The neglect of Spanish literature is perhaps, after the decay of Spanish power, the most striking instance of the precarious tenure of greatness that modern history can supply. Various causes have contributed to this result; none more powerfully perhaps than that ecclesiastical domination which included all that could embellish and exalt our nature in the sphere of its malignant activity, and after poisoning the sources of material prosperity—after making the river, the forest, and the mine useless to their possessors—after turning the land of corn, and wine, and oil into a wilderness—extended its destructive conquest to the informing soul of its inhabitants, and to the ruin of commerce added the extermination of thought itself.

There were many causes which contributed to the triumph of this influence in Spain. The long war against the Moors, carried on with such unequalled pertinacity, and terminated by such complete success, could hardly fail to prolong and exasperate the feelings of religious antipathy, and to make the bigotry, which so many generations had identified with patriotic feeling, precious and venerable to their descendants. And as in France it must for many centuries have been the great object of every true patriot to fortify and to consolidate, at the sacrifice even of constitutional principle, the central power which alone could protect her from invasion, and prevent her from being reduced to the state of wretched insignificance to which a minute subdivision of power into petty principalities had degraded Germany,—so in Spain, national pride mingled itself with religious principle; the hostility of race combined with the hatred of sect; and if the latter made the former furious, the former made the last implacable. The Saxon submitted to the Norman. But the Spaniard, under circumstances far less favourable to resistance, never for one moment abandoned his hostility to the Moor. Again, when Louis the Fourteenth had been compelled by adverse fortune to surrender the cause of his own grandson, the Spanish peasant, without resources, without commerce, without fleets, without armies, adhered with inflexible fidelity to the cause he had once embraced, and in spite of Blenheim and Ramilies and Oudenarde—in spite of Marlborough, Eugene, and Peterborough—kept the sovereign of his affections on the throne;-and finally, when the rest of Continental Europe quailed before the first of conquerors, the spirit which had triumphed at Almanza and Granada showed itself once more to be invincible, and taught mankind the memorable lesson that "all was not lost" where hatred was immortal, and the determination of resistance not to be overcome. Such a nation must leave an imperishable mark in history. As, however, these elements of pride and bigotry acquired an ascendency in the Spanish character, it gradually sank into a sullen apathy of unsocial indolence, which its declining influence and repeated mortifications tended materially to confirm. Shut up behind the barrier of the Pyrenees—living only in the past, consoling itself by the recollections of former grandeur for the consciousness of actual insignificance and decay; the slave of priests, the victim of kings—it clung to habits unknown in the rest of Europe, and to feelings with which all sympathy had long since passed away. The language, which in the sixteenth century had been spoken in every court of Europe, was unknown—the writers, whom the giant intellects that surrounded the throne of our Elizabeth had studied with so much care, were forgotten. In spite of her noble colonies, in spite of her glorious dialect, in spite of writers more nearly approaching the great models of antiquity in the exquisite perfection of style than those of any modern country, in spite of a drama the wealth of which was inexhaustible Spain ceased to have any influence on the progress of human thought and action. Her vast empire was a corpse from which life had fled. So complete was the ignorance of Spanish literature, that Montesquieu said of the Spaniards, without incurring the charge of having sacrificed truth to epigram, "Le seul de leurs livres qui soit bon est celui qui a fait voir le ridicule de tous les autres:" a singular proof of literary ingratitude in the countryman of MoliÈre, Corneille, and Le Sage—and a still more remarkable proof of the fluctuation of national studies in a country where, scarce a century before, ignorance of Spanish would have been looked upon as a proof of the most barbarous rusticity.

In France, says Cervantes, there is no one man or woman who does not learn Spanish. "En Francia, ni varon ni muger dexa de aprender la lengua Castellana."

