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 MJOGRAFHIGAl^ GUIDE 
 
 O THE STUDY OF THE 
 
 ^l^MSH LANGUAGE AND l-iTEikutt 
 
 ^ILLIA^ Hi^SSLE«
 
 ( library'^ 
 
 SA.N DIEGO 
   ^
 
 THE UNrVERSrTY LIBRAi^ 
 
 UNIVERSITY OF CALIFORNIA. SAN DIEGO 
 
 LA JOLLA, CALIFORNIA 
 
 h I
 
 A HANDY 
 
 BIBLIOGRAPHICAL GUIDE 
 
 TO THE STUDY OF THE 
 
 SPANISH LANGUAGE 
 
 AND 
 
 LITERATURE 
 
 WITH CONSIDERATION OF THE WORKS OF 
 
 SPANISH-AMERICAN WRITERS 
 
 FOR THE USE OF 
 
 STUDENTS AND TEACHERS OF SPANISH 
 
 COMPILED AND EDITED 
 
 BY 
 
 WILLIAM FjANSSLER 
 
 DEPARTMENT OF MODERN LANGUAGES 
 
 YEATMAN HIGH SCHOOL 
 
 ST. LOUIS. 
 
 C. WITTER, PUBLISHER, ST. LOUIS, MO.
 
 Copyright 191 5 
 
 BY 
 
 W1L1.1AM Hanssler
 
 PREFACE. 
 
 This little pamphlet has been developed entirely through 
 practical necessities, and it is intended only to serve practical 
 ends. Its chief aim has not been bibliographical complete- 
 ness, but to offer to the American teacher and student a selec- 
 tion of such works and periodicals as will be really necessary 
 and useful in the study of Spanish. It is hoped that not many 
 books of real importance for the ordinary student have been 
 overlooked and that in every case the best books of reference 
 have been mentioned. Librarians of colleges and of public 
 libraries, wishing to provide the most necessary books for 
 the study of Spanish, may be also materially helped in their 
 selection by referring to this Guide. 
 
 As each teacher or student should make it his duty to have 
 a library of his own, the attempt has been made to indicate 
 briefly the character of the books listed, and the greatest care 
 has been taken to mention reliable cheap editions. 
 
 Whoever makes a selection of books is liable to be criti- 
 cised for admitting certain books and omitting others; but I 
 shall receive thankfully any suggestion or criticism that may 
 be made for the improvement of this little book, by those who 
 are using it. 
 
 I wish to express my thanks to Mr. Fred. W. Boettler for 
 his critical reading of the manuscript and for his careful read- 
 ing of the proof. 
 
 (3)
 
 CONTENTS. 
 
 Page 
 Preface ^ 
 
 1. The training of a modern language teacher, with 
 special reference to Spanish 6-10 
 
 2. The ten commandments for students of modern 
 languages 
 
 3 Phonetics. The science of speech sounds and the 
 
 19 14 
 art of pronunciation i^-xi 
 
 General works on phonetics. 
 
 Special works on modern Spanish 
 
 phonetics. 
 
 4. Grammar l^"^"^ 
 
 Modern Spanish Grammar. 
 
 Modern Syntax. 
 
 Doubtful points of Grammar and 
 
 best Spanish. 
 Catalan. 
 Portuguese. 
 Galician. 
 Brazilian. 
 
 Punctuation. 
 Modern Spanish Spelling and 
 
 Grammar. 
 Comparative Spanish-Latin 
 
 5. Dictionaries 18-20 
 
 Spanish-English and English- 
 Spanish Dictionaries. 
 Synonyms. 
 Etymology. 
 
 (4)
 
 5. Dictionaries — Continued. - Page 
 
 Provincialisms : Argentine. 
 
 Chile. 
 
 Costa-Rica. 
 
 Cuba. 
 
 Ecuador. 
 
 Guatemala. 
 
 Honduras. 
 
 Mexico. 
 
 Peru. 
 
 Venezuela. 
 Dialects : Aragon. 
 
 Leon. 
 
 Asturias. 
 Gallicisms. 
 Latin-Spanish Dictionaries. 
 
 6. History of the Spanish and other Romance 
 Languages 21-22 
 
 Historical Grammar. 
 
 7. History of Language. Psychology of Language. 
 General Principles of the Development of 
 Languages 23-25 
 
 8. The Study of the History of Literature. General 
 works on the History of Spanish Literature 26-32 
 
 History of the Spanish Drama. 
 Special periods and authors. 
 Biographies of some classical 
 writers. 
 
 9. The Study of the Spanish people through its 
 poetical works 33-52 
 
 Poetry. 
 
 The Drama. 
 The Novel. 
 
 10. History and Geography of Spain. Spanish Society, 
 Institutions and Manners. Education in Spain. 
 The Spanish University. Spanish Art 53-57 
 
 11. Reviews, Periodicals and Bibliographies 58-59 
 
 12. Method of Teaching Modern Foreign Languages. .60-63 
 
 (5)
 
 — 6 — 
 
 1. THE TRAINING OF A MODERN LANGUAGE 
 TEACHER, WITH SPECIAL REFERENCE 
 
 TO SPANISH. 
 
 The study of a modern language ought to be practical and 
 scientific. 
 
 In the high-school and college the student has to acquire 
 first the indispensable practical basis of the living language, 
 and to get acquainted with the most important historical facts 
 and cultural conditions of the people whose language he 
 studies. 
 
 The student is confused if he attempts the scientific study 
 of a language without the solid basis of its modern form. 
 
 At the university the foundations of the philological study 
 should be laid. Here the student learns to view the develop- 
 ment of the language and literature in the light of history ; he 
 learns not only the facts, but their inner connections; he 
 becomes acquainted here with the older phases of the lan- 
 guage, with the critical interpretation of old and modern texts, 
 and finally with the study of scientific grammar, the history 
 of the language and comparative philology. In short, here 
 he obtains a general and methodical survey of the whole 
 domain of his subject, which added to his practical knowledge 
 of the language places him far above the "maitre des langues" 
 and gives him that feeling of confidence which is a guarantee 
 for the success of his teaching. 
 
 But however successfully a student or young teacher may 
 have worked in his own country, a stay of at least half a year 
 in the foreign country whose language he wishes to teach, is 
 indispensable. This visit should be made immediately after 
 taking his degree. His general knowledge of the language, 
 literature, and history, his .training in phonetics, and the 
 better understanding he has of the character and culture of 
 the foreign people assure him a more profitable and interest- 
 ing sojourn.
 
 The main object of traveling in a foreign country is the 
 perfection of the practical knowledge and understanding of 
 the language. It is necessary to warn the student not to 
 spend his time in learning things which he can learn as well 
 at home from books. His acquaintance with the manners and 
 customs of the people, its institutions, administration, educa- 
 tion, etc., is a matter of secondary importance and ought only 
 to be considered as a help to the main object of the journey. 
 
 Although there are noticeable differences between the 
 speech, life, and character of Northern and Southern Spain, 
 the importance of the place selected is not to be overrated. 
 However, as the capital of the country should be known td 
 the special student of a language, the teacher of Spanish! 
 should visit Madrid, if a choice is possible. 
 
 Through the general inclination to use correct and elegant 
 speech, the difference between the pronunciation of the cul- 
 tured classes and the uneducated city classes has almost dis- 
 appeared. Everywhere will be found the well-educated 
 Spaniard who uses the official language.'" It may be said that 
 correct language is more generally used, and consequently 
 more vigorous and forcible in the daily press, on the stage, and 
 in the popular literature than is the case in this country. 
 
 Once settled in the foreign country he should speak and 
 hear as much Spanish as possible, keeping away from every- 
 thing English. He should select a good, private boarding 
 place where he will hear good Spanish, where he is compelled 
 to talk and at the same time where he has a chance to get 
 acquainted with the customs and the peculiarities of the 
 Spanish family and social life. 
 
 To hear as much Spanish as possible he should attend lec- 
 tures about history, geography, literature, economics, art, 
 etc. He should hear sermons and he should go to the theatres 
 
 * This is the language which has developed since the XIII century 
 and has, as a basis, the dialect of Toledo, mixed with some other 
 elements, especially old-Castilian and leones.
 
 - 8 — 
 
 where he is sure to hear a good pronunciation. The reading 
 of the play beforehand is strongly recommended. He should 
 witness a great public festival, a "Corrida de Toros" (bull- 
 fight), a fair, a procession, a military display. He should buy 
 and read different newspapers and magazines; see the great 
 works of art; study the comic papers of the different regions 
 and compare them with those of America. 
 
 A very important point is the keeping of a diary, in which 
 he may enter everything that strikes him as characteristic of 
 foreign life, in which he may describe his impressions. This 
 will afford him an excellent opportunity to express his 
 thoughts in the foreign idiom. He should collect catalogues; 
 buy photographs and picture post-cards, e. g., The Escorial, 
 Burgos Cathedral, Mosque of Cordova, Alcazar of Seville, 
 Court of Lions (Alhambra), Royal Picture Gallery, Chamber 
 of Deputies with the Statue of Cervantes, etc. He should 
 procure some collections of popular songs with music and 
 books illustrating both life and customs. He should try to be 
 admitted to good schools and attend lessons in different classes 
 where he can get acquainted with expressions which he may 
 use afterwards in his own teaching. Through the corrections 
 of the teacher, he learns to distinguish the good language from 
 the vulgar, the more choice expressions from the popular ex- 
 pressions. But this practical and scientific training is not yet 
 sufficient. 
 
 The success of the teacher depends on three things : His 
 thorough knowledge of the subject he teaches, his personality 
 ■which inspires his teaching with the vital force necessary to 
 raise it to an educative influence, and his acquaintance with 
 the science of education. 
 
 Many teachers think that the learning acquired at the Uni- 
 versity qualifies them without further preparation for teaching. 
 It is an erroneous idea that scholarship and experience alone 
 w^ill enable a teacher to fill his place properly. Experience is 
 doubtless very important, especially when combined with ped-
 
 ...-^   9 — 
 
 agogical tact, but even so it is not possible to dispense with all 
 didactic theory. Of course, pedagogy is an art for which one 
 must have a natural disposition, but it is an art based on 
 science. A teacher will only then be a true pedagogue when 
 he knows how to adapt his presentation of the scientific mate- 
 rial to the peculiar psychical condition of the pupils. There- 
 fore he must be acquainted with the fundamental laws of psy- 
 chology and their application to practical pedagogy; he must 
 have a knowledge of the history of pedagogy and especially 
 the pedagogy of the high-schools. 
 
 Unfortunately most students see in this demand not a 
 beneficial, but rather a burdensome and possibly a superflu- 
 ous requirement, one which is to be obeyed only in so far as 
 it is indispensable. 
 
 This want of pedagogical preparation causes many teach- 
 ers to see in their profession a miserable day's labor, made 
 up of drilling on rules, review of paradigms, and last but not 
 least, the correction of written tests and papers. 
 
 Nowhere is a philosophical training more necessary than 
 in teaching, where daily routine tends to dull the mind and 
 so powerfully narrows the mental horizon. Only when the 
 teacher possesses this philosophical training will it be possible 
 to realize the demand which Herbart expresses in the follow- 
 ing words: "It is to be expected that the teacher will find 
 through his study of philosophy new auxiliary means which 
 will help him in the teaching of his main subject." 
 
 One who has selected his profession without an inner vo- 
 cation naturally cannot be helped. Inclination and love of 
 his profession is as indispensable for the teacher, as it is for 
 the minister or the physician. But this does not mean that 
 one is born a teacher and has no need of thorough prepara- 
 tion. "Auch der Schulmeister fallt nicht vom Himmel." 
 
 "The student who has obtained through his study of the 
 history of Pedagogy more than mere names, dates and watch-
 
 — 10 — 
 
 words, who has taken a glance at the inner connection of his 
 science with ethics and psychology and is acquainted with 
 the deepest questions and highest problems of existence will 
 begin his profession with modesty and pride." (W. Vietor). 
 
 "Such a training as proposed for intending teachers of 
 modern languages, is just as long, their work at least as hard, 
 as sound, as important and dignified, as that of their classical 
 colleagues. They have to master one, or even two, difficult 
 languages, to be acquainted with the masterpieces of a rich 
 literature extending over many centuries ; they have not only 
 to write, but to speak these languages easily with genuine 
 foreign intonation. This requires them to go through a 
 special scientific and practical training of the ear and of the 
 speech organs, and involves an expensive stay abroad." (Karl 
 Breul, "The Teaching of Modern Foreign Languages.")
 
 11 
 
 2. THE TEN COMMANDMENTS FOR STUDENTS 
 OF MODERN LANGUAGES. 
 
 1. You should master thoroughly the language you are go- 
 ing to teach. 
 
 2. Your pronunciation should be correct and be founded 
 upon a good knowledge of phonetics. 
 
 3. Your knowledge of grammar should be complete and 
 positive. 
 
 4. You should keep the right balance between the theoreti- 
 cal and practical study, and between the historical devel- 
 opment of the language and its present condition. 
 
 5. You should read extensively ; yet the thorough reading of 
 a few books is better than the superficial reading of a 
 large number. 
 
 6. You should train yourself not only to write correctly, but 
 also to judge correctly what has been written in the 
 foreign language. 
 
 7. Your practical and theoretical knowledge of the language 
 should be accompanied by a knowledge of its cultural 
 values. 
 
 8. You should have an elementary knowledge of the 
 languages which are closely related to the language 
 chosen. 
 
 9. You should visit the foreign country and get intimately 
 acquainted with the foreign life. 
 
 10. As a teacher you should be cultured, skillful and active.
 
 12 — 
 
 3. PHONETICS. 
 
 The Science of Speech Sounds and the Art of Pro- 
 nunciation. 
 
 The scientific study of a foreign language must necessarily 
 begin with the exact understanding of the formation of its 
 speech sounds, and for this exact understanding the student 
 must have a general idea of phonetics. Johann Storm, pro- 
 fessor of Romance and English philology at the University of 
 Christiania, says in his highly esteemed book "Die lebende 
 Sprache :" "As long as teachers of modern foreign languages 
 are wanting a clear understanding of the proper production and 
 utilization of speech sounds, their instruction in accurate 
 pronunciation will be a mere groping in the dark." 
 
 The most obvious of the practical applications of phonetics 
 is the acquisition of a correct pronunciation of foreign lan- 
 guages, but the practical importance of this auxiliary science is 
 not yet sufficiently insisted upon in all quarters. A teacher 
 must be trained to observe, to analyze and to imitate con- 
 sciously the foreign sounds, compare them with those of his 
 native tongue and know the special difficulties which con- 
 front the beginner. 
 
 The most valuable general works on phonetics which will 
 give the necessary foundation are the following text-books : 
 Henry Sweet "A Primer of Phonetics" (3rd ed. Oxford, 1906), 
 it is practically an abridged and carefully revised edition of his 
 "Handbook of Phonetics" (beginners may possibly find it too 
 concise) ; Paul Passy's "Petite phonetique comparee des prin- 
 cipals langues europeenes" (Leipzig 1906); Otto Jespersen's 
 "Lehrbuch der Phonetik" and "Phonetische Grundfragen" (2
 
 — 13 — 
 
 vol. Leipzig 1904) and W. Victor's "Kleine Phonetik" (Leip- 
 zig 1903) which will answer all the needs of the ordinary 
 teacher. A large work of great importance which deals with 
 phonetics mainly from the point of view of comparative phil- 
 ology is E. Siever's "Grundziige der Lautphysiologie" (5 ed. 
 Leipzig 1901). 
 
 The first general analysis of the sounds of modern Spanish 
 was made by Fernando Araujo in his "Recherches sur la pho- 
 netique espagnolle" (Phonetische Studien, vol. III., IV., V., 
 VI.) Questions of Spanish pronunciation are treated also in 
 different articles in "Le maitre phonetique (see Periodicals), 
 one by A. F. Kuersteiner (December, 1896) is especially in- 
 teresting. 
 
 A new school of phoneticians employs physical apparatus 
 in their investigations, their principles and methods being ex- 
 plained in vol. I. of Rousselots' "Principes de phonetique ex- 
 perimental." F. M. Josselyn, late professor of Romance lan- 
 guages at Boston University, has published an analysis and de- 
 termination of Spanish speech sounds along experimental 
 lines under the title of "Etudes de phonetique espagnole" (Pa- 
 ris 1907). Another very useful and instructive volume is Mol- 
 ton Avery Colton "La phonetique castillane. Traite de phone- 
 tique descriptive et comparative." (Paris 1909.) 
 
 The Grammars of modern and old Spanish, the titles of 
 which are given in the corresponding chapter, contain a short 
 account of the various Spanish sounds. Likewise the first part 
 of the excellent "Gramatica historica" by R. Menendez Pi- 
 dal (Madrid 1905) gives an account of the history and theory 
 of sound changes (phonology) as well as the analysis and clas- 
 sification of the actual sounds (phonetics) of the Spanish lan- 
 guage. A short but good essay on the same matter is Federico 
 Hanssen's "Elementos de Fonologia Castellana" (Santiago de 
 Chile 1900). 
 
 But the student should not forget that even the best book on
 
 — 14 — 
 
 this subject will not enable him to dispense with making care- 
 ful observations of his own. 
 
 After getting acquainted with the principal features of the 
 physiology of sounds the proper study of the language begins. 
 
 A paper which is urgently recommended to every teacher of 
 modern languages is "The value of phonetics in teaching mod- 
 ern languages" by Dr. Adolph Rambeau, read before the 
 Modern Language Association of America, and published in 
 the second volume of Vietor's "Die neueren Sprachen."
 
 — 15 — 
 4. GRAMMAR. 
 
 It is indispensable for the young philologist to acquire a 
 clear and systematic view of the laws of the language which 
 he studies. To do this he must begin by studying a syste- 
 matic grammar. Without hesitation I suggest the names of 
 three philologists, whose transcendental works the library of 
 every teacher of Spanish ought to contain. They are Bello, 
 Cuervo and Isaza. They are Latin-Americans, and the great 
 linguistic movement started by them forms a noticeable con- 
 trast to the linguistic silence in Spain. 
 
 In the grammar of Bello, with the superb notes of Cuervo 
 (Andres Bello, "Gramatica de la lengua castellana con extensas 
 notas y un copioso indice de Rufino Jose Cuervo," Paris, 1906) 
 the highest point is reached in grammatical production. In 
 the "Diccionario de la conjugacion castellana" by Emiliano 
 Isaza, and in the "Estudios gramaticales ; Introduccion a las 
 obras filologicas de Andres Bello con una advertencia y no- 
 ticia bibliografica por M. A. Caro," by M. F. Suarez, we pos- 
 sess the very best that has been published in this matter. 
 These books cannot be too earnestly recommended. 
 
 Of more bulky works nothing better has been written on 
 the Spanish language than the "Diccionario de construccion y 
 regimen," and with a deeper knowledge of the psychology of 
 the Spanish, than the "Apuntaciones criticas sobre el lenguaje 
 bogotano" (Paris 1905). In this edition a new work is an- 
 nounced: "Castellano popular y castellano literario." These 
 works are also products of the eminent linguistic mind of 
 Rufino Jose Cuervo, the leading authority on American 
 Spanish. Another first rate book is Emiliano Isaza's "Gra- 
 matica practica de la lengua castellana" (39th edit. London 
 1914). 
 
 Among the textbooks on Modern Spanish Grammar pub- 
 lished in Spain the following can be warmly recommended: 
 Vicente Salva, "Gramatica de la lengua castellana, segun ahora
 
 — 16 — 
 
 se habla" (Paris, 14th edition) and the "Gramatica de la lengua 
 castellana" by the Real Acadmia Espanola. The latter being 
 of great significance because it is considered an authority 
 among the Spanish speaking people. 
 
 Various books deal with special parts of modern Spanish 
 Grammar. Thus on Syntax the following works give much 
 useful information : Luis Parral "Analisis logico-gramatical" 
 (Tarragona 1893), a text-book very useful to teachers; Simon 
 Aguilar "Tratado de analisis gramatical y logico, seguido de 
 unos elementos de composicion castellana;" and Luciano Gis- 
 bert "Teoria y analisis de la oracion gramatical." Accentua- 
 tion is treated in E. Benot's "Examen critico de la accentua- 
 cion espafiola." 
 
 There are a number of Spanish books in which "doubtful 
 points of grammar" and the "best Spanish" are discussed. 
 The following will be especially serviceable to teachers : R. 
 Martinez y Garcia "Curiosidades gramaticales. Gramatica 
 ampliada del idioma espafiol y sus dialectos" (Madrid 1896). 
 Pascual Martinez Abellan "Rarezas de la lengua espaiiola" 
 contains a complete discussion of the influence of prepositions 
 on the meaning of words. Francisco J. Orellano "Cizaiias del 
 lenguaje; Vocabulario de disparates." A. de Castro "Estu- 
 dios practicos de buen decir y de arcanidades del habla es- 
 pafiola;" and by the same author "Libro de galicismos;" Gre- 
 gorio Garces "Fundamento del vigor y elegancia de la lengua 
 castellana, con adiciones de Juan Perez Villamil" (Madrid 
 1885). Miguel Luis Amunategui Reyes "Borrones gramati- 
 cales" (Santiago de Chile) ; Tomas Guevara "Incorreciones del 
 castellano" (Santiago de Chile) ; J. Seijas "Diccionario de bar- 
 barismos cotidianos." Baez "Coleccion de voces y locuciones 
 viciosas;" Eduardo de Huidobro "Pobre lengua — voces y lo- 
 cuciones incorrectas hoy comunes en Esparia" (Santander 
 1908) ; and among the more bulky works Baldomero Rivodo 
 "Entretenimientos gramaticales," 8 vols. 
 
 Students who aim to acquiring a knowledge of the two
 
 — 17 — 
 
 other Romance languages that share the extensive territory 
 of the Iberian Peninsula, that is, besides the Castilian and its 
 dialects, the Portuguese-Galician and the Catalan languages, 
 may find an excellent account in Grober's "Grundriss der ro- 
 manischen Philologie;" "Das Catalinische" by A. Morel Fatio 
 and "Die portugiesische Sprache" by J. Cornu. Other texts 
 which may be recommended are A. Nonell y Mas "Analisis 
 de la llenga catalana antiga comparada ab la moderna" (Man- 
 resa 1895) ; P. Fabra "Contribucio a la gramatica de la llengua 
 catalana" (Barcelona 1898); Saco Arce "Gramatica gallega" 
 (Lugo 1868); and Arniceto dos Reis Goncalves Vianna "Por- 
 tugiesisch. Phonetique et Phonologie. Morphologie" (2nd 
 volume of Skizzen lebender Sprachen, edit, by Wilhelm Vie- 
 tor. Leipzig 1903). For other dialectical varieties the student 
 may consult I. J. da Fonseca "Nogoes de philologia acomoda- 
 das a lingo a brasiliana (Rio Janeiro 1885) and J. Leite de 
 Vasconcellos "Dialectos beires (Oporto 1884). 
 
 The best publication on the subject of Spanish spelling is 
 the "Metodo de Ortografia Espaiiola" (5th edit. Madrid 1914), 
 by Julian Martinez Mier, which contains not only interesting 
 linguistic and historical observations, but also a list af galli- 
 cisms, barbarisms and other vices of the Spanish language. 
 It is based on the rules set in force by the Spanish Royal 
 Academy. 
 
 Students and teachers will find most useful for study Fran- 
 cisco A. Comeleran "Gramatica comparada de las lenguas cas- 
 tellana y latina" and Raimundo de Miguel "Gramatica cas- 
 tellana comparada a la latina" (Madrid 1897), and "Gramatica 
 hispano-latina, teorico-practica para el estudio simultaneo de 
 las lenguas latina y castellana comparadas" (Madrid 1897).
 
 — 18 — 
 
 5. DICTIONARIES. 
 
 A number of dictionaries of different kinds should be found 
 on the shelves of a well-equipped reference library. Apart 
 from the ordinary small school dictionaries, a teacher will be 
 in constant need of at least one large Spanish dictionary with 
 Spanish explanations. The Spanish language is still very poor 
 in complete works of philological character. The last edition 
 of the "Nuevo diccionario de la lengua castellana por la Aca- 
 demia Espaiiola, anadido con unas 26000 voces, frases, etc. y 
 con un suplemento" (9th edition) by Vicente Salva is to be 
 recommended. Another work is the "Diccionario de la lengua 
 castellana de la Real Academia Espaiiola (Madrid 1914, 14th 
 edition) — the best edition being the first in 6 volumes (1726- 
 1739). The later editions are only shortened revisions of the 
 first. 
 
 Some students may like to possess one of the small illus- 
 trated dictionaries, like the "Diccionario castellano enciclo- 
 pedico" (Paris) by Lorenzo Campano. This dictionary is 
 based on the last edition of the "Diccionario de la Real Aca- 
 demia Espanola," very complete, cheap and most useful for 
 all ordinary purposes. Others are "Nuevo Diccionario de la 
 lengua castellana" by Roque Barcia (Barcelona 1905), the 
 "Diccioniario manual de la lengua espafiola (Madrid 1908) by 
 R. Rodriguez Navas, and the "Diccionario de la lengua cas- 
 tellana" (Barcelona 1911) by Atilano Ranees. 
 
 In Spanish-English dictionaries we do not possess complete 
 and exhaustive works which would satisfy the requirements of 
 modern philology. The best among the larger dictionaries are 
 Mariano Velasquez de la Cadena "Nuevo diccionario ingles- 
 espanol y espafiol-ingles," completely revised and enlarged by 
 Gray and Iribas (New York 1912) ; Arthur Angeli "A new dic- 
 tionary of the English-Spanish and Spanish-English Lan- 
 guages" (New edition revised and corrected by J. McLaughlin,
 
 — 19 — 
 
 London 1911); and an abridgment: Appletbn's "New Spanish- 
 English and English-Spanish Dictionary" (New York 1904). 
 
 The most handy dictionaries for "Synonyms" are Roque 
 Barcia "Sinonimos castellanos" (Madrid 1910), and Benjamin 
 Moury Campo "Sinonimos castellanos y voces de sentido ana- 
 logo" (Madrid 1911). Eduardo Benot's "Diccionario de ideas 
 afines" facilitates precision of expression, supplies a variety 
 of words for different shades of meaning, and affords welcome 
 assistance in the writing of Spanish. 
 
 For the derivation of words the student will do well to con- 
 sult the "Glosario etimologico de las palabras espafiolas" by 
 L. de Eguilaz y Yangas and the "Diccionario etimologico de 
 la lengua castellana, precedido de unos rudimentos de etimol- 
 logia" by Pedro Felipe Monlau. The very comprehensive 
 w^orks of Roque Barcia "Primer diccionario general etimo- 
 logico de la lengua castellana" (5 volumes) and of Eduardo de 
 Echegaray "Diccionario general etimologico de la lengua cas- 
 tellana" (5 volumes) are too bulky and expensive for general 
 use. Diez's "Etymologisches Worterbuch der romanischen 
 Sprachen," with Jarnik's "Neuer vollstandiger Index" is still 
 an indispensable work for advanced students. Indispensable, 
 also, is Korting's "Lateinisch-romanisches Worterbuch," in 
 which not only Latin, but also Greek, Germanic and other 
 known or supposed types of Modern Romance words are ar- 
 ranged under one alphabet. 
 
 Among dictionaries of provincialisms the best are the "Dic- 
 cionario provincial casi razonado de voces y frases cubanas" 
 by Esteban Pichardo; the "Diccionario de chilenismos" by 
 Zorobabel Rodriguez (Santiago de Chile) ; "Voces usadas en 
 Chile" by Echevarria Reyes (Santiago de Chile); "Neologis- 
 mos y Americanismos y Papeletas lexicograficas" by Ricardo 
 Palma; "Hondurenismos, vocabulario de los provincialismos 
 de Honduras" (Tegucigalpa 1897) by Alberto Membrefio; "Vi- 
 cios de lenguaje. Provincialismos de Guatemala" by Antonio 
 Batres Jauregui, and his other work "El castellano en Ameri-
 
 — 20 — 
 
 ca;" "Idioma nacional de los Argentines" by L. Abeille (Paris 
 1900); "Vocabulario Rioplatense razonado" by D. Granada 
 (Montevideo 1890) ; "Nahuatlismos de Costa Rica" by Fernan- 
 dez Ferraz (San Jose 1892); "Diccionario de barbarismos de 
 Costa Rica" by C. Cagini (San Jose 1893); "Modismos, locu- 
 ciones y terminos mexicanos" by J. Sanches Somoano (Madrid 
 1892); "Diccionario de peruanismos" by J. de Arona (Lima 
 1883); "El castellano en Venezuela" by J. Calcaiio (Caracas 
 1897) ; "Apuntes para un catalogo razonado de las palabras 
 mexicanas introducidas en el castellano" by Eufemio Men- 
 doza; "Consultas al Diccionario de la Lengua. Algo de lo que 
 falta en el vocabulario academico y de lo que sobra en el de los 
 ecuatorianos" by Charles R. Tovar (Barcelona 1907); and the 
 "Vocabulario Criollo-Espaiiol-Sudamericano (Madrid 1911) by 
 Ciro Bayo. No such works exist for Bolivia, Nicaragua and 
 Paraguay. 
 
 In Spain, the "Diccionario de voces aragonesas de Jero- 
 nimo Borao" (2nd ed. Zaragoza 1885), "El dialecto vulgar leo- 
 nes" by Pio Gullon (Astorga 1909), "El dialecto leones" by R. 
 Menendez Pidal in the "Revista de Archives, Bibliotecas v 
 Museos" (Madrid 1906), and A. de Rato y Hevia "Vocabulario 
 de las palabras y f rases que se hablan en Asturias" (Madrid 
 1891), practically comprise all the works of this class; and 
 from all the immense amount of Latin-American production 
 mentioned above the only work well known in Spain is the 
 "Diccionario de galicismos o sea de las voces, locuciones y 
 frases de la lengua francesa que se han introducido en el habla 
 castellana moderna" by R. M. Baralt (1 vol. 2nd edition). 
 
 An excellent Latin-Spanish Dictionary ("Diccionario etimo- 
 logico latino-espahol") has been published by Francisco A. 
 Commeleran. It is well adapted to the requirements of mod- 
 ern philology and is the most complete work published to date.
 
 — 21 — 
 
 6. HISTORY OF THE SPANISH AND OTHER 
 ROMANCE LANGUAGES. 
 
 Besides the practical study of the language, the study of 
 those works which give the beginner an idea of the principal 
 problems of the Science of the Spanish language and which 
 will teach him to find relations where the layman sees only 
 isolated or disconnected instances, must not be neglected. 
 Then he will not accustom himself to see in the study of Gram- 
 mar a necessary evil, as it often happens with young students, 
 but convince himself that the knowledge of the historic de- 
 velopment is not only helpful but indispensable for a full 
 comprehension of the modern language. 
 
 The student should not begin the study of Old Spanish 
 Grammar before having read Old Spanish texts, or he should 
 at least begin their study simultaneously. 
 
 As the best introduction to a scientific study of 
 the origin and growth of the Spanish language one 
 may refer to the following books "Manual elemental 
 de gramatica historica espaiiola" by Ramon Menendez Pidal 
 (Madrid 1905), which is an attractively written, practical and 
 clear summary of the latest results of Spanish philological re- 
 search; "Gramatica historica de la lengua castellana" by Sal- 
 vador Padilla (Madrid 1908); "Estudio elemental de grama- 
 tica historica de la lengua castellana" by Jose Alemany (Mad- 
 rid 1903) ; P. de Mujica "Gramatica del castellano antiguo" 
 (Berlin 1891); and "Selecta literaria de lengua y literatura es- 
 pafiolas, precedida de unas nociones de gramatica historica" 
 by Luis Rodriguez Miguel. This work contains a fine outline 
 of historical grammar and selections from the Spanish clas- 
 sics prior to the XV. century. Another first-rate book is Jose 
 Rufino Cuervo's "Disquisiciones sobre filologia castellana." 
 Teachers may also like to refer to Friedrich Hanssen's "Spani-
 
 — 22 — 
 
 sche Grammatik auf historischer Grundlage" (Halle a/S. 1910), 
 or its Spanish translation "Gramatica historica de la 
 lengua castellana" (Madrid 1913); Adolf Zauner's "Altspani- 
 sches Elementarbuch" (Heidelberg 1908); A. Keller "Histori- 
 sche Formenlehre der spanischen Sprache" (1894), and by the 
 same author. "Altspanisches Lesebuch mit Grammatik und 
 Glossar" (Leipig 1890); and Egidio Gorra's "Lingua e lettera- 
 tura spagnuola delle origini" (Milano 1898); J. D. M. Ford 
 "Old Spanish Readings" (Ginn & Co., Boston). 
 
 Those who wish to have a survey of the development of 
 Spanish, in comparison with that of the other Romance lan- 
 guages should refer to W. Meyer-Luebke "Einfiihrung in das 
 Studium der romanischen Sprachwissenschaft" (Heidelberg 
 1901), or in its Spanish translation "Introduccion al estudio 
 de linguistica romance" (Madrid 1914); Korting's Handbuch 
 der romanischen Philologie" (Leipzig 1896); W. Meyer- 
 Luebke "Grammatik der romanischen Sprachen" (Band 1 — 3, 
 Heidelberg 1890 — 1900); or F. Diez "Grammatik der romani- 
 sche Sprachen" (5te Auflage, Bonn 1882) and finish with the 
 "Grundriss der romanischen Philologie," edited by Grober 
 with the assistance of numerous specialists, which includes 
 scholarly chapters on the history, object and method of Ro- 
 mance philology, on the Romance languages and their dialects, 
 Romance metre and the literature, history, civilization, art and 
 sciences of the Romance nations. The enormous, ever in- 
 creasing material has been compiled and organized in a clear, 
 comprehensive form, giving an attractive statement of the 
 whole Romance science. 
 
 Two very well written and practical little books are Adolf 
 Zauner: "Romanische Sprachwissenschaft" (Sammlung Go- 
 schen, Bd. 128) and Prof. R. Meringer's "Indogermanische 
 Sprachwissenschaft" (Sammlung Goschen, Bd. 59). 
 
 An account of the history of the Spanish language consider- 
 ing the special needs of the American students still remains to 
 be written.
 
 — 23 — 
 
 7. HISTORY OF LANGUAGE. PSYCHOLOGY 
 
 OF LANGUAGE. GENERAL PRINCIPLES 
 
 OF THE DEVELOPMENT OF 
 
 LANGUAGES. 
 
 The fundamental questions concerning the history of lan- 
 guages in general with which the young philologist ought to 
 be acquainted, has been discussed in a masterly way by Henry 
 Sweet in his "History of Language" (London 1900). More 
 detailed books on the subject, which will be found especially 
 useful for beginners or for those who wish to follow up spe- 
 cial branches of study are: Otto Jespersen "Progress in 
 Language" (London 1894), an original and attractive book, 
 dealing with the origin and development of language and with 
 the question whether development of language is progress or 
 decay; G. von der Gabelentz "Die Sprachwissenschaft, ihre 
 Aufgaben, Methoden und bisherigen Ergebnisse" (Leipzig 
 1901, 2nd edit.), a learned and thoughtful book, which offers 
 an abundance of interesting matters and the study of which 
 can be thoroughly recommended ; Henrv Sweet "New English 
 Grammar" (Part I, Oxford 1900), which gives clear informa- 
 tion on the most important problems of the scientific study of 
 language; and A. H. Sayce "Introduction to the Science of 
 Language" and "Principles of Comparative Philology." A 
 short popular account of the science of languages is given in 
 Victor Porzezinski's "Einleitung in die Sprachwissenschaft" 
 (Berlin 1910), a German translation of a Russian original. 
 
 The psychological study ought to go hand in hand with the 
 historical. The student must not only have a clear idea of
 
 — 24 — 
 
 how the phenomena of language have developed, but also 
 how this development is affected by the special character of the 
 people. The most thorough treatise on the general laws of the 
 life and development of language is H. Paul's '"Prinzipien der 
 Sprachgeschichte" (1898. Third Edition). The whole field of 
 the modern science of language is treated from a psychological- 
 historical point of view, enabling the student to obtain a good 
 understanding of all the important questions. An adaptation 
 of the above work for English readers is H. A. Strong "Intro- 
 duction to the Study of the History of Language" (London 
 1891). This is in many respects a new book and presents the 
 subject in an easy form; the numerous English examples 
 which it contains make it particularly instructive for English 
 readers. Another adaptation of the ideas of Paul's "Prinzipien" 
 with many excellent examples is Strong, Logeman & Wheeler 
 "Introduction to the Study of the History of Language" (1891). 
 Students may also be advised to read Oertel "Lectures on the 
 Study of Language" (1901), and T. G. Tucker "Introduction 
 to Natural History of Language" (1908). 
 
 Books of a more advanced character for the same purpose 
 are: B. Delbriick "Einleitung in das Sprachstudium" (1910, 
 5te Auflage; there is also an English version) and "Grundfra- 
 gen der Sprachforschung" (1901) — opposed to Wundt. Wil- 
 helm Wundt "Volkerpsychologie. Eine Untersuchung der Ent- 
 wickelungsgesetze von Sprache, Mythus und Sitte" (2 Bde., 
 1900) ; Wilhelm Wundt "Sprachgeschichte und Sprachpsycho- 
 logie" (1901), where the well-known psychologist takes us into 
 an immense field and tries to show the evolution of the most 
 important languages of the earth. Students will also derive 
 profit from the reading of, von Ginneken "Principes de Lin- 
 guistique psychologique" (1907), L. Siitterlin "Das Wesen der 
 sprachlichen Gebilde," and Wegener's "Untersuchungen iiber
 
 — 25 — 
 
 die Grundfragen des Sprachlebens," a suggestive book dealing 
 with the psychological side of language. 
 
 For the classification of languages the two very interesting 
 summaries "Die Sprachstamme des Erdkreises" (Leipzig 
 1909) and "Die Haupttypen des Sprachbaus" (Leipzig 1910), 
 both written by the late Prof. Franz Nikolaus Fink of the 
 University of Berlin. Lastly the most important of H. Stein- 
 thal's linguistic works: "Charakteristik der hauptsachlichsten 
 Typen des Sprachbaus" (1861) which was recast and brought 
 up to date under the same title by F. Misteli, is worth study- 
 ing as a general survey of the different types of language 
 structure.
 
 — 26 
 
 8. THE STUDY OF THE HISTORY OF LITER- 
 ATURE. 
 
 Simultaneously with the study of philology the student 
 ought to study the history of the literature. Both studies are 
 closely associated and supplement each other. Henry Paul in 
 his "Methodenlehre" ("Grundriss der germanischen Philolo- 
 gie") says: "A rational study of literature and the aesthetic 
 judgment of the works is impossible without a good philo- 
 logical training." 
 
 Too often it happens that the student thinks it sufficient to 
 acquire his literary knowledge through the study of some 
 abridged book of history of the literature, in the same way as 
 he tries to obtain his language knowledge through some ele- 
 mentary grammar. Such an attitude may be compared to 
 the careful examination of the catalogue of a picture gallery 
 without paying any attention to the pictures. 
 
 A text on literature is only valuable in so far as it serves as 
 a guide, which presents the results in a systematic order; it 
 may be useful for preparation, for help, or to avoid useless 
 reading, but it should only serve as a means and not as an end 
 in itself. 
 
 The study of the Spanish literature has therefore necessarily 
 to be accompanied by the reading of the principal literary 
 monuments of the different periods, because the best descrip- 
 tion, or the most eloquent exposition never can take the place 
 of the direct study of the work nor the personal impression it 
 leaves on the reader. 
 
 Up to the present probably the best history of Spanish liter- 
 ature is the "History of Spanish Literature" by James Fitz- 
 maurice Kelly (London 1907). Well versed in all the modern 
 literatures, especially the French and English, he renders his 
 work more readable and valuable by making striking com- 
 parisons, and citing references familiar to the English reader. 
 Indirectly he sketches the influence that Spanish literature had
 
 — 27 — 
 
 in Europe and its relations to other literatures. In 1901 this 
 work has fortunately been translated by Adolfo Bonilla y San 
 Martin, the Spanish edition containing a fine introduction 
 written by Marcelino Menendez y Pelayo, the most eminent of 
 Spanish scholars and critics. The second Spanish edition of 
 this book has been published in 1913, and is a translation from 
 the French. Another work by this distinguished scholar is 
 "Chapters on Spanish Literature" (London 1908), in which the 
 subjects treated include the Cid, the Romancero, Cervantes, 
 Lope de Vega, Calderon and the Modern Spanish Novelists. 
 This work has also been translated into Spanish and honored 
 with a preface by Rufino Jose Cuervo. 
 
 A history of Spanish literature published in Germany which 
 deserves to be mentioned is Ferdinand Wolf's "Studien zur 
 Geschichte der spanischen und portugiesischen Nationallitera- 
 tur" (Berlin 1859), a work which in some respects is unsur- 
 passed even today. It has been translated into Spanish by 
 Miguel de Unamuno, the well-known President of the Uni- 
 versity of Salamanca. The Spanish edition brings the studies 
 up to date and contains notes by Marcelino Menendez y Pe- 
 layo. The "Spanische Literatur" by G. Baist in the first volume 
 of G. Grober's "Grundlagen der romanischen Philologie" 
 (Strassburg 1905) is a model of exact scholarship. The "His- 
 tory of Spanish Literature" by George Ticknor (Boston 1888), 
 especially the Spanish edition annotated by Gayangos y Vedia, 
 was considered an authority for a long time, but today it is 
 antiquated, although it has not lost its value entirely. Ludwig 
 G. Lemcke in his "Handbuch der spanischen Literatur" (Leip- 
 zig 1855 — 56) shows good taste and independence of judg- 
 ment. Of less value is the "Spanish Literature" (London 
 1909) by Henry Butler Clarke. Students who know Italian 
 and French may also use the "Letteratura spagnuola" (Milano 
 1882) by Licurgo Cappalletti, the "Manuale di letteratura 
 spagnuola" (Milano 1907) by Bernardo Sanvisenti. and "Pre- 
 cis d'histoire de la litterature espagnole" (Paris 1908) by Er- 
 nest Merimee.
 
 — 28 - 
 
 In works of this character, written by Spaniards, we do not 
 possess as yet anything authoritative and exhaustive, except 
 the "Historia de la Lengua y Literatura castellana desde los 
 origenes hasta Carlos V" by Julio Cejador y Frauca (Madrid 
 1915). This book is written in a clear and vigorous style and 
 contains an abundance of notes and excellent discussions of 
 various literary problems; but the most interesting feature of 
 this book lies in the combining of the history of the Spanish 
 language with that of its literature. The others which have 
 been published are nothing more than a compilation of literary 
 data, like the "Historia critica de la literatura espaiiola" by 
 Amador de los Rios, the "Resumen historico-critico de la li- 
 teratura espafiola segun los estudios y descubrimientos mas 
 recientes" (Madrid 1911) by Angel Salcedo Ruiz. This author 
 has also written, together with Manual Alvarez, a "Historia 
 de Espaiia, resumen critico e historia grafica de la civilizacion 
 espaiiola" (Madrid 1914). Other current texts on literature 
 published in Spain are those of Antonio Gil y Zarate (Paris 
 1906); Manuel de la Revilla y Pedro de Alcantara Garcia 
 (Madrid 1898); F. Sanchez de Castro (1890); Prudencio Mu- 
 darra y Parraga (Sevilla 1895); and Hermenegildo Giner de 
 los Rios" (Madrid 1910). An extensive summary of the dif- 
 ferent literary epochs up to the beginning of the XIX century 
 is contained in the "Historia de Espaiia y de la civilizacion 
 espafiola" (Barcelona 1900-1908) in 4 vols, by Rafael Altamira 
 y Crevea. And last but not least the two little volumes of Dr. 
 Beer's "Spanische Literaturgeschichte" (Sammlung Goschen) 
 which gives a concise, clear and vivid description of the 
 Spanish literature and contains a useful bibliography, should 
 not be forgotten. 
 
 On Spanish-American literary history Andres Gonzalez 
 Blanco's "Los Contemporaneos. Apuntes para una historia 
 de la literatura hispano-americana a principios del siglo XX" 
 (Paris 1909) may be recommended. 
 
 It is impossible to study the history of literature as an iso- 
 lated entity. Literatures act and react upon each other at cer-
 
 — 29 — 
 
 lain periods, and the student who seeks to unravel the literary- 
 history of a country with real understanding should possess 
 some knowledge of these influences and causes. Works which 
 give a comparative study of Spanish literature in special re- 
 lation to its point of contact with the English literature is 
 Martin Hume's "Spanish Influence on English Literature" 
 (London 1905), and Fitzmaurice-Kelly's "The Relations be- 
 tween Spanish and English Literature." 
 
 The student should always keep in mind that the important 
 fact is not to memorize' titles of books, names of authors and 
 dates, but to obtain the right understanding of the foreign 
 people from the characteristic productions of the different lit- 
 erary epochs. He must first try to get a clear survey of the 
 chief periods and their inter-relation, and then should he devote 
 to its leaders and leading causes a greater attention. A mistake 
 which the beginner too often makes is that he tries to special- 
 ize too early, in the false supposition that he will in this way 
 most rapidly obtain a historical-critical sense. 
 
 Through the study of the principal literary monuments we 
 ■obtain the characteristic features of the psychological aspect 
 of each period. 
 
 Only in this way does the student acquire the ability to 
 judge correctly a literary production. Without a knowledge 
 of all the periods in their principal outlines the student falls 
 into infructuous dilettantism. 
 
 The history of various branches of Spanish literature has 
 also been separately investigated. For the history of dramatic 
 literature the student may be referred to the admirable and 
 comprehensive "Geschichte der dramatischen Literatur und 
 Kunst in Spanien" (Frankfurt a/M. 1850) by Adolph Fried- 
 rich von Schack. It is the only history of the Spanish drama 
 which one can read from beginning to end with interest and 
 profit. This work has been translated into Spanish without 
 any additions of importance, by Eduardo de Mier: "Historia de 
 la literatura y del arte dramatico en Espaha" (Madrid 1885- 
 "87). A very pleasant book to read and valuable for many
 
 — 30 - 
 
 analyses of the contents of less known plays is Adolf Schef- 
 fer's "Geschichte des spanischen Nationaldramas" (Leipzig 
 1890) in two volumes; the first volume treating of the period of 
 Lope de Vega and the second of the period of Calderon. Two 
 other useful books are "Le theatre espagnol" (Paris 1898) by 
 Alfred Gassier, and "Le theatre en Espagne" (Paris 1897) byH. 
 Lyonnet, which contain a general view of the most modern 
 Spanish dramatic authors. A scholarly work of painstaking 
 erudition is "The Spanish Stage in the time of Lope de Vega'* 
 by Hugo Albert Rennert (New York 1909). It contains chap- 
 ters on early religious representations and the early Corrales, 
 the staging of the Comedia, etc. It is a veritable storehouse of 
 information about the Spanish stage from the XV. century to 
 the middle of the XVII century. 
 
 The student who is especially interested in the Spanish 
 drama from its origin up to our days, will find a good biblio- 
 graphy in "Le theatre espagnol" (Paris 1900) by A. Morel 
 Fatio and L. Rouanet. 
 
 The above list of works will be a guide to the more thor- 
 ough study of the literature, and with the aid of good treatises 
 on special epochs and authors the student will gradually ac- 
 quire the ability to distinguish the wheat from the chaff. 
 
 Such treatises are for example the "Historia crltica de la 
 poesia castellana en el siglo XVIII" (Madrid 1893), by Leo- 
 poldo Augusto de Cueto, Marques de Valmar, in which is given 
 a complete review of the literature of the XVIII century; 
 "Iriarte y su epoca" (Madrid 1897) by Emilio Cotarelo y Mori, 
 wherein the author gives a good description of the literary 
 movement during the second half of the XVIII century, or "La 
 literatura espaiiola en el siglo XIX" by Francisco Blanco Gar- 
 cia (Madrid 1891-96), from which information can be obtained 
 as to the Spanish literature in the XIX century; the "Ensayos 
 cnticos" by Juan Valera; the "Historia de los trovadores" by 
 Balaguer; the "Historia de las ideas esteticas en Espaiia" 
 (Madrid 1883-96) by Marcelino Menendez y Pelayo, which 
 contains valuable and excellent criticisms on the history of
 
 — 31 — 
 
 Spanish literature ; the " Antologia de poetas castellanos" and 
 the learned and interesting work "Origenes de la novela es- 
 paiiola" by the same author. 
 
 Many very able scholars are following the instigations of 
 this prolific man of letters, and are now engaged in the critical 
 revision and edition of important works of the earlier period 
 of Spanish literature, immense treasures of which have been 
 buried in the large libraries of that country. 
 
 A good little book dealing with modern Spanish literature 
 is Ricardo Rojas' "El alma espaiiola. Ensayo sobre la mo- 
 derna literatura espafiola" (Valencia 1908). 
 
 Under the title of "Vidas de personajes ilustres" "La Es- 
 pana Moderna" has published a series of short biographies 
 which include "Caspar Nuiiez de Arce" by M. Menendez y 
 Pelayo, "Ramon de Campoamor" by Emilia Pardo Bazan, 
 "Breton de los Herreros" by Molins, "Antonio de Trueba" by 
 Becerro de Bengoa, "Juan Eugenio Hartzenbusch" by Guerra, 
 "Canovas del Castillo" by Ramon de Campoamor, "Tamayo y 
 Baus" by Ferna Flor, etc. 
 
 One of the best books which appeared on occasion of the 
 tercentenary of the "Quixote" is the very interesting and at- 
 tractive biography "El ingenioso hidalgo Miguel de Cervantes 
 Saavedra. Sucesos de su vida contados por F. Navarro Ledes- 
 ma" (2nd edition, Madrid 1914) ; likewise the student will read 
 with great interest the excellent "Life of Lope de Vega" which 
 we owe to the distinguished American scholar. Prof. H. A. 
 Rennert. 
 
 An important phase of literary study is the theory of poetry. 
 A good fundamental knowledge of Spanish metre is in- 
 dispensable to the college student or the teacher. Informa- 
 tion on poetics, the character and laws of poetry, and its dif- 
 ferent kinds, may be gathered by the beginner from F. Na- 
 varro Ledesma's "Lecciones de Literatura" (2 vol. 2nd edit., 
 Madrid 1913). Advanced students will read with profit the 
 very detailed account of Spanish metre and the theory of 
 poetry given by E. Benot in his "Prosodia castellana y ver-
 
 - 32 — 
 
 sificacion" (3 vol.), and Stengel's chapter on "Romance metre" 
 in the 2nd volume of Grober's "Grundriss der romanischen 
 Philologie." 
 
 For a deeper scientific study of the poetical literature of any 
 country, one ought not to overlook the following works: K. 
 Buecher "Arbeit und Rhythmus," a fascinating and stimulat- 
 ing book on the origin of meter generally/'' E. Neumann's 
 "Untersuchungen zur Psychologic und Aesthetik des Ryth- 
 mus" (Wundt, Philosophische Studien), and T. S. Osmond 
 "Metrical Rythm" (London 1905). 
 
 * Translated into Spanish: K. Buecher "Trabajo y ritmo,' Madrid 
 1914.
 
 — 33 - 
 
 9. THE STUDY OF THE SPANISH PEOPLE 
 THROUGH ITS POETICAL WORKS. 
 
 Epic and Lyric Poetry. The Drama. The Novel. 
 
 All the manifestations of intellectual life, that is, the whole 
 cultural development of a people, find their true expression 
 in its literature. 
 
 A student may gain an appreciation of the sources of the 
 strength and weakness of foreign peoples and a broader sym- 
 pathy with them through the careful study of literary works. 
 In this way the study of literature becomes an important ele- 
 ment of culture. 
 
 Spanish literature has succeeded, at least in its prominent 
 productions, in keeping free from foreign influences; it has a 
 very pronounced national character, and due to this, the pe- 
 culiarity of this character makes itself strongly felt. 
 
 Epic and Lyric Poetry. 
 
 Spanish literature began, like the literature of most other 
 countries, in songs descriptive of the great deeds of heroes. 
 These songs were short narrative poems of an entirely epic 
 character, some of them very old, and were in origin eminently 
 Spanish. Spanish are all its heroes, so the count Fernan Gon- 
 zalez, the Infantes de Lara, the Count Garci-Fernandez, the 
 Infante Garcia and the Cid. Later on the nameless poets of 
 the people were tempted to deal with the sinister stories which 
 crystallised round the name of Peter the Cruel, the last King 
 of the Visigoths, Don Rodrigo, or the leones, Bernardo del 
 Carpio, the long struggle against the Moors, episodes famous 
 in the Arthurian legends and the books of Chivalry. This 
 heroic poetry which flourished in the X, XI and XII cen- 
 turies, was of the people, great and small, high and low; it 
 was a truly national and popular poetry.
 
 — 34 — 
 
 The most popular hero of these oldest Castilian romances 
 is Rodrigo Diaz de Vivar, known under the name "El Cid 
 Campeador." The many romances referring to him have been 
 sifted, retouched and combined into one poem, the "Poem of 
 the Cid." This poem is one of the most famous monuments 
 of Spanish literature ; it expresses the national spirit of that 
 epoch of obstinate struggle against the Moors and tells of the 
 gallant deeds of the Cid and his triumphs at Zaragoza and 
 Valencia. 
 
 Of ballads (romances) Spain has been exceedingly produc- 
 tive, these being a favorite form of poetry, and this has greatly 
 contributed to the rise of the Spanish drama. They were pub- 
 lished in collections (romanceros), during the end of the XV 
 century, and the romancero is one of the most famous pro- 
 ductions of Spanish literature. In these beautiful collections 
 we find romances dealing with Bernardo del Carpio, Fernan 
 Gonzalez and the Cid or Charlemagne and his peers. Those 
 which are especially noteworthy deal with the following 
 themes: Jimena denounces the murderer of her father before 
 the king, the Infanta Urraca complains to the king because he 
 disinherited her ; the king greets the Cid who returns to court 
 after a long absence; or the one of Melisandra y Gaiferos and 
 of the Marques de Mantua. Of those dealing with national 
 history the "Rota de Don Rodrigo," the tragedy of the count 
 of Alarcos and the adventure of Vargas Machuca are worthy 
 of mention. Others are "El amor y la muerte," "Desafio del 
 Cid," "Los Infantes de Lara," "La Campana de Huesca," "De- 
 safio del Tarfe." To those who wish to read the very best of 
 this kind the exquisite selection of romances published by M. 
 Foulche-Delbosc (Barcelona 1907) is recommended. 
 
 Of the greater epic poems belonging to the category of the 
 artificial epic, dealing with subjects appertaining to the na- 
 tional history, the chief ones are "La Araucana" by Alonso de 
 Ercilla, and "El Bernardo" by Bernardo Valbuena. The first 
 one, of which it may be said that it was written less with a 
 pen than with a pike, gives the result of Ercilla's experience
 
 — 35 - 
 
 in the heroic and stubborn struggle of the Spaniards with the 
 Indians of Arauco. He interweaves the history of the Con- 
 quest of Chile with attractive descriptions of the South Ameri- 
 can landscape. The second, Valbuena, takes from tradition 
 the most absorbing facts of history and of the character of 
 Bernardo del Carpio, from the time of his presentation to the 
 court of his uncle Alfonso el Casto until the death of Orlando 
 or Roldan at Roncesvalles. Religious epics deserving of note 
 are Acevedos "Creacion del mundo" and Diego de Ojedas "La 
 Cristiada." The mock heroic of Greece and Italy finds an echo 
 in Juan de la Cueva's "Batalla de ranas y ratones," Jose de la 
 Villaviciosa's "Mosquea" and Lope de Vega's "Gatomaquia." 
 With the heroic poetry there grew up in the XIII century a 
 school of religious and didactic poetry, the most eminent ex- 
 ponent of which is Gonzalo de Berceo. He composed several 
 devotional poems, such as "El duelo de la Virgen," in which we 
 find a fine specimen of lyrism in a song with certain popular 
 elements — the "Cantica de la Virgen." 
 
 The XIV century is marked by the birth of the most original 
 medieval Spanish poet: Juan Ruiz, the Archpriest of Hita. His 
 lyrics are interspersed among the narrative portions of his 
 "Libro de Cantares" or "Libro de buen amor," where he shows 
 by his own experience and the example of those whom he fol- 
 lows how a man may become a successful lover, interspersing 
 here and there many fables and descriptions of his disputes. 
 Another poet who belongs to the close of this century, Pedro 
 Lopez de Ayala, in his "Rimado de Palacio" satirizes with 
 great severity the vices of all classes of laymen and church- 
 men. 
 
 The first half of the XV century is characterized by the 
 development of court-poetry, artificial and pretentious, and by 
 the influence of Italian literature on Castilian prose and poetry. 
 Those who occupy a considerable place in the literary society 
 of this century are Juan de Mena, author of the "Coronacion" 
 and the "Laberinto de Fortuna," and the marques de San- 
 tillana, Ifiigo de Mendoza, a sonneteer of no mean ability. In
 
 - 36 — 
 
 the next generation the most prominent figures are Gomez 
 Manrique and Jorge Manrique, whose "Coplas a la muerte 
 de su padre" is a masterpiece. 
 
 To complete the study of the poetry of this century it is 
 necessary to refer to the collection of court poetry called 
 "Cancioneros," which consist of short pieces of love plaints, 
 debates, questions and repartees. The best known is the "Can- 
 cionero General," published by Hernando de Castillo. In or- 
 der to understand and appreciate these pieces they must be 
 read in the collections, where each poem throws light on the 
 others. 
 
 The XVI and XVII centuries are characterized by a super- 
 abundance of lyric poetry. Of this enormous mass of verses 
 of all sorts little still survives, the names of most of the versi- 
 fiers must be omitted and it will be sufficient to mention Gar- 
 cilaso de la Vega, who composed eclogues, elegies and can- 
 ciones. He shows liveliness, phantasy, gayety of style, elegant 
 expression, exquisite sensibility and attractive sweetness. His 
 language is still alive in the phrase as well as in the idioms, 
 having been surpassed by no writer of his times. Lyric poets 
 of the school of Garcilaso are Fernando de Herrero whose 
 odes, "La victoria de Lepanto" is a model of good poetry; 
 Rodrigo Caro who in "Las Ruinas de Italica" sings of the 
 transitory character of human greatness; Vicente Espinei, 
 Francisco de Figueroa, and the two brothers Bartolome Leo- 
 nardo and Lupercio Leonardo de Argensola. 
 
 An overstraining of the importance of the formal side of 
 things and an undue straining for the means necessary to the 
 attainment of perfection of style led, in the early years of the 
 XVII century, to the adoption of the kind of lyric mannerism, 
 which is known in Spain as "culteranismo" and which is 
 paralleled by the Marinism of Italy; by the Euphuism of Eng- 
 land, and by the Preciosite of France. 
 
 Luis de Gongora was the founder of this artificial style, 
 which is therefore often called Gongorism. Its bombastic and 
 obscure style is characterized by sonorous diction and artificial
 
 — 37 — 
 
 arrangements of phrase. Gongora is a poet of really great 
 powers and as often as he contended with "Romances" he 
 finds true poetic accents, ingenious ideas and felicitous ex- 
 pressions. Quevedo, much greater in prose than in verse, 
 displays real power only in satire, epigram and parody. Some 
 of his satiric and burlesque romances, of which several are 
 written in slang (germania), are in their way little master- 
 pieces. 
 
 The religious lyric may be found in such masters of style as 
 San Juan de la Cruz (Cancion entre el alma y Cristo"), Santa 
 Teresa de Jesus ("El amor a Jesus") and Fray Luis de Leon, 
 who has composed verses which rank with the most sublime 
 in the language. His odes are admirable, his best being "La 
 Ascencion de Jesu Cristo," "La profecia del Tajo," "La vida 
 del campo" and "La noche serena." He is also the author of 
 a most sensible little manual of domestic economy written in 
 prose, "La perfecta casada." 
 
 Spanish thought as well as public spirit and all forms 
 of national activity began to decline towards the close of the 
 XVni century. The lyric poetry of this period is poor and 
 colorless when compared with the splendor in the preceding 
 century. Nevertheless one or two poets can be named who 
 possessed refinement of taste and whose collection of verse 
 show respect for the language. At the head stands Juan Me- 
 lendez Valdes, whose little volume of lyrics shows more true 
 poetic sentiment than anything that has preceded it since the 
 days of the masters of the XVI and XVH centuries; admir- 
 able are "La presencia de Dios" and "Las miserias humanas." 
 With him are associated Fray Diego Gonzalez ("El murcielago 
 alevoso"), Jose Iglesias de la Casa, known by his letrillas, 
 Cienfuegos and some others. Among the verse writers who 
 produced odes and didactic poetry it is only necessary to men- 
 tion Manuel Jose Quintana ("Al mar" and "A Guzman el 
 Bueno"); Felix Maria de Samaniego and Tomas de Iriarte, 
 who wrote fables which are nearly the best of their kind. 
 
 In the thirties of the XIX century the romantic movement
 
 began to appear in the Spanish peninsula. The first decidedly 
 romantic poet was the duke of Rivas, Angel de Saavedra, 
 whose romantic principles, shown in the drama "Don Alvaro" 
 and the epic poem "El moro exposito," govern also his lyric 
 "El faro de Malta." In the person of Jose de Espronceda, the 
 author of the fragmentary poem "El diablo mundo" and of 
 the "Estudiante de Salamanca" we have an exclusively lyric 
 poet, who did not live long enough to give full proof of his 
 genius, but what he has left is often exquisite, for example. 
 "Himno al sol," "La cancion del pirata," "El mendigo." Lyric 
 supremacy is disputed with Espronceda by Jose Zorrilla, who 
 is more flexible and exuberant, but of much more unequal talent 
 than Espronceda, and by Gustavo Adolfo Becquer, author of 
 the "Rimas." Two other national poets are Ramon de Cam- 
 poamor and Nufiez de Arce. Campoamor follows the tradition 
 of immemorial antiquity by expressing lyrical emotion in four 
 or eight lines which finds its most homely manifestation in the 
 "Doloras;" and Nunez de Arce shows himself to be a true poet 
 in the 'Gritos de combate," in the "Idilio" and in "La pesca." 
 
 The most interesting of the younger poets are provincials; 
 thus Salvador Rueda in his "Aires Espaiioles" represents the 
 vivid coloring of Andalucia; Vicente Medina in "Aires Mur- 
 cianos" and "La cancion de la huerta" reproduces with vivid 
 intensity the atmosphere of the Murcian orchard-country. The 
 list of Spanish poets may close with the name of Jose Maria 
 Gabriel y Galan, whose reputation depends chiefly on the 
 poem entitled "El ama" in "Castellanas," a poem which is un- 
 surpassed in modern Spanish poetry. 
 
 Among the many good Spanish-American poets worth men- 
 tioning on account of the unquestionable value of their poeti- 
 cal compositions are the following: Andres Bello (Venezuela) 
 "La oracion por todos," "Oda a la agricultura de la zona tor- 
 rida;" Jose Maria Heredia (Cuba) "Al Niagara," "Al hura- 
 can; Gabriel de la Concepcion Valdes (Cuba) "Jicontencal;" 
 Manuel Acuiia (Mexico) "Sursum," "A los heroes sin nombre," 
 "Redenti;" Juan de Dios Peza (Mexico) ; Jose Joaquin Olmedo
 
 — 39 — 
 
 (Ecuador) Ricardo Palma and Jose Santos Chocano (Peru) 
 "La campesina," "La quebrada," "La epopeya del Pacifico;" 
 Jertrudis Gomez de Avellaneda (Cuba) ; Eusebio Lillo (Chile); 
 Pedro Antonio Gonzalez (Chile); Olegario V. Andrade (Ar- 
 gentine) "La palabra futura;" Diego Duble Urrutia (Chile) 
 "Las minas;" Isaias Gamboa (San Salvador) "Primavera." 
 
 Of good anthologies there are a great number. The best and 
 completest, undoubtedly, are the "Antologia de poetas liricos 
 castellanos desde la formacion del idioma hasta nuestros dias" 
 (11 vol.) and the "Antologia de poetas hispano-americanos," 
 edited by Marcelino Menendez y Pelayo (4 vol.) But thesef 
 editions are too expensive for ordinary purposes. 
 
 Among the numerous books w^hich contain selections from 
 the best Spanish writers in prose and verse and all of which 
 will be found of moderate price are : Carlos Ochoa "Antologia 
 espariola. Coleccion de trozos escogidos de los mejores hab- 
 listas en prosa y verso desde el siglo XV hasta nuestros dias;" 
 M. Jose Quintana; "Tesoro del Parnaso Espafiol, Poesias 
 selectas castellanas desde el tiempo de Juan de Mena hasta 
 nuestros dias;" Angel Maria Terradillos "Coleccion de trozos 
 y modelos de la literatura espaiiola ;" Alejandro Gomez Ranera 
 "Coleccion de trozos escogidos;" Eugenio Garcia y Barbarin; 
 "Prosa y verso;" F. Navarro y Ledesma "Lecturas literarias 
 para el estudio de la lengua y literatura espafiolas;" C. Saiz 
 "Lecturas escolares. Notas historicas y paginas selectas de 
 literatura castellana," and R. Mesa y Lopez "Antologia de los 
 mejores poetas castellanos." To this list I should like to add 
 "America poetica — Poesias selectas americanas con noticias 
 biograficas de los autores" and "Poetisas americanas," both by 
 Jose Domingo Cortes; C. Romagosa "Joyas poeticas america- 
 nas. — Coleccion de poesias escogidas originales de autores 
 nacidos en America;" "Antologia Americana — Coleccion de 
 las mas escogidas composiciones poeticas de los principales 
 escritores de las republicas hispano-americanas," and "La 
 joven literatura hispano-americana Pequeiia antologia de 
 prosistas y poetas," were Manuel Ugarte gives a general view 
 of the most recent Latin-American literature.
 
 — 40 — 
 
 The Spanish Drama. 
 
 The Spanish drama is national in all its forms, in origin as 
 well as in character. It gives the fullest expression of the 
 greatest glory of the Spanish literature. "There is no other 
 example of so complete an adaptation of national art to the 
 national taste and sentiment in its ethics, aesthetics, in the 
 nature of the plots of the plays, in the motives of their actions, 
 in the conduct and tone, and in the very way of their charac- 
 ters." Drama was always popular and prosperous all over the 
 country, and the dramatic production is without parallel in 
 the literature of the world. Lope de Vega, the great founder 
 of the national drama, who heads the list of playwrights with 
 about 1800 plays and over 200 autos, would alone suffice for 
 an entire nation. 
 
 The foundation of the Spanish theatre was laid by "La Ce- 
 lestina, tragicomedia de Calixto y Melibea" in 21 acts by Fer- 
 nando de Rojas, a book which, strictly speaking, does not be- 
 long to the theatre. This astonishing work taught the Span- 
 iards the art of dialogue, and for the first time exhibited 
 persons of all classes of society, particularly the lowest, speak- 
 ing in harmony with their natural surroundings. The story 
 is told so vigorously and with so much humor and observa- 
 tion, and with such sense of character as to mark an epoch in 
 the drama. Its great success gave rise to many imitations 
 and it was almost immediately translated into Italian, French 
 and English. There had rarely been a book so popular as this 
 before, and at the end of the XVI century the book was in 
 the hands of every cultured reader in Europe. 
 
 The man who may be considered as the founder of the na- 
 tional theatre in Spain, was Lope FeHx de Vega Carpio, the 
 most extraordinary literary genius the world has ever seen, 
 who for nearly half a century reigned supreme on the stage, 
 permanently established the national forms of the Spanish 
 drama, and left deep traces upon the drama down to our own 
 days. The number of enduring masterpieces among his works
 
 _ 41 — 
 
 is remarkably large, especially in the case of his historical 
 dramas, such as "El acero de Madrid," "La Estrella de Sevilla," 
 "El mejor alcalde el Rey," and "El castigo sin venganza." 
 But great as he is in tragedy, he is greater, or more frequently 
 great in contemporary comedy, in the realisation of character. 
 "El perro del hortelano," "Las flores de Don Juan," "La ba- 
 talla del honor," "Los melindres de Belisa," "La esclava del 
 galan," "Los Tellos de Meneses," "La moza del cantaro," are 
 there to prove it. 
 
 As to the dramatic poets of the Golden Age, even more nu- 
 merous than the lyric poets and the romancers, all are more or 
 less imitators or followers of Lope. We may mention two of 
 the most successful ones : Guillen de Castro, who wrote the 
 drama which made him famous, "Las mocedades del Cid," 
 from which Corneille derived his inspiration, being a dramat- 
 ization of the romances of the Cid; and Luis Velez de Gue- 
 vara, who cast in dramatic form the savage heroism of Alonso 
 Perez de Guzman el Bueno in Tarifa, in his comedy, "Mas pesa 
 el Rey que la sangre." 
 
 In talent Lope was most nearly approached by Fray Gabriel 
 Tellez, known also by the pseudonym Tirso de Molina, and, 
 chronologically speaking, the second of the six great dramatists 
 of the age. His historical drama "La prudencia en la mujer" 
 is one of the best works in Spanish literature, "El vergonzoso 
 en Palacio" one of his best comedies; and the drama which 
 made his name immortal, "El Burlador de Sevilla y Convidado 
 de Piedra," inspired men like Mozart and Lord Byron. 
 
 Juan Ruiz de Alarcon is the third of the most illustrious 
 dramatists. His best comedies are those of customs, and the 
 best of all is "La verdad sospechosa." Others which enjoy 
 just fame are "El tejedor de Segovia," "Ganar amigos," "Las 
 paredes oyen" and "El examen de maridos" among others. 
 His principal merits are characterization and a high moral aim. 
 
 Except in invention and in brilliant facility, the dramatists 
 of Lope's time were not greatly inferior to the master. In 
 certain qualities Tirso de Molina, the most flexible, ingenious
 
 — 42 — 
 
 and inventive dramatist, and Ruiz de Alarcon, the most serious 
 and most observant of Spanish dramatic poets, are superior 
 to him. Tirso in force and in malicious humor, Ruiz de Alar- 
 con in depth and in artistic finish. 
 
