Play: The Comical History of the Simpleton Fool

Title and attribution check
I cannot locate any extant Cervantine play known in English as "The Comical History of the Simpleton Fool" from 1611. Miguel de Cervantes did write for the stage, but the collection that preserves his dramatic work, Eight Comedies and Eight Interludes, Never Performed, appeared in 1615. His surviving full-length comedias include The Gallant Spaniard, The Great Sultana, The Labyrinth of Love, The House of Jealousy, The Fortunate Ruffian, The Diversion, Los baños de Argel, and Pedro de Urdemalas; his short interludes include The Divorce Judge, The Jealous Old Man, The Marvelous Puppet Show, The Watchful Guard, The Pretended Basque, The Widow Ruffian, and others. None bears a title that translates as "The Comical History of the Simpleton Fool", and 1611 does not match the publication date of the preserved plays and interludes.

Possible sources of confusion
There are several ways such a title might have arisen. Early modern English translators and booksellers often supplied vivid, nonliteral titles to Spanish pieces, especially when marketing short comic interludes; a generic label like “comical history” plus a stock character (“simpleton,” “fool,” or “mentecato”) would have been plausible. Cervantes also wrote or mentions having written plays that are now lost, and other Golden Age dramatists, Lope de Vega, Quiñones de Benavente, and various entremesistas, composed works centered on fools and simpletons that could later be misattributed. Another possibility is that the requested piece is not a play by Cervantes but an interlude or novella attributed to him in a miscellany; for example, The Curious Impertinent is a famous novella embedded in Don Quixote that sometimes circulated separately in translation, and interludes such as The Marvelous Puppet Show stage gullibility and social fear in ways a translator might loosely render with “simpleton.”

Nearby Cervantine candidates
If the request aims for a Cervantine comedy about credulity, imposture, and social satire, the terrain suggested by “simpleton fool”, The Marvelous Puppet Show is the closest interlude. It depicts a fraudulent showman who tricks a town into professing they see marvels on stage; no one dares admit they see nothing lest they be branded illegitimate, Moorish, or Jewish. The piece turns the audience’s fear of dishonor into collective folly, making the “fool” a function of social pressure rather than an individual dupe. Another proximate work is Pedro de Urdemalas, a full-length play about a shape-shifting trickster who lives by wit among gypsies and townsfolk; here, credulous marks are repeatedly outfoxed, and the comedy hinges on the contrast between clever imposture and trusting simplicity. La entretenida, a bustling urban comedy, likewise thrives on misunderstandings and self-deceptions that make otherwise sharp characters behave foolishly.

What would help confirm the work
If you can share the Spanish title, a character name, an editor or translator, the opening scene, or where you encountered the 1611 date, I can pinpoint the text and provide a precise 500-word summary. If the intended piece is one of the interludes named above, most likely The Marvelous Puppet Show, I can summarize that immediately. If, instead, the title comes from a later English anthology or an attributions list that folded non-Cervantine entremeses into his corpus, I can track the provenance and offer an accurate summary of the correct play while noting the attribution history.