To the effect of this very circumstance the growing indifference to Spanish literature may, in some measure, be ascribed. During the palmy state of Spanish greatness, the Spaniard, finding his language, as the French is now, the received organ of social intercourse throughout Europe, seldom vouchsafed to study modern languages. Nor, indeed, were such studies congenial to the taste and temper of that fastidious and haughty nation. In earlier days, poetical traditions and popular ballads had wandered across the Pyrenees. The songs of the Troubadours, and the effusions in the tongue of Oc, had, by means of the kindred dialect of Catalonia, exercised great influence over Castilian poetry. But, towards the end of the fifteenth century, the connection between French and Spanish literature was altogether interrupted: as the language of Catalonia sank to the level of a mere provincial dialect, the channel of communication was blocked up. The family relations between the different members of the houses of Hapsburg and Bourbon could not fill up the chasm which nature had placed between the inhabitants of different sides of the Pyrenees, and which centuries of almost incessant warfare had contributed to widen; and as the provinces of Berne and Languedoc became scandalous as the seats of heresy, everything that came from France was looked upon with aversion and distrust. Still stronger and more insurmountable were the barriers against English literature. He who will read the Dragontea of Lope de Vega, the most amiable of authors, and the ode of Gongora, Al armamento de Felipe segundo contra Inglaterra, may form some idea of the scorn and hatred with which the Spaniard, proud of his race, proud of his victories, proud of his language, and, above all, tenacious to madness of the unsullied purity of his faith, looked upon the piratical English, twice apostates from the Holy See, who spoke a barbarous dialect, unknown to the nations of the South, clogged with consonants and monosyllables, incapable of sonorous cadences, and in every respect the opposite of his own. Even at the present day, it is remarkable that Southey—with all his faults, the best writer of English prose that our age has produced—was deeply versed in Spanish literature; and in spite of our acquisitions in physical science, a native of the South, to whom his own beautiful dialect is familiar, might be forgiven when he reads the clumsy prose and prosaic verse of the present day, if he reflect with delight on the Ciceronian eloquence of Cervantes, and the finished periods of Saavedra Faxardo. A Spanish artisan would be ashamed to write like our learned men, or to speak like many members of the House of Commons—so true and so universal is the doctrine of compensation. In the year 1754, Velasquez assures us that there was in Spain no single translation of an English author. But the aversion was not reciprocal. In the days of our great Elizabeth, when the English intellect was at a height from which it has ever since been travelling downwards, Spanish novels and romances were diligently studied, and perpetually translated. There is strong evidence to show that the great dramatists of that day were not ignorant of the Spanish stage.

A translation, or rather an abridgment, of the Celestina, was printed in London in 1530, and in 1580 the story was acted in a London theatre.

But as all our readers may not have heard—and many of them probably have not read a line of the Celestina—we will, before we proceed farther, explain the nature of this most remarkable—and if the age when it was written be considered—this quite unequalled production.

The Celestina, or Tragi-comedia di Calisto y Meliboea, is the title of a book which appeared at Salamanca in the year 1500. It is named from the principal person, a procuress, who is the instrument by which all the events that it describes are brought about. It is the work of two authors. The name of the first, who wrote the first act only, cannot certainly be determined. Some ascribe it to Juan de Mena, and some to Rodrigo Cota. The language seems to prove that the date of the first act cannot be much earlier than the end of the fifteenth century, or than that of the twenty acts added to it by the Bachelor, Fernando de Rozas, by whom the whole was published. The work was received with universal, but, if its merit be considered, not with excessive approbation. This is testified by the numerous editions which succeeded each other with great rapidity, not only throughout Spain, but in Venice, Milan, and Antwerp; and translations of it were eagerly studied in France, England, Italy, and Germany. The great length of the Celestina proves that it never could have been intended for the stage; but its influence on the dramatic literature of Spain has been, nevertheless, considerable. For the language of the dialogue is so exquisitely beautiful—the representations it contains are so vivid—and the pathos of several passages so touching,—above all, the characters are drawn with so much spirit and truth of colouring, that it became the favourite model of the great Spanish dramatists of the sixteenth century.

To enter into a detailed account of this beautiful composition would be mere pedantry. It might, perhaps, be agreeable to an age which receives with exultation and delight prose translations of the most beautiful poetry, and places equestrian statues over archways; but it must fill every one to whom the rudiments of taste are not absolutely unknown—every one for whom eloquence and poetry are not merely a dead letter—with unspeakable disgust. It would bear the same resemblance to the original that a corpse does to the body animated by an informing spirit. The plot is extremely simple. Calisto, a youth of high birth, cherishes the most passionate love for the beautiful Meliboea. In order to gratify his passion, he has recourse to Celestina, and by her arts and love-potions, and intrigues, he at length accomplishes his object. They meet at her house; and while

the servants of Calisto quarrel, a conflict ensues, in which Celestina loses her life. The law interferes, seizes upon the malefactors, and condemns them to the gallows. The friends of the servants agree to revenge their death. They beset the house, in which Calisto and his beloved have met again. Calisto, who wishes to encounter them, is slain. Meliboea, distracted with remorse and sorrow, and resolved not to survive her lover, ascends a lofty tower, and, after informing her parents of her errors, and of the death of him who shared them, precipitates herself from its summit. Such is the outline of this primitive effort of dramatic art, the eloquence of which is as various and astonishing as the plot is simple and inadequate. There are passages in it which may remind the reader of Clarissa Harlowe; and it is very possible that it may have suggested hints to Richardson. Bouterwek's remarks upon the Celestina are trivial and insignificant.

"I may boldly say it, because I have seen it," says Stephen Gosson, in 1581, writing under the influence of those puritanical feelings which were soon to play so conspicuous a part in our dramatic history, "that the Palace of Pleasure, the Golden Ass, the Æthiopian History, Amadis of France, and the Round Table, indecent histories in Latin, French, Italian, and Spanish, have been thoroughly ransacked to furnish the playhouses in London." Robert Green, the author of Friar Bacon, one of the most eminent of Shakspeare's immediate predecessors, tells us that he had travelled in Spain. There are several expressions in Shakspeare which indicate an acquaintance with Spanish literature—among others, the remarkable phrase, "this is mischief malikin," which is evidently a corruption of "mucho malhecho." The origin of the Taming of the Shrew is Spanish. The alternate rhymes of Love's Labour Lost prove, beyond a doubt, a Spanish model. The advice from Polonius to his son is said to be a literal translation from a Spanish dramatist. The resemblance between Twelfth Night and an anonymous comedy, La EspaÑola in Florencia, is too striking to be merely accidental. It is, indeed, most improbable that Shakspeare who was acquainted with French, and has inserted in his works—in the Tempest for instance—several paraphrases of Montaigne, should have been ignorant of Spanish, which was not only a more popular language, but one which contained far more to reward and stimulate the labour of the student. And here we may observe, that the prodigy of the Spanish stage, Lope de Vega—the "monster of nature," as Cervantes calls him, and certainly the most surprising instance of the combination of facility and genius which the modern world has seen—was born on the 25th November 1562, at Madrid, two years before Shakspeare. If we pursue our examination of the influence of Spanish literature on the English drama, we shall find a close resemblance between Fletcher's beautiful play of the Elder Brother—which was mutilated to please our barbarous grandfathers by Cibber,—and Calderon's Two Effects from one Cause, (De una Causa dos Efectos;) the Maid of the Mill, by Beaumont and Fletcher, and Lope's Quinta de Florencia; Webster's Duchess of Malfi, and Lope de Vega's Mayor Domo de la Duquesa de Amalfi. So the SeÑora Cornelia, a novel of Cervantes', is the foundation of the brilliant play of the Chances. The third scene of the third act of the Little French Lawyer, is taken from the fourth chapter of the second part of the first book of Aleman's Guzman d'Alfarache. The Knight of the Burning Perkle, shows that Don Quixote was commonly read in England. The Spanish Gipsy of Middleton and Rowley, and Beggars' Bush of Fletcher, are taken from the Fuerza de la Sangre, and Gitanilla of Cervantes; and the plan of Love's Pilgrimage is borrowed from the Dos Doncellas of the same author. The Spanish Curate is taken from the Gerardo of Gonzalo de Cerpedes; and The History of Alphonso, or a Wife for a Month, is that related by many Spanish writers of Sancho, the eighth King of Leon. To this list may be added a remarkable passage in Milton's Areopagitica, in which he alludes to Spanish poetry as we should allude to Manzoni and Lamartine. "The villages also must have their visitors, to inquire what lectures the bagpipe and the rebec reads even to the gamut of every municipal fiddler; for these are the countryman's Arcadias and his Monte Mayors." In 1663 was printed, The Adventures of Five Hours, from the Spanish comedy, Los EmpeÑos de Seis Horas. Lord Digby's 'Tis better than it was is taken from Calderon's Mejor estÁ que estaba. His Worse and Worse from Peor estÁ que estaba. His Elvira, or the Worst not always True, from Calderon's No siempre lo Peor es Cierto. There can be little doubt, as a careful and elaborate writer, Shack, remarks in his instructive work on the Spanish stage, that a more accurate inquiry than has yet been instituted into the English drama, would lead to the conclusion, that many of the works of Lope de Vega were familiar to the great writers of Elizabeth's time; not, indeed, that it is contended, or that with any shadow of plausibility it can be maintained, that the Spanish is the origin of the English drama, or, indeed, that it ever exercised a decided influence on the English stage. The rapid intrigue, the brilliant accumulation of incidents, which the peasant of the South follows with delight and ease in scenic representation, would confound and bewilder the most educated classes of which a Northern audience is composed. Let an English or German reader try the experiment of reading one of Calderon's most agreeable plays, Tambien, hay duelo en las Damas, which may be freely translated, "There may be Trust in Women," and see whether, even in the quiet of his study, his brain does not grow dizzy with the complicated intrigue that it describes.

The truth is, that both in Spain and England, the drama, at the period of its greatest splendour, was drawn from the inmost sources of the national character and genius. It spoke the language of the different races amid which it appeared, and the peculiarities of each were wrought into the stamina of its existence. Before that time, and while it was seeking the track which it was to illuminate with such a flood of glory, before the days of Shakspeare and Lope de Vega, its effects had been feeble and unsuccessful. Ferrex and Porrex, Ralph Royster, Doyster, Damon and Pythias, bear, like the contemporary works of Spanish and Italian authors, traces of the attempt to substitute, as in the Sophonisba of Trissino, a cold, stiff, and affected imitation of ancient models for the appeal to those passions, and the image of those manners, with which man has an unchangeable and an everlasting sympathy. In the rude comedies of that day, as in the Spanish farces in the middle of the sixteenth century, coarse buffoonery and the realities of vulgar detail predominate. After this phasis, there may be still observed, in the dramatists of the day, a want of power to manage the materials which they had just begun to discover and appreciate. In the plays of Green, as well as of Juan de la Cueva, the sudden and inartificial incidents, the actions without a motive, and the want of a regularly constructed plot, betray the authors' want of experience and self-command. Marlow and Christoval de Vines resemble each other in their love of what is horrible and extravagant, and their use of a turgid and inflated diction. Neither in Peele, Kyd, or Lily, in our country, nor in Arguesda, Artieda, or Cervantes, (considered exclusively as a dramatist,) in the other, is any fixed, systematic, matured, independent, national drama distinctly to be traced. They were, however, the harbingers, in their respective lands, of the meridian light which was fast travelling to its maturity of splendour, and rejoicing as a giant to run its course. A lustre then was shed over the Western skies, which more than rivalled the earlier glories of the East. How did this come to pass? to what are we to ascribe the surprising resemblance of dramatic literature, in so many essential points, of Spain and England? this simultaneous outbreak of genius, this selection of the same path, and this arrival at the same goal—a goal which the utmost exertions of other modern nations have never enabled them to come within sight of, much less to reach? What is the seed of the noble and stately plant that shot up at once in such prodigality of magnificence? Shall we content ourselves with the cant of a romantic school, which, after it had wearied the Continent, has, of course, been put forward as a great discovery by our wretched sciolists, in explanation of this curious epoch in the history of the human mind? Or shall we look to the national feelings, sympathies, tastes, and legends, which the masters of the Greek, as well of the Spanish and of the English drama, unveiled in their immortal creations to the very depths? This is the true reason why these nations alone possess a drama of their own—this is the reason which accounts for the triumph of ancient as well as modern art—not an ambiguous and obscure phrase, but a principle which must insure the originality of the drama, so long as man is man.

