Whilst murders such as this were of frequent occurrence in the capital, whilst war was looming daily closer, whilst industry lay ruined and the fields unproductive, whilst poverty and famine stalked unchecked through the land, the nobles and officials dependent upon the Court grew richer in plunder and more insolent in ostentation, {60} notwithstanding the sumptuary decrees and the frantic efforts of Philip and Olivares to impose strict economy in one direction, as a counterbalance to lavish squandering in others. Almost any pretext was good enough for Philip to seize for a wasteful show. In after-times people blamed Olivares for purposely leading the lad into these frivolous extravagances, with the set object of diverting him from his duty; but I am inclined to believe that this view is an unjust one as regards the beginning of the reign. Olivares, of course, wished to please and flatter his master; but whilst he worked like a giant himself, and behind a perfect multitude of boards and juntas contrived to keep in his own hands supreme control of national affairs, he unquestionably urged Philip again and again to apply himself diligently to work and to spend less time in pleasure.[12] [Sidenote: Devotions and diversions] Philip's own inclinations led him to idle and profitless pleasures, especially those which lent themselves to theatrical display or ostentatious decorations. The bull-fights, combats between wild beasts, equestrian parades, cane tourneys, masques, balls, comedies and banquets, alternated with religious processions and church ceremonies. In these rejoicings Philip and his wife took equal pleasure. It was the Augustan age of Spanish literature, and the drama of intrigue which Spaniards had invented to delight Europe in future was then in its full flood of malicious fertility. From October 1622 every Sunday and Thursday, except during the height of summer, dramas {61} were performed by regular actors and actresses in the private theatre of the palace, the Queen being nominally the principal patron of the pastime. Some of the comedies then first represented may be mentioned as indicating the taste of the time. "The Scorned Sweetheart," "Jealousy of a Horse," and "The Loss of Spain" were three plays by Pedro Valdes, for which the Queen paid 300 reals, or £6 each. "The Fortunate Farmer," "The Woman's Avenger," "The Husband of his Sister," and "The Power of Opportunity" were other plays paid for by the Queen; and the total number of new dramas represented in the Queen's apartments in the palace during the winter of 1622-23 was forty-three, the fees for which reached 13,500 reals, equal to £270.[13]