ruth and the corruption of history, nay more, to the reproach of the
wits of Spain; for foreigners who scrupulously observe the laws of the
drama look upon us as barbarous and ignorant, when they see the absurdity
and nonsense of the plays we produce. Nor will it be a sufficient excuse
to say that the chief object well-ordered governments have in view when
they permit plays to be performed in public is to entertain the people
with some harmless amusement occasionally, and keep it from those evil
humours which idleness is apt to engender; and that, as this may be
attained by any sort of play, good or bad, there is no need to lay down
laws, or bind those who write or act them to make them as they ought to
be made, since, as I say, the object sought for may be secured by any
sort. To this I would reply that the same end would be, beyond all
comparison, better attained by means of good plays than by those that are
not so; for after listening to an artistic and properly constructed play,
the hearer will come away enlivened by the jests, instructed by the
serious parts, full of admiration at the incidents, his wits sharpened by
the arguments, warned by the tricks, all the wiser for the examples,
inflamed against vice, and in love with virtue; for in all these ways a
good play will stimulate the mind of the hearer be he ever so boorish or
dull; and of all impossibilities the greatest is that a play endowed with
all these qualities will not entertain, satisfy, and please much more
than one wanting in them, like the greater number of those which are
commonly acted now-a-days. Nor are the poets who write them to be blamed
for this; for some there are among them who are perfectly well aware of
their faults, and know what they ought to do; but as plays have become a
salable commodity, they say, and with truth, that the actors will not buy
them unless they are after this fashion; and so the poet tries to adapt
himself to the requirements of the actor who is to pay him for his work.
And that this is the truth may be seen by the countless plays that a most
fertile wit of these kingdoms has written, with so much brilliancy, so
much grace and gaiety, such polished versification, such choice language,
such profound reflections, and in a word, so rich in eloquence and
elevation of style, that he has filled the world with his fame; and yet,
in consequence of his desire to suit the taste of the actors, they have
not all, as some of them have,