain.
For
all
his for
attitude
tolerant
on
geniality,
the
one
all his and his

not
lightness pedantic
fail
a
touch
on
side he of
citation
on
the
other,
does
to
ihsist
his
authorship
to
nearly
his
half
thousand he has
plays
and
remind succeeded he had

success.
auditors
in
that
N
continuously
even
pleasthe
ing the
,
public,
order
assumes
tho win
a
to
violate
rules
v
in
to
this detached
Lope
tone
attitude
and
his has
is
bantering,
as
Professor
"4
Rennert
suggested.
intense
own
He
does interest
not
here
display analysis
of
the his all
personal
work which
in the and in
glows
burns of the
thru French of
Corneille's dramatic
'Examens,'
spite
poet's
from of the the in
occasional strict letter of
confession the of law.
lapse
has
none
Lope
mous fathe
prophetic
fire
Hugo's
of
preface plays
he
was
anticipatory
to
defence
In
going deny
of that
write. this
poem
fact, it is
is
a
difficult careless
to
pretty
an
piece
evoked the
work,
a
tossed
off
in
idle it
hour,
behooved
by
special
to
occasion
assume a
when
speaker
But that
precatory self-dethe
y
attitude.
it
is
not
mentable "la-
palinode"
called termed
Menendez what Mr.
Pelayo Ormsby
it;
it
nor
is it the
exactly
(in
Quarterly
the
Review manifesto
for
uary, Janof
a
1894) triumphant
who,
while for the cared
or
"virtually
dictator,
a
dramatic the will his which
Napoleon
spect re-
professing sovereign
to
profoundest
of the
public,
for its
scarcely
hide
contempt
intelligence
he
says,
its taste, called he
foreign
or
critics,
to to
justly
fact
and
barbarous;
owed his
guise dishis its
the
that
power
knowledge
weaknesses."
adroit That
manipulation
scholars
'5
so
of
well
equipt
for and the

nert,
can
the
so
consideration well fitted character and

as
of for the
as
Spanish
literature of Ren-
interpretation Ormsby
and
y
Spanish
Morel-Fatio
take
Menendez
as
Pelayo
views
conflicting
this
"
those
severally positive
sary neces-
expressed
tl.at
by
has
them,
not
is the
proof pains
Lope
to
taken
make
his
was
position willing
code in the
as
clear.
at
While
Lope
to
least
to
render
one
lip-service
of his
the
of
the
Classicists,
Tirso of de the
followers
theater,
the author
Don
lina, Moest earliin in is iting lima
(best
known
dramatization his
of de
the
Juan
legend)
'Cigarrales
fifteen in the
years
Toledo,'
after
published
address,
any
1624,
bold
Lope's
of
or
denying
duration of
scene,
the
validity
of time
rule
forbidding
'Unites
in
change
(See
29 seq.
Breitinger's
) But
Cervantes
d' Aristote' first part four
pp.
the
in
of
'Don
Quixote,'
before the
published delivery
a
1605,
'Arte of
years
of
the lack
Nuevo,'
had for is of the
revealed the
no
plentiful
sympathy
There
so-called
Aristotelian the
rules. his
disputing
of of the
16
irony
who
in manded de-
portrait
the
Canon
Toledo "some
appointment
person
at
intelligent
to
and
sensible
capital
examine
all those that
plays
before
they
in the
to
were
acted,
not
only
all
produced
were
capital
be seal
itself, but
in
intended whose
acted and
Spain;
without
no
approval,
should
signature,
any
local acted."
magistracy
allow
play
to
be
(Ormsby's xlviii).
Earlier that he
translation,
remarks
was
ii, 387,
of the with
chapter
Canon whole foot-note calls Canon's
show Classicist
to
us
familiar
code;
indeed,
of
Ormsby
this
(in chapter)
of
his
to
translation the substantial those
attenion
identity expressed
for
the Sir In than
opinions Sidney
work in
with the
by
Philip
another
two
'Apology
fiction in
are
Poesy.'
more
of
written 'Nicholas
centuries of
later,
we
the
Nickelto
a
by'
Dickens,
whose than in of the
vext
introduced is who
Mr.
Murdle
vaguer
strenuous
knowledge
Canon's insistence but
upon
obviously
is
the his
quite
vation preser-
as
"the
unities."
Into
the of
question
and here. each
of of It
the
personal
it be is
tions relanot
Cervantes
to enter
Lope,
needful
to
would
pleasant
the
believe of
not
that the
really
but
appreciated
genius
this
not
other;
however Cervantes the
pleasant
seems
is
to
quite
have
possible.
suspected
greatness
of
his had had
own
masterpiece; special
fondness
and
it is for his
must at
plain plays,
have the
a
that which
he
not
succeeded.
of
Lope
own
been of
conscious
all
his poets he
position
he
head humble less that his
Spanish
when
might
the
but
assume
attitude five had the
was
author
of time
to
than he
hundred
more
plays
than of
a
by
the
thousand
pieces
is his
no
credit ing. becom-
garment
humility
in
longer
'Comedia Morel-Fatio
Martinenche
Espain
gnole' pointing
what
1
(pp.
out
113-4) Lope's
follows later
satisfaction
even
with
extent
he
had
accomplished,
for himself which stage. consider
as a
to
the
of
new
claiming
type the When of
the had
invention established
of
the
play
itself
on
Spanish
we
the
extraordinary
in
vogue
of of
Lope
playwright
and
the
Golden fusion difwe
Age
Spanish
of his fame
literature thruout
the
swift when
Europe,
recall
his
we
unparalleled
remember
productivity,
supreme
a
and
when
his of
importance
as
representative
modern
to
superb
we
development
fail
to
of
the
drama,
discover
been
cannot
be
tempt atto
surprised
has the
that
made
to
no
adequate
present
In him
ever
English
reading
public.
18
French
there
are
two
translations
of
and
selections
are
from also
in
his
dramatic
works;
into
or
there
varied
renderings
there
German.
But
Lord
English
in and
is little analized the

and
more
nothing.
the 'Star
Holland Seville' into and founded
1787
turned
of
striking episodes
was
on
lish; Engon
it
this Mrs. of
summary
these her
fragments
five
act
that
Kemble
'Star had the in the

in
Seville' utilized of his A and in
published Lope's
'Padre ted,' Outwit-
in
1837.
Holcroft in
Engafiado'
plot
'Father
published Lope's
had moved been F.
1805.
'Romeo
perversion Juliet'
and
of
play
on
story this
issued W. in
y
English
to
1770;
Cosens
print
(for
private
of sixth Alfred
a
distribution)
'Castelvines volume Bates and of 'Gardener's These of
1869
careful
translation In the
Montreses'.
'The
Drama,'
in
1903,
edited there
by
is
published
the 'Perro
lation trans-
del
Hortelano,'
H. and
H.
(the
Dog')
by
W.
Chambers.
parently ap-
scattered represent
versions
all
perversions Lope's
into desired issued in the dramatic
our
of
work
which It
has is
found
to
its way be be
guage. lanat
greatly might
'Star
that
least
to
one
volume the
English
'Gard-
contain
of
19
Seville,'
ener's 'Duchess
Dog,'
of of his
the Malfi'
'Romeo
and and
Juliet,'
also the
and
the
plays,
Honor,'
the
sician 'Phy-
own
and Calderon's in
'Alcalde rehand-
of
Zalamea,'
are
of
which accessible
lings
free
A
already
Fitzgerald's
rendering.
few scattered
were
passages
from
the
'Arte
Nuevo' Lord
turned
and
into
English
of in those G.
couplets
were
by
rowed bor-
Holland;
some
(without stimulating
in
credit)
of An derived of the
H.
Lewes's sued isplete incomthe
study
1846.
Spanish
Drama,
and from
inadequate mainly
Dumas-Hinard,
version,
French included Catholic is translation in
was
an
essay
on
Lope
published
1878.
in
the
World
for abstract
September,
in of Professor
There
careful
Rennert's
standard Professor attempt

to
biography
Brewster's render
to
Lope
translation
(1904).
is the the whole
But
first of of
into the
English aspiring
Lope's
his
own
advice time
playwrights
and
country.
BRANDER
MATTHEWS.
(June
1914.)
NEW THE
ART
OF
MAKING
PLAYS
AGE IN THIS
THE
NEW
ART
OF
MAKING
PLAYS
IN
THIS
AGE
Addressed
to
the
Academy
noble
at
Madrid.
1.
You
command who
"
me,
spirits,
and of of made the
er flownowned re-
of
Spain,
in will the
this
in
congress
space
academy
surpass
not
short assemblies
time
only
Italy
mous faLake in the of the of
which
Cicero,
with his
envious
own
of
name,
Greece,
hard
by
where
of
Avernus,
of
but Plato
to
also
was
Athens
seen
Lyceum
high
you
an
conclave
art
philosophers," play
the
2.
write
of
taste
which crowd.
is
today
acceptable
to
the
Easy
be
seems
this of and
subject,
you
and had knows
easy
it
would
very
out
for
anyone
who who
written
more
few the
comedies,
art
of what
writing
condemns
them
and
me
of
in
all this
art.
these
task
things;
*
for I Not thank have
.Jis that
3.
written I
even
them
was
without
because
ignorant
while
I
was
of
a
the tyro
cepts; pre-
God,
I
went
in
grammar,
through
23
the
books
which
treated
run
the
course
subject,
ten
before from
I had the
seen
the
to
sun
its
times
Ram
the
Fishe^;
4.
i
But
because,
not at
in that
fine,! time,
found
in
that
as
edies com-
were
Spain,
their
first should fellows

crowd
devisers be
in
the
world but
thought
rather
as
that
many
they!
ru
written;
managed
in
them,
crudeness such wise
who
I and
confirmed
so
the
were
its
own
they
who
introduced writes
and
among
in them
that
dies
he
now
artistically
for who lack
custom
without
can
fame
more
guerdon;
those and force. True in
do
art
light
of
than
rea-
Tn
know;
some
5.
it is that
I have the do I
sometimes
art
ten writfew from full of
accordance
with
sooner
which
but,
other
scenes
no
see
coming
source
the where who
monstrosities the crowd
painted
and the
congregates this sad ness, busi-
women
canonize
to
than habit lock Terence

may
not
return
that
to
same
barbarous
a
J and
in
when
have with from

at
write six
my
comedy
I
the and
cry
precepts Plautus
out
keys, study
truth,
aloud;
art
banish
that
even
they
in I
me;
to
for call that
dumb write
books,
in
is
wont
and
accordance
with
whicn
they
devised
who
aspired
since the
to
the crowd talk
applause
pays
of for
to
the the it
to
crowd; comedies,
for,
it is its Yet
taste.
fitting
to
foolishly
satisfy
6.
true
comedy
kind of been
has
poem
to
its
or
end
lished estabart,
ac-
like and that of

men
every
poetic
the of
has
always
and
to
imitate
customs
/tions
age.
paint
all of
the
their soever whatwhich that
Furthermore,
is
poetic
three
verse,
so
imitation
composed
things, harmony,
are
discourse,
to
to
agreeable
which
is also
say
music,
far
was
common
tragedy;
in that and whether
comedy
it
treats
being
of
different and
from
tragedy
actions,
LooTc
lowly
and
plebeian
ones.
tragedy
there
of be
royal
in
our
great
comedies
few
failings,..7.
/^tt/ojwas
imitate the
the
name
given
and
was
to
them,
for of
they
the in
to
actions de Rueda
the
an
doings
crowd.
Lope
of in he these
example today
of the his
are
Spain
be
seen
principles,
prose
and
print
comedies into love them of has old the
so
lowly
of of
*
that
introduces and whence the
doings
mechanics
a
daughter
the
entre-
smith;
of where
there the
art
remained
custom
calling
the
comedies in all its
meses,
persists
force,
there
being people
one
action for
an
and
ernes
that
between
a
beian plehas how

to
entr
with
king
never
been
art,
seen.
And lowness
thus of
and
it is shown
the held
for great
to
very
style,
the the
came
be
in
disrepute,
introduced
king
in
the
comedy
8.
be
for in his
ignorant.
al"
Aristotle
depicts
the
"
'Poetics',
of
tho the which of while

netes
obscurely,
strife of
beginning
and
comedy;
as
between them
say
was
Athens the that would
Megara
inventor;
to
first it have Elias

was
they
Megara
Athens
was
Epicarmus,
it that
Magsays
the
man.
Donatus sacrifices. of the
it had
names
its
origin
as
in
ancient author affirms
He
Thespis
Horace,
the who
tragedy,"
same,
"
following
of
as
comedies,
the
Aristophanes.
in imitation
Homer of
posed com-
'Odyssey'
was
a
comedy,
of
my
but
the in
'Iliad'
famous which added all the
example
I called the
term
edy, trag-
imitation
an
of and
manner
usalem' 'Jertragic;
epic,
same
and
term
in the the
people
commonly
and the Ali-
'Inferno,'
of the
'Purgatorio,'
poet Manetti
'Paradise'
celebrated
and
Dante
ghieri
in his
9.
comedy,
this
recognizes
prolog.
Now
everybody
26
knows
that
comedy,
as
if under
suspicion,
and that
more
was
silenced
also
for satire
tain cer-
time, born,
came
hence
was
which,
to
an
being
end,
and
cruel,
gave
were
more
quickly
the New
;
place
the
to
Comedy.
then the
The fixt
choruses number but of
first
things
was
the
characters whom in
introduced; followed,
offensive.
to
Menander,
the choruses
was more
Terence
held
despite,
as
Terence
circumspect
elevated of
as
as
the
principles;
of
since
to
he
never
the
style
which
comedy
many
the
greatness
tragedy,
vicious
was
have for in
condemned this respect
in
Plautus;
more
Terence
wary.
i
o/"
Tragedy
has
as
its argument this

reason
history,
it
was
and called the There
comedy
fiction;
of
for humble without
flat-footed,
argument, buskin the

or
since stage.
actor
performed
were
comedies with the of of
with toga, the
pallium,
atel-
mimes, lanae,
were
comedies and
fabulae
tavern,
sorts.
comedies
as
which
also,
11.
now,
various
With chided and of For
Attic vice
elegance
and
gave
the
custom
men
of their
to
Athens
evil their
to
in
comedies,
the writers
they
verse
prizes
the
both
and
devisers
of "the
action.
this
Tully
27
called
comedies
"\"
mirror of
"
custom
and
living image
in that whether ! that
you
of
the
truth,"
ran even
very
high tribute, history.

