These compositions are called by Enzina himself “Representaciones”; and in the edition of 1496 there are nine of them, while in the last two editions there are eleven, one of which contains the date of 1498. They are in the nature of eclogues, though one of them, it is difficult to tell why, is called an “Auto”;[436] and they were represented before the Duke and Duchess of Alva, the Prince Don John, the Duke of Infantado, and other distinguished personages enumerated in the notices prefixed to them. All are in some form of the old Spanish verse; in all there is singing; and in one there is a dance. They have, therefore, several of the elements of the proper secular Spanish drama, whose origin we can trace no farther back by any authentic monument now existing. [436] “Auto del Repelon,” or Auto of the Brawl, being a quarrel in the market-place of Salamanca, between some students of the University and sundry shepherds. The word _auto_ comes from the Latin _actus_, and was applied to any particularly solemn acts, however different in their nature and character, like the _autos sacramentales_ of the _Corpus Christi_ days, and the _autos da fé_ of the Inquisition. (See Covarrubias, Tesoro, ad verb.; and the account of Lope de Vega’s drama, in the next period.) In 1514, Enzina published, at Rome, a drama entitled “Placida y Victoriano,” which he called _una egloga_, and which is much praised by the author of the “Diálogo de las Lenguas”; but it was put into the Index Expurgatorius, 1559, and occurs again in that of 1667, p. 733. I believe no copy of it is known to be extant.