If we pursue the comparison between the drama of Spain and England, we shall find the period of its golden age far more circumscribed in the latter than in the former. In the latter, it cannot be said to reach beyond the time of Charles the First; and from the time of Shakspeare its decline is visible. But in Spain, from the end of the sixteenth to the beginning of the eighteenth century, during a period when poetry was almost forgotten throughout the rest of Europe, the stream of the Spanish drama held on its majestic course, supplied from an ever-gushing fountain, and reflecting from its radiant surface all the varieties of human life. If Shakspeare has reached the very summit of all poetry, and a height to which no Spanish dramatist has ascended, the interval which divides him from every other of his countrymen is enormous. But the drama in Spain is not bound up with a single name, or with individual genius; it can exhibit a galaxy of light, and many constellations contribute to its lustre.

The starry host, of which Lope de Vega and Calderon de la Barca are the Lucifers, far surpasses in numbers and splendour that which any other country can exhibit; nor would the dull, brutal, stupid, hard-hearted, and obscene ribaldry which (Congreve excepted) is the prevailing characteristic of the popular writers of Charles the Second's time, and especially of Wycherley, have been endured by the Spanish peasant for a moment.

Christoval Suavey de Figueroa, who lived towards the end of the sixteenth and about the beginning of the seventeenth century, was of all enemies to the theatre of his day the most bitter and the most implacable. The influence of the priesthood had been early turned against the drama, especially on the grounds which had induced the Catholic Church of all ages to oppose itself to the drama, but in reality because the secular plays had superseded the rude and gross religious representations from which they sprang in Spain, as well as in France and England, and which had long been a principal means by which the priests had preserved their influence over the vulgar. Figueroa's animadversions are to be found in two works, one, the Playa universal de todas las Ciencias, published at Madrid, 1615; the other, Advertencios utilissimas a la Vida humana, Madrid, 1617. The writer complains that the nourishment which the writers of plays furnish for the diseased appetites of the vulgar is poisonous; and that, far from intermixing with their levity any moral or instructive sentences, the sole object of the writers is to provoke the laughter of the audience. Hence men, who are scarcely able to read, venture to write comedies, as is proved by the Tailor of Toledo, the Weaver of Seville, and other instances of success equally disgraceful. "Hence it happens that scandalous comedies, full of obscene language and trivial conceptions, are represented on the stage, in which all respect for sovereigns is trampled under foot, together with the rules of reason and morality. In these pieces the valet speaks without shame, the maid without modesty, and the old man without discretion."

In the Pasagero, which is a dialogue, the principal person says that "if Plautus and Terence were now living they would be driven from the stage, as a certain person, (Lope de Vega,) who considers himself beyond all rule, has invented a particular kind of farce, as lucrative as it is monstrous." But the exhortations of Figueroa were in vain. The passion for writing plays, far from diminishing, increased with tenfold fury, in spite of the Church and the critic, and even Philip the Second's edict. Nor can it be denied that, amid the prodigious and almost incredible mass of plays which increased with every year, some were of a very moderate description. But the very worst were above the level of the great majority of plays in other countries, and especially in our own. It would be difficult to find a single play in the time of Lope de Vega or of Calderon, in which some redeeming quality, happy incidents, or fiery invective, or beautiful language did not appear. Some of these writers, however, acquired an imperishable reputation. Of these, Gabriel Tellez, who wrote under the name of Tirso de Molina, was the most illustrious.

It may be quoted, as a proof of the profound disregard for Spanish literature in Europe, that Bouterwek never mentions this extraordinary dramatist; and that Schlegel, who affected such profound knowledge of the Spanish drama, and whose remarks on Euripides and MoliÈre are so thoroughly unjust and absurd, has been to all real purpose equally silent concerning him; though no man, not even Lope de Vega, or Calderon himself, whom Schlegel praises (not because he was a great poet, but because he was a bigoted Roman Catholic,), bears a stronger impress of true Castilian genius, or is more identified with the drama of his country. Gabriel Tellez was considerably younger than Lope de Vega: he was born about 1570. Little is known of his life till he became a monk at Madrid. He became a doctor of theology, and died in 1648, prior of the monastery at Soria. His comedies are second only, in point of number, to those of Lope de Vega—a circumstance which makes Schlegel's absolute omission of all but his very name, and perhaps of that, the more unpardonable; and he was, besides, the author of many other works—among others, of a defence of the national drama of Spain against the champions of the unities. This was written twelve years before The Cid of Corneille, and therefore anticipated a controversy to which we invariably assign a more recent, as well as a Gallic origin. The following are extracts from this admirable vindication.

"The delightful interest excited by the drama, the skill of the actors, and the succession of various incidents, make the time appear so short, that no man, though the representation had lasted three hours, would find aught to censure but its brevity. This at least was the judgment of the unprejudiced—I mean of those who attend a dramatic representation, not so much to find fault as to procure for themselves a poetical gratification. The drones who do not themselves know how to labour, but how to rob the industrious bees, could not indeed renounce their nature, and plunged their stings, with a malignant hum, into the honeyed treasures of genius. One says the piece is intolerably too long; another says it is unseemly; a pedantic historian said the poet should be chastised, because he has, against the truth of Portuguese history, made the Duke Pedro of Coimbra a shepherd—though he was in fact slain in battle against his cousin, King Alonzo, and left no posterity. It is an affront to the house of Aveiro, and its great duke, that the daughters of the last should be described as reckless damsels, who, in defiance of all the laws of decency, turn their garden into a scene of their licentiousness—as if the liberties of Apollo were tethered to historical accuracy, and might not raise the fabric of poetry on true historical foundations. In the mean time there were not wanting defenders of the absent poet, who maintained his honour, and struck to earth the argument of the envious censurers; although besotted minds, who are in love with their own opinion, and display their acuteness rather in the censure of others' works than in any productions of their own, never will allow that they are overcome.... Among many absurdities," says the critic to be refuted, "it has most shocked me to observe the impudence with which the poet has transgressed the limits assigned to their art by the inventors of the drama; for though the action required by them is one which is complete in twenty-four hours at the most, he has crowded months into his play, crammed with love adventures; and even that time is not long enough for ladies of rank and education to fall blindly in love with a shepherd, to make him their secretary, and enable him to decipher their real purpose amid the riddles with which it is expressed.... Moreover, I am at a loss to comprehend with what propriety a piece, in which dukes and counts make their appearance, can be called a comedy." So far the malignant censurer proceeds, when he is interrupted by Don Alejo, the other speaker in the Dialogue. "I cannot assent to your opinion, inasmuch as, setting aside the rule that, in common courtesy, the guest is bound not to quarrel with the viands set before him, this particular comedy does comply with the rules which still are valid; and, in my opinion, which is common to all who are free from prejudice with myself, the dramas actually represented in our Spain have a great advantage over those of antiquity, although they depart from the rules laid down by the creators of the stage. If they establish this principle, that a play should only represent such transactions as can by possibility be compressed within the space of twenty-four hours—can there be a more flagrant absurdity than that a man in his senses should, in so short a period, fall passionately in love with a woman equally in possession of hers, and carry the matter on so rapidly, that the love, which is announced in the morning, ends in a marriage at night? Is that time enough to represent jealousy, despair, hope—in short, all the passions and incidents, without which love is a mere word, without any signification? These evils are, according to the judgment of all persons competent to form an opinion, far greater than those arising from the circumstance that the spectators, without moving from their seats, see and hear things which must occupy several days. For as he who reads a history of a few pages, informs himself of events which have occurred in remote countries during many centuries, even so may comedy, which is the image and representation of that on which it is founded, in describing the events which befall two lovers, paint in the most vivid colours all that can take place on such an occasion; and as it is improbable that all these incidents should occur in one day, may feign also for itself the longer time, of which it stands in need. Not improperly has poetry been called a living picture; and as the pencil represents on a few feet of canvass remote distances, which cheat the eye with an appearance of reality, so must the same privilege be conceded to the pen; and so much the rather, as the latter is incomparably more energetic than the former, inasmuch as articulated syllables are more intelligible than silent images, which can explain thought by signs only. And if you object to me, that, under pain of being esteemed presumptuous and ungrateful, we must obey the precepts of the first inventors of the drama, I reply to you, that we owe them indeed reverence for having triumphed over the difficulties which belong to a beginning in any matter, but that we are bound to bring what they have discovered to perfection; so that, without impairing the substance, we may change the manner of proceeding, and improve it by the lessons of experience.