crown
comedy
it be
with of But that this

now
Look
worthy
12.
and I
glory
perceive merely
are
saying
and
up
this
you
is
translating
this been of
you
some
books mixeda son rea-
wearying
affair.
with
me
painting
there has
Believe
you
why
these
to
should for
art
be
you
reminded
see
of
me
things;
the
that
ask in
describe
of
writing plays
is in
are
Spain,
of
where
art;
whatever and
to to
is written tell how ancient is

not
on
defiance
now
they
rule
to
written
to
contrary founded
my
the
reason,
and
me
what draw
on
is
on
ask
art,
to art
experience,
which If
men
for
speaks
truth
13. you,
the
ignorant
you
to
crowd
gainsays.
art,
then,
of
desire
read you
beseech learned
in
genius,
of Udine
the
very
see
Robortello he
in
says
and
will and
what
concerning
he writes
among
Aristotle about
many
especially
as
what
comedy,
books;
state
much
thing every-
as
is scattered of
14.
for
today
If
you
is in wish
of
my
confusion.
to
have have is
opinion
upper
of
the and
comedies
to
which
now
the
hand the
know
why
it
s8
necessary
that
crowd
chimera
with of
I
its laws this

and
should
monster,
you
maintain
I will
me, to
the^vile_
tell
you
comic
do
what
must
hold,
pardon
power
since command
obey
"
whoever
has the of is
no
me,
that, gilding
to
error
of
sort
the
crowd,
have follow
two
desire
tell you there

a
what
recourse
I would but the

to
them;
art
for
observing
mean
between
tremes. ex-
15. be
"Let
"
the
may
subject
you
to
be
excuse
chosen these with
and
do
not
amused,
if
it
precepts
"
happens
matter,
deal
kings;
that and
our
tho,
for the
was
that
understand of
a
Philip
lord,
;
Prudent,
offended the the
King
at
Spain king
hostile
seeing
was
in
them
to art
either
or
because
matter
cause bebe
royal
among
authority
the
ought
and
not
to
represented
1
lowly
the back
vulgar.
to
6.
This
is
merely
we
turning
see
the troduced inresents rep-
Old
Comedy, gods,
where
as
that
Plautus he
in his God this of
'Amphitryon'
that
Jupiter.
in
knows
my
I have
ficulty difsince
not
giving
approbation,
Menander,
But
Plutarch,
speaking
Old
away
does since
highly
are so
esteem
Comedy.
art
we
far
from
29
and
in
Spain
do
it
thousand their
/
wrongs,
let
the
learned
this
once
close 17.^ Terence minotaur

grave,
causes
lips.
r
Tragedy
with of the much for
mixed tho
with it be
comedy
like
and
Seneca,
another
one
Pasiphae,
will
render
part
other
ridiculous;
Nature such
f^r
this
us
variety
good
delight. through
gives variety
example,
it is beautiful.
8.
Bear
one
in mind
action
manner
that
this
subject
to
should the
the
contain story
in
only,
be
seeing
it that
I
mean
no
episodic;
which
any
introduction the
main
of
purpose;
other
nor
things
that ruin
use
are
beside be of that
sun,
member whole
omitted
context.
which There
take
might
is
no
the in
the it
advising
of
;
one
should tho
our
place
view him
in of
the
period
this
is the
Aristotle when
we
but
we
lose
respect with
for the
mingle
mean
tragic comedy.
style
Let except which
can
humbleness
in
as
of little
is
it take when
some
place
the
years
to
time
as
possible, history
these the in he
acts,
poet have
writing
to
pass;
relegate
the
space
between
can
wherein,
go
on some
if necessary,
he
a
have that
character of-
journey;
thing
greatly
30
fends who
19.
at
whoever is offended Oh
very
perceives
go
to
see
it. them.
But
let
not
him
! how time affair tho
lost
at
in admiration
are
many
are
this
seeing
which this
that
an
years
passed
sets
a
in
an
to
artificial would
day
not
limit;
the
for
they
I
allow
mathematical the wrath when

to
day
of in
a
But,
ing consideris
not
that
seated hours from it

most
Spaniard
there is
immoderate,
two
presented
the be Last for
us
him
everything
I deem
Genesis
to
Judgment,
here
so
fitting,if
us
it
to
please
him,
for
to
adjust
everything
20.
that
it succeeds.
once
vThe
and
subject
divide
to
chosen,
into
write three in
in
acts
\\
prose,
the
matter
of
one
time,
the
seeing
space
a
it, if possible, that
each
of
the
day
be
not
broken.
tain Capcomedy
Virues,
into three
as
worthy
which
wit,
before
divided had
gone
acts,
on
on
all
were
fours,
then eleven and of
baby's
I
wrote
feet, for
them of
paper,
age,
comedies
infants.
or
myself,
of
a
when
acts
twelve sheets
act;
years
four sheet
four each
of
and
for it
was
tained con-
then
the
were
fashion made
one,,
that three and
for
the
three
intermissions but
little then
entremeses,
a
today
the
scarce
dance,
for
3"
dancing
is
so*
important
of
in
comedy
and of
that
Aristotle
proves ap-
it,
treat
Athenaeus,
it, though
this
Plato,
last
and
Xenophon
of
reason
proves disapthis he The
indecorous is vexed
to at
dancing; Callipides,
ancient
two
and
for
he
wherein
pretends
matter
ape
the into
chorus.
see
divided from
parts,
to
the
nection con-
the but do
beginning
not
until the
scene
the
action of the its it

in
runs
down;
permit
the the last end
untying
;
the
plot
until
reaching
what and
for
turn
crowd,
face has what
to
knowing
the door three
is, will
to
its shoulder face

