But Lope, whenever he wrote for the theatre, seems to have remembered its old foundations, and to have shown a tendency to rest upon them as much as possible of his own drama. This is apparent in the very _entremeses_ we have just noticed. They are to be traced back to Lope de Rueda, whose short farces were of the same nature, and were used, after the introduction of dramas of three acts, in the same way.[414] It is apparent, too, as we have seen, in his moral and allegorical plays, in his sacramental acts, and in his dramas taken from the Scripture and the lives of the saints; all founded on the earlier Mysteries and Moralities. And now we find the same tendency again in yet one more class, that of his eclogues and pastorals,--a form of the drama which may be recognized at least as early as the time of Juan de la Enzina.[415] Of these Lope wrote a considerable number, that are still extant,--twenty or more,--not a few of which bear distinct marks of their origin in that singular mixture of a bucolic and a religious tone that is seen in the first beginnings of a public theatre in Spain. [414] “Lope de Rueda,” says Lope de Vega, “was an example of these precepts in Spain; for from him has come down the custom of calling the old plays _Entremeses_.” (Obras Sueltas, Tom. IV. p. 407.) A single scene taken out and used in this way as an _entremes_ was called a _Paso_ or “passage.” We have noted such by Lope de Rueda, etc. See _ante_, pp. 16, 22. [415] Among the imitators of Juan de la Enzina should be noted Lucas Fernandez, a native of Salamanca, who published in that city a thin folio volume, in 1514, entitled “Farsas y Eglogas al Modo y Estilo Pastoril y Castellano.” Judged by their titles, they are quite in the manner and style of the eclogues and farces of his predecessor; but one of them is called a _Comedia_, two others are called _Farsa ó quasi Comedia_, and another _Auto ó Farsa_. There are but six in all. I have never seen the book; but the notices I have found of its contents show that it is undoubtedly an imitation of the dramatic attempts of its author’s countryman, and that it is probably one of little poetical merit.