 The glories of Spanish dramatic literature reached their 
 height in Pedro Calderon de la Barca, the second great master 
 of the Spanish drama. He succeeded Lope de Vega as dictator 
 of the stage, marking the second period of the Spanish clas- 
 sical drama. Though not in any sense more Spanish than 
 Lope de Vega, Calderon seems to be more intensely national, 
 for he established a series of conventional conceptions of loy- 
 alty, honor, love and jealousy. Typical plays are "A secreto 
 agravio secreta venganza," "El medico de su honra," "El 
 mayor monstruo los celos." His comedies de capa y espada — 
 the favorite species of the national Spanish theatre, in which 
 the principal personages are taken from the class of society 
 that wears cloak and sword — where he embodies the accepted 
 ideas of religion and honor in Spain during the XVII century, 
 are "La dama duende," "La banda y la flor," and "Ante que 
 todo es mi dama." His best religious plays are : "El 
 magico prodigioso," "El purgatorio de San Patricio," "La 
 devocion de la cruz," and his heroic drama "El principe con- 
 stante." A fine symbolic play is "La vida es suefio," in w^hich 
 he endeavored to give dramatic reality to one of the most 
 transcendental of ideas, and two other of his best ones are 
 "Amar despues de la muerte" and "El alcalde de Zalamea," 
 where he has transformed one of Lope's dashing improvisa- 
 tions into a most powerful drama. 
 
 Calderon was imitated as Lope had been. Two contempor- 
 aries who deserve to be cited along with him are : Francisco 
 de Rojas Zorilla and Agustin Moreto y Cabana. Zorilla's 
 most remarkable work is "Del Rey abajo niguno," the alter- 
 native title of "Garcia del Castafio," where this author is at 
 his strongest. Few cloak-and-sword plays are better worth 
 reading than his "Donde no hay agravios, no hay celos," or 
 than "Sin honra no hay amistad," or than "No hay amigo
 
 — 43 — 
 
 para amigo." In Moreto's "El desden con el desden" the char- 
 acters are full of life and interest and the dialogue sparkles 
 with mischievous gayety. It is one. of the most graceful and 
 charming works of art, simple but interesting in plot, and true 
 to nature with something like Shakespearean truth. 
 
 National as the Spanish drama was, and because of this very 
 quality, it was fated to share the lot of the people it so fully 
 represented. The national art had fallen into decline and de- 
 cay along with the spirit of Spain itself. 
 
 At an earlier period French writers had borrowed much, 
 especially in plot and incident, from Spanish plays and novels, 
 but n9w up to the beginning of the XIX century, the Spanish 
 literature fell entirely under the influence of the French. The 
 only writer who was really successful in composing, on the 
 French pattern, some pleasant comedies is Leandro Fernandez 
 de Moratin, called the Spanish Moliere. His best comedies 
 are "La mojigata," "El viejo y la niiia" and "El si de las ninas," 
 which raised him to the foremost position among the drama- 
 tists of his age. They are as good in portrayal of character 
 as in dialogue and faithful description of the manners of his 
 time. 
 
 If one wishes to appreciate the life of the Spanish capital 
 and the curious Spanish society of the reign of Charles IV, the 
 short burlesque comedies called "sainetes" — "El Prado por la 
 noche" and "Las tertulias de Madrid" — of Ramiro de la Cruz 
 y Cano, a writer of genuine talent and the most popular poet 
 of the XVIII century, offer excellent opportunity. 
 
 The classical school is represented by Manuel Jose Quin- 
 tana in the tragedy "Pelayo." The historical drama was 
 preferred and remained a favorite for the next decades. Some 
 historical dramas worthy of the great achievements of the 
 Spanish stage were produced, such as "Don Alvaro o la fuerza 
 del sine," by the duque of Rivas, the first decidedly romantic 
 poet ; "Nuiio" by the Cuban authoress Gertrudis Gomez de 
 Avellaneda; "Marcela," "Un tercero en discordia" and "Mue- 
 rete! y veras" by Breton de los Herreros ; "Guzman el Bueno"
 
 — 44 — 
 
 by Gil y Zarate; while Jose Zorilla's powerful but gloomy ro- 
 mantic melodramas "El zapatero y el Rey" and "Don Juan 
 Tenorio" exhibit unmistakably his literary genius. The "Don 
 Juan," a new version of the legend treated by Tirso de Molina 
 and Moliere, belongs to the most curious specimens of the 
 Spanish stage and always draws a full house when it is pre- 
 sented yearly on "All Saints day." Although Manuel Breton 
 de los Herreros gained his repute mainly as a writer of lively 
 dramas of manners, in his masterpiece, the comedy entitled 
 "Escuela del matrimonio," he paved the way for the coming 
 psychological drama of Lopez de Ayala and Tamayo y Baus, 
 Abelardo Lopez de Ayalo gives us in his mercilessly socio- 
 logical play "El tanto por ciento" a detailed analysis of the 
 modern greed for wealth that has stifled the nobler instincts of 
 man and made him capable of the basest treachery, and in his 
 "Consuelo" he makes another powerful attack upon the posi- 
 tivism and the lack of idealism in our modern life. The psycho- 
 logical development is also obvious in the work of Manuel 
 Tamayo y Baus. In "Lo Positivo" he treats the positivism of 
 the modern world with no less severity than does Ayala, and 
 in his chief play "Un drama nuevo" he brings before us 
 Shakespeare as one of the characters. The successor of Ta- 
 mayo y Baus in popular esteem is Jose Echegaray, the most 
 noteworthy dramatist of modern times, although only a su- 
 perficial talent like the younger Dumas. His drama "El gran 
 galeoto" and "O locura o santidad," where he attempts the 
 solution of social problems, are his best known. Echegaray 
 ruled the Spanish stage till the end of the XIX century. Nuiiez 
 de Arce, a deeper mind, treats modern problems ; he knows 
 how to hide his lack of dramatic talent through exact histori- 
 cal truthfulness, so well illustrated in his impressive drama 
 "El haz de leiia," which met with much approval. One who 
 chose the stage for the exposition of his liberal ideas was Se- 
 gismundo Pey-Ordeix, who gave the sensation of an anti- 
 Jesuitic drama — "Paternidad" — written by a priest. At the 
 same time the followers of Ibsen were imitated, for which the
 
 — 45 — 
 
 "Musa" of Salvador Rueda, and "La mujer de Loth" by Euge- 
 nic Selles are examples. As in Italy and France, other species 
 of drama were revived : the lofty tragedy in verse in "Neron" 
 by Juan Antonio Cavestany ; in the "Doiia Maria" by Eduardo 
 Marquina; in the "Esclava" by Federico Oliver. 
 
 Mention must also be made of Leopoldo Cano y Masas, 
 whose best production is "La Pasionaria," an admirable ex- 
 ample of concise and pointed dialogue, of Jose Feliu y Codina, 
 a Catalan, who wrote two vigorous plays entitled "La Do- 
 lores" and "Maria del Carmen," and Jacinto Benavente, a 
 dramatist whose mordant vigor and knowledge of stage-effect 
 is manifest in "La comida de la fieras" and "Rosas de Otoiio." 
 The most promising writers for the Spanish stage at the 
 present time are Serafin Alvarez Quintero and his brother 
 Joaquin, to whose collaboration are due "El ojito derecho" 
 and "Abanicos y panderetes." 
 
 Besides these authors the Catalan Angel Guimera is de- 
 serving of m^ention. Most of his plays have been played in 
 Spanish. His main work is considered "La pecadora," a mod- 
 ern society play, a variation of the theme of Camille. He is 
 best known by his tragedy "Tierra Baja" (Martha of the Low- 
 lands) which has been played with much success in America. 
 
 The Spanish Novel. 
 
 The novel is a large picture of human life ; it reflects the dif- 
 ferent aspects of human existence and expresses the ideas, sen- 
 timents and aspirations of a people. 
 
 The department of imaginative literature in which the genius 
 of the Spanish nation revealed itself with most vigor and 
 originality besides the drama is the novel, and it is in Spain 
 where we have to look for the source of the modern novel. 
 
 It is in this field that the student needs a guide, as it is 
 easier for him to obtain information about the important works 
 of poetry and dramatic art than about those of the immense 
 mass of fiction, which annually overflows the book-market in 
 an ever-increasing wave.
 
 — 46 — 
 
 Prose narrative in Spain practically begins in the XV cen- 
 tury with chronicles and romances of chivalry, "Libros de 
 caballeria." The first and best novel of this sort which sums 
 up once more all the feelings and sentiments of declining 
 chivalry is the "Amadis de Gaula." Its style is good and the 
 adventures are interesting. This was the only book of its 
 class which is saved from the burning in Don Quixote. Imita- 
 tions by the dozen followed rapidly one after the other, but 
 these are for the most part caricatures of the Amadis, only the 
 lakes are deeper, the giants are bigger, the monsters fiercer, 
 and so is the language in which they are written. 
 
 When the books of chivalry began to decay, there arose the 
 insipid and artificial pastoral romance, the "Novela pastoral," 
 a barren product rooted in a false convention. The most fa- 
 mous is the "Diana enamorada" by Jorge de Montemayor, 
 which naturally called forth many imitators. 
 
 In the foregoing two classes of novels the historic-heroic 
 and the sentimental-phantastic tendencies are represented. As 
 a reaction from the Spanish romances of chivalry, which had 
 been carried to an undue extreme, a third class, the realistic- 
 comic or picaresque and peripatetic novels, became famous. 
 This new type of a novel arose with the publication of the first 
 romance of roguery, "Novela picaresca," "La vida de Lazarillo 
 des Tormes. y de sus fortunas y adversidades," which is gen- 
 erally attributed to Diego Hurtado de Mendoza, the author of 
 the not less classical "Guerra de Granada." This highly enter- 
 taining book, which has been called the 16th century Pick- 
 wick, is written in the most brilliant and classical Castilian, is 
 full of ingenious inventions and sharp observation, and is still 
 read with the same edification and pleasure as in the time of 
 its publication over three centuries ago. 
 
 Three other famous books of this kind, in which the various 
 types that went to make up Spanish society of the day are 
 portrayed, are "Vida del picaro Guzman de Alfarache" by Ma- 
 teo Aleman; the "Relaciones de la vida del Escudero Marcos 
 de Obregon" by Vicente Espinel and "El gran Tacario" by
 
 — 47 — 
 
 Francisco Gomez de Quevedo y Villegas, the greatest satirical 
 genius that the Spanish race has produced, and one of the most 
 vigorous and original writers of the XVII century. This book 
 was called on the title-page "Historia de la vida del Buscon, 
 llamado Don Pablos. Ejemplo de Vagamundos y espejo de 
 Tacafios." It is perhaps not as fresh as the Lazarillo but it is 
 in every way superior to the Guzman de Alfarache and the 
 Marcos de Obregon. Nothing escapes his scrutinizing spirit 
 and pitiless irony. All vices of contemporary society are re- 
 morselessly pilloried and cruelly dissected. Its satire is savage 
 in its ferocity; while its humor is unequaled by anything but 
 the Don Quixote. 
 
 Of the many other less famous Spanish novels of roguery 
 little need be said in detail since they are founded on the same 
 model. 
 
 But above all these productions stands one of the wisest 
 and wittiest of books, the admirable satirical novel "Don Qui- 
 xote de la Mancha," the masterpiece which has made the 
 name of Miguel de Cervantes Saavedra immortal ; a book 
 which in itself is equal to a library of novels; a monument, 
 which will endure so long as humor, wisdom and romance en- 
 chant mankind, and which has become the foundation stone 
 of the modern novel and in this sense marks an epoch in the 
 intellectual life of humanity.* 
 
 * Anyone who wishes to become well acquainted with Spain and 
 the Spaniards and who wishes to study thoroughly the conditions 
 prevailing in that country should not neglect to read first of all this 
 novel which Cervantes published in 1605. The descriptions, which 
 are in many respects true even today, give testimony to the most 
 careful observation of the country as well as of an analysis of the 
 character of the Spanish people. 
 
 One ought not, of course, consider this novel simply as a sample 
 of amusing literature, for in that case it will seem quite insignificant; 
 it must be read for what it is in reality, as a satirical, symbolical 
 work. Few books can be found in the world's literature which can 
 equal, or even favorably compare, with this work, as regards variety 
 of contents, depth of thought and ethics. And it is especially this 
 ethical value which has made this work what it is: a classic that be- 
 longs not to a people only, but to all humanity.
 
 — 48 _ 
 
 The XVIII century was an age of barrenness in Spain, so 
 far as romance is concerned. With the single exception of the 
 Jesuit Jose Francisco Isla, no Spanish novelist of this time 
 finds readers now. We find only one valuable composition 
 and that is the amusing though rather long-winded "Historia 
 del famoso predicador Fray Gerundio de Campazas, alias Zo- 
 tes" by Isla, a work in which he ridiculed unmercifully the 
 extravagance, ignorance and pedantry that characterized most 
 of the pulpit eloquence of his time. It is an attempt to do for 
 pulpit profanity what Don Quixote had done for chivalresque 
 extravagances. This author translated also Le Sage's "His- 
 toria de Gil Bias de Santillana," the greatest and best picar- 
 esque novel of them all, Spanish in tone and feeling, with the 
 added keen lucidity of the French mind. 
 
 Not until about the middle of the last century does any 
 notable novelist appear. The most brilliant prose-writer 
 Spain has produced during the XIX century is Mariano Jose 
 de Larra, who prepared the way for the novels of manners, 
 Novela de costumbres, by his "Articulos de costumbres y po- 
 liticos." Caustic in temper, of a keenly observant spirit, re- 
 markably sober and clear as a writer, he was especially suc- 
 cessful in the political pamphlet in which he ridicules without 
 pity the vices and oddities of his contemporaries. 
 
 The first original writer of this period to give a genuinely 
 Spanish story is Fernan Caballero (Cecilia Bohl de Faber), who 
 in her first novel "La Gaviota" — a book probably more read 
 by foreigners than any Spanish book of the century — gives us 
 a true picture of common life in an Andalusian village. She 
 may be considered as the pioneer of realism, which was tem- 
 porarily checked by the romantic movement. The naturalistic 
 school in Spain found its first advocate and exponent in Ar- 
 mando Palacio Valdes, who gained distinction by his novels 
 dealing with the life and customs of the Spanish people, as 
 for instance "Los Majos de Cadiz," in which he gives us ac- 
 curate pictures of Andalusian peasant life. Another novelist
 
 — 49 — 
 
 of this group is Emilia Pardo Bazan, the most gifted lady 
 writer Spain has produced in the XIX century. "Las Pasos 
 de Ulloa," "Madre Naturaleza" and "Insolacion" should be 
 mentioned, where she shows her vigorous portraiture of the 
 Galician peasantry and her art as a landscape painter. Closely 
 related to these three representatives of the older school of 
 naturalism is the brilliant critic Leopoldo Alas (Clarin). Alas' 
 analytical novel "La Regenta" is one of the best conemporary 
 works of fiction, and although it has had the distinction of 
 being condemned by critics who have never read it, it will be 
 read long after his pungent and excellent criticisms are for- 
 gotten. 
 
