[432] Custine, L’Espagne sous Ferdinand VII., troisième édit., Paris, 1838, 8vo, Tom. I. p. 279. The edition of Celestina with the various readings is that of Madrid, 1822, 18mo, by Leon Amarita. The French translation is the one already mentioned, by Germond de Lavigne (Paris, 1841, 12mo); and the German translation, which is very accurate and spirited, is by Edw. Bülow (Leipzig, 1843, 12mo). Traces of it on the English stage are found as early as about 1530 (Collier’s History of Dram. Poetry, etc., London, 1831, 8vo, Tom. II. p. 408), and I have a translation of it by James Mabbe (London, 1631, folio), which, for its idiomatic English style, deserves to be called beautiful. Three translations of it, in the sixteenth century, into French, and three into Italian, which were frequently reprinted, besides one into Latin, already alluded to, and one into German, may be found noted in Brunet, Ebert, etc. The influence, therefore, of the Celestina seems not yet at an end, little as it deserves regard, except for its lifelike exhibition of the most unworthy forms of human character, and its singularly pure, rich, and idiomatic Castilian style. CHAPTER XIV. DRAMA CONTINUED.--JUAN DE LA ENZINA.--HIS LIFE AND WORKS.--HIS REPRESENTACIONES, AND THEIR CHARACTER.--FIRST SECULAR DRAMAS ACTED IN SPAIN.--SOME RELIGIOUS IN THEIR TONE, AND SOME NOT.--GIL VICENTE, A PORTUGUESE.--HIS SPANISH DRAMAS.--AUTO OF CASSANDRA.--COMEDIA OF THE WIDOWER.--HIS INFLUENCE ON THE SPANISH DRAMA. The “Celestina,” as has been intimated, produced little or no immediate effect on the rude beginnings of the Spanish drama; perhaps not so much as the dialogues of “Mingo Revulgo,” and “Love and the Old Man.” But the three taken together unquestionably lead us to the true founder of the secular theatre in Spain, Juan de la Enzina,[433] who was probably born in the village whose name he bears, in 1468 or 1469, and was educated at the neighbouring University of Salamanca, where he had the good fortune to enjoy the patronage of its chancellor, then one of the rising family of Alva. Soon afterwards he was at court; and at the age of twenty-five, we find him in the household of Fadrique de Toledo, first Duke of Alva, to whom and to his duchess Enzina addressed much of his poetry. In 1496, he published the earliest edition of his works, divided into four parts, which are successively dedicated to Ferdinand and Isabella, to the Duke and Duchess of Alva, to Prince John, and to Don Garcia de Toledo, son of his patron. [433] He spells his name differently in different editions of his works; Encina in 1496, Enzina in 1509 and elsewhere.