and even abandon all idea of
finishing it was an argument I put to myself taken from the plays that
are acted now-a-days, which was in this wise: if those that are now in
vogue, as well those that are pure invention as those founded on history,
are, all or most of them, downright nonsense and things that have neither
head nor tail, and yet the public listens to them with delight, and
regards and cries them up as perfection when they are so far from it; and
if the authors who write them, and the players who act them, say that
this is what they must be, for the public wants this and will have
nothing else; and that those that go by rule and work out a plot
according to the laws of art will only find some half-dozen intelligent
people to understand them, while all the rest remain blind to the merit
of their composition; and that for themselves it is better to get bread
from the many than praise from the few; then my book will fare the same
way, after I have burnt off my eyebrows in trying to observe the
principles I have spoken of, and I shall be 'the tailor of the corner.'
And though I have sometimes endeavoured to convince actors that they are
mistaken in this notion they have adopted, and that they would attract
more people, and get more credit, by producing plays in accordance with
the rules of art, than by absurd ones, they are so thoroughly wedded to
their own opinion that no argument or evidence can wean them from it.

"I remember saying one day to one of these obstinate fellows, 'Tell me,
do you not recollect that a few years ago, there were three tragedies
acted in Spain, written by a famous poet of these kingdoms, which were
such that they filled all who heard them with admiration, delight, and
interest, the ignorant as well as the wise, the masses as well as the
higher orders, and brought in more money to the performers, these three
alone, than thirty of the best that have been since produced?'

"'No doubt,' replied the actor in question, 'you mean the "Isabella," the
"Phyllis," and the "Alexandra."'

"'Those are the ones I mean,' said I; 'and see if they did not observe
the principles of art, and if, by observing them, they failed to show
their superiority and please all the world; so that the fault does not
lie with the public that insists upon nonsense, but with those who don't
know how to produce something else. "The Ingratitude Revenged" was not
nonsense, nor was there any in "The Numantia," nor any to be