"It were indeed a precious state of things if the musician, because the inventors of music studied harmony of sound from the blows of the hammer on the anvil, were at the present day to use the instruments of Vulcan, and incur censure because they introduced a harp with strings, and thus brought to perfection what originally was imperfect. Herein it is that art differs from nature, because what the one has established since the creation remains immutable—as the pear-tree always produces pears, and the oak its acorns (for we shall not now stop to consider the exceptions arising from soil and climate, and the skill and graftings of the gardener); while in art, the roots of which grow in the shifting qualities of men, use causes the most important changes and modifications. What reason is there for surprise, then, if comedy transgresses the rules of our forefathers, and, according to the analogy of nature and of art, grafts the comic on the tragic, while it combines these opposite kinds of poetry in a fascinating whole, in which sometimes the serious characters of the one, sometimes the ludicrous and playful characters of the other, make their appearance. Moreover, if the pre-eminence of Æschylus and Menander in Greece, and that of Terence and Seneca in Rome, were sufficient to make their rules immutable, the excellence of our Lope de Vega, the pearl of the Manzanares, the Tully of Castile, the phoenix of our nation, so far surpasses these in the quantity as well as the quality of his writings, that his authority is abundantly sufficient to weigh down the doctrine I have cited; and as he has brought comedy to the perfection and consummate refinement in which we now behold it, we must think ourselves fortunate in having such a teacher, and zealously defend his school of poetry against its passionate antagonists. For when he says, in many passages of his writings, that he has deviated from the rules of the ancients only out of condescension to the taste of the multitude, this is only said from the modesty of his nature, and in order that the malevolence of the ignorant should not ascribe that to arrogance which is in fact aiming at perfection. But it is incumbent on us who are his followers, for the reasons which I have enumerated, as well as many others which I will not now allege, to look upon him as the reformer of the new comedy, and to hold in honour modern writers as more beautiful and more instructive than those of former ages." It is difficult to conceive a more ingenious and solid defence of the Spanish drama than Tellez has here put forward; and it is time to examine how far his practice exemplifies his theory. Many of our readers will be surprised to hear that Tirso de Molina, or Gabriel Tellez, is the first author who brought Don Juan and the famous story of the statue-guest upon the stage, under the title of the Burlador de Sevilla, or the Convidado de Piedra. The name of the hero is Don Juan Tenorio. The story still lives in the tradition of the people of Seville, in which city the Tenorios were a distinguished race, though the name exists no longer. It was one of the famous twenty-four, the "veinti-cuatros" of Seville. The basis of the story is, that, after seducing the daughter of the Comendador Ulloa, Don Juan killed the father, who was buried in the convent of San Francisco. Don Juan's birth and connections placed him above the reach of legal punishment; but the monks of San Francisco contrived to get him within their walls, where they put him to death, and propagated a rumour that Don Juan had gone to the chapel in which the statue of the Comendador was placed, for the purpose of insulting his memory, when the statue had seized him and precipitated him into the infernal regions. Such is the legend on which rests El Burlador de Sevilla. It became extremely popular in Spain, and even more so in foreign countries. In 1620 it was transplanted to the Italian stage. Three translations of it appeared in France, under the not very happily chosen title of the Festin de Pierre; the first in 1659 by De Villiers; the second 1661, by Dorimon; the third 1665, by MoliÈre. In Spain the same subject was dramatised by Zamora, in a play which still keeps possession of the stage.

