The prayer of the secret soul I know, That of Pancras the blessed of old; The prayer of Acacius and Quirce; One for chilblains, that come from the cold, One for jaundice that yellows the skin, And for scrofula working within. The lines in the original are not consecutive, but those I have selected are as follows:-- Se la del anima sola, Y se la de San Pancracio, La de San Quirce y Acacio, Se la de los sabañones, La de curar tericia Y resolver lamparones. Comedias, Madrid, 1615, 4to, f. 207. CHAPTER VIII. THEATRE.--FOLLOWERS OF LOPE DE RUEDA.--ALONSO DE LA VEGA.-- CISNEROS.--SEVILLE.--MALARA.--CUEVA.--ZEPEDA.--VALENCIA.--VIRUES.-- TRANSLATIONS AND IMITATIONS OF THE ANCIENT CLASSICAL DRAMA.-- VILLALOBOS.--OLIVA.--BOSCAN.--ABRIL.--BERMUDEZ.--ARGENSOLA.-- STATE OF THE THEATRE. Two of the persons attached to Lope de Rueda’s company were, like himself, authors as well as actors. One of them, Alonso de la Vega, died at Valencia as early as 1566, in which year three of his dramas, all in prose, and one of them directly imitated from his master, were published by Timoneda.[40] The other, Antonio Cisneros, lived as late as 1579, but it does not seem certain that any dramatic work of his now exists.[41] Neither of them was equal to Lope de Rueda or Juan de Timoneda; but the four taken together produced an impression on the theatrical taste of their times, which was never afterwards wholly forgotten or lost,--a fact of which the shorter dramatic compositions that have been favorites on the Spanish stage ever since give decisive proof. [40] C. Pellicer, Orígen de la Comedia, Tom. I. p. 111; Tom. II. p. 18; with L. F. Moratin, Obras, Tom. I. Parte II. p. 638, and his Catálogo, Nos. 100, 104, and 105. [41] C. Pellicer, Orígen, Tom. I. p. 116; Tom. II. p. 30.