 Another master of diction who has raised the novel of man- 
 ners to a higher level than ever before is Jose Maria de Pe- 
 reda. He is the founder of the modern school of realistic fic- 
 tion in Spain. In his chief works he has portrayed life on the 
 mountains and at the seaside in a way hardly to be excelled 
 for detail and charm of description. The "Don Gonzalo Gon- 
 zalez de la Gonzalera," "Sotileza" and "Penas arriba" show 
 him in the fullness of his power. When he deals with country 
 folk, sailors, fishermen, aspect of sea and land, he deserves the 
 highest praise. His personages are pleasingly human in their 
 strength and weakness, and no one who has once met them 
 can forget them. The collection entitled "Tipos trashuman- 
 tes" contains admirable examples of his dexterity in malicious 
 portraiture and are models of cruel irony and caustic humor. 
 
 A perfect contrast in every way is Juan Valera. He is a 
 born master of style and possesses the richest and most cul- 
 tured mind in Spain. Speaking broadly, the characteristics 
 of the best Spanish art are force and truth, and in these Va- 
 lera holds his own. His "Pepita Jimenez" is an example of 
 "that complete synthesis of gravity of matter and gaiety of 
 manner which is the glittering crown of art and which outside 
 of Spanish literature is to be found only in Shakespeare, and 
 even in him in a far less obvious degree." In Valera's "Pe- 
 pita Jimenez" and "Dofia Luz" and in Pereda's "Sotileza" we
 
 — 50 - 
 
 have a trio of Spanish heroines who deserve their fame. Other 
 stories remarkable for their truth and beauty are "Un alma 
 de Dios" and *'Su amado discipulo" by Juan Ochoa, a writer 
 who had shown promise of the highest order. 
 
 It is the charm of most modern Spanish novelists, that they 
 are intensely local. Valera is at his best in Andalusia, Pereda 
 in Cantabria, Palacio Valdes in Asturias, and the Condesa 
 Pardo Bazan in Galicia. Vicente Blasco Ibaiiez is a Valen- 
 cian and he is most himself in the surroundings of his ad- 
 mirable novels "Flor de Mayo" and "La Barraca." Of the 
 younger novelists he is the most notable in reputation. In 
 others of his works he deals with important social problems, 
 thus in "La Horda" he defends the standpoint of the poor and 
 in "La bodega" he voices a protest against capitalism. 
 
 Pio Baroja in "Aventuras, inventos y mixtificaciones de Sil- 
 vestre Paradox," "Rey" and in "Los ultimos romanticos." and 
 Felipe Trigo in "Las ingenuas" and "La sed de amar" intro- 
 duce a fresh note of social satire, while novelty of thought 
 and style characterizes J. Martinez Ruiz, who writes under 
 the pseudonym of Azorin, in "Las confesiones de un pequeho 
 filosofo," and Ramon del Valle Inclan in "Flor de Santidad" 
 and "Sonata de Otofio." Gregorio Martinez Sierra has shown 
 considerable mastery of the difficulties of the short story in 
 "Pascua florida" and "Sol de la tarde." 
 
 Besides the above mentioned works the historical novel is 
 naturally interesting for the student of Spanish literature. To 
 one who wishes to obtain in the most agreeable way a just 
 idea of the political and social evolution of Spain from the 
 time of Charles IV to the time of the Republic the huge series 
 entitled "Episodios Nacionales" of Benito Perez Galdos may 
 be heartily recommended. Imitating Erckmann-Chatrian in 
 these "Episodios," he has written the modern national epic 
 poem in form of a novel. Out of the four series which comprise 
 10 vols, each, I suggest "La Corte des Carlos IV," "Trafalgar," 
 "Zaragoza" and "Zumalacarregui."
 
 — 51 — 
 
 In his "Novelas Espanolas Contemporaneas" (28 novels in 
 39 vols.) he gives us an interesting view of Spanish society in 
 all its aspects dealing with the moral and mental struggle of 
 his country. So in "Doiia Perfecta" he discusses the conflict 
 between the old type of Spanish ecclesiasticism and modern 
 scientific thought. 
 
 For a teacher who is desirous of reading some of the better 
 known works written by Latin-American writers I commend: 
 Jorge Isaacs (Argentine) "Maria," the most noted Spanish- 
 American novel; Ricardo Palma (Peru) "Tradiciones perua- 
 nas;" Gertrudis Gomez de Avellaneda (Cuba) "Guatimozin o 
 el ultimo emperador de Mexico" and Alberto Blest Gana 
 ^Chile) "Durante la reconquista." Of the younger South- 
 American novelists we may mention: Ruben Dario (Nicara- 
 gua), Manuel Ugarte (Argentine) and Enrique Gomez Carillo, 
 called the Spanish Pierre Loti (Guatemala) ; Adrian del Valle 
 (Cuba); Goicocheo Menendez (Paraguay); Rufino Blanco 
 Fombona (Venezuela), and Amador Nervo (Mexico). 
 
 The object of this brief review is to interest the teachers 
 and students of Spanish to the extent of leading them to 
 study in the original the masterpieces of this fine and force- 
 ful literature. 
 
 Allow me to reiterate : the study of the masterpieces them- 
 selves must always stand in the foreground. If a student re- 
 lies on critical works alone he will never learn to judge for 
 himself and will only make himself a reservoir for the opinions 
 of others. 
 
 A word about "Reading:" Poems should never be read in 
 rapid succession ; a pause after the reading of each is neces- 
 sary. In reading dramas and novels it is best to take a fairly 
 large section at each sitting. It is very convenient to read 
 aloud, but at the end this is apt to become tiresome, and pos- 
 sibly tends to detract attention from the subject; but unques- 
 tionably it is very profitable to read aloud a part at least of 
 each work studied. A still greater advantage is found in read- 
 ing aloud in company ; for example, dramas may be read by
 
 — 52 — 
 
 distributing the roles so that each member of the company 
 reads the lines belonging to the character whose part he rep- 
 resents. After the work has been read its general contents, 
 style, technique and character should be discussed, as well as 
 the impression it left on the readers. 
 
 The best general collection of Spanish authors is the well- 
 known "Biblioteca de autores espanoles, desde la formacion 
 del lenguaje hasta nuestros dias" (71 vols. 1846-80. Madrid), 
 published by Rivadeneyra. More recent publication are the 
 "Nueva Biblioteca de autores espanoles," published under the 
 direction of Marcelino Menendez y Pelayo (12 vols, have been 
 published so far), and the "Biblioteca Hispanica" with 18 vols, 
 published. 
 
 The cheapest of the modern issues are the tiny but fairly well 
 printed volumes of the "Biblioteca Universal, Coleccion de los 
 mejores autores antiguos y modernos" (Madrid). In these a. 
 really good selection of the best Spanish authors of all time 
 is to be found. On account of their low price (10 cents each) 
 any student can easily afford to buy them.
 
 - 53 — 
 
 10. HISTORY AND GEOGRAPHY OF SPAIN. 
 
 Spanish Society, Institutions and Manners. Educa- 
 tion in Spain. Spanish Art. 
 
 "No man," says E. A. Freeman in an oft-quoted ,part of 
 his "History of the Norman Conquest," "can study political 
 history worthily without learning a good deal about languages ; 
 no man can study language worthily without learning a good 
 deal about political history." Of still more importance is the 
 History of Civilization, which naturally is intimately related 
 to the political history. As the student of Spanish philology 
 should make it a point to be well informed as to the main facts 
 of either subject he should have some standard books of 
 history and geography in his library. 
 
 With regard to history I recommend strongly the "Historia 
 de Espafia y de la civilizacion espafiola" (Barcelona 1900-1911 
 in 4 vol.) by R. Altamira y Crevea. This work is one of the 
 best of its kind, corresponding to the present state of histori- 
 cal science, and teachers should make it a point to obtain this 
 excellent work. Among the Spanish histories of moderate 
 size perhaps the most commendable are "Prontuario de his- 
 toria des Espaiia y de la civilizacion espafiola" (Madrid 1907) 
 by Felix Sanchez Casado; the "Compendio de Historia de 
 Espaila (Madrid 1915, 5th edition) by Ricardo Beltran y R6z- 
 pide; and the "Historia de la civilizacion iberica" by Oliveira 
 Martins. 
 
 No satisfactory general history of Spain has been written 
 by a foreigner. Some English, German and French works on 
 Spanish history are: Martin A. S. Hume "The Spanish people, 
 their origin, growth and influence" (New York 1906); "Spain. 
 Its greatness and decay 1479-1788" (Cambridge 1905), and 
 "Modern Spain. History of 1788-98" (New York 1903). These 
 three books are also translated into Spanish. There is 
 also Butler Clarkes' "Modern Spain 1815-98" (Cambridge
 
 — 54 — 
 
 1906). Mention should also be made of Gustav Dierks' "Ge- 
 schichte Spaniens von den friihesten Zeiten bis auf die Gegen- 
 wart" (Berlin 1895-96), and P. A. Dozy "Recherches sur I'his- 
 toire politique et litteraire d'Espagne" (Leyden 1881). It will 
 also be of interest for students to refer to Buckle's "History 
 of Civilization in England, France and Scotland" (3 vol.) and 
 to Herbert Spencer's "Descriptive Sociology: The Spanish 
 civilization." 
 
 A large popular history of Spain, with numerous illustra- 
 tions, written by a Spaniard, is that of Modesto de Lafuente 
 "Historia general de Espaiia desde los tiempos primitivos 
 hasta la muerte de Fernando VH" in 30 volumes (1850-67), 
 new edition by Juan Valera in 22 vol. (Barcelona 1888). It 
 was written before the medieval period had been properly in- 
 investigated, it is wordy and largely spoiled by a display of na- 
 tional vanity. This work and the "Historia general de Esparia," 
 edited by members of the Spanish Academy and published by 
 "El Progreso Editorial" (Madrid), as well as the "Historia 6e 
 Espafia" by Juan Ortega y Rubio (8 vol. Madrid 1910), are 
 too bulky and expensive for ordinary purposes. 
 
 With regard to geography, Muro's "Nociones de geografia 
 especial de Espaiia" (Madrid 1905) and F. Diaz Carmona "Ele- 
 mentos de Geografia general y especial de Espana" (3rd edit.) 
 are useful books. To these I may add Regel, "Landeskunde 
 der Iberischen Halbinsel" (Leipzig 1905) and J. Zimmermann 
 "Spain and her people" (London 1906). Very inexpensive and 
 useful for class-teaching is Pedro de Alcantara Garcia's "La 
 Patria Espahola" (Madrid 1905). It deals with Spain as a 
 nation, with its political and administrative organization, com- 
 merce, industry, agriculture and physiography. 
 
 Among handbooks for travelers in Spain the following are 
 well known and need no recommendation : Karl Baedeker 
 "Spain and Portugal. Handbook for travelers" (London and 
 New York 1908); H. O'Shea "Guide to Spain and Portugal" 
 (Black's Guide Books); R. Ford, Murray's Handbook for 
 Spain (2 vol. London 1906). There are also a host of small
 
 — 55 — 
 
 guide books which must be here omitted. Students or teach- 
 ers requiring wall maps of Spain may be referred to the de- 
 tailed "Schulwart-Katalog" or to Stanford's "Catalogue of 
 Maps and Books for Tourists." Among the general atlases 
 Stieler's Handatlas (Gotha 1907) contains the best maps for 
 general use. 
 
 The student of Spanish philology ought to get acquainted 
 with the intellectual and material culture, and the modern so- 
 cial and political conditions of Spain. 
 
 The literature on Spanish life and customs is exceedingly 
 rich and descriptions of parts of Spain and accounts of trav- 
 els in the provinces abound. Only a few books, which may 
 be of value and interest to the teacher, can be here mentioned: 
 "Suelo, lenguaje y canto en Espafia y Portugal" by F. Vidal y 
 Careta; "Por la Espaiia pintoresca" (Barcelona 1895) by E. 
 Pardo Bazan; "Terre d'Espagne" (Paris 1895) by R. Bazin; 
 "Castilian Days" (2nd edition— London 1897) by J. Hay; 
 "Wanderings in Spain" (8th edition, London 1904) by A. H. C. 
 Hare; "Spanish Highways and Byways" (New York 1907) by 
 Katherine Lee Bates; "Spain and the Spaniards" by Eduardo 
 de Amici (New York 1885); "Das moderne Geistesleben Spa- 
 niens" (Leipzig 1883) by Gustav Diercks, and "Das moderne 
 Spanien" (Berlin 1908) by the same author; "The soul of 
 Spain" (Boston 1908) by H. Havelock Ellis; "La Espaiia de 
 ayer y hoy" (Madrid 1899) by E. Pardo Bazan; "Nuestros co- 
 stumbres" (Madrid 1900) by P. Gotor de Burbaguena; "Psico- 
 logia del pueblo espafiol (Madrid 1902) by R. Altamira y 
 Crevea; "El alma espaiiola" (Madrid 1911) by Gustavo La 
 Iglesia y Garcia; "Espaiia contemporanea" (Paris 1907) by 
 Ruben Dario; "Relaciones de solemnidades y fiestas publicas 
 de Espafia" (Madrid 1903) by J. Alenda y Mira; "Constitu- 
 cion y vida del pueblo espaiiol" (Madrid 1905) by V. Gay. A 
 very interesting account of Spanish life in its different aspects 
 is given in the special number of the Nouvelle Revue Inter- 
 nationale (Paris 1900) "L'Espagne: politique, litterature, ar- 
 mee, etc.;" and G. H. B. Ward's "Truth about Spain" (New
 
 — 56 — 
 
 York 1911), which has been published also in Madrid (19111 
 under the title of "La verdad acerca de Espana." The atten- 
 tion of students may also be drawn to the "Spanish Series" of 
 monographs on towns and cities, edited by A. F. Calvert (Lon- 
 don) whieh is noteworthy for descriptions of architecture and 
 painting, and for the excellence of its many illustrations. 
 
