the age of Louis XIV., an inclination for the literary dogmas of the French. Already they had conceived a notion that the extravagances of the old Spanish writers were hardly excused even by the brilliancy of their genius; and they fell into so blind an enthusiasm for their new models, as almost to exhibit a feeling of shame for what they had before regarded with pride. The species of literary Areopagus established by the king, rendered the new system permanent. to) to 25991

From this academy arose speedily the three most considerable supporters of the new theory. The first of these, Don Ignatius de Luzan, one of the most learned men and accurate writers of his time, and, moreover, an elegant lyric poet, gave the most decided blow to the Spa nish literature of the seventeenth century. His two odes on the retaking of Oran have distinguished merit, and are greatly esteemed in Spain. He published in 1737 his " Art of Poetry." This work, though merely following the example of Aristotle and Boileau,t and was grounded on the familiar maxims of Rapin and Muratori, obtained great respect for M. Luzan from all the tribe of writers after the French school, with the greater number of whom he has been thenceforward an authority without appeal. His book, indeed, is well written, and shews, for the most part, taste as well as moderation. Sometimes, however, like all sectarian leaders, he carries his zeal for the new system to an extreme of prejudice against the old. He, doubtless, proposed to himself the erection of one altar on the ruins of another-the overturning of Lope de Vega's statue, to make room for that of Moliere. With this view it has been his rule to say little, and that guardedly, respecting the points of merit in the old dramatists; whilst he has expatiated largely on their defects, and has exerted against them, in his Analysis, all the weapons of logic and severe criticism. Although he has thereby completely exposed his own weak side, yet it is not difficult to see what must have been the issue of such pleading before so prejudiced a court.

The task undertaken by Luzan was followed up to completion by Don Louis Velasquez, Member of the Royal Academy of Inscriptions and Belles Lettres in Paris, and Don Gregorio Mayans y Ciscar, librarian to the king of Spain. They were both well calculated for the attainment of such an object. Accomplished as writers, they had also a perfect acquaintance with the literary history of their country. The first of these wrote in 1754 his work, entitled "Origines de la Poesia Española;" the other produced, in 1757, his treatise on Rhetoric. " In both these performances the ultra-classical maxims are studiously displayed; and no quarter is shewn to those poor authors who had been at all remiss in regard to the established academical usages.

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We cannot suppress a smile at the classico-mania so absolute in those days, when we read in the preface of Don Blas de Nasarre, in 1749, to his edition of the eight comedies of Cervantes, "that these were, in fact, no other than parodies, designed by the author to ridicule the plays of Lope de Vega, in like manner as his Don Quixote' had ridiculed the books of ancient chivalry." Can we cite a stronger specimen of party feeling than this? Nasarre was an extravagant admirer of Cer

He was a counsellor of finance, and a member of several literary academies. + M. Luzan was not even the first to perform this, for Pinciano wrote his work two centuries before.

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vantes, and, in his reluctance to have the aliquando dormitat applied to his idol, could only find in such an after-thought as this, an excuse for what he believed a defect. This is, indeed, the molinisme of the critic's art carried to the extreme art der ) ino 10 BOLIVA

But whether it be that didactic controversy is apt to disturb those who are beginning the pursuit of an art, or that the spirit of enquiry which was just then directed towards the sciences might have somewhat impeded the creative springs of the imagination, it is certain, and very remarkable, that the first half of the eighteenth century exhibited not a single lyric poet of any note, and not one dramatic. It was not till 1750 that M. Montiano y Layard published his "Virginia," as a specimen of a genuine tragedy on the classical model. It was entirely a copy after Racine-the same simplicity of plot, purity of language, and servile conformity to rules. With all this, it has not been able to "escape neglect. It is cold, formal, and spiritless, like the statue of "Prometheus before the fire of Heaven had descended upon it. The same remark will apply to the "Ataulto," another of Montiano's tragedies. It is only his excellent disquisition on Spanish tragedy, aecompanying his own tragedies, that has established his name in the estimation of posterity. This is, in truth, a masterpiece, both in its style and its preceptive character.

