favourable specimens, and no one who reads the "Numancia" and the "Trato
de Argel" will feel any surprise that they failed as acting dramas.
Whatever merits they may have, whatever occasional they may show, they
are, as regards construction, incurably clumsy. How completely they
failed is manifest from the fact that with all his sanguine temperament
and indomitable perseverance he was unable to maintain the struggle to
gain a livelihood as a dramatist for more than three years; nor was the
rising popularity of Lope the cause, as is often said, notwithstanding
his own words to the contrary. When Lope began to write for the stage is
uncertain, but it was certainly after Cervantes went to Seville.
Among the "Nuevos Documentos" printed by Senor Asensio y Toledo is one
dated 1592, and curiously characteristic of Cervantes. It is an agreement
with one Rodrigo Osorio, a manager, who was to accept six comedies at
fifty ducats (about 6l.) apiece, not to be paid in any case unless it
appeared on representation that the said comedy was one of the best that
had ever been represented in Spain. The test does not seem to have been
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