But the _entremeses_ or interludes that were used to enliven the dramatic part of this rude, but gorgeous ceremonial, were by no means confined to it. They were, as has been intimated, acted daily in the public theatres, where, from the time when the full-length dramas were introduced, they had been inserted between their different divisions or acts, to afford a lighter amusement to the audience. Lope wrote a great number of them; how many is not known. From their slight character, however, hardly more than thirty have been preserved. But we have enough to show that in this, as in the other departments of his drama, popular effect was chiefly sought, and that, as everywhere else, the flexibility of his genius is manifested in the variety of forms in which it exhibits its resources. Generally speaking, those we possess are written in prose, are very short, and have no plot; being merely farcical dialogues drawn from common or vulgar life. The “Melisendra,” however, one of the first he published, is an exception to this remark. It is composed almost entirely in verse, is divided into acts, and has a _loa_ or prologue;--in short, it is a parody in the form of a regular play, founded on the story of Gayferos and Melisendra in the old ballads.[411] The “Padre Engañado,” which Holcroft brought upon the English stage under the name of “The Father Outwitted,” is another exception, and is a lively farce of eight or ten pages, on the ridiculous troubles of a father who gives his own daughter in disguise to the very lover from whom he supposed he had carefully shut her up.[412] But most of them, like “The Indian,” “The Cradle,” and “The Robbers Cheated,” would occupy hardly more than fifteen minutes each in their representation,--slight dialogues of the broadest farce, continued as long as the time between the acts would conveniently permit, and then abruptly terminated to give place to the principal drama.[413] A vigorous spirit, and a popular, rude humor are rarely wanting in them. [411] Primera Parte de Entremeses, “Entremes Primero de Melisendra,” Comedias, Tom. I., Valladolid, 1604, 4to, ff. 333, etc. It is founded on the fine old ballads of the Romancero of 1550-1555, “Asentado está Gayferos,” etc.; the same out of which the puppet-show man made his exhibition at the inn before Don Quixote, Parte II. c. 26. [412] Comedias, Valladolid, 1604, Tom. I. p. 337. [413] All three of these pieces are in the same volume.