THOUGH scholars have diligently researched the dynamic theatrical landscape of sixteenth--and seventeenth-century Spain, most have concentrated on the more prevalent forms, namely the comedia and the auto sacramental, overlooking the shorter playlets that were performed before and after the primary work, as well as in between acts. With their comical topics and hilarious caricatures, these "minor"--and I use the term loosely--works (the introito, loa, entremes, baile, and jacara) played significant roles in the dramatic spectacle by settling and entertaining the often rowdy public. In fact, it was often the less-complicated style of the entremes, or interlude, that overshadowed the poor acting and bad scripts of many comedias, saving the afternoon's spectacle. (1) Both past and present critics recognize Luis Quinones de Benavente as the quintessential entremesista of the Spanish Golden Age whose experimental and more-literary stylings changed many dramatic trends of the times. Manuel Antonio de Vargas, compiler of Jocoseria (1645), a collection of Benavente's interludes, went so far to say that the dramatist's entremeses gave support--literally crutches--to bad comedias and wings to good ones (3). His opinion was not unique, in Para todos exemplos morales, humanos y divinos (1645), Juan Perez de Montalban states: More recently, Ludwig Pfandl praised Benavente in Historia de la literatura nacional espanola en la Edad de Oro:
