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172:, in which three of the four main characters were based on some of the most well-known actors (including Ríos) of his time. Neither Lope nor Calderón may have ever mentioned Rojas, but Lope’s friends wrote dedications in the book, and dozens of theatre artists (from famous actresses to dance masters to props artisans) made their appearance in its pages. The book enjoyed multiple reprints. Its success, it seems, prompted Rojas to leave the theatre for a career as a writer.
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156:. He served as a soldier in France and was a prisoner in La Rochelle. He was persecuted in Italy for killing a man in Malaga and he took refuge in the temple of San Juan. He bought his freedom with three hundred ducats. He then lived in a number of cities in Spain including Sevilla and Granada.
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Rojas’s career and its documentary record would be of little note, were it not for the fact that he took an authorial turn, penning not plays but rather a 700-page book entitled
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sometimes before 1635 since his wife, Ana de Arceo whom he married in 1603, was already called a widow in 1635. His last known correspondence was in 1618.
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Jackson-Schebetta, Lisa (2023). "Theatre-Fiction-History: The
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was banned by the
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240:"Rojas Villandrando, Agustín de (1572-1625). » MCNBiografias.com"
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