After this period there occurred another void in the dramatic writing of Spain. From the time of Montiano and his contemporaries no remarkable production appeared until the days of La Huerta; from the latter up to our time, however, a pretty regular succession of novelties L has been kept up. La Huerta is well known in Europe under the double character of a zealous defender of the old poets, and of a poet in his own person. In whichever of these relations we consider him, he is entitled to attention. He executed the laudable plan of collecting together the best plays of the old stock, which he published in 1785, under the title of "Teatro Hispañol." Had he availed himself only of this manner of reply to the intemperate attacks of the ultra-classicals, he had well achieved his purpose, notwithstanding the occasional errors of judgment in the selection he had made.† But, growing heated him'self, he fell into the same extravagances as those which he charged upon the critics of the other school. With a view to exalt his own partizans, he exerted himself to depreciate the other side. His prefaces to sundry volumes of the "Teatro Hispañol" are so many furious invectives against Corneille, Racine, and Moliere, or against their admirers and, in short, the man who could pronounce the "Athalie" worthy only to be played by youthful boarders in a convent, and who could style the "Tartuffe" a miserable farce, was certainly not the best possible judge in a literary cause.

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The tragedies which Huerta has left us are three in number; and by one of those singular inconsistencies sometimes met with in the human mind, these performances, by the champion of the old style, are executed in the classic mode. The first of these was "La Raquel." In

Counsellor of State, and Director of the Academy of History, at Madrid. + He confined himself nearly to publishing the comedies of Capa y Espada (ordinary life) and those of intrigue, leaving out the whole of Lope de Vega's plays.

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this lie has put forth all the stately and rich qualities of the Castilian versification. Two of the characters are cleverly enough sketchedcourtier cringing to the capricious haughtiness of a loyal lady favourite; and an infanzon, or old Castilian knight, frank, brave, and loyal, combating the vices of a dissolute court, but never forgetting the respect due to his king. These two excepted, the characters possess little force, and the plot little ability. This tragedy, however, first performed in 1778, met with prodigious success, and is even now frequently exhibited on the Spanish boards. Its popularity is attributable to the true patriotic character of the piece, the charms of its poetic dress, and the constant allusions to Peninsular politics. The other two productions of La Huerta are a poor imitation of the "Electra of Sophocles," and an admirable translation of Voltaire's "Zaire." i

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Don Nicholas Fernandez de Moratin,* father of him who has since acquired the name of the Spanish Moliere, was likewise a poet of high reputation, and one of the chief writers who have promoted the ultimate advancement of the Belles Lettres in Spain. The recent edition of his works, carefully edited by his son, may be recommended to all admirers of Spanish poetry. It is our present business to view him only as a dramatic poet. He wrote both tragedies and comedies. The former, like those of Montiano, have been unsuccessful on the stage, by reason of their languor and want of striking effect; but they are relished in the perusal for their beauties of rhyme, and the felicitous sayings interspersed through them. In one of them," La Hormesinda," we have aa superior example of epic style, in the description of the battle of the Gaudalete, wherein the hapless Rodrigo paid so dear a forfeit for a moment's forgetfulness. The comedies of the elder Moratin have displayed greater merit. With considerable ease of style, and spirit, of dialogue, they are very deficient in that penetration into human character that has so peculiarly marked the productions of his son. They contain personages insufficiently developed, and plots indifferently conceived and terminated. Nevertheless, being probably the first who attempted in Spain the manner of Terence and of Moliere, he is regarded nas one of the founders of the new school: it is certain, besides, that to him is chiefly owing his son's preparation for dramatic writing. Two >of his best comedies are "La Petimetra" (the female fribble) and Hacer que hacemos" (great cry and little wool).....

After the elder Moratin we meet no one deserving of remark before Don Thomas Yriarte,† so renowned for his literary fables, and his antimusical poem called "Music," which obtained him so many flattering compliments from Metastasio.. This writer produced some very good comedies, which have maintained an honourable repute on the stage. One of these, "El Señorito Mimado," (the Spoiled Child) represents with striking accuracy the social results of a too indulgent, or, in other words, a neglected education. The characters of the mother, and the > son are admirable., M. Yriarte has likewise afforded us an excellent I translation of Destouches's "Philosophe marie.”

We may here mention the dramatic lucubrations of M. Jovellanos,

Attached to the household of the Queen Widow.

Pynt Holding an office under the minister for foreign affairs. Published in 1787.

