The Spanish public had already manifested a strong predilection for plays in the modern style, and an aversion equally decided from all the imitations of the dramatic works of the ancients. It was therefore designedly and with a persevering industry that the Spaniards had struck out for themselves a new course in dramatic literature. In genius and taste they could only have vied with the Greeks and Romans, without surpassing them; but invention, grace, ingenious arrangement, and a certain art of involving and unravelling the plot, which foreigners could not imitate, were the qualities on which the glory of the Spanish drama was destined to be founded.[291] Juan de la Cueva proceeds to state, that on these principles he had no scruple in contributing to overthrow the ancient boundary between tragedy and comedy; and to introduce on the stage, for the sake of variety, characters clad in the rustic peasant’s garb, along with others attired in the robes of royalty. Thus far he trod in the footsteps of Torres Naharro. And yet he appears to have had no distinct knowledge of the writings of that author; for he never mentions them; while, on the other hand, speaking of his own works, he observes that he had abandoned the old custom of dividing dramatic pieces into five acts, and chose in preference the new method, then in vogue, of arranging them in jornadas.[292] Cervantes must of course have been ignorant of the decided testimony thus given by Juan de la Cueva, since he imagines that he was himself the first to introduce the three divisions of the Spanish drama. The approbation bestowed on Cueva’s dramatic works, in the new style, seems, however, to have been but feeble and transitory; and this explains how the editor of Cervantes’s comedies, in his account of the early history of the Spanish drama, has omitted to mention the name of Cueva. It will, perhaps, be proper to defer entering more fully into the investigation of the peculiar spirit of the Spanish national drama, until the writings of Lope de Vega come under consideration; for during the brilliant career of that author, the new form of the drama took complete possession of the Spanish theatre, and the older pieces, which did not fall in with the popular taste, were speedily forgotten by the public, as the notices of Cervantes clearly shew. But it may be proper here once for all to remind the reader of a truth now historically demonstrated, namely, that it was by no means ignorance, or want of intimacy with the dramatic works of the ancients, which facilitated the triumph of the modern Spanish drama.