JUAN See also:

• RUIZ, JUAN (c. 1283-c. 1350)

RUIZ DE See also:

• ALARCON, HERNANDO DE
• JUAN RUIZ DE ALARCON (1518 ?-1639)
• ALARCON, PEDRO ANTONIO DE (1833-1891)

ALARCON (1518 ?-1639)  , See also:

• SPANISH

Spanish dramatist, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born about 1581 at Tlacho (See also:

• MEXICO
• MEXICO (Span. Mejico, or Mexico,)
• MEXICO, FEDERAL DISTRICT OF
• MEXICO, GULF OF

Mexico), where his See also:

• FATHER

father was See also:

• SUPERINTENDENT

superintendent of mines . He came to See also:

• EUROPE

Europe in 1600, studied See also:

• LAW
• LAW (0. Eng. lagu, M. Eng. lawe; from an old Teutonic root lag, " lie," what lies fixed or evenly; cf. Lat. lex, Fr. loi)
• LAW, JOHN (1671—1729)
• LAW, WILLIAM (1686-1761)

law at See also:

• SALAMANCA
• SALAMANCA (anc. Salmantica or Elmantica)

Salamanca, and in 16o8 went back to Mexico to compete for a professorial See also:

• CHAIR (in. Mid. Eng. chcere, through O. Fr. chaire or chaiere, from Lat. cathedra, later caledra, Gr. xaOi3pa, seat, cf. "cathedral"; the modern Fr. form chaise, a chair, has been adopted in English with a particular meaning as a form of carriage; chaire

chair . Returning to See also:

• SPAIN
• SPAIN (Espana)

Spain in 1611, he entered the See also:

• HOUSEHOLD, ROYAL

household of the See also:

• MARQUIS

marquis de Salinas, became a successful dramatist, and was nominated a member of the See also:

• COUNCIL (Lat. concilium, from cum, together, and the root cal, to call)

council of the Indies in 1623 . He died at See also:

• MADRID

Madrid on the 4th of See also:

• AUGUST (originally Sextilis)

August 1639 . His plays were published in 1628 and 1634; the most famous of these is La Verdad sospechosa, which was adapted by See also:

• CORNEILLE, PIERRE (1606–1684)
• CORNEILLE, THOMAS (1625-1709)

Corneille as the Menteur . See also:

• ALARCON, HERNANDO DE
• ALARCON, JUAN RUIZ DE (1518 ?-1639)
• ALARCON, PEDRO ANTONIO DE (1833-1891)

Alarcon had the misfortune to be a hunchback, to be embittered by his deformity, and to be constantly engaged in See also:

• PERSONAL

personal quarrels with his rivals; but his attitude in these polemics is always dignified, and his crushing See also:

• RETORT (Lat. retorquere, to twist or turn back)

retort to Lope de See also:

• VEGA, GARCILASO DE LA
• VEGA, GARCILASO DE LA (1503-1536)

Vega in Los pechos privilegiados is an unsurpassable example of See also:

• COLD (in O. Eng. cald and ceald, a word coming ultimately from a root cognate with the Lat. gelu, gelidus, and common in the Teutonic languages, which usually have two distinct forms for the substantive and the adjective, cf. Ger. Kolte, kalt, Dutch koude

cold, scornful invective . More than any other Spanish dramatist, Alarcon is preoccupied with ethical aims, and his See also:

• GIFT (a common Teutonic word, cf. Ger. die Gift, gift, das Gift, poison, formed from the Teut. stem gab-, to give, cf. Dutch geven, Ger. geben; in O. Eng. the word appears with initial y, the guttural of later English is due to Scandinavian influence)

gift of dramatic presentation is as brilliant as his See also:

• DIALOGUE

dialogue is natural and vivacious . It has been alleged that his See also:

• FOREIGN

foreign origin is noticeable in his plays, and there is some See also:

• FOUNDATION (Lat. fundatio, from fundare, to found)

foundation for the See also:

• CRITICISM
• CRITICISM (from the Gr. KpiTrlS, a judge, Kpivew, to decide, to give an authoritative opinion)

criticism; but his workmanship is exceptionally conscientious, and in El Tejedor de See also:

• SEGOVIA

Segovia he had produced a masterpiece of See also:

• NATIONAL

national See also:

• ART

art, national sentiment and national expression . (J .