more
what for
known.
awaited
appears
hours
to
face;
to
nothing
seldom
is the
be
2i.-\ without
becomes
Very
someone
should
stage
the
remain crowd the
speaking,
in
out
because intervals great
restless
these
at
and
story besides of
spins
its
itself
a
length;
for,
being
great
and
defect, the
artifice. with
avoidance
it increases
vO
22.
IB
grace
X''
Begin
not
then,
and,
simple
thoughts
is
guage, lanand
ilo
spend
on
sententious
witty
that is is
sayings
the
family
talk
trifles, which
two
or
all
familiar
of when
three character
or
people
who suades, dis-
representing.
introduced then
But
the
persuades,
there should
32
counsels be
gravity
and
wit;
for
a man
then
doubtless in
a
is
truth
observed,
since what
or
speaks
different he
style
from
is
common
when
or
gives
counsel,
suades, per-
argues
against
gave
us
anything.
for
Aristides,
this ; for be
pure,
the he
rhetorician,
wishes and be this the
warrant
language
of he the
comedy
adds
usage
to
clear,
should
flexible, and
taken from different the latter and
nor
also of that
that the
ple, peo-
it
being
for in
from
case
of
polite
will
not
society;
be
the
diction Do
elegant,
in
sonorous,
adorned.
drag
quotations,
of those
let your
language
for, if
it should of and
fend ofone
because is be
to
exquisite words;
who of
imitate
speak,
not
by
the
language
Panchaia,
the
cen-
Metaurus,
tai irs.
"
vpf hippogriffs, demi-gods
23.
''
|
as
If
the
king
should
speak,
of
imitate
a
as
much mi the
possible speak,
the observe
gravity
a
king;
if
sage
sententious those listens

a manner
esty; mod-
describe which
manage
lovers
move
with
passions
to
greatly
whoever in such
themjj
the
soliloquies
is
that in
recitant
quite transformed, changes

and the
and
ing chang-
himself,
ask
him listenef^tLet
to
questions
shall make
reply
himself,
observe
and the
if
re-
he
plaints,
let him
33
spect
due
to
women.
T,et if wise
not
ladies
gard disretumes, cos-
their character, and let it be

in such
they change
that
it may
be
excused;
for Let
male him
disguise usually
be
on
is very
pleasing. importance
should
not
his
guard
the
against
chiefest of truth should
the
impossible things, for

that
it is of the
only
likeness The
be
represented.
of
we
no
lackey
discourse which
and in
nor lofty affairs,
express
conceits
have wise in what
seen
in certain
foreign
tradict con-
plays;
to
let the he has
charter
saidÎ
one
himself
say,
mean
forget,
"
as
in
Sophocles
blames
he Let
v
Oedipus
killed
scenes
for
not
remembering
his
own
that
.,.
has
the
Laius end
with with
h;iml.
epigram,
wise the forth
not set
with
wit, and
at
with
elegant verse,
\
in such leave
act
that,
his exit,he
who
*
spouts the first

weave
audience the the

case.
disgusted.
In in
In
the such
act
y o"
second wise
one
together
the
events,
tKat until the

may
middle
of
outcome.
the
third
hardly
guess
Always
come
trick expectancy;
pass
and
hence
it may from
to
that
something quite far

may
what
is
promised
be
left
to
the
to
are
understanding.
the
ing subjectsbefor
com-
Tactfully suitxyour verse

treated.
"
Dccimas
34
good
plainings;
are
the in
sonnet
is
good
for
those of shine for of

as
who
events
waiting
for in and
expectation; though
Tercets for be
recitals
ask
romances,
octavas.
they
are
brilgrave
'
liantly
affairs
redondillas
affairs
love.
tition repe-
jlJLet
rhetorical
or
figures
brought
in the
in,
anadiplosis,
same
verses
and the
beginning
forms of
trophes, apos-
of
these
various
anaphora;
and
24.
and
also
irony,
questions,
exclamations. deceive the that has of

to
To is
a
audience seemed this do
with
the
as
truth
thing
well,
Miguel
the
Sanchez,
was
worthy
wont
memorial in all his
for
edies. com-
invention,
Equivoke
from
and have
the
uncertainty
held it thinks other
one a
arising large
that is in it
ambiguity
among
always
for the the
place
alone
the
crowd,
what
are
understands Better still part, with
ing. say-
subjects
which
honor
has
since them
they deeply
go
stir everybody; for if

so
along
virtue
an
îfitwous deeds,
'hence
a we
is
everywhere
chance
to
loved; represent that and if he
see,
actor
traitor, he
he wishes flees
is
hateful
to not
everyone
what the is and crowd
to
buy
it
to
is
sold
him,
but invite
when lend chief
meets
him;
and
loyal, they
even
him
him,
35
the
men
honor
him,
and each
are
love acclaim
act
him,
seek
him
out,
tertain en-
him,
25. for Let
him. have but

to
four the
sheets,
time
and
twelve
well of be for him

not
suited who clear

very
the
patience
parts,
that
is
or
listening.
open,
In it
satirical is known
were
,.
1
since comedies
this law
reason
forbidden without be
by
in for
Greece
and
Italy
der slan-
wound
hate,
expect
if, perchance,
done,
not
applause,
nor
aspire
to
fame.
26.
These which the for the
things
you
you
may
regard
the
as
aphorisms
art,
get
not
from
ancient
no
which
space
present
occasion since of of
allows whatever
ther furhas
treating;
three kinds
to
do
with
stage
concerns
properties
the
which
Vitruvius
speaks
as
presario im-
just
Crinitus,
describe
trees,
Valerius
in
Maximus,
Petrus and others
Horace these
his
epistles,
with simulated Pollux
in
properties,
houses,
and
their
drops,
marbles.
cabins,
Of
were
27.
us
costume
Julius
for of
a
would
tell
if it that
necessary,
Spain
is
it is the with
neck-
case
the
comedy
today
replete
the in
barbarous
gear
things:
a
Turk and
wearing
a
of
Christian
Roman
tight
breeches. 36
28.
But
of than
to
all,
barbarous
art
nojjpdy myselfjsince
down
can
I in
call
more
defiance
and
of
I dare
to
lay
precepts,
in the
I allow
rent, cur-
myself
be
borne
along Italy
and
vulgar
call
wherefore
France
me
ignorant.
four
But hundred
one
what and which
can
I do
if I have
ten writ-
eighty-three comedies,
I
along
week? sin have
with For
have
finished
this
all of
these, except
six, gravely
what I
against
art.
Yet, in fine, I defend

and I better have for is know in had sometimes
written,
have would have
to
that, tho
another the
vogue
they
might they they
been
not
manner,
which which
reason,
had;
what
taste.
that that
very
is
contrary
just, for
pleases
the
How How How And What What Deceit How How How
Comedy
true
reflects her
this
life of
of
narrow
man,
portraiture
in
more
young
and
span,
old;
subtle
purest
grave
wit, polished speech,

and
too
you
behold; smiles,
consideration
mixed
with
seriousness, along with

of
pleasant
oft
jest;
slaves; how
woman
beguiles
breast;
run,
full of
slyness is her
swains
treacherous
to
silly, awkward
rare
sadness
seems
success,
though
37
all
well
begun,
Let
not
one
hear for such