As a specimen, we subjoin a translation from one of his most amusing plays, The Pious Martha, (Martha la Piadosa) in which long before the Tartuffe, and in Spain, hypocrisy was exposed to ridicule. A girl, in order to get rid of a rich and aged suitor, pretends to be seized with a fit of piety, and an aversion to marriage. Her father, after some little resistance, allows her to follow the bent of her inclination without restraint, under pretence of visiting the sick in hospitals. She contrives to obtain repeated interviews with her favoured lover, who—the trait is thoroughly Spanish—has killed her brother in a duel; and at last to procure admittance for him, under the disguise of a palsied and penniless student, into her father's house to teach her the Latin grammar. Some of the scenes are in the highest vein of comedy:—one, where the student pretends to faint from weakness, and her father desires her to hold him up, and bids him lean upon her without scruple; another where the lady, having given vent to her jealousy in a very vivid exclamation which her father overhears, escapes from the detection of her hypocrisy by pretending that the student has said it, and that she is repeating it in anger. The expression is tantamount to "By heavens!" (vive Dios;) and the father tells her she is too severe. The lover pretends that his feelings are too much hurt for him to stay any longer in the house: the father desires the daughter to appease him; and with wit equal to MoliÈre, the girl, in her father's presence, goes down on her knees before her lover, and kisses his hand, which is the only condition upon which he has said that he will remain.

(Martha kneels.)

As a farther specimen of Molina's style, we subjoin the following translation. The lover and his friend Pastrana, a man full of dry caustic wit, are present at a bull-fight. The following dialogue ensues:—

But the most popular play of this great writer, and one which is always received with the most rapturous applause, is Gil de las Calzas Verdes, (Gil of the Green Trousers.) A lady has been abandoned by her lover for a rich beauty of Madrid. She calls herself Don Gil—follows him thither, dresses herself in male attire, of which the green trousers are the most conspicuous part—torments him with letters from the convent where he supposes her to be, describing her suffering, her illness, and at last her death; interrupts his remittances, destroys his credit, carries off his mistress, who falls desperately in love with her; thwarts him at every turn; obliges him to believe that he is really haunted by the ghost of her whom he has wronged; and at last causes him to be arrested for her murder. The rage, amazement, confusion, repentance and despair of the faithless lover are portrayed in the most brilliant colours. Do what he will, mean what he will, attempt what he will, Gil of the Green Trousers, though invisible, has been beforehand with him. He goes to his bankers: the check is paid to Don Gil of the Green Trousers. He endeavours to mislead his intended father-in-law: the plot is unravelled by Don Gil of the Green Trousers. He tries to soften his mistress: she raves of nothing but Don Gil of the Green Trousers. As Don Gil is so successful with his green trousers, other suitors of the Madrid lady dress in green trousers, and assume his name in the dark under her window. There are at one time four persons in the street, each calling himself Gil with the Green Trousers. The faithless suitor of the true Gil is one of them. His rival challenges him; but no sooner does the challenged see the fatal garment, than his conscience smites him, and he addresses his furious rival as the ghost of his injured mistress.

The other lover, who hears this grotesque invocation, thinks it a mere trick of his rival to escape a duel, and overwhelms him with every epithet of abuse.

The play ends by the marriage of Don Gil with her fickle suitor. We are almost ashamed to add, that this was the favourite play of Ferdinand VII., and was ordered for him on all solemn occasions by the municipality of Madrid. Without the refinement of Calderon or Lope de Vega, Molina surpasses both in his verve and gaiety. His satire is unlimited; it spares neither the authorities of earth, nor the ministers of heaven—nay, it does not even spare the great national amusement. Epigram after epigram is poured out upon every object that attracts his notice; his brilliant and sparkling wit is inexhaustible; and his "malice" as boundless as it is subtle. Of all French writers, it has been said, by a very competent judge, that he resembles Beaumarchais most closely; and however strange it may seem, that the Spanish monk of the seventeenth century should bear so close an analogy to the Parisian bel esprit of the eighteenth, the remark is undoubtedly correct. We have dwelt more especially on this writer, because he is not well known in Europe, and because even Mr Ticknor, in his accurate and valuable work on Spanish literature—a work we hail both for what it proves, and for what it makes us expect, with the greatest delight—has failed to do him complete justice. Shack seems to us to have appreciated him more justly in his excellent and useful dissertation. But our limits are exhausted for the present.