I was not content to store my memory and discipline my mind with the choicest selections from these dramatic masterpieces: but I was bent on polishing my taste to the highest perfection. To secure this grand object, I listened with greedy ears to every word which fell from the lips of the players. If they commended a piece, I was ravished by it: but suppose they pronounced it bad? why then I maintained that it was infernal stuff. I conceived that they must determine the merits of a play, as a jeweller the water of a diamond. And yet the tragedy by Pedro de Moya was eminently successful, though they had predicted its entire miscarriage. This, however, was no disparagement of their critical skill in my estimation; and I had rather believe the audience to be divested of common sense, than doubt the infallibility of the company. But they assured me on all hands, that their judgments were usually confirmed by the rule of contraries. It seemed to be a maxim with them, to set their faces point-blank against the taste of the public; and as a proof of this, there were a thousand cases in point of unexpected successes and failures. All these testimonies were scarcely sufficient to undeceive me. I shall never forget what happened one day at the first representation of a new comedy. The performers had pronounced it uninteresting and tedious; they had even prophesied that it would not be heard to the end. Under this impression, they got through the first act, which was loudly applauded. This was very astonishing! They played the second act; the audience liked it still better than the first. The actors were confounded. What the devil, said Rosimiro, this comedy succeeds! At last they went on in the third act, which rose as a third act ought to rise. I am quite thrown upon my back, said Ricardo; we thought this piece would not be relished; and all the world are mad after it. Gentlemen, said one of the players archly, it is because we happened accidentally to overlook all the wit.