becomes
with
in
attention,
and
dispute
will
to
of found
the of
art;
comedy
that
in
everything listening
be
sort
it
everything
evident.
(Translated
by
William
T.
Brewster.)
NOTES
NOTES
i.
The
opening
into
passage
of
Lope's
verse
poem
is
thus
rendered
English
by
Lord
Holland:"
Bright
Ere And
flow'rs shall
of that the
Spain,
whose
young
academy
outvie;
where Plato
long
by
Tully
nam'd
match'd
Athenian
porch
taught,
Whose You bid
as
sacred
me
shades tell the
such
art
throngs
of
of
sages
sought,
"
writing please,
plays
and
you
Such
the
crowd
might
might
praise,
The To For work
you
seems
easy
"
easy
it
might
but
not
be
to
me.
who should
nor
write I
art
not
much,
rules rule of should antient since all
I
how
the
nor
art
explain,
e'er rules: restrain?
I, whom
Not but God
ten
studied be
all
the
Yes,
Scarce The
praised,
old, subject
long
with
treat
in
grammar
schools,
due,
years
the
patience
books
case was
that
waded latter
through: days, plays

road
My
The So Which I The
simple,
authors
in
"
these
truant
of
our
Spanish
the the
narrow
wide
had the the
wander'd strict stage censur'd fathers with

;
from of
drama
trod, pieces
ador'd. stor'd:
"
found
barbarous the crowd of
critics
more
but
Nay
So Who Be
these
taste,
sad and rule
corrupters
so
the the himself die
stage
age,
blended writes daimn'd
debauch'd
by
must
please
and
alone,
unknown.
without
remorse,
41
Such
force
has their
it
habit
"
for
the the
untaught
antient
fools, rules,
Trusting
Yet,
The But The Who To
true
own,
despise
have
is,
too
written with and than
plays,
skill, might
nonsense,
wiser when
few,
I
see
who how
more
judge
shew
praise
draws fair's
rage
crowd's,
still
sanction
to
are
and,
all, the
applause,
forward
every
monster
with
indulgent
of the
taste
stage.
to
I, doom'd
Resume
I
write,
barbarous rule
the
public
dress
hit,
to
the
up
'twas I
vain
quit;
lock
every
before drive these

cry
write,
out
Plautus Lest And

rage
and
Terence teach
from
my
sight,
to
should dumb
injur'd
shame
wits
on
join,
like
their mine.
books
works
To
vulgar
at
standards
ease;
then
square
my
play,
pay,
Writing
'Tis And
for, since
I
the their
public
compass
just,
write
methinks,
the
nonsense
by
steer,
to
that
they
love
hear.
The he
were
two
lines Plautus
in
which
and
Lope
Terence
declares with in the six
that
locks
up
keys
quoted
of his
by
Victor
Hugo
of
mation proclaart
theories
dramatic
pre-
fixt
to
his
unactable in his
'Cromwell' edition thinks borrowed

a
(1827).
of
But
'Pre
Souriau face de
annotated
the
Cromwell'
may
it
possible
the
that
Hugo
Preuve
have from
quotation
'La the
second-hand des
over
pamphlet
put 'Cid.'
by Scudery,
forth
Passages'
Corneille's
M.
during
It is
quarrel
to note
amusing
these
that in his
Emile
Faguet,
Drame
quoting
lines
'Drame
Ancien,
4*
Moderne'
(p. 122)
inadvertently
credits
them
to
vantes. Cer-
Fitzgerald,
from the
not
in
the
preface
asserts
to
his
tions translaof
do
Calderon,
discoverable
that these
own
certain
defects represent concession

one
in
pieces
better
"Calderon's
to
so
self,
taste
but
private
for
haste
upon
or
public
some
by
who
often
relied
success
ing striknot
dramatic
accurate
crisis
with
be
very
audience."
It may
in
objected
it is based that from but
that
on
this the
plea
is
dangerous
that
unwarrantable
assumption
was
ron's Caldethat it
as
private
the be
taste
different he
of
can
public
urged
of in
to
which behalf of
appealed; Lope Lope's

what
as
potently
own
in
behalf he
must
Calderon. the
plea
is
that
more
give
put
public
it in
wants
effectively
the offend
by
Paris,
Moliere,
;
the
preface
ly needlessit of
to
'Precieuses all
a
Ridicules' if of
I
"I
should
accused
having public
sort,
applauded
is the it would
piece
stupidity;
of
works in
worst
me
as
the this
absolute
be
even
judge
if I had
of
to
impertinent
the 'Precieuses'
now
contradict
it; and
of
I
possible
the that it has
ion opin-
my
before believe
persons
ance, performsome
ought
since well
so
to
value,
many
together
have
spoken
6.
of
it."
Morel-Fatio is
points
a
out
that
this
graph para-
practically
literal
translation in libram
from Horatii
Robortello's
'Paraphrases
43
De that
Comedia.'
It is derives
all
mainly
his
from of
Robortello erudition.
forms in-
Lope
In
us,
parade
as
8.
this
paragraph,
is
Morel-Fatio
on
Lope
on
again
of
relying
this
Robortello
and 9.
also At
Donatus.
the
end
paragraph
attributes
to
Lope,
to
following
the
Donatus
blindly,
of
rence Te-
loftiness
style
As
which
Plautus
occasionally
noted of
in
attained. French the
Damas-Hinard of poet had both

a
his
translation
certain is here
Lope's
plays,
of the
Spanish
since he of
sinning
against light,
first-hand the
knowledge
dramatists.
15.
out
comedies
.Latin
Professor this is
Rennert
(p.
180)
points
and
that
distinction and that down It of the

to
was
between
tragedy
thruout of the
comedy
it
was
arbitrary
one
un-Aristotelian,
obtained the
end
altho
the
"the
Renascence of
and
period
of
Classicism." and
was
the
doctrine theorists
Robortello that this

a
later of the
Italian
it
"the which
rank
characters,
a
and from which
only,
distinguished
This is the maintains
tragedy
comedy." Philip Poesy.'

