The new Russian translation of the dramatic works of Cervantes, published by the author in 1615 in Madrid under the title "Eight comedies and eight interludes, new and not previously presented," acquaints the Russian reader with a previously unknown layer of creativity of the Spanish classics. These plays constitute, undoubtedly, an original artistic unity with a sophisticated composition and a large implicit theoretical task. Cervantes' dramaturgy is mastered by Russian cultural consciousness to a much lesser extent than Don Quixote, and even to a lesser extent than Edifying Novels, although we are talking about a dramatic revelation, as significant for the beginning of the New Age as the justification of genre innovations by Moliere in his Versailles Impromptu. At the same time, it should be said that we have a classic translation of interludes made by A. N. Ostrovsky. This translation is a triple literary monument - Cervantes, for the interludes were conceived by the author, as an artistic and theoretical whole, a monument to Ostrovsky's work as a translator and playwright and, finally, a monument to early Russian Spanish studies.