22. Begin then, and with simple language, do not spend sententious thoughts and witty sayings on family trifles, which is all that the familiar talk of two or three people is representing. But when the character who is introduced persuades, counsels or dissuades, then there should be gravity and wit; for then doubtless is truth observed, since a man speaks in a different style from what is common when he gives counsel, or persuades, or argues against anything. Aristides, the rhetorician, gave us warrant for this; for he wishes the language of comedy to be pure, clear, and flexible, and he adds also that it should be taken from the usage of the people, this being different from that of polite society; for in the latter case the diction will be elegant, sonorous, and adorned. Do not drag in quotations, nor let your language offend because of exquisite words; for, if one is to imitate those who speak, it should not be by the language of Panchaia, of the Metaurus, of hippogriffs, demi-gods and centaurs.

23. If the king should speak, imitate as much as possible the gravity of a king; if the sage speak, observe a sententious modesty; describe lovers with those passions which greatly move whomever listens to them; manage soliloquies in such a manner that the recitant is quite transformed, and in changing himself, changes the listener. Let him ask questions and reply to himself, and if he shall make plaints, let him observe the respect due to women. Let not ladies disregard their character, and if they change costumes, let it be in such wise that it may be excused; for male disguise usually is very pleasing. Let him be on his guard against impossible things, for it is of the chiefest importance that only the likeness of truth should be represented. The lackey should not discourse of lofty affairs, not express the conceits which we have seen in certain foreign plays; and in no wise let the character contradict himself in what he has said; I mean to say, forget,—as in Sophocles one blames Oedipus for not remembering that he has killed Laius with his own hand. Let the scenes end with epigram, with wit, and with elegant verse, in such wise that, at his exit, he who spouts leave not the audience disgusted. In the first act set for the case. In the second weave together the events, in such wise that until the middle of the third act one may hardly guess the outcome. Always trick expectancy; and hence it may come to pass that something quite far from what is promised may be left to the understanding. Tactfully suit your verse to the subjects being treated. Décimas are good for complainings; the sonnet is good for those who are waiting in expectation; recitals of events ask for romances, though they shine brilliantly in octavas. Tercets are for grave affairs and redondillas for affairs of love. Let rhetorical figure be brought in, as repetition or anadiplosis, and in the beginning of these same verses the various forms of anaphora; and also irony, questions, apostrophes, and exclamations.

24. To deceive the audience with the truth is a thing that has seemed well, as Miguel Sánchez, worthy of this memorial for the invention, was wont to do in all his comedies. Equivoke and the uncertainty arising from ambiguity have always held a large place among the crowd, for it thinks that it alone understands what the other one is saying. Better still are the subjects in which honor has a part, since they deeply stir everybody; along with them go virtuous deeds, for virtue is everywhere loved; hence we see, if an actor chance to represent a traitor, he is so hateful to everyone that what he wishes to buy is not sold him, and the crowd flees when it meets him; but if he is loyal, they lend to him and invite him, and even the chief men honor him, love him, seek him out, entertain him, and acclaim him.

25. Let each act have but four sheets, for twelve are well suited to the time and the patience of him who is listening. In satirical parts, be not clear or open, since it is known that for this very reason comedies were forbidden by law in Greece and Italy; wound without hate, for if, perchance, slander be done, expect not applause, nor aspire to fame.

26. These things you may regard as aphorisms which you get not from the ancient art, which the present occasion allows no further space for treating; since whatever has to do with the three kinds of stage properties which Vitruvius speaks of, concerns the impresario; just as Valerius Maximus, Petrus Crinitus, Horace in his Epistles, and others describe these properties, with their drops, trees, cabins, houses, and simulated marbles.

27. Of costume Julius Pollux would tell us if it were necessary, for in Spain it is the case that the comedy of to-day is replete with barbarous things: a Turk wearing the neck-gear of a Christian, and a Roman in tight breeches.

28. But of all, nobody can I call more barbarous than myself, since in defiance of art I dare to lay down precepts, and I allow myself to be borne along in the vulgar current, wherefore Italy and France call me ignorant. But what can I do if I have written four hundred and eighty-three comedies, along with one which I have finished this week? For all of these, except six, gravely sin against art. Yet, in fine, I defend what I have written, and I know that; though they might have been better in another manner, they would not have had the vogue which they have had; for sometimes that which is contrary to what is just, for that very reason, pleases the taste.

How Comedy reflects this life of man, How true her portraiture of young and old; How subtle wit, polished in narrow span, And purest speech, and more too you behold; What grave consideration mixed with smiles, What seriousness, along with pleasant jest; Deceit of slaves; how woman oft beguiles How full of slyness is her treacherous breast; How silly, awkward swains to sadness run, How rare success, though all seems well begun.

Let one hear with attention, and dispute not of the art; for in comedy everything will be found of such a sort that in listening to it everything becomes evident.


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