Here is Lord
distinction
in
Sir of
Sidney
his
'Defence
Holland's lines of
metrical this
the passage
version
:
of
Once
the
concluding
to
behold
monarch
our
on
stage,
rage;
England,
Or that
'tis said, he deem'd
prudent
Philip's
unfit
such
characters
44
For
lively sallies
crowns
and
if
for
comic
were
wit;
allow'd
a
Or To
debas'd,
the
state
actors
bring
In
of
kings
before
low-born
crowd.
his
'Hamburg English
translates
Dramaturgy,'
version
a score
(p.
394-5
of
the
in of that
Bohn's these
nature
series)
ing lines, endhas ludicrous "Is it
true set
Lessing
with
us
Lope's example
serious;
sets
us
assertion of
the
commingling
and
an
the
asks
:
with that and the
the
nature
then
he
example
farcical sad? has It done
of and
seems
the the
common
the
merry
sublime,
and
the the
serious,
so.
But he the that be

But
to
a
if this
is true,
he
Lope
has stage,
not
more
than
over
intended;
faults these fault Mezieres French criticism the of
are
only
has for
glossed nothing
of nature." he
his
no
he
really proved
can
faults,
an
that
is
in
imitation introduction of
a
the
prefixt
Diderot
the
translation quotes
of
Lessing's
from
and
dramatic
on
passage
danger
uniting tragedy
is
never
burlesque
than
a
"Tragicomedy species, disparate

much
advance
be it
are
more
bad
two
because
in
confounded
species, separated
Here
by
natural derived
as
rier." barso
Lessing,
Diderot,
firmer
who reveals
had
from and
himself than
to
in
on
ground
It is
his
note
French that of of
contemporary.
amusing
as a
Diderot,
the
so
so
often
hailed is here
as
forerunner echo
Romanticists,
strict
a
belated
classicist
45
Sir
Philip
Sidney
who
asserted
that
were
the
plays
he
saw
on
the
English
nor
stage
"neither
right tragedies, Kings

so
right
not
comedies,
because
in
mingling
the
matter
and
Clowns,
but
to
carrieth
it,
thrust
Clowns
in
nor
by
head
and
shoulders,
with neither
nor
play
part
magestical
discretion:
matters, So
as
neither the
decency
admiration
and
commiseration,
is
the gicomedy Tra-
right
sportfulness
attained."
by
their
mongrel
this
6.
Morel-Fatio derived These
notes
that from Holland
passage
also 17.
is
directly
lines Lord
Robortello.
turns
into
English
The Grave
couplets:
with the
with I
tragic
comic
muse
combin'd,
Terence
monstrous
one our
Seneca
seem,
one
sprightly
Pasiphae's
our
join'd,
birth,
mirth.
May
Where But
grant,
moves
half
sorrow,
sweet
variety rules,
works
must
still
delight,
says
And,
Thru' And
spite of
all from her
dame she
Nature this
we're
right,
example
derives.
gives,
variety
this the
her
charms
With
statement
of
set to
Lope's
forth
may
be
compared
theory
by
Victor
Hugo
19.
in
the Here
preface
once
'Cromwell.'
as
more,
Morel-Fatio
upon
has
shown,
Three Holland
Lope
and
a
is half
leaning
lines of
Robortello.
passage
this in
Lord
translates
freely
to
this
triplet:
Who
seated
once,
disdain
go
away,
46
Unless
in
two
short from
hours Genesis
they
to
see
the
play
day.
Brought
This without from the
down
judgment
the whole is the
a
popular
selection middle
liking
or
for
story survival
omission when
and
ages
mystery
if
not
play
with of the
began
with
Genesis
ended,
the To
judgment
wicked this
most
day,
into
at
least
with
casting
the
was
Hell-Mouth.
of
Classicists
prolongation
offensive. the the four
custom
the
action
always
into nounces de-
Lord lines
:
Holland in which
turned Boileau
English
The In In
one
Spanish
short rude the
bard,
who includes the
no
nice
a
censure
fears,
years.
day
acts
lapse
fives
of
so
those in
hero
fast,
the last.
Child
first, he's
greybeard
in
And
Sir his
Philip disgust
Sidney
for this for
had
earlier
pressed ex-
license,
their
blaming
lowance altwo verses, tra-
the
English
of
playwrights
time,
"for fall is got in love. with
liberal
ordinary
it is that
many
young
Princes she
After
child, delivered
up
a
of
fair
in and
boy;
love,
all
he and
is lost, groweth is in
man,
falls
ready
two
to
get
another which
may
child;
how
this
hours'
even
space:
sense
absurd and Art
it is in hath
sense
imagine,
ples exam-
taught,
With
in
47
and this his
all
may
ancient be
justified."
Corneille's
compared
on
opinions
'Discourse
the
Three
own
Unities' 'Melite.'
and
in
his
discussion
of
his
Lope's
"two and that the hours after the
limitation is
of
the
duration
to
of
formance per-
exactly equivalent
traffic of the
Shakspere's
But
stage."
adduce the
two
Shack,
evidence in
a
him
Morel-Fatio,
stay
was
customary theaters
of
spectators hours and
Spanish
/half.
20.
Lope's
written
Menendez
advice,
in prose
y
to
that
be
play
should into
rowed borpoem
first be
verse,
turned
later
to
Pelayo
in
a
believes Vida's
be
from
on
passage
Latin
the
poetic
in
art,
"
passage
thus
rendered
in
English
At And A And
Pitt's
translation:
the least
poem
to
first without mold full and

the
restraint
compose prose,
future
with
proper
series
maintain in
to
a
draw stated
the
just
connection
progress
chain.
By
To
bounds the parts
your
control,
whole.
join
and
regulate
this
very
the
Morel-Fatio
thinks familiar with
likely,
work.
since
Lope
was
Vida's
Oddly
down since
seems
enough,
was
the
principle
with the he
Lope
his
own
here
lays
not state
in accord of that
on
practise,
in
the
to
existing
composed
he drew
manuscripts originally
up
a
show
verse,
altho scenario method
occasion
in
prose.
preliminary
that
was
It may
be
noted
the that
here
recommended
by Lope
Moliere,
48 who
actually
adopted
by
(in
his
haste
to
to
on
meet
the
wishes
to
of
Louis
more
XIV)
than
had half
structed con-
call the
Corneille which
versify
he had which into the
of
'Psyche'
in
prose
to
completely
he
verse
and
turn
had
not
been the
able limits Lord of
wholly
of time
within
set
by
king.
renders certain lines
Holland
thus into
this
of
paragraph
three
acts
we
English
to
couplets:
pen,
Plays
Which An The Such Four
owe
Virues'
on
ne'er action
had
crawled
to
but
all
age,
fours
till then;
suited of
not to
that
the
helpless
childhood
years
infancy plays
sheets
wit,
twelve
every
of did
on
the I
stage.
old
an
complete,
sheet.
play,
also
act
every
And for
The Cast
Ticknor his
employs
of
famous
a
the
rimed
passage
let coup:
translation Verues,
in three
upon
longer
wit,
Captain
dramas till his
acts,
by
happy
hit;
crept, stept.
years
For,
Like Such Four Filled Three
time,
babes
wrote,
all
never
fours yet and

to
a
they
had
helpless
that
plays
acts out
"
eleven measured
twelve
sheet's
old;
fold
"
each four
just
sheets;
short
while filled
still, between,
up
entremeses
the
scene.
But in the
Camille
de of
Senne their
p.
and
Guillot of the
de
Saxe of that in
preface
(Paris,
study
44,
'Star
Seville' the the

