[149] “El Caballero Puntual,” Primera Parte, Madrid, 1614; Segunda Parte, Madrid, 1619, 12mo. At the end of the second part is a play, “Los Prodigios de Amor.” A work not entirely unlike the “Caballero Puntual” was printed at Rouen in 1610, 12mo, called “Rodomuntadas Castellanas.” It is in Spanish, as were many other books printed at that time in France, from the connection of the French court with Spain, and it consists of the incredible boastings of a braggadocio, something like Baron Munchausen. But it has little value of any sort, and I mention it only because it preceded the fiction of Barbadillo by four years. [150] “El Necio bien Afortunado,” Madrid, 1621, 12mo. [151] “Don Diego de Noche,” Madrid, 1623, 12mo. All nine of his unhappy adventures occur in the night. For some reason, I know not what, this story appears among the translated works of Quevedo, (Edinburgh, 1798, 3 vols. 8vo,) and, I believe, may be found, also, in the previous translation made by Stevens. There is a play with the same title, “Don Diego de Noche,” by Roxas (in Tom. VII. of the Comedias Escogidas, 1654); but it has, I think, nothing to do with the tale of Barbadillo. [152] “Coronas del Parnaso y Platos de las Musas,” Madrid, 1635, 12mo. There is some resemblance in the idea to that of the “Convito” of Dante; but it is not likely that Salas Barbadillo imitated the philosophical allegory of the great Italian master. During the life of Barbadillo, and probably in some degree from his example and success, such fictions became frequent. “The Winter Evenings” of Antonio de Eslava, published in 1609, belong to this class, but are, indeed, so early in their date, that they may have rather given an impulse to Barbadillo than received one from him.[153] But “The Twelve Moral Tales” of Diego de Agreda, in 1620, belong clearly to his manner,[154] as does also “The Guide and Counsel for Strangers at Court,” published the same year, by Liñan y Verdugo,--a singular series of stories, related by two elderly gentlemen to a young man, in order to warn him against the dangers of a gay life at Madrid.[155] Lope de Vega, as usual, followed where success had already been obtained by others. In 1621, he added a short tale to his “Philomena,” and, a little later, three more to his “Circe”; but he himself thought them a doubtful experiment, and they, in fact, proved an unhappy one.[156] Other persons, however, encouraged by the general favor that evidently waited on light and amusing collections of stories, crowded more earnestly along in the same path;--Salazar, with his “Flowers of Recreation,” in 1622;[157]--Lugo, with his “Novelas,” the same year;[158]--and Camerino, with his “Love Tales,”[159] only a year later;--all the last six works having been produced in three years, and all belonging to the school of Timoneda, as it had been modified by the genius of Cervantes and the practical skill of Salas Barbadillo.