[284] This collection of the plays and other poems of Naharro is mentioned by Nicolas Antonio, and also by Dieze. I have never seen it: and in the numerous collections of Spanish dramas by various authors, with which I am acquainted, I have sought in vain for the productions of Naharro. Blankenburg speaks of them as if he had read them; and Signorelli expressly says, that he has perused them all. Among the passages quoted by the latter, in order to justify the contemptuous tone in which he criticises the writings of Naharro, is a line of corrupt Portuguese. May not this be Galician? The modern comic writers of Spain occasionally make their clowns converse in the Galician dialect. [285] Cervantes attributes to himself the invention of dividing a drama into three _jornadas_. How happens this? Cervantes was a vain man, but not an empty boaster. He seems to have been totally unacquainted with the dramas of Naharro, but he might have heard of the division of plays into three _jornadas_, without retaining a distinct recollection of the fact. In this way his memory may have deceived him, when he supposed that the division originated with himself. And yet it is singular enough that in his Galathea, he mentions, among other poets, the _artificioso Torres Naharro_. [286] Concerning these collections, see Dieze’s Remarks on Velasquez, p. 316. I am acquainted with only two:--one is entitled, _Los Coloquios Pastoriles de muy agraziada y apacible prosa, &c. por el excellente poeta, y gracioso representante Lope de Rueda, sacados a luz por Juan Timoneda; Sevilla_ 1576, in small octavo, printed in gothic characters. The other is entitled: _Las segundas dos Comedias de Rueda_, without date, but printed in the same type and form as the first mentioned collection. [287] The following specimen of the dialogue of these comedies is from a scene in which a clown quarrels with his wife:-- _Gine._ Aun teneis lengua para hablar, anima de cantaro? _Pablo._ Dote al diabro muger, no ternas un poco de miramiento. Si quiera por las barbas de la merced que esta delante. _Gine._ He callad anima de campana. _Pab._ Que es anima de campana, muger? _Gine._ Que? badajo como vos. _Pab._ Badajo a vuestro marido? deme essegar rote vuessa merced. _Gine._ Assi, garrote para mi, al fin no seriades vos hijo de Guarniço el enxalmador, cura bestias. _Pab._ Y parescete a ti mal, porque sea hijo de bendicion. _Camilo._ Ay amarga, y como hijo de bendicion? &c. [288] The emphatic praises of the publisher of the _Parnaso Español_, represent Juan de la Cueva as a poet of the first rank. See the literary notices prefixed to the eighth volume of that collection. The works of Cueva are there mentioned with the dates of their various editions. See also Dieze’s Remarks on Velasquez, p. 202. [289] It may be found in the eighth vol. of the _Parnaso Español_ as it was first printed.