 To these should be added two very interesting little books — 
 sequel to Kron's "Der kleine Deutsche" or "Le petit Parisien" 
 — "El castellano actual" by Roman y Salamery (Karlsruhe 
 1905) and the other by Rodrigo H. Bonilla "Spanish daily 
 life" (Newson's Modern Language Books, New York). They 
 are very valuable to teachers, giving in simple Castilian use- 
 ful information about Spanish life, manners, customs and in- 
 stitutions. 
 
 Teachers of Spanish will naturally be interested in the or- 
 ganization of education in Spain. They will find much valu- 
 able information on this point in the following works : Eugenio 
 Garcia Barbarin "Historia de la Pedagogia espafiola" (Madrid 
 1909) ; F. de Figueroa y Pacheco "La Universidad espanola" 
 (Alicante 1903) ; and Miguel de Unamuno "De la ensefianza 
 superior en Espaiia." An extremely interesting work is the 
 lecture given by Sefior Bonilla y San Martin before the Uni- 
 versidad Central de Madrid in 1914 on "La vida cooperativa 
 de los estudiantes espaiiolas en sus relaciones con la historia 
 de las Universidades" (1914). 
 
 A good, and well illustrated, popular manual on the general 
 history of Spanish art is Marcel Dieulafoy's "Art in Spain and 
 Portugal" (New York 1913). For Spanish sculpture the stu- 
 dent may be advised to read Paul Lafond's "La Sculpture 
 Espagnolle" (Bibliotheque de L'Enseignement des Beaux 
 Arts), Paris (Librairie d'Education nationale). The attention 
 of students may also be drawn to the following book: "Stories 
 of the Spanish artists until Goya" by William Stirling Max- 
 well (London 1910). 
 
 For those who wish a brief survey of the life and art of the 
 most famous artists and who wish to obtain good and inexpen-
 
 — 57 — 
 
 sive reproductions of the most celebrated paintings of these 
 artists the "Masters in Art" may be recommended. A series of 
 illustrated monographs" by Bates & Guild Co., Boston; "Clas- 
 sics in Art series," New York, Brentano's; Langham Series of 
 Art Monographs (New York 1905); "Kiinstler-Monogra- 
 phien" by Velhagen und Klasing, Leipzig: "Klassiker der 
 Kunst in Gesamtausgaben" by the "Deutsche Verlags-Anstalt, 
 Stuttgart; Weicher's Kunstbiicher, Berlin; "Los grandes 
 maestros de la pintura espaiiola" by Fernando Fe, Madrid; 
 "Klassische Illustratoren" by R. Piper & Co., Miinchen ; edi- 
 tions which include volumes on Murillo, Velasquez, Goya, Ri- 
 bera, El Greco, etc. 
 
 Lastly series of reproductions at a very low price, which il- 
 lustrate the best works of the great masters, may be obtained 
 from the Cosmos Picture Company (New York); "The Uni- 
 versity Prints" (Spanish Art), Boston; "The Perry Pictures," 
 Maiden, Mass.; and "Meister der Farbe" (in color), 
 published by E. A. Seemann, Leipzig. Each series is in a 
 portfolio and is accompanied by a small pamphlet giving a 
 description of the pictures of that series.
 
 - 58 — 
 
 11. REVIEWS, PERIODICALS AND BIBLIO- 
 GRAPHIES. 
 
 The more advanced philologist has also to study the rich 
 literature of reviews and periodicals containing matters of in- 
 terest to the student of Spanish, with the purpose of keeping 
 abreast of the progress and development of modern investiga- 
 tion. 
 
 The chief reviews dealing exclusively or largely with Span- 
 ish language and literature are: The "Revue hispanique," 
 edited by Raymond Foulche Delbosc, dedicated especially to 
 the study of the language, literature and the history of the 
 Spanish and Portuguese countries; the "Romania," admirably 
 edited by the two leading philologists of France, Gaston Paris 
 and Paul Meyer, it brings frequently admirable studies of 
 Morel-Fatio, Cornu, Cuervo and other philologists of note. 
 Similar in importance, purpose and scope to the "Romania" 
 are the "Zeitschrift fiir romanische Philologie" (Halle) by Gu- 
 stav Grober, the "Giornale storico della letteratura italiana" 
 (Torino), edited by Francesco Novati and Rudolfo Renier, and 
 the "Romanische Forschungen" (Erlangen) by Dr. Karl Voll- 
 moller. The "Bulletin hispanique," edited by Ernest Meri- 
 mee, P. Parissaud and G. Civot, appears in Bordeaux, and the 
 "Revista Espafiola de Literatura, Historia y Arte" by Emilio 
 Cotarelo y Mori exists since 1901. Of the excellent "Anales 
 de la literatura espafiola," edited by Adolfo Bonilla y San 
 Martin, only the first volume has appeared. 
 
 In order to find out what books have been published at a 
 certain time, in a certain language or on a certain subject, we 
 use bibliographies. 
 
 A Spanish bibliography ("Bibliographic Hispanique" — Paris) 
 of the latest publications on the languages, literatures and his- 
 tory of the Spanish speaking countries, Cataluna and Portu- 
 gal, compiled by the distinguished editor of the Revue His-
 
 — 59 - 
 
 panique, Raymond Foulche-Delbosc, appears every year. This 
 Annual reports not only on books and pamphlets, but also on 
 articles published in other reviews. The "Literaturblatt fur 
 germanische und romanische Philologie" contains only criti- 
 cisms, summaries of periodicals and lists of new publications. 
 The "Kritischer Jahresbericht iiber die Fortschritte der roma- 
 nischen Philologie" reports critically on important new pub- 
 lications in the department of Romance languages and litera- 
 ture. 
 
 Three other Spanish publications will be especially useful 
 to teachers of Spanish : 
 
 "Bibliografia Espariola" 
 
 Revista oficial de la Asociacion de las Librerias 
 de Espaha. Madrid, Calle de M. Fernandez y Gon- 
 zalez 15. 
 
 "Archivo biblografico hispano-americano publi- 
 cado por la libreria general de Victoriano Suarez. 
 Madrid, Calle Preciadoj 48. 
 
 "Catalago mensual de la libreria nacional y ex- 
 tranjera," publicado por Fernando Fe. Librero. Ma- 
 drid, Puerta del Sol 15. 
 These catalogues appear once a month and record the miost 
 important works published in Spain. 
 
 Of Spanish periodicals containing matter of interest to the 
 student of Spanish and whose aim is to give in an attractive 
 form information on literature, politics, bibliography, etc., are : 
 "La Lectura," the "Espafia Moderna," "La Cultura Espariola" 
 and the "Revista Contemporanea." They are monthly maga- 
 zines published in Madrid. Among the illustrated periodicals 
 the "Ilustracion Espariola y Americana" and "Blanco y Negro" 
 (both weekly papers) will probably be found especially in- 
 teresting.
 
 — 60 ^ 
 
 12. METHOD OF TEACHING MODERN FOR- 
 EIGN LANGUAGES. 
 
 No school teacher who takes the slightest interest in his 
 subject can at the present time afford to keep aloof from the 
 discussions as to the best method of teaching modern foreign 
 languages. 
 
 The following bibliography contains the principal books, 
 pamphlets, essays and reports, which appear to be specially 
 useful, and a modern language teacher will no doubt wish to 
 possess some of these works for himself, so as to be able to 
 refer to them as occasion arises. 
 
 A valuable guide for teachers and students of modern lan- 
 guages, valuable by its criticism.s of both older and newer 
 methods and by its positive advice is Henry Sweet's "The 
 Practical Study of Languages." A good manual and book of 
 reference on questions on language teaching is Arnold Oh- 
 lert's "Allgemeine Methodik des Sprachunterrichts in kriti- 
 scher Begriindung." An interesting pamphlet from the same 
 author is "Das Studium der Sprachen und die geistige Bil- 
 dung." Other books, which will be found very serviceable, 
 are Otto Jespersen's "How to teach a foreign language" (Lon- 
 don 1904) ; Dr. O. Thiergen "Methodik des neusprachlichen 
 Unterrichts" (Leipzig 1902); Leopold Bahlsen "The teaching 
 of modern languages" (New York 1905); Karl Breul "The 
 Teaching of Modern Foreign Languages and the Training of 
 Teachers" (Cambridge 1906); H. Klinghardt "Ein Jahr Erfah- 
 rungen mit der neuen Methode" (Marburg 1888), and by the 
 same author "Drei weitere Jahre Erfahrungen" (Marburg 
 1892), both most interesting. Shorter reports on modern 
 languages which every teacher should read are the "Report 
 of the Committee of Twelve" of the Modern Language Asso- 
 ciation of America (Boston 1904) ; the reports (by Miss Mont- 
 gomery, F. Ware, Miss Brebner and E. Hausknecht) in vol.
 
 — Gi- 
 ll, and III. of "Special reports on educational subjects," pub- 
 lished by the Educational Department (London 1903); also 
 collected in one volume under the title "Special reports of 
 modern language teaching" (London 1903); W. H. Widgery 
 "The Teaching of Languages in Schools" (London 1888); the 
 three pamphlets by Max Walter "Die Reform des neusprach- 
 lichen Unterrichts auf Schule und Universitat" (Marburg 
 1901); "Der Gebrauch der Fremdsprache bei der Lektiire in 
 den Oberklassen" (Marburg 1905); "Aneignung und Verarbei- 
 tung des Wortschatzes im neusprachlichen Unterricht" (Mar- 
 burg 1907); Carl A. Krause "Ueber die Reformmethode in 
 Amerika" (Marburg 1914) ; and B. Eggert "Der psychologische 
 Zusammenhang in der Didaktik des neusprachlichen Reform- 
 unterrichts" (Sammlung von Abhandlungen aus dem Gebiete 
 der padagogischen Psychologic und Physiologic, Bd. VII. 
 Heft 4. Berlin 1904). 
 
 All of these books advocate more or less the so-called "Re- 
 formmethode" or "Neuere Richtung" which requires that 
 teachers of modern languages should specially strive to give 
 their pupils facility in speaking in the foreign tongue and the 
 ability clearly to understand current authors. 
 
 During the last thirty years Germany has produced an ap- 
 palling number of publications on modern language teaching. 
 To the list already mentioned we may add Wilhelm Victor's 
 "Quosque tandem? Der Sprachunterricht muss umkehren," 
 which gave a great impetus to the Reform movement, and by 
 the same author "Die Methodik des neusprachlichen Unter- 
 richts" (Leipzig 1902), a historical review in four lectures. F. 
 Franke "Die praktische Spracherlernung auf Grund der Psy- 
 chologic und Physiologic der Sprache" (Leipzig 1896) ; Tanger 
 "Muss der Sprachunterricht umkehren?" (opposed to the "New 
 Method"); v. Roden (eclectic) "Inwiefern muss der Sprach- 
 unterricht umkehren?"; Wehrmann "Wider die Methoden- 
 kiinstelei im neusprachlichen Unterricht;" Stieler (moderate) 
 "Zur Methodik des neusprachlichen Unterrichts und die Vor- 
 bildung der Lehrer;" Mangold "Geloste und ungeloste Fragen
 
 — 62 — 
 
 dcr Methodik auf dem Gebiete der neueren Sprachen;" K. A. 
 M. Hartmann "Die Anschauung im neusprachlichen Unter- 
 richt;" E. v. Sallwiirk "Fiinf Kapitel vom Erlernen fremder 
 Sprachen;" R. Kron "Die Methode Gouin oder das Seriensys- 
 tem in Theorie und Praxis" und "Zur Verwertung der bild- 
 lichen Anschauung im neusprachHchen Unterricht." 
 
 Among French publications on modern language teaching 
 the following will be very helpful and interesting: M. Breal 
 "De I'enseignement des langues vivantes," F. Gouin "L'art 
 d'enseigner et etudier les langues" and the three essays which 
 obtained prizes in 1898 and have been published in a collective 
 volume; Laudenbach, Passy, Delobel, "De la methode directe 
 dans I'enseignement des langues vivantes." F. Colland "La 
 methode directe dans I'enseignement des langues vivantes;" 
 "De la methode pour I'enseignement scolaire des langues vi- 
 vantes." 
 
 The books, pamphlets and essays are unequal in value and 
 invariably written from the same point of view, but they will 
 all be found suggestive and helpful. This list does not com- 
 prise all that is worth reading on the subject, its aim being 
 simply to point out those contributions to the study of methods 
 of modern language teaching, in which teachers will find use- 
 ful suggestions and inspiration. Teachers who wish to found, 
 on a common basis the instruction in foreign modern lan- 
 guages and in English will find useful suggestions in Daven- 
 port and Emerson's "The principles of Grammar." 
 
 Teachers should also make it a point to read some of the 
 periodicals dealing exclusively or largely with the teaching of 
 modern languages. The most important periodicals are the 
 following: The "Educational Review," edited by Nicholas Mur- 
 ray Butler (New York), and "Modern Language Notes," edited 
 by A. Marshall Elliott (Baltimore), a monthly publication de- 
 voted to the interests of the academic study of English, German 
 and Romance languages; "The School Review," edited by the 
 Department of Philosophy and Education in the University of 
 Chicago; "Modern Language Teaching," the official organ of
 
 — 63 — 
 
 the "Modern Language Association," edited by Walter Ripp- 
 mann (London). "Die neueren Sprachen," Zeitschrift fiir den 
 neusprachlichen Unterricht, edited by Wilhelm Vietor (Mar- 
 burg) ; "Revue de Tenseignement des langues vivantes," edited 
 by A. Wolfromm (Paris); "Les langues modernes" (Paris); 
 "Le Maitre phonetique" (printed according to phonetic spell- 
 ing and advocating the principles of the Association phone- 
 tique internationale, whose organ it is), Dr. P. Passy, Bourg- 
 la-Reine, France; "Bulletin mensuel de la Societe des pro- 
 fesseurs de langues vivantes de I'enseignement public" (Pa- 
 ris). "Bollettino de Filologia Moderna" (Organo dell' As- 
 sociazione nazionale tra i professori di lingue straniere," edited 
 by Prof. Romero Lovera, Palermo). 
 
 I trust that the recommendations and hints given above may 
 enable teachers and students to make a good choice of books 
 of reference in the various departments of their teaching and 
 private study and thus render som.e service to the cause of the 
 study and teaching of Spanish in this country.
 
 UC SOUTHERN REGIONAL LIBRARY FACILITY 
 
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