Ë  Ë‚ Spanish Theory on the English Boards: The Influence of Spanish Dramatic Theory on Dryden, Rymer and Howard When the English theatres reopened after the Commonwealth, English playwrights were faced with many choices in remaking a national theatre©©or attempting to continue an interrupted one. Several influences, past and present, complicated theories of English drama: the legacy of Jacobean and Carolean drama, "classical" plays and theories from Frenchmen such as Corneille, Le Bossu, Sarasin and Rapin, and their own sense of what British theatre should be in the time of Charles II. All these influences and problems have been documented and written upon. A subject which has not recieved critical attention is the influence of Spanish theory written earlier in the century upon theorists in England. This lack of critical attention seems puzzling when one recalls that several theses, articles and two very good books (by John Loftis) have been dedicated to the influence of earlier and contemporary Spanish plays upon English plays. Dryden, Wycherley, Behn, and others read Spanish and adapted plots and borrowed conventions from Spanish plays. It seems likely, therefore, that Spanish dramatic theory, as set down by Spanish dramatists in treatises or demonstrated in their plays, influenced English dramatic theorists. In this paper I shall attempt (1) to describe the basic currents of Spanish critical thought in the major period of Spanish dramatic criticism, 1600©1620, with special emphasis on Cervantes, Lope de Vega and Tirso de Molina; (2) to trace these ideas in the early critical work of Dryden, Rymer and Howard; and (3) to contrast the resulting fusion of ideas with contemporary French dramatic criticism. 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