The Later Renaissance

HABLADORES.' There may well seem to be something over-bold, even impudent, in the attempt to give an account of the different kinds of Spanish drama in one brief chapter. Its abundance alone would appear to render the effort vain, and the common elaborate classification of the plays into heroic, romantic, religious, of " cloak and sword," and so forth, seems to imply the existence of a number of types distinct from one another, and calling for separate treatment. Yet though I cannot hope to be exhaustive, it is, in my opinion, possible to be at least not wholly inadequate. The The prevailing . . ifuaiity a/the task is materially facilitated by the great SpanUk drama. uniformity of the gpanish drama. No matter what the name may be, the action is much thesame, and the characters do not greatly vary. It has been said that Calderon's personages are all like bullets cast in a mould; and though this, as is the case with most sweeping assertions, fails to take notice of the exceptions, it has much truth, and may be applied to others. The Spanish drama is above all a drama of action, conducted by fixed types. Juan de la Cueva had said in a spirit of prophecy that the artful fable was the glory of the Spanish stage, and Lope appeared in good time to prove him right. The types who move in the action are the Dama, the Galan, the Barba, and the Gracioso?the Lady, the Lover, the Old Man, and the Clown. They have the stage to themselves in the comedia de...