Thus far, all has been avowedly comic in the dramatic exhibitions of these religious festivals. But the _autos_ or sacramental acts themselves, with which the whole concluded, and to which all that preceded was only introductory, claim to be more grave in their general tone, though in some cases, like the prologues and interludes, parts of them are too whimsical and extravagant to be any thing but amusing. “The Bridge of the World” is one of this class.[403] It represents the Prince of Darkness placing the giant Leviathan on the bridge of the world, to defend its passage against all comers who do not confess his supremacy. Adam and Eve, who, we are told in the directions to the players, appear “dressed very gallantly after the French fashion,” are naturally the first that present themselves.[404] They subscribe to the hard condition, and pass over in sight of the audience. In the same manner, as the dialogue informs us, the patriarchs, with Moses, David, and Solomon, go over; but at last the Knight of the Cross, “the Celestial Amadis of Greece,” as he is called, appears in person, overthrows the pretensions of the Prince of Darkness, and leads the Soul of Man in triumph across the fatal passage. The whole is obviously a parody of the old story of the Giant defending the Bridge of Mantible;[405] and when to this are added parodies of the ballad of “Count Claros” applied to Adam,[406] and of other old ballads applied to the Saviour,[407] the confusion of allegory and farce, of religion and folly, seems to be complete. [403] It is the last in the collection, and, as to its poetry, one of the best of the twelve, if not the very best. [404] The direction to the actors is,--“Salen Adan y Eva vestidos de Franceses muy galanes.” [405] See Historia del Emperador Cárlos Magno, Cap. 26, 30, etc. [406] The giant says to Adam, referring to the temptation:-- Yerros Adan por amores Dignos son de perdonar, etc.; which is out of the beautiful and well-known old ballad of the “Conde Claros,” beginning “Pésame de vos, el Conde,” which has been already noticed, _ante_, Vol. I. p. 121. It must have been perfectly familiar to many persons in Lope’s audience, and how the allusion to it could have produced any other than an irreverent effect I know not. [407] The address of the music, “Si dormis, Príncipe mio,” refers to the ballads about those whose lady-loves had been carried captive among the Moors.