Alfred Morel-Fatio and James Fitzmaurice-Kelly

Summary

Alfred Morel-Fatio and James Fitzmaurice-Kelly 1911 Encyclopædia Britannica, Volume 27… (1911)

In the first place, Lope’s work belongs essentially to the drama of intrigue; be the subject what it may, it is always the plot that determines everything else. Lope in the whole range of his dramatic works has no piece comparable to La Verdad Sospechosa of Ruiz de Alarcon, the most finished example iii Spanish literature of the comedy of character; and the comedy of manners is represented only by El Galán Castrucho, El Anzuelo de Fenisa, and one or two others. It is from history, and particularly Spanish history, that Lope has borrowed more than from any other source.
Source: Wikisource

Alfred Morel-Fatio and James Fitzmaurice-Kelly 1911 Encyclopædia Britannica, Volume 27… (1911)

The strong point of such writers is and always will be their management of the plot. As has been said by Le Sage, a good judge: “The Spaniards are our masters in the art of planning and skilfully working out a plot; they know how to set forth their subject with infinite art and in the most advantageous light.” It is not necessary to dwell here upon the other varieties of comedy represented in Lope’s works, that is, the comedias divinas, fiestas (mythological dramas for the most part) , entremeses and autos.
Source: Wikisource

Alfred Morel-Fatio and James Fitzmaurice-Kelly 1911 Encyclopædia Britannica, Volume 27… (1911)

It is, however, to his dramatic writings that Lope owes his eminent place in literary history. It is very curious to notice how he himself always treats the art of comedy-writing as one of the humblest of trades (de pane lucrando) , and protests against the supposition that in writing for the stage his aim is glory and not money. The reason is not far to seek. The Spanish drama, which, if riot literally the creation of Lope, at least owes to him its definitive form—the three-act comedy—was.
Source: Wikisource

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