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See also:RUEDA, LOPE DE (1510?–1565?) , See also:Spanish dramatist, was See also:born See also:early in the 16th See also:century at See also:Seville, where, according to Cervantes, he worked as a See also:- METAL
- METAL (through Fr. from Lat. metallum, mine, quarry, adapted from Gr. µATaXAov, in the same sense, probably connected with ,ueraAAdv, to search after, explore, µeTa, after, aAAos, other)
metal-beater. His name first occurs in 1554 as acting at Benavente, and between 1558 and 1561 he was manager of a strolling See also:company which visited See also:Segovia, Seville, See also:Toledo, See also:Madrid, See also:Valencia and See also:Cordova. In the last-named See also:city Rueda See also:fell See also:ill, and on the 21St of See also:March 1565 made a will which he was too exhausted to sign; he probably died shortly afterwards, and is said by Cervantes to have been buried in Cordova See also:cathedral. He was twice married; first to a disreputable actress named See also:Mariana, who became the See also:mistress of the See also:duke de Medinaceli; and second to Rafaela Angela, who See also:bore him a daughter. His See also:works were issued posthumously in 1567 by Timoneda, who toned down certain passages in the texts. Rueda's more ambitious plays are mostly adapted from the See also:Italian; in Eufemia he draws on See also:Boccaccio, in Medora he utilizes Giancarli's Zingara, in Armelina he combines Raineri's Attilia with Cecchi's Servigiale, and in Los Enganados he uses Gl'Ingannati, a See also:comedy produced by the Intronati, a See also:literary society at See also:Siena. These follow the See also:original so closely that they give no See also:idea of Rueda's See also:- TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental
talent; but in his pasos or See also:prose interludes he displays an abundance of riotous See also:humour, See also:great knowledge of See also:low See also:life, and a most happy See also:gift of See also:dialogue. His predecessors mostly wrote for courtly audiences or for the study; Rueda with his strollers created a See also:taste for the See also:drama which he was able to gratify, and he is admitted both by Cervantes and Lope de See also:Vega to be the true founder of the See also:national See also:theatre.
His works have been reprinted by the See also:marquis de la Fuensanta del See also:Valle in the Coleccion de libros taros o cursosos, vols. See also:xxiii. and See also:xxiv.
End of Article: RUEDA, LOPE DE (1510?–1565?)
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