to
1913,
note)
assert
three-act
form theater And
had half
established
a
itself anterior
Spanish
Verues.
century
in
Lessing 4th,
49
his
'Hamburg
had
Dramaturgy'
(Dec.
1767)
pointed
out
the
discrepancy
of this
between
Lope's
to
assigning
and Caldies), come-
the
credit
change
the the
Verues
to
deron's
claim,
that he
(in
was
preface
first
to
his
make
this
duction. re-
If he
Lope
the
had have
been
familiar the
with three-act
Aristotle form
as
might
justified
out
simply
with As
carrying
that
a
the
Greek have
an
critic's action
principle
a
play
a
must
beginning,
Attic
middle
were
and
acted
a
an
end.
any
tragedies they
a
without
intermission
act,
"
had
only
was
single prolonged
a
altho
acts.
trilogy
Yet the and
story
shown form
in
three of is the
traditional
five-act
seventeenth derived the time
eighteenth
from the of limited in
were
centuries Athenian choral

to
indirectly
wherein
came
drama,
number
to
sages pas-
in five
be
four,
which stood
separating
when forth the
as
passages
dialog,
omitted, Horace,
of the
lyric
five
interludes separate the
acts.
ably probdrian AlexanWeil's
following
'Etudes The MSS. into Terence's noted that
precepts five
critics, prescribes
sur
acts
(see
p.
no
le of
acts
Drame Latin
Antique,' comedy
show
325).
sion diviof be
was
(see
Fairclough's
pp.
as
edition It may form the
'Andria,'
as soon
lii, liii,).
the five-act of
to
disestablished modern
the
tendency
has been Most
5"
leading
the
so-
dramatists three-act form.
adopt
Ibsen's
logical
of
cial
are.
dramas
are
in
three
acts,
just
as
Lope's
Commenting
of the number
on
Lope's
of
pages
strange
a
tion prescripshould tells the

was
comedy
have,
us
Professor "this which followed
Rennert
(p. 163,
to
note)
of
that
rule,
as
the
length lays
down,
comedia,
Lope by
and
"
here all the
carefully
of
rare.
other from leaves

to
a
ists dramatit for

are
the Four
time,
sheets
deviations sixteen leaves
each
act,
that
is
forty-eight
of
comedia.
An shows Where due

"
examination how
Lope's
he adhered
are
autograph
to
plays
rule.
are
strictly
this
slight
to
variations in
found size of
they
the of the
the
difference
the
leaves about other

a
the three
comedia thousand the
always
lines.
.
consisting
On
. .
hand,
comedies of lines." like his fellow
of
Miguel
contain
Sanchez,
about four
predecessor
thousand
Lope,
Lope,
and
dramatists Voltaire of
was
Calderon and Goland

dent stu-
Corneille,
had been
a
Moliere,
doni,
was
pupil
he school with
the
a
Jesuits; youthful
it
doubtless of the
when
Jesuit
in the
Madrid critical of Horace
that theories
he
became of the
acquainted
Italian
commentators
and
Aristotle.
21.
ever
The
to to
rule the
forbidding
stage in empty Donatus
the
dramatist
leave
a
Morel-Fatio
traces
passage
dealing
with
the
omission of
of the
the
chorus
from Altho
the
New
Comedy
does
not
Greeks. discuss this
Corneille
expressly
it
was
rule, he
obeyed
all
it; and
French
generally
who
obeyed accepted
the
by
the
the
dramatists
cist Classiof
theory,
the stage of Theatre fall stage then
are
possibly
became of the
end
because the
act.
leaving
empty
conventional
nal sigat not
the
Even curtain of for the the

a
today
does
an
the ways althe
Frangais,
on
the
the
termination
act;
is the
left three
unoccupied
raps
moment
and hammer
enter
of
wooden characters
On
never
heard,
are
whereupon
begin
the this
next
who
to
act.
the
English-
speaking
itself; and
stage
our
rule
has
established have
now
dramatic
an
poets of
and
again leaving
achieved
effect bare is
and
next
expectancy
by
tators spec-
the wonder
stage who part of
letting
to
the
appear.
23.
this
paragraph by
Lord
is
turned
into
In
ten
English
line
sonnet
couplets
should
a man
Holland:
staves
wailing
who in
grief
be
shown;
The
Let
suits narration
much
a
speaks
ballad
alone; lines;
plain
flow tale in
Though
Grand But
copious
the
octaves
shines;
should
contain
weighty
redondillas
thoughts
suit
triplet
strain.
the
lover's
In
the
introduction
Norman of
to
his
'Select
Plays
a
of
planation ex-
Calderon'
Maccoll various here:

"
gives
sorts
clear
the
of
verse
that "octo-
Lope
mentions
Romances
52
are
syllabic
the these sometimes
trochaics
"
the ballads.
are
customary As sometimes Redondillas in
measure
of
Spanish
trochaics
the
ballads,
and
are ranged ar-
rimed
assonant.
in
strophes
weak fourth
of
four
lines
are
each.
Strong
and plest simuse.
endings
The
so
and and
endings
lines third.
measures
are
both
employed.
is the
first do the of
rime
together,
This in
common
second the
and
riming
each. is that
Quintillas
of
in
occur
arranged only
same
in rule
strophes
observed
must
not
five the
lines
The the
two
riming
in
more
rime successive
than
Decima
lines. of lines.
:
The
two
is
one
combination of
as
quintillas
arrangement
are
in
strophe
rimes
. .
ten
The
of
is
.
follows
a, c,
the
a,
first five
and
disposed
five
are
b, b,
c,
a,
the
.
second Three
arranged
forms of
d, d, jel
verse
other from the the

and
iambic the the
are
borrowed
terza ottava
Italians,
Terceto Octava Maccoll lines
(the
(or
in
rima
of
Italians),
the Sonnet." of
rima}
renders rimes:
finds
his
turn
several
Lope's
into
English
In The decimas
voice
for
the
mourner's action's
wail stay; tale.

convey;
sonnet's
serve
fitted
to
can
the the
Romances Yet While And

octaves
tell
player's
news
well of
stirring import
the
in
deed
high
are
terzas
shines,
redondillas
lover's
lines.
The
incessant
employment
53
of
these
var-
ious
lyric
of
measures
is
evidence,
were
any of
needed,
the
and noted
the of the
prevailing Spanish
its
a
lyrical quality
drama chiefs. when It
in
may
dialog
Calderon that
Lope
be
were
in
'Prunella,
Fantasy
and
Three
Acts,'
by
Lawrence the in authors their

at
rococo
Hausman
Granville the
Barker,
element
emphasize
story
lyrical
thruout
by
scattering
riming
the
stanzas
irregular
intervals
dialog.
That
the
sonnet
with
its artificial interlaced dramatic

a
and
trary arbirimes
scheme should
may
seem
of
intricately
into
readers
was
be
intercalated
to
dialog
gestion. sugmending recom-
modern
strange
Yet
a
Lope
here
only
from fixt
practise
inherited
the
dieval me-
mysteries
of
verse
were
wherein
various
forms Their deviser the
frequently
did
not
employed.
prevent from
even
stanzaic of
a
rigidity
the
and
the
French
passion-play
ballade,
and
utilizing
the
and
triolet,
tained long-susthe
not
stately chant-royal;
himself of emotion the their of
and
wright playonly
in
availed in
passages
aid
lyrical
take
but intenser This
also
the
swift
moments
give
of
dramatic of the the