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which were published at the period we are now treating of, although his death is of no earlier date than 1811. The name of Jovellanos* excites in us cherished recollections. He who bore it was at once the most honourable man, the most enlightened citizen, the most liberal public officer, the most correct, philosophical, and eloquent writer, that Spain has seen in the present century. His virtues and his sufferings for his country have become alike proverbial. Heaven grant that country may one day acknowledge the extent of her obligations towards this worthy man!

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At an early age M. Jovellanos wrote the tragedy of " Munuza,” the subject of which is much the same with that of the "Hormesinda” of Moratin the elder, but less skilfully versified; in fact, his manner of rhyming was not good. The doubtful reception afforded to this piece soon created in him a distaste for the drama. His mildness of character and tenderness of heart scarce allowed him to feel interest in a study which requires the base and brutal parts of human nature to be sometimes exposed. It was not until several years afterwards that feelings of indignation and philanthropy impelled him to pen his comedy of " El Delinquente Honrrado" (the Honest Criminal). This composition belongs to the sentimental class, and is somewhat akin to the Fils Naturel of Diderot. In both these instances the authors array themselves against certain laws equally cruel to the individual and powerless in the public opinion. The edict of Philip V. (pragmatica) in prohibition of duels, was copied from that of his grandfather Louis XIV. It threatened with death all the parties implicated in any degree in an affair of honour. But rigour can never be substituted with effect for the process of enlightening, where popular prejudices are to be subdued; and the result was, that duels were even multiplied in Spain by this cruel mode of resistance to them. M. Jovellanos has pourtrayed in his hero an involuntary victim to the point of honour, and has worked up with a masterly skill the materials of language, character, situation, sentiment, social interest, and moral aim. In the first scenes of this piece we discover, moreover, some touches of the genuine comic, proving that M.Jovellanos, had he pleased, might have excelled in that style. To see it well represented invariably produces emotion-to read it, charms us at every line with the generous spirit of its author. We may here perhaps be reminded that, after all, the "Delinquente Honrrado" is but a drama; be it so; we will add, however, that it is the best of all the Spanish dramas.

It is impossible to name Jovellanos without an immediate reference in memory to Melendez.† These men were united by the ties of a friendship honourable to themselves and to human nature. M. Melendez is the author of a comedy entitled "Las Bodas de Camacho," (the Marriage of Camacho,) which, although rather feeble as a dramatic effort, is always read with pleasure for its charming versification.

The limits of this article deny us the space to estimate the pretensions of each author. We are, besides, eager to arrive at the brilliant epoch of the theatre of our own days, rendered illustrious by Moratin

He was a minister of Charles IV. and a member of the Central Junta in 1808 and 1809.

Fiscal, or king's attorney, in the council of Castile.

the younger. In the mean while we will just observe, by way of clearing the field for our next subject, that M. Forner has written a very respectable comedy under the name of "The Philosopher in Love;" that M. Candido Yrigueros is advantageously known by his comedy of "El Precipitado," (the Blunderer,) and by his remodelling several of Lope de Vega's plays, especially that of " Sancho Ortiz de las Roelas;" that Llaguno has excellently translated the "Athalie" of Racine; that Ayala has given us the tragedy of "Numancia Destruida," (the Destruction of Numantia,) which is on a plan different from that of Cervantes, and has been frequently exhibited on the Spanish stage, although not destitute of faults; that Don Ramon de la Cour has written the cleverest interludes, and has translated or imitated most of the short pieces by Moliere and Regnard; and, in fine, that Valladores, Comella, Zamora, and numerous others, have supplied the theatres with an abundance of plays, either in the historical or the larmoyant kind. Of these we shall say a word or two in our next article; reserving, however, the principal portion of it for a critical account of the productions of Moratin the younger.

When a soup we 're gaily swilling,
Savoury as consommés are,

The transports through the body thrilling

The soul does still more warmly share.

Thus that glutton rogue, the Devil,
When he tempted Eve to evil,
Offered neither glass nor flagon,

But a mess her jaw to wag on.

Four times can an active fellow
Eat his paunchful in a day,
While if once we get too mellow

The wisest brains are wash'd away.
Have you drain'd a thousand bottles?
'Tis but wetting still your throttles :
While at one dinner, he who wishes,
Swallows a thousand different dishes.

* Scarron had lost the use of his lower limbs.