In some parts of it, we have sketches of the places they visit, with notices of the local history belonging to each. In others, Roxas himself, in a spirit that not unfrequently reminds us of Gil Blas, relates his own previous adventures, as a soldier, as a captive in France, and as a play-actor at home. In yet others, we have fictions, or what seem to be such, and among them, the story on which Shakspeare founded his Christopher Sly and the Induction to “The Taming of the Shrew.” But, in general, it is rather an account of what relates to the theatre and the affairs of the four gay companions at Seville, Toledo, Segovia, Valladolid, Granada, and on the roads between all of them, interspersed with forty or fifty _loas_, which Roxas wrote with recognized success, and of which he is evidently very proud. It is a pleasant book, loosely and carelessly put together, but important for the history of the Spanish drama, and with talent enough to attract the attention of Scarron, who took from it the hint for his “Roman Comique.” From internal evidence, “The Amusing Journey” was written in 1602, and, at the end, a continuation is announced; but, like so many other promises of the same sort in Spanish literature, it was never kept.[241] [241] An edition of 1583 is cited by Antonio, (Bib. Nov., Tom. I. p. 178,) but this cannot be. See Viage, Madrid, 1640, 12mo, f. 66. a. The first edition must be that of Madrid, 1603, cited in the Index Expurgatorius, 1667, where it is roughly handled, but since which it has been often reprinted. Clemencin, (Don Quixote, Tom. III. p. 395,) when speaking of Spanish actors, rightly calls the Viage of Roxas “libro magistral en la materia.” Another work, imputed to Roxas, which I have never seen, called “El Buen Repúblico,” was wholly prohibited.