He was never sufficiently interested in his secular plays to collect them, though he complained of being grossly misrepresented in the pirated editions which were current. According to Vera Tassis, he corrected _Las Armas de la hermosura_ and _La Señora y la Criada_ for the forty-sixth volume of the _Escogidas_ printed in 1679; but he did no more towards protecting his reputation, though at the very end of his life he began an edition of the _autos_, the sacred subjects of these investing them in his eyes with more importance than could possibly attach to any secular drama. It is by the merest accident that we have an authorised list of the titles of his secular plays. He drew it up, ten months before he died, at the urgent request of the Almirante-Duque de Veraguas (a descendant of Columbus), and it was included in the preface to the _Obelisco fúnebre, pirámide funesto_, published by Gaspar Agustín de Lara in 1784. Calderón’s plays were printed by Vera Tassis who—though, as Lara is careful to inform us, he had not access to the original manuscripts in Lozano’s keeping—was a fairly competent editor, as editors went in those days. It is not rash to say that to this happy hazard Calderón owes no small part of his international renown. For a long while, he was the only great Spanish dramatist whose works were readily accessible. Students who wished to read Lope de Vega—if there were any such—could not find an edition of his plays; Tirso de Molina was still further out of reach. Circumstances combined to concentrate attention on Calderón at the expense of his brethren. With the best will in the world, you cannot act authors whose plays are not available; but Calderón could be found at any bookseller’s, and a few of his plays, together with two or three of Moreto’s, were acted even during the latter half of the eighteenth century when French influence was dominant on the Spanish stage.