Joseph de Cañizares, who likewise lived at the court of Madrid, produced a considerable number of Spanish comedies. He particularly devoted his attention to that class of dramas of intrigue, called _comedias de figuròn_, in which the principal character is a pretender or braggadocio, either male or female, who by dint of impudence and artifice, obtains a certain degree of credit. Among the dramas of Cañizares, the Spaniards particularly esteem his comedy, entitled, _El Domine Lucas_;[574] it is a drama of character, comic throughout, and of the most regular description, though it by no means departs from the Spanish national style. The title may be translated “The Pedant Squire;” for Domine Lucas, the hero of the piece, is a young country gentleman, a student of Salamanca, extremely dull and affected, and withal proud of his noble birth. With this character is very happily combined the uncle of Lucas, a brave, amiable, and sensible old gentleman; though, like his nephew, he interlards his discourse with scraps of latin from the _Corpus Juris_. An old domestic, who likewise has resource to latin whenever his wit fails him, is well grouped with his master’s. An excellent female pendant to the doltish hero is exhibited in the character of one of the daughters of the old uncle, who in the end is united to Lucas, while her sprightly sister, to whom the Domine was betrothed, elopes with a more agreeable lover. The traits of character in the whole of this comic picture, though by no means delicately sketched, are, nevertheless, full of dramatic spirit. These, and other plays, by writers whose names are not in any other respect distinguished, complete the national treasure of the Spanish drama. The striking regularity which distinguishes some pieces, must by no means be attributed to the influence of French taste. It is possible that a vague idea of the regularity of the French comedy may at this time have penetrated into Spain; but among the older Spanish dramas, particularly those of Solis and Moreto, some are no less regular than the comedies of character written by Zamora and Cañizares; who, besides, did not always, any more than their predecessors, confine themselves rigidly within the bounds of regularity. In the works of these latter poets, the theatrical personages are precisely of the same cast as in the writings of the older dramatists. Young officers, who are usually represented as giddy lovers, boast of their adventures in Flanders, and sing romances to the accompaniment of the guitar. This part is the prototype of that which on the French stage was subsequently called the _Chevalier_. No trace of the imitation of French manners is perceptible; and, if here and there a French word is introduced, it is always with a comic signification.[575] DOÑA JUANA INEZ DE LA CRUZ.