Rojas Villandrando (1572-1618) Agustín de Rojas Villandrano published and became well known for his loas in Entertaining Journey (El viaje entrentenido). His loas included monologues and short sketch scenes that the whole company of actors participated in. His most famous loa is the Loa en Alabanza de la Comedia. The subjects of praise in his loas varied from praising a city, the company of actors performing, thieves, the day Tuesday, teeth and pigs. A translation of the end of the swine praising loa: And if long have been my praises Of an animal so lovely, May he who should be one pardon Me, and therefore not feel shameful. Published in 1604, Rojas' novel, El viaje entrentendio depicts the life of 16th century Spanish actors. It starts with characters leaving the city Seville. Rojas writes a loa that praises Seville which is meant to be spoken to the people of that city. In the same body of work, Rojas Villandrando also praises Lope de Rueda for his writing of the Spanish drama and of the dramatic prologue. Lope de Rueda (1510-1565) Lope de Rueda was a professional actor-manager who toured different town squares setting up a stages to perform. He specifically wrote and performed an introductory prologue called Introito que hace el Autor (An Introito that the Playwright performs) and also wrote introitos or argumentos for his later plays, Colloquio de Camila and Colloquio de Timbria. Quiñones de Benavente (1581-1651) Quiñones de Benavente wrote loas that were dramatic sketches in which several actors and sometimes the entire company would participate in. These loas could be used to preface any comedia and were mostly unrelated to the loa. In two of his loas, he introduce the members of the company to the audience as a plea for a positive reception of the play. His loas were first published in 1645 as Joco Seria, Burlas Veras in Madrid. Loas in Spain: Autos Sacramentales Autos or autos sacramentales were sacred plays as opposed to the secular comedias of the time. These plays continued from medieval Christian morality and mystery plays. Calderón de la Barca (1600-1681) Calderón wrote loas specifically for plays that had been previously written and for his own plays that were autos sacramentales. His loas were used specifically to understand the particular play that followed. An example is in his loa to Los tres mayores Prodigos (The three biggest Prodigals). In addition