in
of
the
action.
was
tradition
over
the
religious
of
pieces
the secular
taken drama in
by
of
as
founders
modern French
most
as
languages,
and
was
in
"
English
well first
to
in
Spanish.
composed
54
Corneille's
play
in
'Melite'
especially
bring
sonnet;
cast
and his he and
even
as
late
as
the
'Cid'
Cor-
neille for d'
lyrical monologs
was
into
stanzas,
which
censured
by
and
the
Abbe
Aubignac
his
by Voltaire;
edition likens
end tenor,
Brunetiere
more
(in
of
annotated
of the of
Corneille's
important Rodrigue
bravura
plays)
at
lyrical soliloquy
first
art to to
the
a
the
the the
solo with
of
coming
on
down heart
footlights
Shakspere
for
his the
hand
his
(p. 69).
net son-
used the
looser
to
Elizabethan
and
prolog
for
'Romeo
Juliet' employs
spoken
it for
by
the
Chorus;
and
Ben Court
Jonson
of of the his
Prolog
The
the
'Staple
form
of
News.'
incongruity
when itself
to
fixt
is least outside
obvious the the
the
and
sonnet
is thus
kept
play
address
when audience
it is utilized before did

not
only
action
in
the
the tate hesi-
begins.
to
But this
Shakspere
fixt form Lost' that
employ
Labor's 'All's he
inside
the
play; 2)
and
in 'Love's also
scene
(act iii,scene
ends
in
Well
casts
a
Well' fourteen and

a
(act
iii,
4)
three
letter
into
lines,
terminal
with
riming
And
and
quatrains
in
couplet.
where
at
again
heroine the
'Romeo
meet
and and
Juliet'
in
hero
fall
love this of first third tween beor
first
sight,
is
lyrical significance by
the
of
meeting
the
suggested
Romeo
employment
the the shared
a
fourteener,
speaking
second,
while
are
quatrain,
quatrain
Juliet
and the each
the
final
couplet
in
them,
taking
55
turn
line
two. act
M. of his
Rostand
prefixes
sonnet
to
every for
sets
a
'Chantecler,'
of
utilizing
the
them
poetical
which
description
the action
take
successive
in
posed sup-
of
his
lyrical play
found the in
is
to
place.
is
to
The
ballade century
be
two
teenth nine-
French
de
plays,
'Gringoire'
the
of
Theodore
Banville,
Rostand;
and but
as
'Cyrano
these it is,
"
de
Bergerac'
it is
of
in
both
pieces
a
frankly
presented
in the
what
poem
composed
fixt form suggests
by
that
the
hero
of
were
the
play.
introduced
Maccoll
sonnets
by
more
the
Spanish
that
playwright
part "from of
the
"to
please
the
and
cultivated
remarks be
or
audience";
nature not
more
he could
two
a
their
"
[they]
than put
employed
three He 'Gustos
as
sparingly
sonnets notes
were
usually
one
into
play." pieces,
is in her doubt
that
y
in
oif Calderon's
a
Disgusdiate imme-
tos'
duenna
who
to
her
duty,
that she
must
a
begins
either
sonnet. to
speech
in
a
"by
the
saying
or
indulge
She
soliloquy
pronounce
elects
in turned
former,
and
28.
proceeds
Lord
soliloquize
has
redondillas."
Holland
these
lines
into
None Who
Dare When
English
than
couplets:
more
myself by
barbarous
or
more
wrong,
hurried
the
vulgar
in
taste
along,
of
give
my
precepts and I
to
despite
pronounce
now
rule.
me
France what
am
Italy
do? who
fool.
But
of
plays,
56
With Four And
one
complete
within
these
in
seven
days,
writ,
wit.
hundred
eighty-three
six, against
to
all
have of
all, It
save
the
rules
needs
be
recorded
been
that put
dozen
to
Lope's
to
mentators com-
have endeavor
to
sadly
the half
it in of
their
identify
he here of been
Lope's
accord
plays
with
which the
claims the
be
in
theories has attitude Webster
Classicists. also
to
Attention of
taken
called
the and his
larity simithat
between
in
Lope preface only
here
to
by
the
'White
years
Devil,'
after
"If
"
published
the it be
in
poem
1612,
had this
three
Spanish
been is
no
delivered:
true
objected
I shall
dicere
that
matic Dra-
Poem,
poles
quam
in
easily
plura
and
not
confess
meas
it;
non
nugas
Ipse
ego
dixl;
kind
to
willingly,
I
ignorantly,
should the
was a man
in
this
have such
faulted;
an
for
present
Auditory
that
ever
most
tentious con-
Tragedy
all and
written,
serving ob-
the of
critical
person,
laws,
enrich
as
as
height
it with life
of the
'n
style
tentious sen-
gravity
chorus,
in the
and,
and
it were,
Death yet
mess*
passionate
all this divine
weighty
rapture, that
comes
Nuntius,
O
dura
after
orum
ilia, the
breath is let this

hodie
from
the
incapable
ere
multitude
able
to
poison
resolve
it; and
to
it be
every
acted,
scene
the of
author
fix
to
Horace,
comedenda
Haec
Porcis
relinques."
B.
M.
or
THIS
BOOK
THREE
HUNDRED
AND
THIRTY-THREE
COPIES
WERE
PRINTED
FROM
TYPE
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The New Art of Writing Plays 1000022955

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Copyright:

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The New Art of Writing Plays 1000022955

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Copyright:

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The

AUTOBIOGRAPHY Howard. With Thomas.

PLAY. tion Introduc-

Translated With Introduction

DRAMATIST. duction Intro-

foremost sailed the that

Marlowe first far the

beyond Lope pioneer;

advance other blazed

Dumas. that Calderon It of

is that the these and

composing performance praise

pieces solely caring

tion. publicaof the

matic drahe have

pride, just carefully

unprinted lisher. pirate-pub-

which in his with

when address in This

address Horace's countless is the

Poetique' Pope's example.

While have for

modern 'Art of and late

Samson condensed his

the those which

from but also

their The theater

elaborated which desired Classicist

it forbad the adj

and into serious

former from the

observance that the

Unities should stage;

from blank last

torical rhedress, adten

fied unidentibe his

immediately couplet, Spanish

followed that the there

usual three Latin. Latin rime

has Professor Professor

authoritative declares in humor

what did 'New

about him much

its lack leader

those he fervor does

cation justifithe ing cavilto

the and the

ity validin his

the defence call

confession would have

faultiness the since

found himself valid

poets into but

technical. devotes the down and advice tells

counsels the descends

critical tion codificaHis

borrow himself and and As

Richter's succeeded his

low folommendations rec-

Calderon and the often stage for

the the the

first for of the

character-delineation thus the altho