1 Castilian Literature

and helped to deliver them from many superstitions and absurd prejudices. The study of the ancient classics and the department of learned research in the domain of national histories and litera tures had an eminent representative in Gregorio Mayans y Siscar (1699-1781), who worthily carried on the great traditions of the Renaissance; besides publishing good editions of old Spanish authors. Something of the old picaresque novel came to life again in the Fray Gerundio of the Jesuit Isla, a biographical romance which is also and above all a satire on the follies of the preachers of the day. One or two poets can be named. At the head of the new school is Melendez Valdes, and with him are associated Diego Gonzalez Jose Iglesias de la Casa known by his letrillas, Cienfuegos, and some others.

Among the verse writers of the 18th century who produced odes and didactic poetry it is only necessary to mention Leandro Fernandez de Moratin and Quintana. The poverty in lyric poetry is even exceeded by that of the stage. The only dramatist who was really successful in composing on the French pattern some pleasant comedies, is Leandro Fernandez de Moratin. There was one writer of talent, Ram6n de la Cruz; nothing helps us bet ter to an acquaintance with the curious Spanish society of the reign of Charles IV. than the interludes of this genial and light hearted author.

19th Century Literature.

The struggle of the War of Inde pendence (1808-14), exerted no immediate influence on the litera ture of Spain. One might have expected as a consequence of the rising of the whole nation against Napoleon that Spanish writers would no longer seek their inspiration from France, and would resume the national traditions which had been broken at the end of the 17th century. But nothing of the sort occurred. Not only the afrancesados (as those were called who had accepted the new regime), but also the most ardent partisans of the patriotic cause, continued in literature to be the submissive disciples of France. It is true both of Quintana and of Martinez de la Rosa, who, though less impressive, had a greater independence of spirit and a more classical taste.

The first decidedly romantic poet of the generation which flour ished about 1830 was the duke of Rivas whose drama of Don Alvaro 6 la fuerza del sino inspired Verdi's opera La Forza del Destino. Espronceda is a cosmopolitan romantic of the school of Byron. An exclusively lyric poet, he did not live long, but what he has left is often exquisite. Zorrilla has a more unequal talent;

nevertheless, among hasty performances, his Don Juan Tenorio, a fantastic version of the legend treated by Tirso de Molina, Cal deron, Moliere, Zamora, Shadwell and Byron, is a curious specimen of Spanish romanticism. The play by Garcia Gutierrez, entitled El Trovador, inspired Verdi's well-known opera.

Breton de los Herreros is the last of the dramatists who pre served the feeling of the ancient comedic. Marianc Jose de Larra, a prose writer of the highest talent, must be placed beside Es pronceda, with whom he has several features in common. Caustic in temper, he was specially successful in the political pamphlet, the article d'actualite, in which he ridicules the oddities of his contemporaries. Also, we have Mesonero Romanos, whose Escenas matritenses (1842), give pleasure by the curious details they fur nish with regard to the contemporary society of Madrid. Este banez Calderon in his Escenas andaluzas (1847) sought to revive the manner of the picaresque writers. Agustin Duran published highly esteemed collections of old Castilian literature.

Drama.

Foreign influence is most clearly marked in the work of Ventura de la Vega (1807-1865), whose relationship to the younger Moratin, and therefore to Moliere, is unmistakable in El Hombre de mundo a piece written after a long ap prenticeship spent in translating French plays. A fusion of early and later methods is discernible in the plays of Tamayo y Baus. Campoamor wrote dramas which, though curious as expressions of a subtle intelligence cast in the form of dialogue, do not lend themselves to presentation, and were probably not intended for the stage. The successor of Tamayo y Baus in popular esteem was Jose Echegaray, whose earlier plays—such as La Esposa del vengador and En el puno de la espada—are in the romantic style; in his later works he attempts the solution of social problems or the symbolic drama. Such pieces as El Gran Galeoto, El Hijo de Don Juan and El Loco dios indicate a careful study of the younger Dumas and Ibsen. Jose Feliu y Codina (1843-1897), a Catalan wrote two vigorous plays entitled La Dolores and Maria del Carmen; Joaquin Dicenta (b. 186o), showed daring talent in Juan Jose, while Jacinto Benavente (b. 1866), is a dramatist whose mordant vigour and knowledge of stage-effect was first manifested in La Comida de las fieras and Rosas de otono.