Where Lope de Vega and Shakspere are again alike is that they both wrote all their plays for the popular theater, apparently composing these pieces solely with a view to performance and caring nothing for any praise which might be derived from publication. Martinenche, in his study of the 'Comedia Espagnole' (p. 243, note) dwells on Lope's carelessness for the literary renown to be won by the printing of his dramatic poems; in his non-dramatic poems he took pride, just as Shakspere seems to have read carefully the proofs of his lyrical narratives altho he did not himself choose to publish a single one of his plays. And Molière, it may be noted, tells us frankly that he was completely satisfied with the success of his earlier pieces on the stage, and that he had been content to leave them unprinted until his hand was forced by a pirate-publisher. Shakspere is abundant in his allusions to the art of acting and reticent in his illusions to the art of playmaking. In fact, there is no single recorded expression of his opinion in regard to the principles or the practice of dramaturgy; and here he is in marked contrast with Ben Jonson, who had a body of doctrine about the drama, which he set forth in his 'Discoveries' and in his prologs, as well as in his conversations with Drummond of Hawthornden. In general Lope's attitude toward dramaturgic theory is the same as Shakspere's; but on one occasion he was induced to discuss the principles of the art he adorned, and to express his opinions upon its methods. This single occasion was when he was persuaded to deliver a poetic address upon the 'New Art of Making Plays in This Age.' This 'Arte neuvo de hazer comedias en este tiempo' was originally published in the 'Rimas' of Lope de Vega, Madrid, 1609. A facsimile reprint was issued by Mr. Archer M. Huntington in New York in 1903. A critical edition with an introduction and notes by A. Morel-Fatio appeared in the _Bulletin Hispanique_ for October-December, 1904--and also in a separate pamphlet. The French editor accepts the year of publication as probably the year of delivery; and he believes the Academy of Madrid, before whom the poem was read, to be "no doubt one of those literary assemblies, imitated from those flourishing in Italy and holding their meetings at the house of some cultivated gentleman."