shepherds crooks, and likewise four beards. The beards, it would appear were indispensable in comedies of every kind; and the public became so accustomed to call an old man’s part in comedy the _beard_, that the theatrical term _barba_ was retained even after the custom of wearing beards had long been exploded from the stage. Juan Timoneda has made careful collections of the comedies and pastoral dramas of Lope de Rueda, by which we are enabled to judge of the literary merit of these works, divested of the advantage which they must have derived from the living representation of their author. Timoneda, who was a bookseller in Valencia, was the friend and enthusiastic admirer of Lope de Rueda; but in regard to literary acquirements he ranked somewhat higher than that actor. He was indeed a man of genius and talent, as is evident from his novels, which are little known, and which have yet to be more particularly noticed in this work. He printed in small collections, the pastoral dialogues and plays of Lope de Rueda, making such alterations as were necessary both in the language and style.[286] These productions equally indicate the experienced master in the developement of character, and the untutored pupil of nature following his own caprice. Lope de Rueda’s pastoral dialogues possess more dignity, if the term may be used, than his plays, and they are moreover imbued with a certain poetic character which harmonizes admirably with the songs occasionally introduced. With regard to invention and style, however, there is but little difference between the dialogues and the plays, but the pastoral costume of the dramatis personæ produces a certain heterogeneous effect; for the half Arcadian, and half Spanish shepherds, are brought in contact with negresses, barbers, and other characters of common life and modern stamp. Lope de Rueda was not inattentive to general character, as is proved by his delineation of old men, clowns, &c. in which he was particularly successful. But his principal aim was to interweave in his dramas, a succession of intrigues; and, as he seems to have been a stranger to the art of producing stage effect by striking situations, he made complication the great object of his plots. Thus mistakes, arising from personal resemblances, exchanges of children, and such like common place subjects of intrigue, form the ground work of his stories, none of which are remarkable for ingenuity of invention. There is usually a multitude of characters in his dramas, and jests and witticisms are freely introduced, but these in general consist of burlesque disputes in which some clown is engaged.[287]